Online catalogue - 'Swedish Grace' by Jackson Design

SWEDISH GRACE

curated by Lee F. Mindel, FAIA in collaboration with Jacksons Design

¨In Sweden, art is the art of living.¨ – Edward Maufe, Britisch

Architect, 1931

The beginning of the twentieth century brought great cultural, scientific, and political change to a world splintered by chaos and war. The advent of the machine obfuscated the presence of the hand of man. An embattled Europe and Asia were consumed with the struggle for power, while Sweden and Scandinavia were oceans apart physically and idealistically, in search of a kinder, gentler world. The white temple-like Swedish Pavilion at the 1925 Paris exhibition, designed by Carl Bergsten, was a standout. It was rooted in a celebration of grace, simplicity, and elegance that expressed the Swedish ethos. Featuring masterpieces and garnering numerous awards, this expo catapulted Sweden onto the global stage. The exhibition became an expression of a new romantic movement aptly named “Swedish Grace”. The architecture and interiors were executed with impeccable details.

As the world began to shut down, it was the Swedes who opened up and celebrated a universal theme— shared knowledge through literacy. In 1928, Gunnar Asplund completed the landmark Stockholm City Library. It was one of the first libraries in the world to employ the new open-shelf system. The rotunda allowed visitors to access books independently without having to ask a librarian for assistance. Fittingly, the structure was a new type of civic building for the city—a utilitarian and inviting paean to the idea that information should be shared by all.

In 1927, Sweden was the first European country to be represented with a solo exhibition at the Metropolitan Museum. Titled ‘The Swedish Contemporary Decorative Arts’, it featured the monumental table envisioned by the female designer Anna Petrus. This exhibition had the largest attendance at the Metropolitan to date. Nearly a century later, this important table returns to New York and is included in Swedish Grace. Jackson Design and Galerie 56 welcome you to join us. Works by Gunnar Asplund, Axel Einar Hjorth, Anna Petrus, and Uno Åhrén are featured, as well as the return of Ms. Petrus’s masterpiece.

Lee F. Mindel, FAIA

Jubilee Exhibition, Gothenburg, 1923

The 1923 Jubilee Exhibition in Gothenburg celebrated Sweden’s industrial and cultural accomplishments for the city’s 300th anniversary. This landmark event highlighted a transition from the richly decorative National Romanticism to a refined elegance characterized by classical restraint and modern simplicity. Featuring works by influential designers such as Gunnar Asplund, Carl Malmsten, and Axel Einar Hjorth, the exhibition displayed innovations in art, design, and industrial advancements. With 4.2 million visitors, including luminaries like Albert Einstein, the exhibition underscored Swedish design’s growing international relevance.

Ceiling Lamp

Carl Bergsten

Designed and executed1923

Carved, etched and acid treated glass by Orrefors

Silver plated bronze

The model exhibited at the Gothenburg Exhibition, 1923

International Exhibition of Modern Decorative and Industrial Arts, Paris, 1925

The 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris marked a milestone for Swedish design and Swedish Grace. The Swedish pavilion, designed by Carl Bergsten, received significant acclaim. Sweden won the Grand Prix for architecture and design, showcasing Swedish Grace’s refined elegance and craftsmanship. Bergsten’s pavilion harmonized classical elements with modern functionality, embodying the style’s essence and establishing Sweden’s reputation on the global design stage. Inside Bergsten’s pavilion, visitors were welcomed by the bronze reliefs by sculptor Anna Petrus. The pavilion was curated with furniture, decorative arts, and intricate metalwork that epitomized Swedish Grace.

The model exhibited at the International Exhibition of

‘Sports’ Urn

Rolf Bolin

Designed 1922

Produced by Näfveqvarns Bruk Cast iron, decorated with stylised athletic figures in relief

Modern Decorative and Industrial Arts, Paris, 1925

Produced by Näfveqvarns Bruk Cast iron, decorated with stylised decoration in relief

The model exhibited at the International Exhibition of Modern Decorative and Industrial Arts, Paris, 1925

‘Venus’ Urn

Ivar Johnsson Designed 1919

Lounge Chair

Gunnar Asplund

Designed 1925

Produced by Cassina, 1983

Walnut, decorated leather, cast decoration

The unique Senna Lounge Chair was designed by Erik Gunnar Asplund for the International Exhibition of Modern Decorative and Industrial Arts, Paris,1925. Cassina made a very limited edition in 1983. The unique original chair is located within the permanent collection of the Swedish National Museum (Nordiskamuseet), Stockholm.

‘Senna’

Arthur Percy Designed

1925

Produced by Gefle, 1920s

Glazed stoneware, faience decor

The model exhibited at the International Exhibition of Modern Decorative and Industrial Arts, Paris, 1925

Swedish Grace

Large Tureen

Produced by Lauritz Rasmussen, circa 1925

White single layer glass with gloss interior and matted exterior, cast bronze

Provenance:

Aage Rafn

Thence by descent to the Family of Aage Rafn.

Originally designed for the representative offices at the Police Headquarters in Copenhagen, which were completed in 1924.

The model exhibited at the International Exhibition of Modern Decorative and Industrial Arts, Paris,1925

Ceiling Lamp

Aage Rafn

Lounge Chair Uno

in velvet

The model was designed for the ‘Lady’s Lounge’ in the Swedish Pavilion at the International Exhibition of Modern Decorative and Industrial Arts, Paris, 1925.

Åhrén 1925

Produced by Mobilia Stained birch wood, recently recovered

upholstery.

Set of Four Candlesticks

Anna Petrus

Produced by Herman Bergman, Circa 1920 Pewter, brass

The model exhibited at the International Exhibition of Modern Decorative and Industrial Arts, Paris, 1925

A pair of these candlesticks are also retained within the permanent collection of the Metropolitian Museum under accession number 27.96.15ab.

Set of Four Urns

Anna Petrus

Designed 1925

Produced by Näfveqvarns Bruk

Cast iron

Originally designed as part of the decorative element of the columns in the Swedish pavilion at the International Exhibition of Modern Decorative and Industrial Arts Paris, 1925. In 1927, they were refashioned as urns.

Entrance to the Swedish Pavilion at the International Exhibition of Modern Decorative and Industrial Arts, Paris, Carl Bergsten, 1925.

Console, Model no. 10

Circa 1925

Produced by Näfveqvarns Bruk

Folke Bensow

Painted cast iron, ‘Kolmård’ marble

Swedish Contemporary Decorative Arts, Metropolitan Museum of Arts, New York, 1927

Following the triumph in Paris, Sweden became the first nation invited to showcase its decorative arts at the Metropolitan Museum of Art in New York. The exhibition, which opened on January 17, 1927, was inaugurated by H.K.H. Prince Wilhelm and envoy Wolman Boström. A tremendous success, it attracted record crowds—up to 6,000 visitors in a single day— and garnered unprecedented media attention. The exhibition’s impact led to invitations for additional showings across the United States, including Detroit and Chicago, solidifying Sweden’s influence in modern design.

Produced by Näfveqvarns Bruk Painted cast iron, granite top With moulded signaturet ‘A. Petrus’ and ‘Sweden’ Exhibited:

‘Swedish Contemporary Decorative Arts’, MET, New York, 1927, one of three displayed. A single example of the model was further exhibited at both the Barcelona Universal Exposition, 1929, and the Stockholm Exhibition, 1930.

Following the great success of their particilation in Paris in 1925, Sweden as the invited to participate in an art industry exhibition at the Metropolitan Museum of Arts in New York. This was the first instance of the Met hosting a European nation with dedicated solo exhibition. Titled ‘Swedish Contemporary Decorative Arts’, the exhibition opened January 17 in the presence of H.K.H. Prince Wilhelm and Sweden’s envoy to Washington, the envoy Wolman Boström. Invitations later came to move the exhibit in other cities in the United States, including Detroit and Chicago. After the Stockholm Exhibition in 1930, the tables have not been seen in any major context. This table was disassembled and the parts were scattered.

Table

Anna Petrus 1927

The International Exhibition of Barcelona, 1929

At the 1929 World Exhibition in Barcelona, Sweden’s pavilion highlighted the graceful sophistication of Swedish Grace, contrasting sharply with other pavilions, such as Germany’s minimalist, modernist approach led by Mies van der Rohe. Designed with a blend of elegance and craftsmanship, Axel Einar Hjorth’s furniture and interiors exemplified Sweden’s refined style, offering warmth and classical restraint against the emerging stark modernism. This juxtaposition underscored Swedish Grace’s unique position between traditional craftsmanship and emerging modernity on the world stage.

Pair of ‘Louis’ Armchairs and ‘Louis’ Coffee Table

Axel Einar Hjorth Designed 1928

Produced by NK, Nordiska Kompaniet Lacquered and gilt wood with velvet upholstery Table in Macassar ebony, lacquered wood

The model exhibited at the Barcelona Universal Exposition, 1929

‘Caesar’ Console

Axel Einar Hjorth

Produced by Nordiska Kompaniet, 1935 Zebrano, birch, carved details

Swedish Grace

Designed 1928

Produced by Nordiska Kompaniet Birch, carved decoration in relief, recently recovered in linen upholstery

The ‘Caesar’ series exhibited at the Barcelona Universal Exposition, 1929

‘Ceasar’ Armchair Axel Einar Hjorth

Set of Six ‘Ceasar’ Chairs

Axel Einar Hjorth

Designed 1928

Produced by Nordiska Kompaniet

Birch, carved decoration in relief, recently recovered in linen upholstery

The model exhibited at the Barcelona Universal Exposition, 1929

Unique Side Table

Axel Einar Hjorth

1931

Produced by Nordiska Kompaniet

Ebonised oak base, carved decoration of atlants, tiled ceramic top designed by Edgar Böckman.

Special commission for Fredrik Anderzon, manager of the brewery Nässjö Bryggeri 1936-1964.

Chest of Drawers

Axel Einar Hjorth

Designed 1928

Produced by Nordiska Kompaniet

Macassar Ebony, lacquered carved wood in relief

The model exhibited at the Barcelona Universal Exposition, 1929

According to the Nordiska Kompaniet archives, an example of this chest of drawers was commissioned by architect Edvard Bernhard on September 15, 1931. Around the same time, Swedish industrialist Ivar Kreuger commissioned Bernhard to design the Banque de Suède de Paris. The ‘MADE IN SWEDEN’ metal tag was reserved for pieces commissioned for export and is identical to the metal tag on the cabinet designed by Hjorth for the 1937 Paris exhibition. Comparing the dates, it is very possible that this chest of drawers was originallycommissionedforthebankitself.Thebankstandstodayand is located between rue Saint Honoré and Place Vendôme in Paris.

‘Woman with Snakes’ Sculpture

Designed by Johannes C. Bjerg

1918

Likely excecuted by foundry Lauritz Rasmussen Gilt bronze

City Hall, Stockholm, Ragnar Östberg, 1923

Opened in 1923, Stockholm City Hall, designed by Ragnar Östberg, embodies the transition from National Romanticism to Swedish Grace, blending monumental form with refined, classical elegance. The building’s famed Golden Hall, adorned with intricate mosaics by Einar Forseth, presents a fusion of Byzantine inspiration and Swedish decorum, encapsulating the stylistic evolution toward Swedish Grace’s balanced sophistication.

Coffee Table

Carl Einar Forseth

1921

Produced by Puhl&Wagner Gottfried Heinersdorff

Glass mosaic, contemporary brass frame

Provenance:

August Wagner Archive

Florian Wagner

Private Collection, London, acquired from the above, 1982

Acquired from the above, 2003

Thence by Descent

A study for part of the monumental mosaic that was created for the Golden Hall in Stockholm from 1921 to 1923 which today is recognized and regarded as Forseth’s greatest work. The Artist drew inspiration from the Byzantine style of the scheme during his time spent in Instanbul.

‘Kinesen’

Elsa Gullberg Designed 1935 Produced by Elsa Gullberg Wool, hand woven in relief

Rug

Wrought iron, impressed decoration, brass, textile seat

Carl Hörvik and Elsa Gullberg designed the interior of textile artist Thyra Grafströms new boutique, of which the above stool was included. The Carl Hörvik archive confirms only six examples were produced.

Stool

Carl Hörvik

Circa 1925

Produced by Märta Måås-Fjetterström AB Wool, hand woven in relief

‘Gula Havet’ Rug

Marianne Richter Circa 1945

Axel Einar Hjorth 1930

Produced by NK Nordiska Kompaniet

Partially gilded and painted birch with craquelure technique, inset polished slate top

‘Åbo’ Console

Console and Mirror

Uno Åhrén

Produced by Svenskt Tenn, 1928

Pewter, brass detals, mirrored glass

‘Skandia’ Cinema, Stockholm, Gunnar Asplund, 1923

Designed by Gunnar Asplund and completed in 1923, Stockholm’s Skandia Cinema showcases the Swedish Grace style’s embrace of elegance and modernity in public spaces. Asplund skillfully combined classical motifs with Art Deco influences, creating an inviting yet sophisticated atmosphere. The cinema’s interior, with its sculpted details, refined lighting, and luxurious materials, reflects Swedish Grace’s pursuit of harmonious, understated beauty in design, transforming a commercial cinema into a cultural landmark.

‘Skandia’, Cinema, Stockholm, Gunnar Asplund,1923, archive: Centre for Architecture Montréal.

Pair of Armchairs

Produced by Nordiska Kompaniet, 1924

Lacquered birch, recently upholstered in velvet textile

Designed and produced for the ‘Skandia’ Cinema, Stockholm of which Gunnar Asplund was the architect.

Gunnar Asplund

City Library, Stockholm, Gunnar Asplund, 1928

The Stockholm City Library, designed by Gunnar Asplund and completed in 1928, is a seminal example of Swedish Grace. Its harmonious blend of classical forms and modernist sensibility is exemplified in the iconic rotunda, which serves as both a functional space and a symbol of accessibility, reflecting the democratic ideals of the era. The rotunda embodies the concept of accessibility, which was key to Asplund’s vision. Positioned at the heart of the library, the rotunda opens up to multiple floors. The surrounding shelves are arranged in such a way that they encourage a fluid connection between books and visitors, with literature available for all to explore freely.

the

Ceiling Lamp

Designed by Gunnar Asplund

Designed 1927

Opaque satin glass, patinated brass

Designed for

Stockholm City Library, of which Gunnar Asplund was the architect.

Stockholm City Library, 1928, image: C.G. Rosenberg.

Pair of Lounge Chairs

Circa 1925

Carved and stained birch with lion paw feet, recently recovered in velvet textile

Deseigned 1927

‘La Ronde’ Sculpture

Jean René Gauguin

Produced by Bing & Gröndahl

Glazed stoneware with faience decor

Pair of Ceiling Lamps

Anna Petrus Circa 1925

Produced by Svenskt Tenn Pewter, brass, frosted glass

Wilhelm Kåge

Produced by Gustavsberg, 1933

Glazed stoneware, chased silver decor

The Argenta series was introduced in 1930 and featured a wide variety of forms and motifs. The designs were produced mainly in green, but also blue and red. After firing, silver was applied and worked by hand.

‘Argenta’ Vase

‘Argenta’ Candle Sticks

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1930

Glazed stoneware, chased silver decor

‘Argenta’ Urn

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1940

Glazed stoneware, chased silver decor

‘Argenta’ Vase

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1930

Glazed stoneware, chased silver decor

‘Argenta’ Bowl

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1930

Mottled glazed stoneware, chased silver decor

‘Argenta’ Urn

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1940

Mottled glazed stoneware, chased silver decor

‘Argenta’ Vase

Wilhelm Kåge

Produced by Gustavsberg Studio, Circa 1930

Mottled glazed stoneware

‘Vildhästen’ Tapestry

Märta Måås-Fjetterström

Produced by Märta Måås-Fjetterström AB, after 1950

Handwoven wool and linen, on linen warp

Ceiling Lamp

Attributed to Gunnar Asplund Circa 1930

Blown glass, painted metal, steel threads

Provenance: Architect John Elisasson

Eliasson was employed by Gunnar Asplund 1935-1937 as his representative in Gothenburg for the extension of Gothenburg City Hall.

‘Triton’ Vases

Simon Gate Circa 1920

Produced by Orrefors

Hand wheel carved glass.

www.jacksons.se www.galerie56.com

Opening Hours: Monday - Friday 10:00 - 18:00

Appointments can be made through the wesbite of Galerie56, or email.