On the Periphery
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(.",#*",3 (1'#(-#)() '#:-0(-#-"(-.+2 0#,",#!( (-"+*-#)() #% #(,-+( Mark Ian Jones A thesis submitted for the degree of Doctor of Philosophy in Design at the UNIVERSITY OF NEW SOUTH WALES SYDNEY, AUSTRALIA 2011 +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! © Copyright by Mark Ian Jones 2011 All Rights Reserved ii +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date ……………………………………………................. ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date …………………………………………….............................. ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... iii +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! iv +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! #-.) &- Table 3.1 SSF/Orrefors Network. 80 Table 3.2 English language commentary associated with the SSF/Orrefors Network 100 #-.) #!/,- Figure 1.1 Cover page, Tvätt (Washing), Vicke Lindstrand for Kosta, 1951. Smålands Museum Arkiv. Figure 1.2 Part One and Part Two cover page background, Bimbo, Vicke Lindstrand for Firma Elsa Gullberg Textilier och Inredning, 1938. Private Collection. Figure 3.1 Carl Larsson, Lathörnan. Ur Ett hem, 1894. 82 Figure 3.2 Carl Larsson , Blomsterfönstret, 1894. 85 Figure 3.3 1917 Hemutställningen (Home exhibition) 97 Figure 3.4 ‘Better Everyday Objects’ designed by Gate & Hald. 97 Figure 3.5 ‘Better Everyday Objects’ designed by Gate & Hald. 97 Figure 3.6 Edward Hald at the Orrefors exhibit, 1931. 98 Figure 3.7 Detail of Orrefors exhibit, 1931 Swedish Arts & Crafts exhibition, London. 98 Figure 3.8 Design in Scandinavia exhibition 1954-57. 123 Figure 3.9 Design in Scandinavia exhibition 1954-57. 123 Figure 3.10 Pages from Design in Scandinavia catalogue. 124 Figure 3.11 Swedish Modern Booklet, New York World’s Fair 1939. 127 Figure 3.12 Britta Hald, Ulf Hård af Segerstad and Edward Hald, H55 Helsingborg 1955. 130 Figure 3.13 Flask designed by Edward Hald at Orrefors. 133 Figure 3.14 The Australian Design in Scandinavia exhibition. 137 Figure 3.15 Arthur Hald and Dag Widman. 139 Figure 3.16 Non-functional glass objects by John Selbing. 139 Figure 3.17 Posten Swedish Design series stamps from 1994. 147 Figure 3.18 Swedish exhibit, Milan Triennale 1957. 151 Figure 3.19 SSF Network. 153 Figure 4.1 Vicke Lindstrand. Sketch. Late 1960s. 156 Figure 4.2 Vicke Lindstrand, Painting, 1930s. 163 Figure 4.3 Vicke Lindstrand, Orrefors. 166 Figure 4.4 Vicke Lindstrand, Europa and the bull, Graal technique, Orrefors 1930s. 167 Figure 4.5 Vicke Lindstrand. Glass Fountain, Swedish Pavilion. 170 Figure 4.6 Monkey vase, Vicke Lindstrand, Upsala-Ekeby, 1940s. 176 Figure 4.7 Page 145 from Contemporary Swedish Design. 177 Figure 4.8 Vase, 1940s Cobalt glaze. Private collection. 177 Figure 4.9 Kosta Glasbruk, Promotional Brochure 1951. 178 Figure 4.10 Sketch of engraved crystal vase. 182 Figure 4.11 Vicke Lindstrand Redivivus, Form magazine 1951. 187 Figure 4.12 Vicke Lindstrand at his debut Kosta exhibition at NK Stockholm, 1951. 190 Figure 4.13 Vicke Lindstrand Tvätt (Washing) Kosta LG 129, 1951. 190 Figure 4.14 Vicke Lindstrand Kosta LH 1195, 1951. Image: Smålands Museum Arkiv. 190 v +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! Figure 4.15 Lindstrand Kosta objects. 192 Figure 4.16 Barbara Hepworth. 192 Figure 4.17 Vicke Lindstrand. Unique object. 194 Figure 4.18 Production drawings. 194 Figure 4.19 Timo Sarpaneva Devil’s Churn and Devil’s Fist. 194 Figure 4.20 Vicke Lindstrand, Unique sculpture. 194 Figure 4.21 Mona Morales-Schildt, Kosta Ventana. 196 Figure 4.22 Vicke Lindstrand, Kosta Svart nätt. 196 Figure 4.23 Vicke Lindstrand, Kosta Unique Prisma sculpture. 197 Figure 4.24 Vicke Lindstrand, Kosta Unique Prisma sculpture. 197 Figure 4.25 Photograph of the Artist at work. 200 Figure 4.26 Lindstrand and engraver, Tage Kronqvist. 201 Figure 4.27 Pärlfiskaren (Pearlfishers), 1932 for Orrefors. 204 Figure 4.28 Träd i dimma (Trees in fog). 205 Figure 4.29 Seasons Vases. 206 Figure 4.30 Abstracta series bowl. 207 Figure 4.31 Abstracta series vase. 207 Figure 4.32 Multicoloured threads decanter. 207 Figure 4.33 Abstracta series vase. 207 Figure 4.34 Engraved vase, Kosta. 210 Figure 4.35 Magdelena, engraved vase. 210 Figure 4.36 Bowl, Kosta. 211 Figure 4.37 Mural depicting the blowing room in the Kosta Museum, 1953. 212 Figure 4.38 Mural in the Kosta School, detail, 1960s. 212 Figure 4.39 Lindstrand and Rune Strand, 1954. 214 Figure 4.40 Manhattan Vase. 214 Figure 4.41 Glas Block sculptures, Polar Bears, c1951. 215 Figure 4.42 Bonnier’s New York window display. 218 Figure 4.43 Design in Scandinavia catalogue, 1954. 221 Figure 4.44 Kosta production drawing. 221 Figure 4.45 Table XII c, Design in Scandinavia, 1954. 221 Figure 4.46 Table XVI b, Design in Scandinavia 1954. 222 Figure 4.47 Objects received by the Design in Scandinavia selection committee. 223 Figure 4.48 Objects received by the Design in Scandinavia selection committee. 224 Figure 4.49 Svenskt Glas 1954 Catalogue. 227 Figure 4.50 Two of the Lindstrand designed objects included in Svenskt glas 1954. 227 Figure 4.51 Lindstrand at H55 Helsingborg. 228 Figure 4.52 Lindstrand at H55 Helsingborg. 228 Figure 4.53 Lindstrand in the living room of his Kosta villa, 1954. 230 Figure 4.54 Lindstrand ‘at work’ in the first floor studio of his Kosta villa, 1954. 230 Figure 4.55 Glashuset Kosta, Bruno Mathsson. 231 Figure 4.56 Ingeborg Lundin Äpplet, Orrefors 1957. 234 Figure 4.57 Ingeborg Lundin Äpplet, Orrefors 1957. 234 Figure 4.58 Lindstrand exhibition at Bonniers. 238 Figure 4.59 Lindstrand exhibition at Bonniers. 239 Figure 4.60 Unik Lindstrand Objects from the Bonniers exhibition. 239 Figure 4.61 Unique sculpture of a school of fish, shown at Bonnier’s 1957. 239 vi +%""/&-%"/6V+"5*&+1&,+,#*&!N14"+1&"1% "+12/64"!&0%!"0&$++!1%"/" "-1&,+,#& (" &+!01/+! Figure 4.62 Svezia Brochure, Triennale Milan 1957. 240 Figure 4.63 Unik Colora vase included in Glass 1959. 242 Figure 4.64 A similar Unik vase No. 1096. 242 Figure 4.65 Lindstrand objects, included in Glass 1959. 243 Figure 4.66 Lindstrand with Homo Sum, Kosta Unik 1387. 246 Figure 4.67 Homo Sum detail. 246 Figure 4.68 Promotional photograph of Patina. 248 Figure 4.69 Giraffe series for Kosta, 1960s. 252 Figure 4.70 Kosta Star for Rosenthal. 252 Figure 4.71 Kosta Mambo brochure 1966. 253 Figure 4.72 Kosta Calypso brochure 1966. 253 Figure 4.73 Glasklart invitation from NK Stockholm. 254 Figure 4.74 Unique bowl from Glaskart with Octopus decoration, Kosta Unik 2046. 254 Figure 4.75 Vase from Glasklart, Kosta Unika 2038. 257 Figure 4.76 Totem series object, Kosta Unika 2012. 257 Figure 4.77 Vase from Glasklart, Kosta Unika 2039. 257 Figure 4.78 Objects from Glasklart, Kosta Unika 2087 and 2108. 257 Figure 4.79 Glasklart Exhibition at NK Stockholm, 1969. 258 Figure 4.80 Glasklart Exhibition at NK Stockholm, 1969. 258 Figure 4.81 Vicke Lindstrand, Sketches for glass objects, circa 1970. 260 Figure 4.82 Vicke Lindstrand, Sketches for glass objects, circa 1970. 260 Figure 4.83 Sketches for a table service in cut crystal, dated March 1969. 260 Figure 4.84 Vicke Lindstrand, Studies for glass plate sculpture Legend i glas 261 Figure 4.85 Vicke Lindstrand, Studies for glass plate sculpture Legend i glas 261 Figure 4.86 Detail, Legend i glas, Växjö, Sweden, 1978. 261 Figure 4.87 Detail, Grön eld, Umeå, Sweden, 1970. 261 Figure 4.88 Vicke Lindstrand for Studio Glashyttan Åhus. 262 Figure 4.89 Vicke Lindstrand for Studio Glashyttan Åhus. 262 Figure 4.90 Vicke Lindstrand. 262 Figure 4.91 Jan Erik Ritzman.