Estrid Ericson's Classic Elephant Design Now Available As Wallpaper

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Apr 03, 2013 10:01 GMT Estrid Ericson’s classic elephant design now available as wallpaper One of the most beloved Svenskt Tenn textile prints – ‘’Elefant’’ by Estrid Ericson – is now available as wallpaper in three different colour combinations with white elephants on a base of midnight blue, elephant grey or raspberry. Estrid Ericson, founder of Svenskt Tenn, often found her ideas while travelling around the world. It was in a market in the south of France that she found a piece of batik fabric from the Belgian Congo, and was inspired to create the now well-known elephant print. It was printed on textile in the late 1930s. Now for the first time it is available on wallpaper. All of Svenskt Tenn’s wallpapers are made in Sweden on non-chlorine bleached paper using water-based colours. The wallpapers are washable and withstand well to exposure to sunlight. Prices: SEK 750 per roll. Each roll gives four print matched lengths 2.5 meters high. The Elefant wallpaper is available from April 5th. In addition, the exhibition Primavera, Textile inspiration-Inspiring textile, will be shown in the store on Strandvägen in Stockholm from April 5th until May 19th. Svenskt Tenn was founded in 1924 by designer and drawing teacher Estrid Ericson (1894-1981). In 1934, she began her lifelong collaboration with Josef Frank, already an internationally well-known architect, urban planner and designer, who had recently left Austria to take up residence in Sweden. Together, the two laid the foundations for the interior design philosophy that Svenskt Tenn has since come to represent, combining Estrid Ericson's artistic talent and entrepreneurial spirit with Josef Frank's inspired and timeless designs to form what was soon to become a highly successful concept. Svenskt Tenn is owned by the Kjell and Märta Beijer Foundation. Contacts Elin Lervik Press Contact Presschef/PR Manager Pressfrågor [email protected] +46760128800.

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The Other Modern Dwelling: Josef Frank and Haus & Garten Christopher Long School of Architecture University of Texas at Austin January 1999 Working Paper 98-2 ©1999 by the Center for Austrian Studies (CAS). Permission to reproduce must generally be obtained from CAS. Copying is permitted in accordance with the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of CAS Working Papers on reserve (in photocopied or electronically retrievable form) for students enrolled in specific courses; teachers may reproduce or have reproduced multiple copies (in photocopied or electronic form) for students in their courses. Those wishing to reproduce Center for Austrian Studies Working Papers for any other purpose (general distribution, advertising or promo- tion, creating new collective works, resale, etc.) must obtain permission from the Center for Austrian Studies, University of Minnesota, 314 Social Sciences Building, 267 19th Avenue S., Minneapolis MN 55455. Tel: 612-624-9811; fax: 612-626-9004; e-mail: [email protected] A direct link to the CAS e-mail address cannot be included on this page, because it has been reproduced in Adobe Portable Documrnt Format (pdf) rather than html. We have done this because of the many high-quality images embedded in the paper. 1 In an article published in Der Architekt in 1921, the year when the economic and political fortunes of Austria finally began to revive, Josef Frank took time out to reflect on what the new realities of the postwar era would mean for the future of the arts and crafts in Vienna.
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Cabinet on stand "Flora" designed by Josef Frank for peacefulness and get rid of the disturbing aspect of pure Christoph Thun-Hohenstein, Herman Czech and Svenskt Tenn, functional form." Sebastian Hackenschmidt, Josef Frank: Against Design, Sweden. 1930's. A perfect example of this ideology is the presented Flora The Architect's Anti-Formalist Oeuvre, exh. cat., cabinet. For this project, Frank used hand-coloured Vienna, 2015, p. 310 botanical paper prints from Carl Lindman's book 'Bilder Cia Wedin, "Florabyrå Linné", Stockholm 2007, p. Mahogany, oak and hand coloured paper. ur Nordens Flora', which he then delicately applied onto 44-45. the mahogany front of the piece. The contrast between Kristina Wängberg-Eriksson, Jan Christer Eriksson, H: 143 cm/ 4' 8 1/2" the delicate floral motifs and heavy wooden form instils "Josef Frank Möbelformgivaren", Talinn 2014, K71. W: 117 cm/ 3' 10" the cabinet with a light, playful and organic sense. Drawing dated 1938. D: 42,5 cm/ 16 1/2" Contrasting materials evoke an echo of the past, but Cia Wedin, "Florabyrå Linné", Stockholm 2007, p. create an indisputably modern piece. 44-45. Together with Estrid Ericson and her furnishing Kristina Wängberg-Eriksson, Jan Christer Eriksson, company, Svenskt Tenn, Josef Frank developed his Literature: "Josef Frank Möbelformgivaren", Talinn 2014, K71. highly personal style with elements of Viennese elegance Nina Stritzler-Levine, ed., Josef Frank, Architect and Drawing dated 1938. and Swedish functionalism. He wanted to incorporate Designer: An Alternate Vision of the Modern Home, natural forms and colours into his interiors, so that the exh. cat., New Haven, 1996, p.
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