#orrefors

[itsmycherryforest]

Cherryforest

[haikuckuck]

50/60 ies porcelain

Orrefors "clown",glass ,90 ies. Ensemble,from my collection,all Photos made by me with Smartphone ( poco,moto),canon sx 530hs or pentax k 50 with different optical lenses.

[blueiscoool]

Orrefors Glassworks

Incised ORREFORS EXPO NV 32-57 INGEBORD LUNDIN on the base. 143⁄4 in. (37.5 cm) high, 131⁄2 in. (34.3 cm) diameter.

[kafkasapartment]

Graal Fish vase, c. 1936. Edward Hald, Orrefors. Glass.

[delicatuscii-wasbella102]

The celestial globe; Edvard Hald and Orrefors glassworks, for the Stockholm exhibition in 1930.

[fashionlandscapeblog]

Vicke Lindstrand for Orrefors

Art Deco etched glass vase with female nude, 1931

[the1920sinpictures]

1930 Simon Gate for Orrefors, Sweden "Cascades Suspension" light of a painted brass structure, glass balls and engraved cups in frosted glass. From Art Deco, Avant Garde and Modernism, FB.

[sdiwh]

Lighting fixture by Edward Hald and Vicke Lindstrand for Orrefors, shown at the Stockholm Exhibition 1930.

[mybeingthere]

Ingeborg Lundin, Ariel vase with horses (Orrefors, ca. 1959) | Collectors Weekly.

[abwwia]

Born in Waltham, Massachusetts, Sonja Blomdahl earned a B.F.A. degree in 1974 at Massachusetts College of Art, where she studied with Dan Dailey. In 1976 she spent six months at Glasskilan, the Orrefors glass factory in Sweden. In 1978, while working as Dailey's assistant at Pilchuk Glass School in Stanwood, Washington, she observed Italian glassblower Checco Ingaro's use of the incalmo technique, which involves joining two bubbles of blown glass. This technique suited Blomdahl's exploration of symmetrical form and color in glass spheres. Blomdahl has held teaching positions at Pratt Fine Arts Center in Seattle, Haystack Mountain School of Crafts in Deer Isle, Maine, and the Appalachian Center in Smithville, Tennessee. Kenneth R. Trapp and Howard Risatti Skilled Work: American Craft in the Renwick Gallery (Washington, D.C.: National Museum of American Art with the Smithsonian Institution Press, 1998) Photograph by Alexandra C. Otto. Courtesy of Sonya Blomdahl Studio Sonja Blomdahl, B 1095, 1995, blown glass, 18 1⁄2 x 12 in. (47.0 x 30.5 cm.) diam., Smithsonian American Art Museum, Museum purchase, 1995.51

[latestnews69]

A 'crazy town looking to go fossil free': Sweden's wooden city that was green before Greta

Nearly a decade before Swedish climate activist Greta Thunberg was even born, Växjö set itself on a path to a new vision of green urban living.

The 1,000-year-old Swedish city of Växjö sits 450km south-west of Stockholm in the central region of Småland amid a lush tapestry of sylvan landscapes dotted by hundreds of lakes. This is a land known as the Glasriket ("Glass Kingdom") that's home to a string of globally renowned glassworks such as Kosta Boda and Orrefors who have created crystalline gorgeousness from fiery furnaces since the 1740s.

But that glassmaking heritage is now matched by changemaking: this compact city of fewer than 100,000 inhabitants has become a global beacon in the battle against climate change. Nearly a decade before Swedish climate activist Greta Thunberg was even born, Växjö set itself on a path to a new vision of urban living that's now been emulated worldwide.

"It was a seminar in 1996 led by the mayor, which asked the question: 'What would it be like to live in a fossil free city?'," explains Henrik Johansson, environmental strategist for Växjö Municipality. By the end of that meeting, a unanimous vote saw Växjö become the first city in the world to commit to become fossil fuel free. This has now evolved into a bigger target of climate neutrality by 2030 – 15 years ahead of Sweden's nationwide commitment Read more...

[lemagasinposh]

Check out this listing I just added to my Poshmark closet: Orrefors Crystal Pair Puck Candle Stick Holders Set by Lena Bergstrom Sweden.

[haikuckuck]

Ensemble , Hutschenreuther porcelain cups of the 50/60 ies,this style of rockabilly i like the most actually,art Deco too and art nouveau .the orrefors "Clown" champagne flute is from the early 90 ies. This Photo made by Canon sx 530 hs .

[delicatuscii-wasbella102]

Per B Sundberg (Swedish), Orrefors, Litho Graal Glass Vase.

[westovergallery-blog]

Westover Gallery – Your Destination for World-Class Art and Exceptional Service

Nestled on the prestigious Westover Road, Westover Gallery is at the heart of Bournemouth’s thriving art and shopping district, surrounded by renowned independent boutiques, fine jewelers, and vibrant restaurants.

Spanning three floors, our gallery showcases a vast and diverse range of art, representing some of the world’s most celebrated talents. We are honored to be the platinum gallery for Frogman Bronze Frogs and are the exclusive location to view and purchase sculptures by Carlos and Albert. Our collection also features the stunning craftsmanship of Borowski Glass as well as internationally acclaimed pieces from Kosta Boda and Orrefors.

In addition to our exceptional artwork, Westover Gallery provides comprehensive bespoke framing services, blending traditional and modern techniques to preserve and enhance each piece. Our skilled framers also offer printing and canvas stretching services, ensuring that every artwork is displayed to perfection.

Discover Westover Gallery, where artistry meets excellence, and let us help you find the perfect piece to inspire your space

[decorworks]

Mid-century modern design "embraced a more human aesthetic"

More than 70 years after its birth, the popularity of mid-century modern design and architecture shows no signs of abating. This overview by Penny Sparke kicks off our series about the movement. Mid-century modern design is hard to pin down. As soon as you think you have grasped it, it re-invents itself. Unlike the late 19th- and early 20th-century architecture and design movements – arts and crafts, art nouveau, art deco, and Bauhaus – which are all linked to specific time periods, places, and visual styles, the definition of what constitutes mid-century modern is in constant flux. Also, while all the earlier movements have been revived from the 1970s onwards, they have tended to come and go. Mid-century modern's rebirth, however, has been in place since the 1990s and, three decades later, is still going strong.

Mid-century modern design, like the Eames House, is still popular. Photo by Leslie Schwartz and Joshua White, courtesy of Eames OfficeAntique shops and auction houses are full of boomerang-shaped coffee tables with spindly metal legs and lightly decorated ceramic and glass items – the prices of which continue to soar – while popular home magazines across the globe show us easy-to-live-in interiors filled with elegant Danish chairs, sculptural room dividers, patterned textiles, modern paintings, and sprawling houseplants. Mid-century modern design usually associated with the home If we can say anything definite about mid-century modern design, it's that it is usually associated with the home rather than the workplace, and that it manifests itself as architecture, furniture, textiles, and as decorative ceramic, glass, and metal items. While they can all be looked at in isolation, they are better understood as ensembles. Moving beyond the austere modernism of the 1920s and 1930s, mid-century modern design embraced a more human aesthetic while remaining aggressively forward-looking. The adulation of the machine was replaced by an affection for the organic forms of the natural world.

'High' mid-century modern design in Scandinavia included Josef Frank's print designs, seen here on a curtain. Photo courtesy of Svenskt TennAlways optimistic, the style emerged to offset the austerity of the post-war years and symbolised the importance of economic and cultural reconstruction. By the late 1950s, many countries in the developed world had developed their own versions of it. While its roots were in Europe and the USA, as a popular domestic style it quickly spread further afield. Many questions remain, however. When did it start and finish? Where did it originate? What does it look like? Who are its designer heroes? Scandinavian mid-century modernism "reached its full potential" post-war In many ways, the Scandinavian countries can be seen as the home of what we might call "high" mid-century modern design, as opposed to its later, more popular manifestations. There were early signs – in the form of Iittala's lightly engraved glassware of the 1920s, designed by Simon Gate and Edward Hald, and the work of the Swedish-based architect-designer, Josef Frank, described as bringing in a new "sanity in design" – that Scandinavia wanted to humanise the stark, tubular steel designs emerging from Germany.

Hans J Wegner's Wishbone chairs are among many Scandinavian design icons. Photo by Tom RossScandinavian mid-century modern design reached its full potential in the post-war years. In the form of sleek items of Danish furniture designed by the likes of Hans J Wegner and architect-designer, Arne Jacobsen; elegant ceramics and glass pieces, designed in Sweden by Gustavsberg's Wilhelm Kåge and Orrefors' Vicke Lindstrand; airy textiles created by Sweden's Astrid Sampe; and the dramatic forms of Finnish designer Tapio Wirkkala's glass sculptures, the concept of Scandinavian Modern was celebrated worldwide. Many of the designs have become iconic: Wegner's Wishbone bentwood-and-rope chair of 1949, for instance, still graces many a fashionable dining area, while, with its three slim steel legs, Jacobsen's moulded plywood Ant chair looks as modern today as it did back in 1952 when it was first produced. Italian designers rejected the past While Scandinavian mid-century modern design was about everyday family life and democracy, Italy's version was all about high style. The furniture, lighting, and decorative items created by Gio Ponti, Franco Albini, Marco Zanuso, Gino Sarfatti, Piero Fornasetti and others inhabited chic interior spaces.

Gio Ponti's Superleggera chair (top back) represented optimism. Photo by Luc BoeglyNone of them represented the optimism that was in the air at that time more than Ponti's little Superleggera chair, produced by Cassina in 1957. Its light, tapering legs and woven cane seat rejected the weight of the past and looked enthusiastically to the future. The mid-century modern lifestyle dominated in the US Across the Atlantic, American designers Charles and Ray Eames, Finland-born Eero Saarinen, George Nelson, and Harry Bertoia also embraced the new, unencumbered lifestyle. On the West Coast, the Eameses created a home for themselves – Case Study House 8 – which epitomised a new life that was lived as much outside as inside, and which was as comfortable as it was modern.

Harry Bertoia's Diamond chair "was as much about sculpture as it was about sitting". Photo courtesy of KnollTheir leather and moulded rosewood lounge chair and ottoman, originally designed for filmmaker Billy Wilder, epitomised that attractive combination. However, Bertoia's gridded metal chair, with its leather cushion, of 1950-1, was as much about sculpture as it was about sitting. Britain's Contemporary Style attracted manufacturers and retailers Great Britain quickly followed. Lucienne and Robin Day, Ernest Race, and John and Sylvia Reid were among the protagonists of what the British called the Contemporary Style. Manufacturers, such as Ercol, and retailers, such as Heals, joined their ranks, while the producers of decorative glass and ceramics items employed designers to create new, exciting wares for them. With its lightly decorated surfaces depicting abstract organic forms inspired by the natural world, Jessie Tait's Primavera dinner service for Midwinter, for example, evoked a new world miles away from the traditional dinnerware that filled so many people's cupboards. The revival of mid-century modern design While the mid-century modern design movement owes its origins and meanings to the pioneering designers working in Scandinavia, Italy, the USA and the UK in the 1940s and 1950s, from the perspective of the early 21st century the term embraces a much wider, ever-evolving, range of designs.

Robin Day's Forum seating design represents Britain's Contemporary Style. Photo courtesy of Case FurnitureIn today's vintage furniture stores, pieces by Jacobsen and Eames sit alongside Italian plastic chairs by Vico Magistretti and Joe Colombo from the 1960s and chunky German ceramics from the 1970s. While different in style, for today's consumers, the designs from the 1960s and 1970s embrace the same spirit of modernity and optimism as the earlier pieces. That spirit died, arguably, when, from the 1970s onwards, the cycle of retro styles – from arts and crafts to art nouveau to art deco to Bauhaus – came into being and optimism was replaced by nostalgia for past models of modernity. By the 1990s, it was mid-century modern's turn to be revived. Seemingly, however, it managed to buck the trend of ever-changing fashionable retro styles as, in the mid-2020s, the power of that historical design movement remains as strong as ever. The optimism of its early protagonists still speaks to many people who seek to remain upbeat in the face of countless contemporary challenges – from the climate crisis to economic inequality, to migration, to the threat of global war. There are no signs as yet that that power is beginning to fade. Top illustration is by Jack Bedford.

Illustration by Jack BedfordMid-century modern This article is part of Dezeen's mid-century modern design series, which looks at the enduring presence of mid-century modern design, profiles its most iconic architects and designers, and explores how the style is developing in the 21st century. This series was created in partnership with Made – a UK furniture retailer that aims to bring aspirational design at affordable prices, with a goal to make every home as original as the people inside it. Elevate the everyday with collections that are made to last, available to shop now at made.com. Read the full article