Silver 925 Rock Crystal Finland Mirjam Salminen Kaunis Koru Necklace

Silver 925 Rock Crystal Finland Kaunis Koru Necklace and Bracelet 1972 Sterling Silver 925. Made in Finland 1972. Really great jewelry set. Rock crystal 2cm in diameter. Kaunis koru Oy's Birth History. Martta Ritvanen...

Silver 925 Spectrolite Finland Kaunis Koru Necklace Kaunis koru Oy's Birth History. Martta Ritvanen was ready to start her own jewelry store Kaunis ...

Brooch Mirjam Salminen Finland 1962. Kaunis Koru Oy Helsinki Finland 916H Silver

Silver 925 Bracelet Design Marja Suna Kaunis Koru Finland Really solid. Weight 66g Sterling width from the outer edge 6.5cm 2.8cm wide Name Cube. Include...

Necklace, Silver and Tiger's eye Stone Kaunis Koru Oy Finland BEAUTIFUL JEWELRY, necklace, silver and tiger's eye 916 Silver - year 1966 - chain len...

925 Sterling Silver and Onyx stone Ring Kaunis Koru Oy Helsinki Finland Helsinki Kaunis Koru Oy Stamp MKR 1968-1989. Ring Size 15.5mm = US 5

Vintage handmade /hand faceted Art Deco Chinese export Gilt Sterling Silver Rock Crystal Choker Necklace with filigree tongue and box clasp . Very well made piece with beautiful det...

From the Art Nouveau Period a beautifully designed Rock Crystal Necklace, the crystal gracefully wrapped in sterling engraved leaves and buds. The rock crystal is diagonally faceted. The chain is original and arrives with the pendant. Around the world people chose Rock Crystal jewelry...

Discover the excellence of craftsmanship with this sumptuous 925/1000 silver chain. This piece combines the timeless beauty of silver with the sophistication of navy mesh. Each link ...

Treat yourself to an exceptional piece with this sumptuous 925/1000 sterling silver link necklace with timeless vintage style. Made from solid 925/1000 silver, this necklace chain fe...

Discover this elegant 925/1000 silver chain, perfect for enhancing your style. Made with exceptional craftsmanship, this chain features unique paperclip links that add a modern, refi...

Silver and approx 85ct rock crystal. Signed and dated 1937. The pendant is 6,7 cm long on a 59 cm long chain. Wiwen Nilsson (1897-1974) - An Art Deco Silversmith in the Age of Modernism. Wiwen Nilsson was born in Copenhagen, Denmark in 1897. Born as Karl Edvin, but since he did not like his christening name, he was, within the family, called Wiwen. He was the son of Karolina and Anders and grew up with his sister Edith. In 1897 the family moves to Lund, Sweden when the father takes over the gold and silversmith company J.P. Hasselgren & Son. In 1906, Wiwen began at Katedralsskolan in Lund and finished school when he graduated fifth grade in 1912. It was common to continue up to sixth grade and then high school, but Wiwen who does not thrive in a school environment wants to become a pianist or aviator instead. However, as the father is a recognized jeweler and court supplier, the son's career is already marked. Instead, he embarks on an educational journey with the goal Königliche Zeichenakademie in Hanau am Main, Germany. The school is Germany's oldest and most prestigious goldsmith's school. Wiwen enrolled on the fourth of August in 1913 and studied drawing, workshop work, engraving and hammering work. The education comes to an abrupt end with the outbreak of the First World War in 1914, and he instead continues his education in his father's workshop, where he stays until 1919. He does, however, make two breaks, the first quarter of 1917 he enrolled at the Technical Society's School in Copenhagen where he studied modeling, among other things, and in 1917-1918 he did his military service in Stockholm. In 1919 he applied for and received his companion letter, at the same time he received the Swedish Craft Organization's large medal in silver for his professionalism. In 1920 he is again at the school in Hanau, Germany where he stays until 1921 and practices with the jewelry company Chr. Kissling also in Hanau. At school, he mainly studies drawing and chiseling, a type of relief technique that was very popular during the 17th century. Wiwen is driven by his own design language and thinks that the prevailing technique under the influence of Danish designers is a setback in the development of chiseling. During his time in Hanau, he visits several arts and craft exhibitions and comes into contact with the Wiener Werkstätte and the Wiener Werkbund, among others. At the same time as he is studying, he writes travel stories where it emerges that he believes that Sweden's conservatism inhibits the development of arts and crafts, something he himself wants to change. Back in Sweden in 1921, he was appointed the company's artistic designer. In 1923, the company participates in the Gothenburg exhibition, but here Wiwen receives devastating criticism. His creations are considered ugly and meaningless, a critic writes that it is a typical case of poor material sense. In 1924, Wiwen Nilsson travels to Paris. Just like in Hanau, he studies chiseling, silver, drawing and modeling at the Académie de la Grande Chaumiére (now Académie Charpentier). One of France's foremost art schools where, among others, Siri Derkert (1888-1973) and Bror Hjorth (1894-1968) have also studied. In Paris he became acquainted with Georg Jensen (1866-1935), in whose workshop he chiseled for a period. He also meets and hangs out frequently with Jules Schyl (1893-1977) and Gösta Adrian-Nilsson, GAN (1884-1965). The meeting with GAN becomes extremely important and came to influence and refine Wiwen's own design language and together they hold a joint exhibition in 1925 in Lund. From 1925 until the end of the 1920s, Wiwen Nilsson produces a large amount of church silver. He designs and manufactures for, among others, Allhelgonakyrkan in Lund, Knästorps and Tottarps kyrka in Skåne. In total, Wiwen's workshop manufactures 677 objects for churches, of which 483 are found in churches within the diocese of Lund and 194 in other Swedish churches. Some are also sent internationally to the Church of Sweden in Paris, Berlin, Copenhagen and churches in West Germany, Iceland and to Zululand in South Africa. His church silver unmistakably bears the same design language as his profane works. All with the same angular but harmonized and modernist shapes, not infrequently his vessels like jugs and lid boxes are often hexagonal or octagonal. In 1925 he participated in the Exposition Internationale des Arts Décoratifs et Industriels à Paris (World Exhibition) where he received a gold medal in Class 10, the category for crafts and art industry in metal. Other exhibitors included C.G. Hallbergs Guldsmeds AB and Jacob Ängman...