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Unique, Covered Ceramic Urn by Tyra Lundgren for Rorstrand

About the Item

Beautiful covered urn by Tyra Lundgren for Rorstrand, Sweden. Created for the 1930 Stockholm Exhibition that showcased Sweden’s most modern achievements in the design at that time. Cherubs with fish in relief as handle on top and around exterior of the urn. Tyra Lundgren(1897-1979) Swedish sculptor, ceramicist, glass and textile designer. She studied at the Higher Art and Design School (HKS) 1918-1922 and then at the Royal Art Academy in Stockholm 1918-1922. Upon graduation she went abroad and studied sculpture under Anton Hanak in Vienna and André Lhote in Paris. Tyra Lundgren lived and worked in France and Italy until 1940, when she returned to Sweden. Tyra Lundgren worked as an independent designer for a large number of European ceramics and glass companies. Between 1924-1937, she designs for Arabia and 1941-1951 for Gustavsberg . Over a shorter period, 1929-1930, she was also artistic director of the porcelain group Rörstrand -Lidköping-Arabia. She has also worked for the Swedish glassworks Rejmyre and Kosta , Finnish glassworks Riihimäki , German porcelain factory Moser , French porcelain company in Sèvres and the Venetian glassworks Muranesi Vetri Venini. In Sweden, her work is represented in museums throughout Europe and North America. In recent years, she had a studio in Fide, Gotland, and she donated a collection of their paintings to the Art Museum of Gotland . In 1950 she was awarded the medal Litteris et Artibus.
  • Dimensions:
    Height: 28 in (71.12 cm)Diameter: 14 in (35.56 cm)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
  • Date of Manufacture:
    1920s
  • Condition:
  • Seller Location:
    New York, NY
  • Reference Number:
    1stDibs: U080718786092
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Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. 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