Wiwen Nilsson Sterling Silver Necklace with Rock Crystal Pendant 'U8 1946'
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Wiwen Nilsson Sterling Silver Necklace with Rock Crystal Pendant 'U8 1946'
About the Item
- Creator:
- Metal:
- Stone:
- Stone Cut:
- Dimensions:Width: 0.79 in (20 mm)Length: 1.46 in (37 mm)
- Style:
- Place of Origin:
- Period:
- Date of Manufacture:1946
- Condition:Wear consistent with age and use.
- Seller Location:Copenhagen, DK
- Reference Number:1stDibs: LU907111171902
Georg Jensen
For over a century, Georg Jensen has produced some of the finest objects in Scandinavian modern design, including silver tableware, serving pieces, home decor, jewelry and more, frequently partnering with leading artisans to expand its offerings and respond to shifting tastes. Known for minimal aesthetics that reference nature, the craftsmanship of this legendary Danish silverware firm has regularly married function with thoughtful and beautiful design.
Founder Georg Jensen (1866–1935) was born in the small town of Radvaad, Denmark, and began his training as a goldsmith at 14. After studying sculpture and then training with master silversmith Mogens Ballin, he established his own silver business in Copenhagen in 1904. By 1918, the company was successful enough to open a shop in Paris.
Jensen’s firm produced an incredibly vast range of silver objects, from serving dishes and barware to centerpieces and chandeliers. For his early work, which bore ornate floral details and other organic forms of Art Nouveau, Jensen looked to the splendors of the natural world. The 1905 Blossom teapot, for instance, was topped with a magnolia bud and deftly balanced on toad feet, while some of Jensen’s best-known flatware patterns included Lily of the Valley, introduced in 1913, and Acorn, which debuted in 1915.
Collaboration with outside designers, long before such partnerships were common in design, would lead to some of the company’s most popular and enduring work of the mid-century. Sigvard Bernadotte and Vivianna Torun Bülow-Hübe created collections, as did Henning Koppel, whose curvy 1952 Pregnant Duck pitcher is a Georg Jensen classic.
After evolving and expanding throughout the 20th century, Georg Jensen was acquired by Investcorp in 2012. Today, the company is a global luxury brand with more than 1,000 stores around the world. It continues to produce seductive new pieces, such as a tea service made with Marc Newson in 2015, as well as timeless heritage designs, including the relaunch in 2019 of the 1018 solid sterling-silver Tureen 270. In 2020, the firm introduced the Jardinière 1505. Sculptural and richly decorative, the never-before-realized showpiece is hand-hammered from sheets of the finest sterling silver and is based on a 1915 sketch from Jensen’s archives.
Find an exquisite collection of Georg Jensen serveware, ceramics, silver and glass today on 1stDibs.
- Silver Necklace with Rock Crystal Cross, Made by Wiwen Nilsson in 1939, SwedenBy Wiwen NilssonLocated in Stockholm, SEThis sterling silver necklace shows upon typical Wiwen Nilsson characteristics; the pendant which is shaped as a Greek cross with square rock crystals, and the ring and bar chain. ...Category
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- 1937 Art Deco 85 carat rock crystal silver necklace by Wiwen NilssonBy Wiwen NilssonLocated in Malmö, SESilver 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...Category
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