{"title":"WILHELM KÅGE","description":"\u003cdiv style=\"margin-top: 0px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","products":[{"product_id":"kage050","title":"PLANTA BOX(WHITE) Ay.3","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe \u003cem\u003ePlanta\u003c\/em\u003e series was introduced in 1940 in \u003cem\u003ePanik och idyll i brännugnen\u003c\/em\u003e, an exhibition held at the Stockholm department store NK. Reflecting the functionalist ideas that spread after the Stockholm Exhibition of 1930, the series was designed so that box-shaped, corner-shaped, and differently sized planters could be combined and arranged to suit windowsills and walls.\u003c\/p\u003e\n\u003cp\u003eProduction was entrusted to Steninge, a company specializing in planters, while some of the saucers were made by Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eThis example is a rare white (ivory-toned) ceramic planter made by Gustavsberg, without a drainage hole. Functionally, the pot works on its own, but it is paired here with a Steninge saucer in terracotta with a matte black glaze, whose contrast in color and texture gives the piece a more defined presence. A rare model.\u003c\/p\u003e\n\u003cp\u003eThere is some wear to the interior of the pot, including staining, but it remains in good condition with no chips or other noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"WHITE \/ KAGE050","offer_id":49719543136496,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE050_1.jpg?v=1778585275"},{"product_id":"kage051","title":"PLANTA BOX(WHITE) Ay.1","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe \u003cem\u003ePlanta\u003c\/em\u003e series was introduced in 1940 in \u003cem\u003ePanik och idyll i brännugnen\u003c\/em\u003e, an exhibition held at the Stockholm department store NK. Reflecting the functionalist ideas that spread after the Stockholm Exhibition of 1930, the series was designed so that box-shaped, corner-shaped, and differently sized planters could be combined and arranged to suit windowsills and walls.\u003c\/p\u003e\n\u003cp\u003eProduction was entrusted to Steninge, a company specializing in planters, while some of the saucers were made by Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eThis example is a rare white (ivory-toned) ceramic planter made by Gustavsberg, without a drainage hole. Functionally, the pot works on its own, but it is paired here with a Steninge saucer in terracotta with a matte black glaze, whose contrast in color and texture gives the piece a more defined presence. A rare model.\u003c\/p\u003e\n\u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"WHITE \/ KAGE051","offer_id":49719548084464,"sku":null,"price":13750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE051_1.jpg?v=1778585588"},{"product_id":"kage043","title":"PLANTA BOX(WHITE) Ay.1","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe \u003cem\u003ePlanta\u003c\/em\u003e series was introduced in 1940 in \u003cem\u003ePanik och idyll i brännugnen\u003c\/em\u003e, an exhibition held at the Stockholm department store NK. Reflecting the functionalist ideas that spread after the Stockholm Exhibition of 1930, the series was designed so that box-shaped, corner-shaped, and differently sized planters could be combined and arranged to suit windowsills and walls.\u003c\/p\u003e\n\u003cp\u003eProduction was entrusted to Steninge, a company specializing in planters, while some of the saucers were made by Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eThis example is a rare white (ivory-toned) ceramic planter made by Gustavsberg, without a drainage hole. A rare model.\u003c\/p\u003e\n\u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"WHITE \/ KAGE043","offer_id":49719550017776,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE043_1.jpg?v=1778585716"},{"product_id":"kare037","title":"\"SURREA\" VASE","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA vase from Wilhelm Kåge’s \u003cem\u003eSurrea\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurrea\u003c\/em\u003e was first introduced in 1940 as a group of unique pieces in \u003cem\u003ePanik och idyll i brännugnen\u003c\/em\u003e, an exhibition held at the Stockholm department store NK. Based on formal experiments Kåge had pursued since the late 1930s, the series brought into ceramics a displacement of perspective reminiscent of Cubism and Surrealism, achieved by dismantling vessels and recombining their parts into new forms.\u003c\/p\u003e\n\u003cp\u003eThis example belongs to the group of series works Kåge returned to in 1953. In these pieces, a single vessel was cut apart and reassembled with its parts shifted out of alignment, preserving the outline of a vessel while reconstructing it as a sculptural form.\u003c\/p\u003e\n\u003cp\u003eMade in stoneware with a matte white Carrara glaze, it has a restrained surface that allows the shadows created by the displaced planes to bring the reconstructed form into sharper relief.\u003c\/p\u003e\n\u003cp\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"WHITE \/ KAGE037","offer_id":49722469482736,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE037_1.jpg?v=1778662419"},{"product_id":"kage047","title":"\"ARGENTA\" VASE","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eA vase from Wilhelm Kåge’s \u003cem\u003eArgenta\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp\u003eIntroduced at the Stockholm Exhibition in 1930, \u003cem\u003eArgenta\u003c\/em\u003e became one of Gustavsberg’s most celebrated series and remained in production, with various changes, into the 1980s. The name \u003cem\u003eArgenta\u003c\/em\u003e derives from the Italian word for “silver,” and the combination of deep green glaze and silver decoration became the series’ defining expression.\u003c\/p\u003e\n\u003cp\u003eAt first, pieces were wheel-thrown by potters such as Berndt Friberg, after which the silver decoration was applied by Kåge himself. As the popularity of \u003cem\u003eArgenta\u003c\/em\u003e grew, however, the decoration came to be carried out by a number of painters working from Kåge’s original designs. Those whose skill was especially recognized were permitted to mark their work with their own initials.\u003c\/p\u003e\n\u003cp\u003eAfter the war, rationalization at the factory brought significant changes: production shifted from wheel-throwing to casting, and the material changed from flintware to stoneware, as the series moved further toward mass production.\u003c\/p\u003e\n\u003cp\u003eThis example was made in 1941. It was wheel-thrown, with the silver decoration executed by Gunvor Stoor. The year 1941 falls within the period of the Kåge department, before the establishment of Gustavsberg Studio, when \u003cem\u003eArgenta\u003c\/em\u003e was still being produced through wheel-throwing and hand-applied silver decoration.\u003c\/p\u003e\n\u003cp\u003eWithin the \u003cem\u003eArgenta\u003c\/em\u003e series, this piece retains the care and refinement of hand-finished work, preserving the particular appeal of the prewar and wartime production, before the full shift toward postwar mass production. While \u003cem\u003eArgenta\u003c\/em\u003e often features Art Deco motifs such as mermaids, dragons, and floral ornament, the decoration here is notably restrained. Along the fine concentric lines, delicate zigzag incisions have been added, revealing a high degree of craftsmanship within an otherwise understated design.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"GREEN \/ KAGE047","offer_id":49722571063536,"sku":null,"price":220000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE047_1.jpg?v=1778667044"},{"product_id":"kage049","title":"\"KÅGE VERKSTAD\" TRAY","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is a work from Kåge Verkstad, a collaborative project by Wilhelm Kåge and three craftsmen who worked in his studio—Birger Arvidsson, Axel Pettersson, and Björn Alskog. The impressed K-A-P-A mark combines the initial K of Kåge with the initials of the three craftsmen’s surnames.\u003c\/p\u003e\n\u003cp\u003eKåge Verkstad was developed from 1957 onward with the American market in mind, and was introduced in 1958 at the Georg Jensen shop in New York in conjunction with Kåge’s solo exhibition at Bonniers, also in New York. Production came to an end in 1962, following Kåge’s death in 1960.\u003c\/p\u003e\n\u003cp\u003eWorks from Kåge Verkstad were cast using a body originally intended for sanitary ware, and are characterized by their substantial weight and thick-walled forms.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eWILHELM KÅGE｜1889–1960｜SWEDEN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eWilhelm Kåge was one of the key artist-designers who laid the foundations of modern design in Sweden. After studying painting and drawing at several art schools, he came to prominence around 1914 as a poster artist and went on to work extensively in advertising and graphic design. At the time, the Swedish Society of Industrial Design was encouraging manufacturers to engage artists in order to raise the quality of industrial products, and Kåge—already recognized for his work in poster design—was recommended as someone capable of bringing the decorative sensibility he had developed in graphic design to tableware. In 1917, he was invited to join Gustavsberg.\u003c\/p\u003e\n\u003cp\u003eAt Gustavsberg, he worked to renew the company’s tableware. At the Stockholm Exhibition of 1930, which marked the beginning of functionalism in the Nordic countries, he introduced Pyro, a heat-resistant tableware series designed to go directly from oven to table. In 1933, he designed Praktika, a series that pursued stackable storage and rational form, making a major contribution to the development of modern tableware in Sweden.\u003c\/p\u003e\n\u003cp\u003eAlongside his tableware designs, he also worked in art ceramics. In 1930, he introduced the Argenta series, characterized by green glaze with silver decoration. Combining hand-painted craftsmanship with serial production, Argenta became one of Gustavsberg’s most celebrated art ceramic lines and enjoyed wide popularity both in Sweden and abroad. That same year, he also launched Farstagods, which became the core of his artistic practice. Pursuing freer form and glaze expression, and carrying out the finishing and glazing himself, he continued to produce these uncompromising works throughout his life.\u003c\/p\u003e\n\u003cp\u003eIn 1942, Gustavsberg Studio was established, growing out of the Kåge department. Marked by the emblem Kåge had designed—a hand set within the letter G—the Studio provided a space for independent artistic production within the factory. There, Kåge, along with figures such as Stig Lindberg and Berndt Friberg, was able to pursue individual work in an environment shaped for artistic freedom. Through the production of art ceramics and faience, the Studio became an important center for Gustavsberg’s artistic output.\u003c\/p\u003e\n\u003cp\u003eKåge also maintained a deep interest in Chinese ceramics and in Japanese folk craft, and his lifelong work reflects a sustained engagement with the relationship between material, glaze, and form. In 1952, Shoji Hamada and Soetsu Yanagi visited Gustavsberg, and in 1956 Kåge himself traveled to Japan, staying with Hamada in Mashiko. These encounters led to a profound and lasting exchange with Japanese ceramic culture.\u003c\/p\u003e\n\u003cp\u003eHis many honors include two Grand Prix awards at the 1925 Paris Exposition and the Prince Eugen Medal, awarded by the King of Sweden in 1949 for outstanding artistic achievement.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WILHELM KÅGE","offers":[{"title":"BLUE \/ KAGE049","offer_id":49722740080880,"sku":null,"price":11000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KAGE049_1.jpg?v=1778673840"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/collections\/TOP_KAGE_ARGENTA.jpg?v=1779175669","url":"https:\/\/elephant-life.com\/en\/collections\/wilhelm-kage.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}