Anna Petrus
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a cast iron wall sculpture, Näfveqvarn, Sweden ca 1927, Swedish Grace.
Lacquered in green, 29 x 27 cm, depth ca 9,5 cm.
Wear, some small damages.
Literature
S. Artur Svensson, Gösta Lilja (ed), 'Svenskt Konstnärslexikon', Allhems Förlag, Malmö 1961, vol IV, p 410.
H. Kjellin, 'Skulptrisen Anna Petrus och hennes Vindarnas brunn', Sydsvenska Dagbladet 22 January 1928.
Christian Björk, 'Näfveqvarns bruk - konstnärer och arkitekter till industrin', Orosdi-Back 2013, compare the model illustrated on one of Asplund's water reservoirs at Skogskyrkogården, Stockholm, p 115.
More information
Gunnar Asplund and Sigurd Lewerentz was working with Skogskyrkogården, Sweden's architecturally most important cemetery, opened in 1920, as an almost lifelong project during the years 1915-1940. Several artists were involved in the decoration, among others Ivar Johnsson, Bror Hjorth and Anna Petrus. Reportedly circa 18 reservoirs was executed. Two sculptural objects to Asplund's reservoirs were designed by Anna Petrus, a free sculpture and a wall ornament. For Architect Asplund chose reservoirs from Näfveqvarn's regular assortment, including the reservoir which is designed by Harald Wadsjö. Skogskykogården's monumentality, however, created a need for a reservoir of a more generous size.
Artist
Anna Petrus was a sculptor, industrial designer, and artist active in the early 20th century. She was born as Anna Petersson, the daughter of a professor of medicine and a countess, and adopted her surname while studying at the Royal Academy of Fine Arts. She inherited a modest fortune at the age of 11 when her mother passed away, which allowed her to pursue her education in London and travel to Italy and France.
Anna Petrus's major international breakthrough came with the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925, where she showcased items in pewter and cast iron, in the Swedish Grace style. Pewter was considered an outdated material at the time, but its popularity grew as designers like Petrus recognised its advantages. In 1924, she began a collaboration with the then newly established Firma Svenskt Tenn. The lion became a recurring motif in Anna Petrus's work, both as sculptures and as stylised decorations.
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