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124
1532197

Nils Fougstedt

(Sweden, 1881-1954)
Estimate
30 000 - 40 000 SEK
2 680 - 3 580 EUR
2 720 - 3 630 USD
Hammer price
46 000 SEK
Purchasing info
For condition report contact specialist
Eva Seeman
Stockholm
Eva Seeman
Chief Specialist Modern and Contemporary Decorative art and design
+46 (0)708 92 19 69
Nils Fougstedt
(Sweden, 1881-1954)

a seven light pewter candelabrum model "92", Firma Svenskt Tenn, Stockholm 1930.

Round base, upturned arms, the central part leaf-clad, the base engraved in Swedish: "IN MEMORY OF ADOLF ERIKSON, DIED ON THE 24TH OF APRIL 1924, GIFT TO HJO GRAVE CHAPEL BY THE CHILDREN", stamped with the angel mark and year stamp D8. Height 50 cm, width 46 cm.

Wear, scratches, small crack.

Provenance

This candelabrum was originally part of a set comprising two candelabra, two vases, and a crucifix, which was donated by the Erikson children to the Hjo Burial Chapel in memory of Estrid Erikson's and her siblings' father, Adolf Erikson.

According to information from the Hjo parish, the candelabrum was decommissioned in the 1980s. It was subsequently given to the current owner as a gift.

Exhibitions

The model was shown at the "Bygge och Bo" exhibition at Liljevalchs, Stockholm, spring 1925.

Literature

Catalogue, "Firma Svenskt Tenn", Nordisk Rotogravyr 1931, model illustrated (n.p.).
Hedvig Hedqvist, "Estrid Ericson - en biografi", Norstedts 2023, see the candelabrum mentioned and the model depicted from the "Bygge och Bo" exhibition at Liljevalchs, Stockholm, spring 1925. Svenskt Tenn participated with its own pewter room, including modern altar pieces in pewter, among them two candelabra of this model.

More information

Model designed in 1924/25.

Designer

Nils Fougstedt was a Swedish sculptor and designer. Brother of Arvid Fougstedt. Together with Estrid Ericson, he established a workshop for the production of pewter objects in Stockholm in 1924, which became the foundation of the company Firma Svenskt Tenn. For the company, he designed many beautiful works. From the 1920s classicism, he transitioned around 1930 to a moderate functionalism with straight, polished surfaces.

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