Lampshade 2332 - Diameter below 18 cm Height 14,5 cm, Cotton Satin, Gröna Fåglar, Josef Frank/Svenskt Tenn | Svenskt Tenn

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  • Product information
    Article number:
    100914
    Designer:
    Josef Frank/Svenskt Tenn
    Material:
    Cotton Satin
    Print:
    Gröna Fåglar
    Size:
    Diameter below 18 cm Height 14,5 cm
    Diameter top:
    10 cm
    Diameter bottom:
    18 cm

    This lampshade goes with Table lamp 2552, Table lamp 2332, Ceiling Lamp 2479 and also with Wall lamp 2335.

    Each individual lampshade is unique and therefore the placement of the design varies from the picture.

  • Design

    Josef Frank designed a lampshade for every one of his lamp models. Originally, all of them were in white textile, but Estrid Ericson later had them sewn up in textiles with prints of Josef Frank and other designers. This cotton lampshade has the Gröna Fåglar print.

    The inspiration for the Gröna Fåglar (Green Birds) print came both from the Trees of Life and from The Green Book of Birds, while Josef Frank lived in New York from 1943-1945.

     

    Designer

    Josef Frank/Svenskt Tenn

    Josef Frank/Svenskt Tenn
    Josef Frank/Svenskt Tenn

    Svenskt Tenn developed this design using Josef Frank's print.

    Josef Frank grew up in Vienna in an assimilated Jewish family and studied architecture at Konstgewerbeschule. In the 1920s he designed housing estates and large residential blocks built around common courtyards in a Vienna with severe housing shortages. In 1925 he started the Haus & Garten interior firm together with architect colleagues Oskar Wlach and Walther Sobotka. Svenskt Tenn hired Josef Frank in 1934 and just a few years later he and Estrid Ericson made their international breakthrough. Although he was already 50 when he left the burgeoning Nazism in Vienna for Sweden, Frank is considered one of Sweden’s most important designers. Read More

  • Care instructions

    Do not wash Svenskt Tenn’s lampshades. Use a soft furniture brush or a dust wand when cleaning. We recommend using a maximum 40-watt light bulb.

  • Sustainability and manufacturing

    Material

    Satin

    Satin is a weaving technique that creates a smooth and lustrous surface. The technique requires long, fine fibers and a smooth yarn to weave with, and cotton of that quality is difficult to obtain.

    Almost half of the cotton used by Svenskt Tenn in its production is organic. Our French supplier buys organic cotton from Turkey. Yarn and weaving processes take place in France as well as dying and printing.

    It’s hard to find quality cretonne and satin in organic cotton, but we do all that we can to get our suppliers to invest in these. Our French supplier buys cretonne from Turkey, Central Asia and Spain. Yarn and weaving processes take place in France, as well as dying and printing. Satin cotton is purchased in Egypt. Yarn and weaving processes in this case take place in Switzerland, while the fabric is dyed and printed in France. We also have an English supplier that purchases conventional cotton from Pakistan and dyes and prints the fabric in England.

    Screen printing

    Screen printing is a printing technique in which a fill blade is moved across a screen stencil, forcing ink or dye through the mesh openings. But before you reach this stage you have to produce the stencils.

    The first step is to scan the original pattern in a computer and separate the colours. In a multistage process the pattern is then transferred onto a stencil. Each colour requires a separate stencil. For example, Josef Frank’s pattern “Hawaii” is printed in seven different colours, and because each core of the pattern has to have two stencils, a total of 14 stencils have to be made.

    You can print with two different methods, either by moving the frames or by moving the fabric. Svenskt Tenn's suppliers use both of these techniques.

    The printing table upon which Svenskt Tenn’s fabrics are printed is 60 metres long. Here one colour is printed at a time, for each core, so that the dye has time to dry before the rest of the cores are filled in. Nowadays a robot takes care of the hard work of moving the heavy frame, but nevertheless, two people are required, one on each side of the frame, to pour in dye and to control the process.

    When the printing is finished, it is time to fixate the dyes under heat. Surplus dye must be rinsed off and the fabric has to be re-stretched. Before the fabric is ready for delivery, it is inspected manually. Stencil printing on textiles has a long history. The printing method was employed thousands of years ago in Egypt, China and Greece, where the “open” sections of the stencil let dye through. Stencils were made by leather, greased paper or metal. In order to fix them during printing, they were fastened with thread of silk or hair, which sometimes appear on old prints like thin lines between the stencils.

    The next step of the development was to stretch a weave of silk onto a wooden frame and then fasten the stencils directly on the weave. The technique spread from China and Japan throughout Asia and arrived in Europe in the 18th century. It was frequently used for printing exclusive wallpaper on linen or silk. The first photo-based method was introduced in the early 20th century in the United States and revolutionised the technique. William Morris, who inspired many of Josef Frank’s patterns, is one of many designers and artists who have worked with screen printing. Louise Bourgeois, Roy Lichtenstein and Andy Warhol are others.

    Sustainability in focus

    Read more about Svenskt Tenn's Sustainability Philosophy below.

  • Dela

Lampshade 2332 Diameter below 18 cm Height 14,5 cm, Cotton Satin, Gröna Fåglar

The product has been discontinued