The intarsia in Stenhammar Chamber Hall with the theme The toning nature extends like an arabesque around the gallery\u2019s barrier. It begins with a sea god trumpeting in a seashell and then winds its way in figurations bordering on abstract patterns, leaf vines and flowers. In the middle of the arabesque, a golden lyre flares up. Birds in flight, sea shells and seahorses bring the arabesque to its final destination \u2013 another sea god, this time with a lyre in its arms.<\/p>\n
Ewald\u00a0Dahlskog (1894-1950) and his skilled craftsmen worked with the intarsia 1934-1935.\u00a0The technology means that patterns and motifs are cut from a wooden base and then filled with different types of wood in up to about 100 colours. Dahlskog made original drawings and then worked closely with wood carvers and carpenters in the actual design.<\/p>\n
Ewald Dahlskog was one of the most versatile artists of his time. He drew and painted environments, landscapes, still lives and portraits, made decorations in cinemas, factory offices, passenger ferries (Swedish American Line M\/S Stockholm) and concert halls and was active as an artisan in glass and ceramics. In addition, he made posters, book and newspaper illustrations and theatre decorations.\u00a0Ewald Dahlskog was described by his friends as a busy bee who always dealt with his tasks vigorously.<\/p>\n
Perhaps his most important contribution was to revive the art of intarsia, wooden mosaic. In the 1920s, it was largely only Ewald Dahlskog and the Viennese Victor Lurje who engaged in intarsia in Europe. This craft had been developed in the 18th century as a decoration of finer furniture but then fell into oblivion.<\/p>\n
He was also hired by the match king Ivar Kreuger to decorate the Swedish Match Company’s new building in Stockholm and the Banque de Su\u00e8de et de Paris. Other of Dahlskog’s marches were made for L M Ericsson and Bofors ironworks. He also created decor and blasted mirror glass for the former cinema Spegeln on Avenyn.<\/p>\n
<\/p>\n
113 x 38 x 27 cm (hxdxb)<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" The intarsia in Stenhammar Chamber Hall with the theme The toning nature extends like an arabesque around the gallery\u2019s barrier. It begins with a sea god trumpeting in a seashell and then winds its way in figurations bordering on abstract patterns, leaf vines and flowers. In the middle of the arabesque, a golden lyre flares<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":3825,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/standard-small-image.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-69518","page","type-page","status-publish","hentry"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-05-14 14:43:11","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"translation_priority"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/pages\/69518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/comments?post=69518"}],"version-history":[{"count":4,"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/pages\/69518\/revisions"}],"predecessor-version":[{"id":76376,"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/pages\/69518\/revisions\/76376"}],"up":[{"embeddable":true,"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/pages\/3825"}],"wp:attachment":[{"href":"https:\/\/www.gso.se\/en\/wp-json\/wp\/v2\/media?parent=69518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}