A small selection of Signe Persson-melin’s large production
Mugs and dishes of the brown clay Signe mixed himself, partly covered with a white pewter glaze, were part of the workshop production. The round, carefully modeled handle is typical of her utility ceramics. The height of the mug is 7 sm, width 11.5 cm. Ø 8.8 cm. The dish Ø 15 cm. 1952.
The sauce pot from 1952 with its bowl-shaped knob was made from the clay from Danhult. A transparent yellow glaze covers the inside and the parts you take in. Height 9 cm, Ø 9.2 cm.
The curry jar from 1955 is one of all the spice jars that arrived at the H55 exhibition in Hälsningborg that year. Brown clay, white pewter glaze and a cork lid that kept the aroma inside.
Signe’s series of spice jars at H55 was a great success. With the help of lead stamps from a defunct printing shop, she had “texted” what each jar should contain. Sizes and proportions had been chosen based on what the jars would hold.
The brown clay wine jug from 1954 was part of the workshop production. The glaze is a white pewter glaze. Here, too, the clay appears at the edges to clarify the geometric form. Burnt at about 1200 degrees. Height 12.5 cm. The square base is 7×7 cm wide. The jug was also made in a larger model, then 15 cm high.
Small yellow, square, unique teapot with wedge-shaped, stamped pattern. The inside is glazed in brown. Height 17.2 cm, width 14.5 cm. 1958.
The beer glass/snap glass Ruben. The hand-operated beer glass Ruben was the first glass Signe made for Boda glassworks. Height 16 cm, Ø 9.5 cm. 1967. The Ruben shot glass, 8.5 cm high and 5.7 cm wide. Foot Ø 5.2 cm. Boda glassworks. 1967.
The Kvadrat series in different sizes and for different needs. Poster by John Melin and Anders Österlin. 1968.
The Boda Bouquet ice cream series. In the perfect wine glass, the aroma should come into its own. The Bouquet wine glass has been tried and tested to fulfill that task. The eight-pointed star indicates how high the wine should be poured. 15.5 cm high and Ø 7 cm.
Two wine decanters for decanting the wine. The small one is 14.5 cm high and Ø 7.8 cm. The large one is 25 cm high and Ø 7 cm. Cork lid. Boda glassworks. 1974.
The forged cutlery with stoneware handles in white like here or in brown-black were designed for the Boda Nova tableware in stoneware. The cutlery came in 1972 and was manufactured partly in Denmark and partly by Iföverken. Here is the poster used at the launch. Graphic form M & Ö.
Refractory glass was one of the new materials in Boda Nova. One of the first products that Signe designed was a teapot with a warming stand. The teapot is 18.8 cm high including handle and Ø 15.3 cm. The heating element is 9.5 cm high and Ø 16.2 cm. Boda Nova. 1971.
The Boda Nova food plate combined with the plate. The knife and fork are hand-forged and have stoneware handles. The height of the mat plate is 2.7 cm and Ø 24.5 cm. The plate is 2.3 cm high and Ø 18.2 cm. The fork is 19.5 cm long and 2.3 cm wide. The knife is 22.3 cm long and 2.5 cm wide.
In 1980, Boda Nova was supplemented with a new tableware, Chess, in white-glazed stoneware. The serving pieces originally had a brown exterior and a white-glazed interior. Other service parts were, like the coffee cup here, completely white. The cup is 6.2 cm high, 10.3 cm wide (incl. handle) and Ø 8.2 cm. The dish is 2 cm high and Ø 14.9 cm. Boda Nova.
Fork, knife and meat knife in the Gourmet cutlery series, from 1983. The knives are distinguished by their balloon handles. The style is timeless, classic. The fork is 19.5 cm long and 2.5 cm wide. The round knife is 22 cm long and 2.3 cm wide. Boda Nova. 1983.
The teacup in the Primeur series. The decorations are Signe’s own, this one has a sky blue striped pattern. The dish is 2 cm high, Ø 16 cm. The cup is 6 cm high, and Ø 11.5 cm. Primeur consisted of thirty parts. Rörstrand. 1980.
The coffee cup in the Primeur series, with its gold decoration and terracotta colored stripe. The dish is 2 cm high, Ø 13.9 cm. The cup is 6.3 cm high, 9.1 cm wide and Ø 7.3 cm.
The Chinese teapot. Salt glazed. Height 16.3 cm, width 25.3 cm, depth 10.3 cm. Rörstrand. 1986.
The Chinese teapot. With knob in the shape of a fruit basket. Height 16.3 cm, width 25.3 cm, depth 10.3 cm. Rörstrand. 1986
Rectangular teapot with chüng glaze. Höganäs. 1990.
Signum’s cutlery. On the far left is the food fork, 19.5 cm long and 2.5 cm wide. The food knife is 22.5 cm long and 2.2 cm wide. The dinner spoon is 19.5 cm long and 4.5 cm wide and finally the butter knife is 17.5 cm long and 2.2 cm wide. Boda Nova. 1993.
The source of inspiration for this large vessel, Galler, was the handle of a mug from 1990. High-fired stoneware in 1295 degrees reducing atmosphere. White ash glaze, chün. Height 24.8 cm, width 24 cm, length 41 cm. Own studio production. 1996.
Grid, high fired stoneware in 1295 degree reducing atmosphere. White ash glaze, chün.
Trophies are a theme Signe approached several times. This small goblet was part of the Boda Nova tableware from 1971. The material is stoneware, glazed in white or black. Height 10.4 cm, Ø 10.6 cm.
Signe made the first Barca vessels her solo exhibition at NK in 1990. The shape is inspired by the architectural details she found in the Portuguese monasteries.
A large Barca with white chün glaze. Height 14 cm, width 50 cm, depth 23 cm. High-fired stoneware in a reducing atmosphere. Own studio production. 1996.
Barca vessel, here with a heavily modeled, twisted rim and white chün glaze. Height 14 cm, length 51 cm, width 23 cm. Own studio production. 1996.
Barca vessel. Bronze. Own studio production. 1996.
One of the large cups that Signe turned and built for the exhibition at Krapperup in the summer of 1996. Stoneware fired at 1295 degrees in a reducing atmosphere. White chün glaze. Height 20.7 cm, Ø 27 cm. Own studio production.
Large trophy from 1996. Stamp decoration and green celadon glaze. Compared to the designs Signe made in the early 50s, her way of stamping the surfaces is now freer and more rhythmic. “Form and decor must go together and form an organic whole,” asserts Signe. Height 19.9 cm, Ø 25.7 cm. Own studio production.
Container. Chün glaze Own studio production. 2000.
Trönö church. A new church room has been built after a fire in Trönö church. The new church room has an almost square shape and is built within the old masonry that remained after the fire. The rest of the volume has been left without a roof, like an open courtyard.
Trönö church. Altar screen. On behalf of the congregation, Signe Persson-Melin has also designed baptismal font, communion silver, candlesticks and vases.
Signe Persson-Melin (1925-2022)
1925 Född i Tomelilla, Skåne
1946-48 Kunsthåndværkerskolen, Köpenhamn
1953 Debututställning, Galerie Moderne, Stockholm, tillsammans med Ingrid Dessau.
1955 H55-utställningen i Helsingborg
1957 Offentlig utsmyckning, T-Centralen, Stockholm, tillsammans med Anders Österlin.
1960 Offentlig utsmyckning, Folkets Hus, Stockholm,
tillsammans med Anders Liljefors.
1967-77 Design för Boda, Kosta Boda
1970-95 Boda Nova
1985 Professor Konstfack, instutitionen för glas och keramik, Stockholm.
1989 Kulturpris Sydsvenska Dagbladet
1994 Första pris – Design Plus,
Internationale Frankfurtermesse Ambiente, för Signum.
1995 Verkstad Gustavsbergs studio, tillsammans med Kennet Williamsson.
1996 Utställning på Krapperups Konsthall.
1997 Utställning på Röhsska Museet
1997 Malmö Stads Kulturpris
1998 Verkstad i Malmö
2000 Utställning på Galleri Nørby, Köpenhamn
2000 Utställning på Malmö Konstmuseum
2001 Utställning på Kulturcentrum Ronneby
2001 Prins Eugen-medaljen
2001 Trönö Kyrka, Altarskärm, dopfond, kyrksilver
2002 Kulturpris Region Skåne
2002 Utställning Galerie Inger Molin tillsammans med Kennet Williamsson.
2002 GIFU – Museum of Modern Ceramic Art
2003 Museum of Decorative Arts in Oslo
2003 Trädgårdsgalleriet, Skillinge
2003 Höganäs Museum
2004 Svenskt Tenn – Nytt Tenn
2004 The Swedish Architecture and Design Award
2006 Form i trädgård, Nivå 125 Båstad
2006 Hovdala Slott, Hässleholm
Representerad/Works held by
National Museum, Stockholm
Röhsska Museet, Göteborg
Museum of Modern Art, New York
Victoria & Albert Museum, London
GIFU, Museum of Modern Ceramic Art, Japan
Selected Group Exhibitions
1986 The Lunning Prize, Nationalmuseum
1988 Faces of Swedish Design, Touring the U.S.A.
1989 Scandinavian Ceramics and Glass, Victoria & Albert Museum, London
2002 GIFU, Museum of Modern Ceramic Art, Japan
Top image: Photo Georg Oddner.
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