Gustavsberg has manufactured porcelain since 1825.
However, the Gustavsberg history originates from the 1600s, when Gustav Gabrielsson Oxenstierna and his wife, Maria de la Gardie, founded a brickyard in Farsta bay. In memory of Oxenstierna, Farsta bay later came to change its name to Gustavsberg. Though it was not until 1825 that Gustavsberg became known for its manufacturing of porcelain.
The 200-year-old brickworks is closed, and in 1825, the owner is granted by the National Board of Trade an authorisation to “establish and operate a factory for miscellaneous porcelain”.
Around the middle of the 1800s, Gustavsberg starts to manufacture its own products in the English style, and to mark the change, the now-familiar anchor stamp is introduced in 1839.
For more than 100 years, Gustavsberg primarily concentrates on making household porcelain and decorative items. Most noteworthy from the artistic production were the Majolica and Parian objects.
Sven Wejsfelt (1930-2009)
Sven Wejsfelt was active at Rörstrands Porslinsfabrik (1946-53) and Gustavsbergs porcelain factory (1953-2008). He worked in a classic stoneware tradition with thin twisted shapes and exquisite glazes.
In 1953 he got a job as a turner for Stig Lindberg at Gustavsberg. Here he changed his name to Wejsfelt because there were four Sven Johansson already working at the factory. He performed most of the duties in the studio: turning, casting , decorating , ceramic ornaments, ovens etc. Since Stig Lindberg was busy in many places, including as a teacher at Konstfack , Sven Wejsfelt got the confidence to work out new products for Stig Lindberg.
Collaboration with Lindberg lasted for 17 years, until 1970. In 1977 he became a ceramicist in his own name with collections of turned stone and cast fish and animal figures. In 1987 he exhibited with the other Gustavsberg artists in the exhibition Studio Gustavsberg. Typical Wejsfelt expressions are corn blue, harpell glaze in different colours, pale ox blood and blue and pale yellow glazes.
Sven Wejsfelt is today considered one of the last Swedish ceramicts who developed and led the Chinese-based stone-fashion tradition that flourished most of Sweden in the 1930s and 1960s. His stoneware is currently available in several museum collections and in many private collections.