Södertälje konsthall had with great enthusiasm made deposits from large Swedish cultural institutions. In connection with Statens konstsamlingar, (The Swedish States Collection of Arts) it can be read that the insurance covers e.g. Work chair by Bruno Matsson, Tissue by Märta Måås-Fjetterström (in the document written Fjetterson), Cup of glass, Orrefors 1922 by Simon Gate.
A letter addressed to the director of the Nordic Museum states that a leather-clad armchair by Gunnar Asplund from the Paris Exhibition in 1925 has been one of the in-loans:
inv no. T.278 object armchair origin. G Asplund Paris exhibition 1925 damage leather upholstery ngt stained and very fragile insurance SEK 4,000.
Södertälje konsthall invested in bringing in the really big masters of Swedish designs. The exhibition assistant from Södertälje konsthall, who has signed several of the contracts, is named Ingvar Claeson. Deposits are made from the Royal Army Museum, AB Gustavsberg’s factories, the National Museum, the Handicraft Association, etc.
By Märta Måås-Fjetterström was shown Tissue “Unicorn in the forest” hautelisse. Compl. in Vittsjö in 1919 and executed for the first time in 1920. A variety of posters from major exhibitions throughout design history were lent from the National Museum to the exhibition.
Amanuens Ingvar Claeson appears as a colorful person in the art gallery’s correspondence during its early history. Art gallery director / cultural curator Eje Högestätt also names his first two years in the service in his new hometown Södertälje with colorful words. Södertälje konsthall is said to have been perceived as so provocative that he was threatened to death. Long live the handicraft association probably does not belong to the category of exhibitions that have stood out in that way.
Sources: Södertälje konsthall archive folder, compiled by Anneli Karlsson.