Welcome to the Rohsska Museum for Design, Fashion and Decorative Arts.
The museum building that was built in 1913 in red hand-made brick is designed by Carl Westman (1866-1936) and placed between Chalmers school on Vasagatan, current Valand and Handicraft Society School at Kristinelundsgatan, current HDK. The building's architectural design is in many ways typical of the 1910s national romantic spirit.
The many bricks of the museum façade are hand made and several of them have a hand carved pattern or decoration, which was ordered and in some cases even carried out by the architect Carl Westman and the main curator Axel Nilsson themselves.
Today Röhsska museum's purpose is to collect and display the design and craft traditions distinct expression and creative character, encourage our visitors to have an active approach and to gain awareness and knowledge of both historical and contemporary expression in the design and crafts. The museum wishes to use the collection and exhibitions to provide perspectives on social development and give deeper insight into the world of forms that surround us.
Men's suit consisting of a jacket and trousers. The jacket is maid of silk with stripes of two colors. Embroidery twisted and untwisted silk in off-white, light blue, green, aquamarine and black. Lining of white taffeta. Trousers of light brown silk atlas, lining of cotton. Two covered buttons at each knee.
2011 the Röhsska museum acquired a coat from John Gallianos collection for autumn/winter 2010/2011. The coat was purchased for the museum by The Association of friends of the Röhsska museum. The coat is made of wool and has a collar, cuffs and gore in sheepskin. It is also decorated with embroidery. Unique accessories that were specially made for the show was acquired along with the coat.
This show piece was part of Vivianne Westwoods Gold Label collection Chaos point from the autumn of 2008. Through Chaos Point, Vivienne Westwood once again took a political standpoint in her creativity. This time it is mankind’s brutal impact on the environment that she wants to highlight and counteract. Ahead of her work with Chaos Point, Vivienne Westwood visited a group of children at Portland School in Nottingham, UK. After telling them a story Westwood set the children to work and paint what they believed the story was about. The result became the basis of the Chaos Point collection and the fabric in this dress is a direct copy of what the children drew.
A roundel woven using tapestry weave. It has been woven into or sewn onto a larger weaving using simpler techniques. Warp in linen yarn with some woolen yarn and gold thread with a silk core.
Astronomie is one of Röhsska Museum’s finest textiles, showing a group of men in Mediaeval Western dress making astronomical observations. The only person who can be definitely identified in the picture is the female personification of astronomy to the right. There are a variety of opinions about who the astronomer closest to Astrologia could be. One interpretation, which is supported by the inscription on the clothing, is that it shows the Arab astronomer Ibn Yunus or Albategnius. Ibn Yunus (858–929) wrote books and constructed instruments for observing heavenly bodies, but also made significant improvements to the sextant and compass.
The drapery Vilde roser by textile artist Frida Hansen (1855-1931) was displayed at the World Exhibition in Paris in 1900. At the exhibition Hansen won the gold medal for her artistry and work with the company Det norske Billevæveri that she started with Randi Blehr. The characteristics of Hansen's work is her way of leaving parts of the warp visible and thus allow light through the fabric, a technique which she called transparent technique and patented in 1897. The curtain is woven a wool tapestry with fringe at both ends. Hard twisted blue-gray wool has been used for the warp, while looser spun wool yarn in white, green, gray, pink and yellow has been used for the elements. Large portions of the warp is left unwoven.
The laughing Buddha, Putai or Budai, was acquired by the museum in 1915 as part of the collection brought to Sweden by Thorild Wulff. Since 1915, Putai has been located in the upper landing of the Röhsska Museum; it is one of the museum’s most popular exhibits, and is strongly associated with the museum. Putai, with his fantastic smile, is the museum’s good spirit. Such a giant Buddha cannot be seen anywhere else in Sweden!
Japanese woodblock printing became a major source of inspiration for Western artists such as Monet, Degas, Toulose Lautrec, Van Gogh, Matisse and Swedish artists such as Carl Larsson and Anders Zorn in the late 19th century. The museum’s collection bears witness to the great interest. The unique collection includes about 350 woodblocks with the emphasis on prints from the early 19th century. This specific print by Hiroshige depicts the Kambara station and is part of the Tokaido road series.
Before western clothing became fashionable, the Japanese wore the kimono. Because the kimono lacked pockets, necessities such as purses and smoking materials were often hung from a cord around the kimono’s sash. Small buttons called netsuke were used to fasten them to the sash. Later the netsuke became an expensive fashion accessory and status symbol worn by feudal overlords, samurai and merchants. Today there are more than 600 high-quality netsukes in the Röhsska Museum Oriental collection.
Vines in glowing autumn colors wind along the bulging body of the vase, which is the result of two skilled glassworkers, Greta Welander as designer and Axel Enoch Boman as polisher. Its date, 1914, makes it possible to assume that it was made for the Baltic Exhibition in Malmö that year.
The vase is made from pale green and rose hipred glass. The bowl has a folded calyx shape, while the stem is tall and thin and ends in a rounded foot.
Vase in the shape of an amphora. Dark blue glass decorated in pale blue-green and yellow.
Mirror made in blackened pear wood for the Industrial exhibition in Göteborg in 1891.
Secretaire with olive wood and sandalwood veneer. High gently curved legs. Two drawers under the flap and a secret drawer.
Armchair, probably a prototype, made for the M/S Kungsholms 1st class smoking lounge.
This drinking vessel is an exquisite treasure from the end of the Renaissance and is of the highest quality. Typically, it has been given a form which shows a number of Renaissance interests. The love of Antiquity is expressed through the proud goddess of the hunt, Diana, who is carrying a weapon and has her hounds on chains, galloping on her magnificent steed, a noble, crowned hart. The decorations on the base shows a miniature world. The scientific interest of the time is represented by the small, carefully worked reptiles, frogs and lizards, which move over the ground.
Terrine and lid in tin. The knob on the lid is shaped like a violinist, while the terrine’s handles depict two dancing couples, one young and the other old. The terrine was designed in 1903 and was first manufactured in 1907.
Tea box of chased and embossed silver.
Thanks to two donors, Röhsska Museum was able to make a unique acquisition in 1931: two glazed tile reliefs were bought from Staatliche Museum in Berlin, a lion and a dragon, originally from the German excavations in Babylon. In Sweden, these are the sole representatives old the ancient Babylonians’ artistic culture. It was initially assumed that the lion relief at Röhsska Museum was one of the original 120 lions on the processional avenue to the Marduk Temple in Babylon. However, it later became apparent that Röhsska Museum’s lion is from the façade to Nebuchadnezzar II’s throne chamber (604-562 BCE).
Ceramics from the Song Dynasty have long been considered particularly exclusive. From Ru Yao, the most famous kiln of the Song Period, as well as the rarest and widely considered the best in the world; there are only around 100 known artifacts. Two of these are at Röhsska Museum in Göteborg, where they are two masterpieces in the museum’s collection.