Gysinge soap. New name but the same fantastic soap. Now more environmentally friendly than ever, labeled with the Swan.
Gysinge soap (linseed oil soap) is made from cultivated flax of the highest quality. Fatter and thicker than regular soap, easily biodegradable.
Gysinge soap dissolves dirt in cold water and is good for cleaning wood, stone, tile and porcelain surfaces. Gysinge soap is incredibly useful and excellent for all cleaning in the home, including cleaning floors, walls, ceilings, benches and other surfaces.
Gysinge soap is made from the highest quality oil cold pressed from the flax seed and then saponified with potassium hydroxide, identical to the soap of the 19th century and earlier. The glycerol released is not removed, giving the soap a smooth texture. Our soap is free of additives and preservatives, making it easily biodegradable and labeled with the Nordic Swan Ecolabel.
A really good soap is characterized by being fatty, i.e. having a high content of fatty acids.
EUR9.02
Gysinge Soap Spray is Nordic Swan Ecolabeled and based on Gysinge Soap Original. Ready to use. An environmentally friendly, effective and gentle cleaning spray to use on all surfaces in the home. Perfect in the kitchen on the stove top, countertops, dining table or on outdoor furniture. It re-greases and protects wood and stone surfaces.
Do as follows: Spray Gysinge Soap Spray on the soiled surface, leave for a while and wipe with a damp cloth. Wipe with a dry cloth for extra finish. Note! Use with caution on linseed oil painted surfaces
Made from the highest quality cultivated flax. Readily biodegradable. Free from preservatives and other additives. Mildly perfumed with almond scent.
Feel free to reuse the bottle and buy ready-made refill mix. Bottle made of recycled plastic. Recycle as plastic packaging. Unscrew the spray nozzle on the packaging to facilitate recycling.
Contents: <5% saponified linseed oil, <0.1% perfume, water. pH value approx. 11. Certified with the Nordic Ecolabel. License number: 3026 0202.
EUR7.20
Advent calendar is available in three different classic Christmas motifs by Jenny Nyström. The front is sprinkled with silver glitter.
Seasonal product.
EUR6.83
The agave plant (Latin agave americana) is a classic outdoor plant for more lavish plantings in castles and mansions, for example.
True agave is a Mediterranean plant that in our climate requires greenhouses in winter. For this reason, it has also only been found on wealthier farms with orangeries or other means of frost-free winter storage.
Most often the agaves were planted in cast iron urns, mostly in pairs at the main entrance, or on the gate posts.
Alongside the genuine agaves, there have also been imitations in painted black plate.
Tin roofs do not grow too big. They can also withstand freezing temperatures. If they are skillfully painted, they can look so much like their predecessors that no one can tell the difference. There’s just one problem – over time, the metal rusts and the paint wears off.
Our developed agaves are therefore made of specially colored copper sheet. By using green-colored copper plate already during production, we have come extremely close to the appearance of the original plant.
The scarring starts when the plants are placed outdoors, and the resulting color changes make the “fake” agave look even more like the real thing over the years.
The tin roofs, which are a piece of qualified Swedish copper warehousing, are delivered ready assembled, just to stick into a pot with sand or soil, or directly into the bed.
EUR819.44
One of the most common benches in Swedish furniture history and the bench that the common people used indoors for their long trestle tables.
This particular model with baroque-shaped legs of the early 18th century type was one of the most common even into the early 19th century.
The model for our bench comes from the Hedemora Theater, built in 1828, still in use and one of the few preserved rural theaters of the time.
In the 20th century, we have often seen these benches moved out and used as garden benches – the rustic quality means that the bench can stand outdoors.
The baroque bench is just the right length for our percussion table, but could also be useful as a bench in the hall, as a flower bench indoors, or why not as a garden bench?
The bench has a seat board in the form of a single plank and the legs, sawn from one piece, are inserted with continuous tenons and wedges in the seat board. The bench is hand-planed in a contemporary style.
EUR500.59
The 18th century beaker-shaped drinking glasses are very rare. Occasionally, you can see a specimen at quality auctions in Stockholm. A few glasses are also preserved in Swedish museum collections.
The glasses are similar in shape to silver goblets from the same period. They have the same trumpet shape, they have the same folded mouth rim and the clearly marked heel is also similar to the foot of the silver goblets. There is no mistaking that beaker glasses are a more everyday version of silver goblets, even though glass goblets, like porcelain plates, were already a great luxury in the 18th century. What is surprising, however, is that so few beaker glasses have survived, compared with, for example, wine glasses on feet. Perhaps this is because glass goblets were considered simpler than glasses on feet and were used more frequently, which meant they broke more often.
Our beakers are hand-blown and therefore as individual as the originals. The glass mass varies with uneven thickness, streaks, stripes and sometimes blisters. The dot mark under the heel shows where the glassblower’s pipe was located. The folded rim is also a typical 18th-century detail.
Gysinge beakers are available in three sizes. A large one for beer or juice. A medium size for wine, water or milk. And a small nubb glass.
All three glasses are suitable as vases. The first tussilion in the tassel glass, a bunch of white or blue anemones in the wine glass, or a bouquet of summer flowers in the beer glass.
EUR30.52
The glasses are similar in shape to silver goblets from the same period. They have the same trumpet shape, they have the same folded mouth rim and the clearly marked heel is also similar to the foot of the silver goblets. There is no mistaking that beaker glasses are a more everyday version of silver goblets, even though glass goblets, like porcelain plates, were already a great luxury in the 18th century.
What is surprising, however, is that so few beaker glasses have survived, compared with, for example, wine glasses on feet. Perhaps this is because glass goblets were considered simpler than glasses on feet and were used more frequently, which meant they broke more often.
Available in three different sizes. A large one for beer or juice. A medium size for wine, water or milk. And a small nubb glass. All three glasses are suitable as vases. The first tussilion in the nubb glass, a bunch of white or blue anemones in the wine glass, or a bouquet of summer flowers in the beer glass.
EUR41.45
Large bench brush in oiled beech and horsehair suitable for indoor or outdoor use.
Length 36,5 cm. Width 4,5 cm. Height 7 cm
EUR20.50
Hand-turned breakfast bowl in terracotta clay. White or gray glazed with wiped edge.
Dishwasher safe.
EUR22.32
Broom in birch and bassine. Handy broom for sweeping gravel, leaves and snow.
Length 115 cm. Also available in shorter/smaller model.
EUR27.24
Broom in birch and bassine. Small handy broom for sweeping gravel, leaves and snow.
White or gray hand-turned spill bowl in terracotta clay. The perfect whisk bowl! Also great as a fruit bowl. Available in three different sizes.
EUR29.61 – EUR87.91
Home-woven, sturdy rag rug, old-fashioned narrow and with elements of real cotton rags. The rags are cut from washed fabrics, which is why the rug does not shrink significantly when washed. Inkjet technique with stripe effect in black and white with elements of light gray, blue-gray and green. The colors can vary naturally from weave to weave.
Handwoven. Warp and weft of 100% cotton. Finished hemmed. Length 2.50 m and 3.50 m. Width about 60 cm.
Washing instructions: Machine wash 60 degrees color wash. Shrinkage during washing up to 10% Detergent: liquid linseed oil soap
EUR318.39 – EUR404.94
Gustavian dining room chair of a model that was common in the 1780s and 1790s. The original chair is the work of the chairmaker Melchior Lundberg the Elder, who became a master in Stockholm in 1775 and is considered the foremost of all chairmakers.
The chair has many characteristic details. The rectangular back is a novelty of the 1780s, while the openwork baluster tray with its “keyhole” appears already in the Rococo period. The straight lower part of the tray tells us that the chair must be from the Gustavian era, which had a weakness for more straight and strict forms compared to the Rococo. Also typical are the straight sides, the fluted legs, and the smooth “socks” on the legs at the junction with the footrest. A particularly elegant detail is the slightly trumpet-shaped front legs and the extremely well-cut bunch of grapes on the crest of the back.
The Melchior Lundberg chair is, both as an original and a copy, a piece of unique Swedish craftsmanship history. We dare say that there is not a more well-made chair in Sweden at all!
The chair is completely handmade without any simplifications. No square part is straight. All parts are shaped and do not curve, bend or thin out in any direction. All turning is done by hand using the so-called cut-turn method. All planing, even on the curved and bent parts, is done entirely by hand. The hind legs are made in one piece (!), i.e. the turned part is not mortised and glued together with the square post (as is otherwise the case on so-called 18th century copies). This means that the demands on the joinery in a chair like this are extremely high, both in terms of quality and roughness. The chair is of course assembled with hand-carved wooden dowels and glued with animal glue.
Chairs of this quality were often painted marble white (about 1% green umber), or light oak yellow (about 15% yellow ochre, 30% yellow ochre natural). In our exhibition we have also painted some chairs in mahogany color (100% English red) a common color in the late 18th century. The seats were usually upholstered with black leather or black linseed oil painted linen fabric.
EUR1 001.64
For our lace curtain “Salsgardinen” we make these covers in delicate lace with a pattern in the form of a flower loop in neo-rococo. The pattern is, like the ballroom curtain, from the 1860s. Also useful as a cover for our other lace curtains.
EUR8.93
In a second-hand shop in Dalarna, we once found this striped rug from around the turn of the century 1900. The rug is classically patterned with a two-colored carpet warp and with elements of old, well-washed, white cotton carpet cloths. The type is very special in that it combines the bright elegance and striking checkerboard pattern of the striped carpet with the sturdy and rustic character of the rag carpet. The Glesrip carpet is therefore suitable for both simpler and finer contexts and can be used both as a summer and winter carpet.
12 Christmas postcards in four different designs.
Illustrations by Jenny Nyström
EUR4.46
Decorative coat rack based on a 19th century model. Solid pine stand with twelve hand-turned birch hanging knobs. The original hanger is painted dark reddish brown (burnt terra) with carbon black knobs.
EUR563.91
A cord stop is a detail from the last part of the 19th century, intended to lock the blind cords. At that time, roller blinds were not self-rolling and spring-loaded, but were rolled by hand using the cords, much like our 18th century roller blind. Our cord stopper can be used for old-fashioned roller blinds, but can also be used for other purposes. The knob on the cord stop itself is articulated. When folded down, as in the picture, it clamps the cord in the desired position.
EUR26.87
Cotton cord for 18th century roller blind. About 3mm in thickness. 100% cotton. Sold in whole meters.
EUR0.91
Swedish machine woven half linen fabric of solid quality, suitable as a cover fabric for upholstered furniture and for so-called half curtains. Now in even better and more rustic quality. The fabric is now woven in an old loom with a shuttle and thus has smooth, fine city edges, which do not need to be hemmed or cut away. Available in two traditional color schemes, red and white after a model from Röö parish in Uppland and blue and white after an original fabric at Skokloster Castle. Both models are from the 18th century, but the fabric as a variety is found throughout the country during both the 18th and 19th centuries.
EUR49.65
Curtains of this type are universal. They were present in all social environments from the 19th to the early 20th century. They were available both as curtain robes on boards and as long curtains. Mounted as a cape, you get two capes out of the width of the curtain.
History: Karlsgården in Järvsö, one of Sweden’s most well-preserved old farms, was opened in the late 1920s. For the new role as a museum farm, Karls was provided with newly woven curtains in traditional style from Hemslöjden. The newly composed pattern was named “Karlsgårdsgardinen”. By chance, however, one of the neighbors of the farm took one of the old curtains that was still hanging. Much simpler and much more archaic in pattern. As if by chance, the same neighbor rewove the pattern in the 1960s, but the curtain and its important original story fell into oblivion for a while. Now Gysinge has rediscovered the old curtains, woven new samples, test washed, ironed and mangled. And we feel that we have one of Sweden’s most beautiful, refined, simple and genuine curtains to offer our customers. The curtain is available in plaid with a simple “checkerboard” (original) and as a “stick stripe” with equal width stripes over the entire surface. Less is more, you could say about both patterns.
EUR34.16
History: In the late 1920s, Karlsgården in Järvsö, one of Sweden’s most well-preserved old farms, was inaugurated. For the new role as a museum farm, Karls was provided with newly woven curtains in traditional style from Hemslöjden. The newly composed pattern was named “Karlsgårdsgardinen”. By chance, however, one of the neighbors of the farm took one of the old curtains that was still hanging. Much simpler and much more archaic in pattern. As if by chance, the same neighbor rewove the pattern in the 1960s, but the curtain and its important original story fell into oblivion for a while. Now Gysinge has rediscovered the old curtains, woven new samples, test washed, ironed and mangled. And we feel that we have one of Sweden’s most beautiful, refined, simple and genuine curtains to offer our customers. The curtain is available in plaid with a simple “checkerboard” (original) and as a “stick striped” with equal width stripes over the entire surface. Less is more, you could say about both patterns.
What is unusual about this curtain is the discrete color element in the form of thin, large squares surrounding groups of “mosquito scale windows” in the pattern. This makes the curtain very modern, yet very traditional.
Mosquito net curtains are usually plain white. Another unusual feature is that it is as narrow, only 65 centimeters, as a modern panel curtain, which also means that its width still feels very current. So-called panel curtains can be hung completely smooth, so that the pattern appears, but without the curtains obscuring the view. All in all, “Thea” is a suitable curtain for both the small windows in the cottage and the large ones in the city. The narrow width also means that the curtain can easily be pinned to a curtain board, preferably draped, as the neat selvedges do not even need to be hemmed.
Thea Olsson (1902-1993) was the only daughter of the Gästgivarns mining estate in Wall, which is one of the best-preserved mining estates in the Torsåker region of Gästrikland. When she died, she left behind a lot of valuable movable property, which was auctioned off because she had no family, but a large number of “useless” items remained on the farm, including this curtain, which she probably wove herself.
Thea Olsson and her mother Ida were known to be good at needlework. This curtain pattern is a non-period pattern, which probably left the loom sometime between 1920 and 1940.
