With the current level of international interest in mid-twentieth century decorative arts, it is not surprising to find Vicke Lindstrand’s work is now popular with museums and collectors. Vicke Lindstrand is a recognised name in the field of decorative arts and it seems reasonable to expect him to be well documented in the history of Swedish and Scandinavian design. Whilst he does feature in a many texts, most of what is written about Lindstrand, particularly in English, is framed within the lauded Artist in Industry model that is Orrefors, his apprenticeship under Simon Gate and Edward Hald, Swedish Grace and the 1930 Stockholm Exhibition. What is surprising is the scarcity of scholarly discussion of his post 1950s work which remains sparsely documented and largely unknown. At times he is associated with Orrefors, at other times he is purposefully omitted from discussion. The fact that he had a continuing career after Orrefors has at times been forgotten and at other times blatantly dismissed. This blog seeks to address this dilemma and reposition Lindstrand’s later career front and centre.