Having studied in Stockholm, Copenhagen and Munich, Wilhelm Kage started at Gustavsberg in the spring of 1917. An artist earlier known mostly for his theatre posters, Kage came to be one of the leading ceramists of the 20 th century. He was immediately given the task of creating a dinner service for an exhibition. It was known as KG and first introduced as Liljebla (Blue lily) and, in various guises, was in production until 1940. He also designed the exhibition stand and found time to make some decorative pieces as well.

This exhibition was his launch pad and in the coming years, Kage at Gustavsberg, Edward Hald at Rorstrand and Bockman at Hoganas were the iconic figures.

Kage continued to develop faience techniques, combining tradition with a modern approach to decoration. At the 1920 Liljevalch's exhibition, ‘Verkstaden', a follow up to the 1917 exhibition, Kage presented a number of faience pieces with soft shapes and mild colours. Two new dinner services, known as ‘K' and by Kage, were also presented in two designs, Formosa and Guldstjarna.

His influences at this time were mostly Italian majolica, a type of faience, and Persian ceramics.

In 1923, the Goteborg Exhibition saw the introduction of the KA service called Relief. In the same year he also presented WK, a rather more Empire-style influenced range and, like KA, in flint ware.

During the 30s, his production was similarly prolific but at the same time he also introduced the incredibly successful ‘Argenta' concept ? turquoise green pieces with silver decoration which are still much sought after. However, after the initial high design and decorative standard, popularity meant a lowering of standards, sometimes even the production of models with no silver decor.

Some say that KS, introduced in 1934 was his finest service. Models were called Albion, Arkadia and Svedese. Although the predominant shapes were oval, he later also introduced square plates to the series.

Also Pyro, the first ovenproof service (1930-55), Praktika and Gra rander (Grey stripes)

In the 40s, Kage began to return to his role as an artist, creating parallel with Stig Lindberg in 1942, a series of large plates, vases and bowls. Around this time he began to add his signature and also the famous studio hand, in brown for Kage and blue for Lindberg. The ‘Studio' was formally created at the beginning of the 40s. Karin Bjorquist was one of the contributing faience artists at this time.

In the 50's he began experimenting with bone china, Cintra being an excellent and beautiful example. Another beautiful series of the time was the Surrea stoneware series with daring shapes and designs and a so-called Carrara glaze.

Kage remained at Gustavsberg for 43 years.

He exhibited in Stockholm and Paris.

Apart from the Scandinavian countries, he is represented in Hamburg, Zurich, London, Melbourne and New York.