THE ITEM
This exceptional work of French Art Nouveau cameo glass is by one of the most prominent glassworks Daum, based in the city of Nancy (1878 - present). The Daum studio creates their art in crystal and remains as one of the only studios who use the pâte de verre process for art glass and crystal sculptures.

Designed and crafted in the 1900s, the form and glowing ethereal palette of this piece is a rare combination that has made it a feature in the dedicated book "Daum - Maitres Verriers" by Edita Denoel, (Edita S.A. Lausanne, 1980, p. 61). The base colour palette is composed of cool and faintly opalescent pale blue tones, which has been overlaid with the tactile golden-hued Zucchini leaves, stems, flower buds and tendrils in high relief.

CONDITION
Excellent. No chips, cracks or repairs. There is mild wear to the surface that is commensurate with the age of the piece. Please refer to photos as they form part of the condition report. The vase bears the Daum Nancy signature with the Croix de Lorraine mark.

MEASUREMENTS
Height c. 9.8" / 25 cm by c. 3.9" / 10 cm diameter (across widest point). Rim (opening) diameter: c. 2.4" / 6.2 cm. Base diameter: c. 3" / 7.7 cm. Unpackaged weight: c. 0.8 kg / 825 gm.

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Founded in 1878 by Jean Daum, the studio rose to prominence during the Art Nouveau and Art Deco period (1890 - 1910, 1908 - 1935), capturing the attention and imagination of collectors all over the world. Daum would exhibit at Paris International Exhibition in 1889, a pivotal event which marked the birth of the French Art Nouveau movement. With leading artists such as Henri Berge, Almaric Walter, Charles Schneider and Jacques Gruber, the studio would go on to win their first ‘Grand Prix’ in 1900.

The studio continued its ascent to international fame around this time, which further elevated when they began to create their art with pâte-de-verre, a glass-making technique first used over five thousand years ago in the early world. Fueled by international success, the studio would broaden their range to glass art objects and enter into a period of phenomenal development. The studio revolutionised techniques by experimenting with materials such as acids, colour powders, fluorine hydrogen and enamel. Collaboration with leading designers was also a common aspect of Daum's exploration and creativity, working with names such as Louis Majorelle, Eugene Galles, Emile Wirts and Salvador Dali.

Today, Daum is well known for creating pieces in high quality, crystal glass.

THE ITEM
This stunning work of art by Roger Guerin hints at Northwest Pacific tribal symbolism with the abstract bear and jaybird decor. This hand-thrown vase is an outstanding example of his work, featuring unusual spouts and additions to its shape as well as hand-incised decorations offers high artistic value.

This piece is hand-glazed with a rich mix of earth tones and shades of metallic cobalt blue, copper, pale green, deep and light browns. The special technique of salt glazing gives beautifully rich and variegated surface effect, making it even more unique.

CONDITION
Excellent. No chips, cracks or repairs. There is mild wear to the glaze that is consistent with age and use. Please refer to photos as they form part of the condition report. The underside of the vase bears Guerin's inscribed signature 'guerin' and number 'A25.6'.

MEASUREMENTS
Height c. 10.2" / 26 cm tall by c. 8" / 20 cm diameter (across the body's widest point). Rim diameter: c. 3.3" / 8.5 cm. Base diameter: c. 3.9" / 9.8 cm. Unpackaged weight: c. 1.8 kg / 1,817 gm.

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

Research into this piece has validated its rarity, with only one other piece by Roger Guerin that is also available for sale and although is similar in style, but different in decoration: Roger Guerin Double-Sided Vase

A BIT OF HISTORY
Belgian leading ceramicist Roger Guerin or Guérin (1896-1954 ) was a renowned Belgian studio master ceramicist from the village of Bouffioulx near Charleroi. He started his own workshop in 1918 and specialised in experimental salt-glaze techniques at the height of the Art Deco era.

Guerin's use of flowing glazes was typical in his work and he was true to the history of this region, often working on a type of hard ceramic (fired to over 1250 degrees Celsius), which had been made there since the late Middle Ages. His work won a medal at the Paris Exposition des Arts Décoratifs in 1925 and was exhibited in 1937 as well as internationally.

Guérin pottery was produced in short runs. Each piece is numbered and unique, which makes them extra special to have and enjoy.

THE ITEM
This elegant, whimsical and exceptional sculpture is by celebrated Danish illustrator and glass, silver, ceramics designer Bjorn Wiinblad (b. 1918 - d. 2006). Wiinblad often designed for a number of big names as well as the pottery studios he owned, such as Vaerksted, Nymolle and Det Blaa Hus. The dating and style of this sculpture places it as a handpainted studio work that was crafted at his own Vaerksted [Workshop] studio, which Wiinblad established in 1952 in Copenhagen. Vaerksted pieces by Wiinblad show his graphic skills at their best – where he was able to convey an emotion or feeling with just a few brushstrokes or marks.

Those familiar with Wiinblads illustrative work will be familiar with the exquisite level of detail his imagination goes to. This richness of detail is brought to life across many elements of this sculpture; such as the individually shaped, stylised leaves and flowers resting in the figure's hat, the tiny birds resting on the figure's arms and knees, and the flowing, draped folds of the dress. Further careful attention is evident in intricate handpainted patterns decorating the dress and the care taken even when illustrating eyelashes. 

This piece additionally features golden Kintsugi bonding, following careful repairing and highlighting, the bonding has been predominantly applied to the candleholder extension cup (top section of hat). The Kintsugi technique is modern and has been applied in a tactile manner, a gentle yet striking compliment to the sculpture's tones of red and white.

CONDITION
Excellent. The separate candleholder extension cup (top section of hat) has been carefully repaired using a robust water-resistant and durable golden resin. The resin has also been applied to three minor spots on the body. Please refer to photographs as they form part of the condition report. The underside of the piece bears Wiinblad's signature, dated with '77' and finally, denoted with 'DANMARK'.

MEASUREMENTS
Height: c. 12.6" / 32 cm tall (from base to tallest point, including hat/candleholder extension) x . 5.5" / 14 cm width (across widest point). Depth: c. 6.3" / 16 cm (from front to back). Unpackaged weight: c. 1.3 kg / 1,345 g

NOTES
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Born in 1918 in Copenhagen, Bjorn Wiinblad began his training and path to success in 1935. Wiinblad sought the path to his first passion of art and enrolled in graphic school at the Royal Academy of Fine Arts, debuting in 1945 with an extensive exhibition in Palægade, Copenhagen. He met and became firm friends Jacob E. Bang around this time, who engaged him to work for Nymølle Pottery.

From the beginnings at Nymolle, Wiinblad received multiple commissions, from designing textile and embroidery patterns to drawing posters, book and magazine illustrations. Wiinblad drew for the United Nations in Paris and designed costumes and stages for several theatrical performances. His fame grew in Denmark but soon would extend to Norway and Sweden and in 1950 his ceramics were exhibited at Bonnier's in New York, which specialised in Scandinavian design.

Wiinblad's recognition and acclaim would continue to grow, bringing him a silver medal at the first international ceramics festival in 1955 in Cannes, France and appointment as artistic director for Rosenthal in 1960. During the 1960s, Wiinblad would become owner to a number of ceramic studios including Vaerksted, Nymolle and Det Blaa Hus. He would make Det Blaa Hus his workshop and home until his death in 2006.

Wiinblad's successes did not stop in the Sixties, his continued achievements and international success were extensively documented and celebrated on the dedicated website: https://www.bjornwiinblad-denmark.dk/om-bjoern-wiinblad

Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.

THE ITEM
This stunning, handblown work of Swedish Modern design art glass is by Vicke Lindstrand (b. 1904 - d. 1983), considered as one of the most influential 20th-century glass artists and a pioneer of glass art. This particular piece is a rare and early work, 'LC1' from the Colora series, which first appeared in the Kosta catalogue in 1955, featured 11 designs and was produced during 1955 to 1956.

The elegant, flowing and deceptively simple form is in fact the coalescing of multiple layers. The innermost layer is a graduating Cerulean blue that pales into a glow at the lower body and which is overlaid with exquisite threads of Espresso brown. The threads gracefully shape themselves to the contours of the vase's body, from hairline thickness at the neck and dilating as it wraps around the lower body. The piece is finished with a layer of clear casing glass.

The refined delineation of the threads from the core blue creates a visual effect of the threads gently hovering over the body, adding fascinating depth and dimension to the visual effect. This successful delineation is not always possible as is the nature of handblown pieces. 

In November 1953, Lindstrand presented Colora at the exhibition Artiums Exposé Gothenburg. Described by the press at the time: "Colora is thus the very latest. This glass has never before been exhibited to the public. The pieces are also unique in the sense that no two objects in this exhibition are the same. The play of light in the bowls, small or large, triggers the effect. It will shimmer, it will glow, it plays - and then you have in your hand a glass object that lives, whimsical but intense.” 

CONDITION
Excellent. No chips, cracks or repair. There are internal water marks, negligible surface wear and movement marks on the underside of the base that is commensurable with the age of the piece. There are also small inclusions in the body that are from the glassblowing process and is not damage, please refer to photos as they form part of the condition report. The underside of the base is signed with Lindstrand's initials for the Colora series of 'LC1'.

MEASUREMENTS
Height: c. 12.1" / 30.8 cm tall (from base to rim) x c. 3.9" / 10 cm in width (across widest point). Depth: c. 2.8" / 7 cm. Base measurements: 2.6" / 6.5 cm x 2.2" / 5.6 cm. Rim: 2" / 5 cm (across widest point) Unpackaged weight: 1.0 kg / 970 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Vicke Lindstrand (b. 1904 - d. 1983) is considered as one of the most influential 20th-century glass artists and a pioneer of glass art. Lindstrand's prolific career included many design highlights, including his ability to excel at a technique called Cased Glass (known to many glass collectors as 'Sommerso'), in which a vividly coloured or patterned section of glass is surrounded by and seems to float within a clear crystal body.

Lindstrand's career began in commercial illustration before finding employment at the glass manufactory Orrefors. He would join Kosta Boda in 1950, remaining there until 1973. Beyond his commercial work, he also produced several massive public sculptures around the world. Today, his works are in many museum collections, such as the Victoria and Albert Museum in London, the Museum of Fine Arts in Houston, and The Museum of Modern Art in New York.

Kosta Boda is Sweden’s oldest glass company, founded in 1742 and began making art glass — that is, unique and limited edition pieces — with the hiring of the painter Gunnar Wennerberg in 1898. Kosta Boda enjoys a reputation as the country’s most artistic and experimental glassworks, featuring artists and sculptors.

There are few Kosta Boda designers who stand foremost in the minds of collectors, one is Vicke Lindstrand, who excelled at a technique of 'Sommerso', or cased glass.

THE ITEM
This fantastical, brutalist mid-century piece is from the Chamotte series (also known as the 'Hedgehog') and is by the renowned ceramic artist and designer Gunnar Nylund (b.1904 - d.1997). Nylund became well known for his Chamotte sculptures and designed the series during his time as artistic director at Rörstrand.

Personally, I see a resemblance to the thick shaggy fleece of a Scandinavian mountain sheep in the Chamotte decor. Chamotte is also known as 'firesand', a raw ceramic material which has a high percentage of silica and alumina. It can be produced by firing selected fire clays to high temperatures before grinding and screening to specific particle sizes.

The decor makes this an exceptionally tactile piece, the highly textured, rough surface with the glossily glazed decor is a fabulous juxtaposition and gives an ideal canvas to create varying hues in the Deep Gold glaze. The size of this piece is the largest of the three available sizes, giving it extra presence and making it a statement piece.

CONDITION
Superb. There is light use wear to the interior and the external decor that is commensurable with age. From production, there a minimal hairline crack that is visible at the rim. Please refer to photos as they form part of the condition report. The base bears the inscribed Rörstrand stamp, however, it is faint and only the letters 'Ro' and one crown from the stamp can be seen.

MEASUREMENTS
Height: c. 8.3" / 21 cm by c. 6.3" / 16 cm in width (across widest point). Base diameter: c. 3.1" / 8 cm. Rim diameter: c. 2.6" / 6.5 cm. Unpackaged weight: c. 2.9 kg / 2,883 g

NOTES
Vase will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

A BIT OF HISTORY
Gunnar Nylund (b. 1904 – d.1997) Nylund was a Swedish ceramic designer since the 1930s and is perhaps best known as the artistic director of Rörstrand and was already a well-established ceramic artist in Denmark - first at the Bing & Grøndahl Porcelain factory in Copenhagen and later at Saxbo.

Nylund was resident at Rörstrand from 1931–1955 and for the majority of this time, as artistic director. He became well known for his new matte feldspar glazed stoneware in hare’s fur and crystal glazes and for his stoneware animal sculptures. Over five decades, Nylund crafted some 30 reliefs and sculptures commissioned for public spaces, including Europe’s largest stoneware fountain the “Scanisarius” in Bromölla, Sweden.

Most of Nylund’s original sculptures in stoneware chamotte ended up in museums, as did much of his other work. Sculptures such as the “Lion Head” is found at the National Museum in Stockholm, “Blue Bird” is at the Sèvres museum in Paris, his antelope head “Abyssinian mountain nyala”, is at the Röhsska museet in Gothenburg and the “Hamadryas Baboon” is at the Malmö Museum.

His piece “Bulls head in oxblood” was bought by the Ateneum museum in Helsinki. And a lot of his other work can be found at other museums around the world.