Danish

This carefully hand-built and exquisitely illustrated work is by celebrated Danish illustrator and glass, silver, textiles, ceramics designer Bjorn Wiinblad (b. 1918 - d. 2006). This particular piece was created for Bjorn Wiinblad's very first ceramic workshop in Kongens Lyngby [tr. 'the King's Heather Town'], Denmark. 

The interconnecting form of this piece is that of a sweet songbird with the head cleverly forming the salt and pepper shaker and the body providing two small wells to hold liquids such as oil and vinegar. Highly romantic, Wiinblad applied his exceptional creativity and imagination to tactile details beyond the overall bird body. From the mildly raised eyes to the swelling wings, care is given down to the tiny crest atop the bird's head.

Handpainted onto the form is the blue-on-white illustrated design with beautifully intricate detailing with tiny rosettes, tendrils, and thistles adorning the body to create this highly tactile mythical songbird. 

Stylistically timeless, the design and excellent condition of this piece as well as Wiinblad's full signature with the rare beret-wearing artist caricature makes it a particularly rare and noteworthy find of Wiinblad's early work. 

CONDITION
Excellent. No chips, cracks, or repairs. There is mild wear that is most evident in the form of faint movement marks on the underside that is commensurable with the age of the piece. The underside bears the signature 'Bjorn Wiinblad, 56 [year of production], DANMARK' and artist caricature.

MEASUREMENTS
Height c. 4.1" / 10.3 cm (from base to rim) x width c. 2.4" / 6.2 cm (across widest point). Length: c. 5.2" / 13.3 cm (longest point). Base: c. 2" / 5 cm x c. 2.3" / 5.8 cm. Unpackaged weight: c. 0.2 kg / 200 g

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

A BIT OF HISTORY
Bjorn Wiinblad (b. 1918 - d. 2006) 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 with 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, books, 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 the owner of 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: https://www.rosendahl.com/en/intl/bjoern-wiinblad/stories/about-bjorn-wiinblad

THE ITEM
This stunning work is of Modernist art glass is a celebration of the highly skilled Murano Sommerso technique. Sommerso is one of the most famous Murano techniques, ['Sommerso' translation: 'submerged']. Sommerso is used to create several layers of glass (usually with different contrasting colours) inside a single object, giving the illusion of immersed' colours without mixing. This technique is easily recognisable; characterised by an outer 'casing' of clear glass and the thick 'bands' of coloured glass inside it.

This particular piece has the sought after triple-layer Sommerso, beginning with a core of Apple green, the next layer is vibrant Ocean blue and the final layer is a graduating Magenta pink. The work is finished with the wings of Azure blue which flourish with a flare at the rim.

The cased layers are arranged in an abstract pitcher shape with a gently exaggerated rim. The effect of each colour is similar to freezing the moment in time when a paintbrush is dipped into water and the colour ripples outwards.

This exceptional piece is unique as it features Kintsugi golden seams following a careful repair and highlighting process and even rarer as Kintsugi is typically applied to repairing ceramics rather than glass. The Kintsugi technique used is modern and has been applied in a tactile manner, a striking compliment to the colour palette of this piece.

CONDITION
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin. There is natural and very mild surface wear that is commensurate with the age of the piece.

MEASUREMENTS
Height: c. 7.8" / 20 cm tall by c. 4.3" / 11 cm width (across body's widest point). Base diameter: c. 1.8" / 4.5 cm. Depth: c. 2.4" / 6 cm. Unpackaged weight: c. 1.1 kg / 1,135 g

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

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 typically 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

Presenting this work of art, of Scandinavian Mid Century design in earthenware by ceramist Johannes Hedegaard. 

The relief is part of a series designed by Hedegaard where the composite raw earthenware, glazed or unglazed, would be contrasted by the brightly coloured and patterned gloss glaze. 

This particular piece is of unglazed earthenware, the figure is subtly rich in details such as strands of hair and facial feature shadows. The patterned gloss glaze decor is a rich blend of auburn and pale blue, delineated with a scalloped Cobalt blue bands.   

A BIT OF HISTORY

Johannes Hedegaard (b. 1915 - d. 1999) was a Danish ceramist and sculptor. He was trained as sculptor at the Royal Copenhagen Factory and the Academy of fine art in Copenhagen 1930-1935. Assigned with Royal Copenhagen from 1948-1966. His work is exhibited at the Lunds Museum, Sweden; Chicago, USA and several Danish Museums.

Aluminia was a Danish factory of faience or earthenware pottery, established in Copenhagen in 1863. In 1882, the owners of Aluminia purchased the Royal Copenhagen porcelain factory. The factories were operated independently under their respective trade names until 1969, when the use of the Aluminia name was ended.

CONDITION

Excellent. There are no chips, cracks or scratches or crazing in the glaze as might be expected from a piece of this age. The back of the ceramic has the appropriate openings for fixing to the wall. There is also the Royal Copenhagen Aluminia 'BA, Denmark' mark, Hedegaard's signature and the numbering of '160/2798' pieces. 

MEASUREMENTS

c. 12.8" /  32.5 cm tall (from base to rim) x 10" /  25.5 cm in width. 

Unpackaged weight:  1.6 kg / 1,638 g

NOTES

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

THE ITEM
The 'Kluk Kluk' carafe has become a well-recognised design for Kastrup and Holmegaard glass, it is said that it became known as the Kluk Kluk or 'Cluck Cluck' decanter due to the distinctive sound made when pouring. Just as Gaudi was infamous for creating his designs to become as fitting to the human form as possible, this decanter was designed with a 'pinched waist', making it easy to maintain a grip when in use.

The quality of the glass is evident throughout the lithe yet sturdy form.

CONDITION

Excellent, no damage or evidence of use, there is light wear (such as movement marks on the base of the decanter) which is commensurable with age. Please see photos as part of the condition report.

MEASUREMENTS 
Per decanter: Height: c. 8.1" / 20.5 cm tall (without stopper) and c. 9.4" / 24 cm tall (with stopper)
Per decanter: Width: 3.3" / 8.5 cm wide (across the base)

Unpackaged weight (both decanters): c. 1.2 kg / 1,228 g

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

A BIT OF HISTORY

Holmegaard was founded in 1823 after Count Christian Danneskjold-Samsøe petitioned the Danish king for permission to build a glassworks. He died before permission was granted. However, when permission was finally received in 1825, his widow Countess Henriette Danneskjold-Samsøe pursued the project and began production. Much of Holmegaards early work was regarded as derivative and inconsequential, but between the 1930s and 1980s, it was transformed by the designs of Jacob E. Bang (1899-1965), Per Lütken (1916-98), and Bang's son, Michael (1944-2002). Today the company is known for its high-quality products of Danish design.

Jacob E Bang (1899 - 1965) is known as Denmark’s first industrial designer and the creator of functionalism in Danish glass. Graduating from the Royal Danish Academy of Fine Arts in 1921 as an architect, he began his career Kay Fisker’s design studio.

Jacob E. Bang’s glass design, which was popular and virtuosic, achieved great recognition and popularity, and today many of his works have become style icons and collectables. He believed his designs should be beautiful, strong and practical.

Bang was one of the few Danish designers of the time and won several medals at world exhibitions; Barcelona in 1929, Brussels in 1935, Paris in 1937 and New York 1939. From 1957-65, he was the artistic director of Kastrup Glassworks.