Crown Devon Art Deco, Jasper Palette London Carved Pitcher Jug Vase and Caisson Vase, 1930s
Regular price£73.00
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These elegant works of Art Deco design are by the British Pottery Crown Devon. The carved pitcher jug is Crown Devon's 'London' jug form with the '371' Caisson form vase. Both works are in a matching 'Polished Orange Jasper' glaze and are highly tactile; particularly the London jug with its most standout feature of the vase body swelling around the carved lines, making each section exquisitely touch inviting. The Caisson vase bears subtle geometric and mirroring Art Deco accents of raised stripes and handles.
The semi-matte Polished Orange Jasper silk glaze décor is a blending of Pale Peach dappled with Cinnamon and Espresso Coffee brown. The sumptuous glaze creates the effect of Polished Orange Jasper chalcedony gems. Both pieces are stylistically timeless and the combination of the designs, colour palette as well as the excellent condition makes them a rare find.
CONDITION Excellent. There are no chips or repairs. There are mild and negligible movement marks on the underside of the base that is commensurate with the age of the pieces. Please refer to photos as they form part of the condition report. The underside of the bases are unmarked but the London jug vase is inscribed with 'London' and the other vase is inscribed with the model number '371'.
MEASUREMENTS - London Jug Height: c. 5" / 12.6 cm (from base to rim) x c. 5.1" / 13 cm width (handle to spout). Rim diameter: c. 1.9" / 4.7 cm. Base diameter: c. 2.2" / 5.5 cm. - Caisson 371 Vase Height: c. 5" / 12.8 cm (from base to rim) x c. 3.5" / 8.8 cm diameter. Width: c. 4.7" / 12 cm (handle to handle). Base diameter: c. 2.8" / 7 cm. Unpackaged weight [Pair]: c. 0.9 kg / 855 g
NOTES Vases will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Crown Devon Fieldings (1870 - 1982) The pottery was founded in 1870 by Simon Fieldings in Stoke on Trent but it would be 10 years later before they began to produce Majolica style pottery that was popular during the 1880s. Their product range began to expand in the 1890s, working with British United Clock company and they would continue to expand their product range as popularity flourished after successful world trade fairs in the 1900s. They sustained their success for over a century before sadly closing in 1982 at the time of the recession.
This striking work of 1930s Bauhaus Art Deco design is by Carstens Uffrecht Pottery and attributed to the then lead designer Hildegard Delius (b. 1896 - d. 1955).
The geometric Bauhaus influence is very evident in the evenly-arched, stylised architectural form and further accentuated through subtle plays of cross-hatching within the glaze décor. The sumptuous hand-painted glaze is a base of Vanilla cream that is overlaid with a palette of orange shades, including Apricot, Marmalade, Amber, and Ochre, and further elevated through deeper Coffee brown tones.
Whether on display or used around the home, this work is timelessly stylish in design yet also an excellent representation of the Bauhaus Art Deco movement.
CONDITION Excellent. No chips or repairs. There is a single hairline stress crazing that is very faintly visible to the naked eye but commensurable with the age of the piece, please refer to photos as they form part of the condition report. The underside of the dish is marked with Carsten Uffrecht's stamp denoting 'DEK18' and model number '444'.
MEASUREMENTS Height: c. 2.6" / 6.5 cm tall (from base to rim) x c. 11.8" / 30 cm in length (across longest point). Width: c. 9.6" / 24.5 cm (across widest point) Base measurements: c." 6.4 / 16.2 cm x c. 5.9" / 15 cm. Unpackaged weight: c. 1.0 kg / 980 g
NOTES Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Carstens Uffrecht that was founded in 1845 by Jacob Uffrecht. After the Second World War, the Carstens family lost their ceramics and porcelain factories in East German territory. In 1945, Carstens Uffrecht became the East German vases maker VEB Haldensleben. VEB stands for the German “Volkseigener Betrieb”, meaning a people-owned enterprise and related to state-owned workplaces in the GDR.
Hildegard Delius (1896-1955) and her husband Klaus Delius were the known designers from the mid-1920s to mid-1930s at Carstens Uffrecht, echoing the architectural vision of Bauhaus founder Walter Gropius.
VEB Haldensleben mainly concentrated on making vases of high quality. Like the vases of Strehla, the colours are more subdued than the vases from West Germany. Often there is at least one metallic glaze on the vases. When Germany was reunited in 1990, the former East German factory was again owned by the Carstens family and the name was changed to Carstens Keramik Rheinsberg.
Arthur Percy for Gefle Upsala Ekeby, Buttermilk and Daisy White Dotted Relief Vase, 1950s, Swedish
Regular price£183.00
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This work of beautifully understated elegance is of Scandinavian mid-century design and by Upsala Ekeby's renowned artistic director, Arthur Percy (b.1886 - d. 1976). In this piece, Percy combines the gentle curves of the classic bottle flask form with a touch-inviting décor. The décor is built on a base of semi-matte clear glaze that highlights the natural Pale Buttermilk cream clay, this is then overlaid with a tessellation of tactile smooth and glossy Daisy white dots of glaze. The piece is finished with a striking contrast of semi-matte Natural Indigo blue on the interior of the vase.
The overall design is a seamless blend of simple sophistication, elevated elegance and Swedish mid century Modernist design.
CONDITION Excellent. No chips, cracks or repairs. There are negligible movement marks to the underside of the base that is commensurate with the age of the piece as well as trivial flaws from the production process (e.g. a small number of white dots have picked up spots of the indigo pigment). The underside also Upsala-Ekeby stamp with the numbers '5062' and 'PERCY' as well as the inscribed initials of 'YW'.
MEASUREMENTS Height: c. 6.9" / 17.5 cm tall (from base to rim). Rim diameter: c. 1.2" / 3 cm. Body diameter: c. 4.1" / 10.5 cm (across widest point). Base diameter: c. 1.8" / 4.6 cm. Unpackaged weight: 0.3 kg / 300 g
NOTES Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Carl Arthur Carlsson-Percy (b.1886 - d. 1976), a leading Swedish ceramist, artist and artistic director, born in Vickleby in 1886. During his early career, Percy travelled to Stockholm and Paris to develop his skills and techniques as a decorative painter, attending schools such as the Académie Collarossi and Matisse Painting School.
He would go on to become artistic director in 1923 at Gefle Porslinsfabrik (which became part of Upsala Ekeby in 1936) and in 1942 he became artistic director at Karlskrona Porslinsfabrik. His early work is characterised by items with soft decorations of flowers and birds and Italian 14th and 16th century inspiration.
During the 1920s, his renowned work includes the series "Gefle", "Vinranka", "Floating Blue", "Iris", "Three Flowers", "Silversties" and "Christina". During the 1930's and 40's came "Suecia", "Exotica" and his perhaps most famous décor "Rubin".
Percys art is represented in a large number of Swedish and foreign museums, including National Museum and Modern Museum, Prince Eugens Waldemarsudde, Art Museum in Gothenburg, and museums in Malmö, Norrköping, Lindköping, Västerås, Borås, Jönköping, Kalmar, Karlstad, Gävle and Östersund, etc. Abroad, one can find his art at the Sévres Museum in Paris, the Musée des Beaux-Arts in Pau, the Victoria and Albert Museum in London, the Metropolian Museum in New York and the Lubeck Museum in Germany and others.
Crown Devon Art Deco, Harlem Series Sandstone Palette Carved Pitcher Jug Vase, British, 1940s
Regular price£48.00
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This elegant work of Art Deco design is by the British Pottery Crown Devon. The pitcher jug form is seemingly simple but there are actually a number of subtle Art Deco design nuances incorporated into the design. The body is accentuated by the gently exaggerated curves at the belly and handle, with a finishing accent of a lightly fluted rim and spout. The most standout feature is obviously the carved detail and the way the body of the vase swells around the carved lines, making each section exquisitely tactile.
The semi-matte silk glaze décor is a blending of Sandstone beige, dappled with dashes of pale Golden Sand, this graduates into a wash of Marigold amber. This refined piece is stylistically timeless and the combination of the design, colour palette, size as well as excellent condition makes it a particularly rare find.
CONDITION Excellent. There are no chips or repairs. There is mild and negligible crazing all over that is commensurate with the age of the piece. Please refer to photos as they form part of the condition report. The underside of the base bears Crown Devon's stamp denoting 'Crown Devon, Made in England' and a further indistinct stamp with the series name 'Harlem'.
MEASUREMENTS Height: c. 5.7" / 14.5 cm (from base to rim) x c. 3.1" / 8 cm rim (across widest point). Diameter: c. 4.3" / 11 cm (across widest point). Base diameter: c. 2.2" / 5.6 cm. Unpackaged weight: c. 0.5 kg / 465 g
NOTES Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Crown Devon Fieldings (1870 - 1982) The pottery was founded in 1870 by Simon Fieldings in Stoke on Trent but it would be 10 years later before they began to produce Majolica style pottery that was popular during the 1880s. Their product range began to expand in the 1890s, working with British United Clock company and they would continue to expand their product range as popularity flourished after successful world trade fairs in the 1900s. They sustained their success for over a century before sadly closing in 1982 at the time of the recession.
Murano Mother of Pearl Satin in Pastel Rainbow, Herringbone Pattern Jug Vase, 1960-70s, Rare
Regular price£268.00
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This vividly exquisite handblown work of mid-century Murano art glass brings with it the incredible beauty created by a number of expert Murano glass working techniques.
The expert techniques showcased in this handblown and sculpted piece of art glass includes: - Satinato, the art glass technique that creates a 'frosted' or 'satin effect' - Lattimo, also known as milk glass, as the final glass looks like fine china porcelain - Zanferico, the glass technique that gives rise to elegantly striped and colourful objects. Different colours are fused together to form a striped mass that is then blown and shaped
As if the featuring of 3 exceptional Murano techniques was not enough, there is a further mother of pearl effect, Herringbone-patterned layer on the exterior surface, encasing the body. The work is finished with a ribbed and scalloped satin handle and a fluted ripple rim.
This stunning work is the Murano mid-century interpretation of Victorian art glass that enjoyed a popular revival at the time. The combination of the palette, condition, and form makes this piece a highly prized and rare find.
CONDITION Excellent. No chips, cracks, or repairs. There is very faint and negligible surface wear on the exterior of the vase. Please refer to photos as they form part of the condition report.
MEASUREMENTS Height: c. 8.9" / 22.7 cm x c. 3.7" / 9.5 cm wide (across widest point) x depth: c. 2.2" / 5.5cm. Base: c. 2.2" / 5.5 cm x c. 1.3" / 3.4. Rim c. 3.2" / 8.2 cm x c. 0.8" / 2 cm. Unpackaged weight: c. 0.8 kg / 790 g.
NOTES The vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
Miloslav Klinger for ZBS, Citrine and Neodymium Colour Change Sommerso Vase, 1960s-70s, Czech, Rare
Regular price£93.00
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This beautifully biomorphic and handblown piece was designed Czech art glass designer Miloslav Klinger (b. 1922 - d. 1999) for Bohemian glassworks Zelezny Brod Sklo (ZBS). This particular piece is particularly rare as it combines Neodymium and Citrine glass using the Sommerso 'Submerged' technique.
This work is not only special in the abstract, organic form that creates elegant refractions - it also has the ability to colour change. The colour changing ability comes from Neodymium, an element incorporated into the glass during the crafting process. Under daylight, the Neodymium glass presents as a pale lilac colour however, under indoor fluorescent household lighting, the element becomes a pale blue. Neodymium glass is often known as Alexandrite glass.
The contemporary form of this piece is composed of a clear central chamber that is cradled as well as complemented by 3 Neodymium trails. The clear chamber is submerged into a Pale Lemon Citrine base and the work is finished with an accent of 'pulling' at the rim.
CONDITION Excellent, no chips or cracks or repairs. There is very mild surface wear that is commensurate with the age of the piece and most evident in movement marks on the underside of the base. Please refer to photos as they form part of the condition report.
MEASUREMENTS Height c. 10.6" / 26.8 cm x c. 4.5" / 11.5 cm in width (across the widest point). Rim measurements: c. 3.3" / 8.4 cm x c. 1.8" / 4.6 cm. Base measurements: c. 3.4" / 8.7 cm x c. 3.7" / 9.3 cm. Unpackaged weight: 1.3 kg / 1,280 g
NOTES Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Miloslav Klinger (b. 1922 - d. 1999) Miloslav Klinger was born in Hrubá Horka near Železný Brod. After a year of apprenticeship in glass chandeliers with Josef Kleinert, Klinger studied at the Glass School in Železný Brod under the guidance of prof. Jaroslav Brychta and master Jan Stuchlík. After graduating, Klinger worked in Kleiert's company as a designer for two years. After completing his studies, Klinger returns to Železný Brod as a designer, where, apart from his brief career as director of the Glass School in Železný Brod, he remained throughout his life.
Zelezny Brod Glassworks Železný Brod is an old glass-producing town founded in the eleventh century. It was originally known as Brod ("ford") or Brodek ("little ford"). Železný ("iron") was added to its name in the fourteenth century, alluding to the town's steelworks. The town's main industry is represented by producers of blow-moulded glass, as well as that of jewellers. The Železný Brod (ZBS) glassworks was created in 1948 as a result of nationalisation, at the time, this was made up of 9 glass factories in the town. ZBS being particularly well known for its free-form organic vases and bowls designed by Miroslav Klinger.
Duo of 1984 Bjorn Wiinblad, 4 Seasons: Spring and Autumn Figures in Green and Pink | Danish, Rare
Regular price£918.00
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This elegantly whimsical duo of hand-painted and sculpted ceramic art 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. These studio works were crafted at his own Vaerksted [Workshop] studio, which Wiinblad established in 1952 in Copenhagen. Vaerksted pieces by Wiinblad show his painting skills at their best – conveying 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 decor resting in the figure's hat and the careful attention in the intricate hand-painted patterns decorating the piece and attention given even when illustrating eyelashes.
CONDITION Superb. - Forår/Spring/M20 Figure: There are 2 negligible chips to the birds at the base of the dress which do not affect the overall display quality. - Efterår/Fall/Autumn/M22 Figure: There is 1 negligible flake on the nose and minor repair behind the flower under the chin which do not affect the overall display quality.
Please refer to photographs as they form part of the condition report. The underside of each piece bears Wiinblad's 'BW' monogram, the model numbers of 'M20' and 'M22', dated with '84' and finally, denoted with 'Forår' and 'Efterår'.
MEASUREMENTS - Forår M20 Height: c. 13.8" / 35 cm tall (from base to tallest point, including hat) x c. 3.7" / 9.5 cm diameter (across widest point). Base diameter: c. 3.2" / 8.2 cm (from front to back). - Efterår M22 Height: c. 12.6" / 32 cm tall (from base to tallest point, including hat) x c. 4.5" / 11.5 cm diameter (across widest point). Base diameter: c. 3.3" / 8.3 cm (from front to back). - Unpackaged weight [Pair]: c. 1.3 kg / 1,335 g
NOTES Sculptures 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
Charlotte Rhead for Crown Ducal, Art Deco Cream and Bronze Polka Dot Planter Dish | British, 1930s
Regular price£39.00
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This elegant work of Art Deco design is by ceramics designer Charlotte Rhead (b. 1885 - d. 1947) for the English pottery Crown Ducal.
The form is mildly ridged and graduates outwards, creating a well balanced bowl. The softly geometric and pointed bronzed ridges, complemented by the tactile dots and band around the base makes the form cleanly sophisticated and classically Art Deco.
This excellent work of Rhead's iconic design makes for an stylish, edgy vessel to hold displays such as a planter for a succulents arrangement.
CONDITION Excellent. No chips, cracks or repairs. There is however, natural and mild staining on the interior as well as light wear to the bronze elements that is commensurate with age. The underside of the dish is stamped with Crown Ducal's mark.
MEASUREMENTS Height: c. 2.6" / 6.5 cm tall (from rim to base) x c. 6.3" / 16 cm wide (across widest point). Base measurements: c. 3.7" / 9.3 cm. Weight: c. 0.6 kg / 635 g
NOTES Dish will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Charlotte Rhead (b. 1885 - d. 1947) was an English ceramics designer active in the 1920s and the 1930s in the Potteries area of Staffordshire. Rhead came from an artistic family and from the beginning of the 20th century, Charlotte began working for Wardle & Co. a pottery in the nearby town of Hanley. Though she did not stay long, it gave her the opportunity to learn the skill of tube-lining, which became a technique that would become characteristic to her career as a designer.
She secured her first engagement as a designer in the early 1900s at T&R Boote before joining her father at Wood & Sons. Rhead is well known for her association with Burgess & Leigh, where she was a designer from 1926 to 1931 and also her work at Crown Ducal from 1931 onwards.
Mari Simmulson for Upsala Ekeby, 1953-56 Salix Series, Iconic White and Yellow Dot Textured 14" Vase
Regular price£448.00
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This joyful work of iconically Swedish Mid Century design is by Mari Simmulson (b. 1911- d. 2000) for Upsala Ekeby. Simmulson was a celebrated Swedish ceramics designer and ceramicist, known for many series she designed at Upsala Ekeby which went on to become classics. This hand-thrown and hand-glazed work comes from Simmulson's well-known Salix series, these earthenware works were designed in 1953.
The series is characterised by the delightfully simple form, like that of an abstract 60s pinafore dress, the glossy glaze is a palette of Chocolate brown, with 'dot' discs of Pineapple yellow on Milk white. The form of this piece and palette is undeniably exuberant, striking and vivacious, combined with the size - makes this a particularly rare find.
CONDITION Excellent - there are no chips or repairs. There is a single hairline crack on the interior of the rim that does not appear on the exterior of the vase. There is age commensurate wear in the form on crazing on the interior of the vase. The underside of the base is inscribed with Upsala Ekebys 'UE Sweden' and Simmulson's 'ms' monogram as well as the model number '4130'.
MEASUREMENTS Height: c.14" / 35.2 cm tall (from base to rim). Rim measurements: c. 3.7" / 9.5 cm x c. 3.1" / 8 cm. Diameter: c. 5" / 12.6 cm (across widest point). Base measurements: c. 5" / 12.6 cm. Unpackaged weight: c. 1.7 kg / 1,715 g
NOTES Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY Mari Peterson Särgava, ceramicist and textile artist (b. 1911- d. 2000) began her career with an internship with Arabia in Finland and it was during this time she married Gustaf Simmulson.
Simmulson moved to Sweden in 1944 and began working with Wilhelm Kåge at Gustavsbergs, staying until 1949. Her career took her to Uppsala Ekeby in 1949, where she designed vases, figures, reliefs and wall paintings, many of them noted as unique pieces. She became a leading designer at Uppsala Ekeby where she remained until the early 1970s. Simmulson also received commissions for public pieces including at Luleå Kol, Upplandsbanken and Pharmacia.