These beautiful works of Brutalist Modern design is by Icelandic pottery Glit.
Germany has Fat Lava, France has Foam Lava - Iceland's lava expression was to incorporate real lava into their glaze. The rarity of these pieces comes from the exquisite blending of Slate grey-blue decorating the dish and the additional tones of deep green and dark charcoal brought to the vase. The gloss glaze evenly flows over the surface for both pieces, through the band of lava shards in rivulets and intersperses with pale highlights on the vase.
It's easy to see why these pieces are sought after and how the skill in creating these pieces is being celebrated. The poetic colour palette of these works reflects the original inspiration that sparked its creation - the Icelandic landscape which the mineral, clay and lava were taken from.
Excellent. No cracks or repairs. Mentioned for completeness; there is mild wear on the lava shards of the dish that is commensurate with the age of the piece. Please see photographs as they form part of the condition report. The underside of the vase bears Glit's logo and the dish comes with the original paper label denoting 'Glit, HF, Handmade Lava Ceramics'.
Chalice Bowl: Height: c. 5.1" / 13 cm high by c. 5.5" / 14 cm diameter (across the widest point) Base diameter: c. 3.2" / 8.2 cm.
Vase: Height: c. 4.7" / 12 cm high by c. 3.1" / 8 cm diameter (across the widest point). Rim diameter: c. 1.8" / 4.5 cm (across widest point). Unpackaged weight [both pieces]: c. 0.7 kg / 715 g
Duo will be securely packaged and shipping will be insured. Please note that this listing is for the Glit ceramic pieces only. Shipping will be combined for multiple items.
A BIT OF HISTORY
Glit Reykjavik Pottery was the only ceramic factory in Iceland when it was founded by Ragnar Kjartansson, sculptor and ceramic artist (b.1923 - d.1989) in 1958. Kjartansson founded Glit together with Einar Eliasson, Pétur Saemundsen. Kjartansson was a member of the Icelandic Sculptors Society, which he established in the Icelandic capital in 1972.
Glit was adamantly devoted to utilising Icelandic clay and ground minerals in production during its first decade of operation—especially hardened lava. In many ways, the studio, was well ahead of its time — making deep impressions in the history of Icelandic ceramic art.
Many of the country’s best-known 20th-century artists worked at Glit at one point or another, the place became known as an artistic breeding ground, especially during the time when Ragnar was in charge of the manufacturing workshop at Othinsgata. Technological advances and the desire to increase production led Glit to shift gears, moving them from Iceland’s history of art and design and into its industrial history.