This exceptionally elegant and charming piece was designed in the 1950s 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 Nymolle and Det Blaa Hus. The monogram signature of this piece attributes it to Det Blaa Hus [The Blue House], which Wiinblad took over in 1966 and made his home as well as workshop until his death in 2006.
It is said that Wiinblad was inspired by his maternal aunt Ella when he designed this piece and the Moster Ella ('Aunt Ella') series it came from. 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 which are threaded into the figure's hair, hat and gathered in the arms. Further careful attention is evident in the resplendent marbled trim adorning the cape, the intricate patterns decorating the dress and the care taken in illustrating the freckles and eyelashes of the facial features.
This piece additionally features Kintsugi golden seams following careful repairing and highlighting. The Kintsugi technique is modern and has been applied in a tactile manner, a gentle yet striking compliment to the sculpture's tones of blue and white.
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin and there is the mildest use wear in the form of movement marks on the underside of the base that is commensurate with the age of the piece. Mentioned for completeness: sporadic and minor spots of the base ceramic can be seen, however, this is from the crafting process and not damage or defect. Please refer to photographs as they form part of the condition report. The interior of the piece bears identifying marks of: Wiinblad's monogram of 'BW', the stylised model number of 'M10', dated with '77' and finally, denoted with 'DANMARK'.
Height: c. 8.9" / 22.5 cm tall (from base to tallest point) x . 4.9" / 12.5 cm width (across widest point). Depth: c. 5.9" / 15 cm (from front to back). Unpackaged weight: c. 0.7 kg / 735 g
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
A BIT OF HISTORY
Bjorn Wiinblad was born in 1918 in Copenhagen and it would be 1935 until he began his training, from which he graduated five years later in 1940. Wiinblad sought the path to his first passion of art and enrolled in graphic school at the Royal Academy of Fine Arts and would eventually debut in 1945 with an extensive exhibition in Palægade, Copenhagen with a collection of ceramics, drawings and posters. Wiinblad became firm friends Jacob E. Bang around this time, who engaged him to work for Nymølle.
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 as well 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. Wiinblad's successes, however, would not stop there, his continued achievements have been 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.