Michael Andersen Auction Find

Another of my great Auction buys from this week. This is a large (35cm) tall stoneware vase by Michael Andersen and Son. I'm not sure of the date - the glaze was one that they used in the 1930's through the 50's but the shape and spiral designs say 1960s to me.

This large vase has lovely colour runs of dark greens an browns - almost a marbling effect - which contrasts with the orange spiral motifs and rope like orange rim. It makes a great floor vase.

Auction Find - Bjørn Wiinblad- Værksted Candle Holder

This is another of the great Auction finds I had yesterday. This one is a later (1984) Bjorn Wiinblad Candlestick Holder (about 30cm) from his own factory "Værksted" (Bear) which he opened in 1952 while continuing to work for Nymolle, and later Rosenthal (amongst many other commissions). This piece is typical of his figurative blue and white patterns with their lovely flourishes.

His output of work was nothing short of phenomenal. I have also recently found out that he was the owner of KNAPSTRUP pottery, which I have always admired.

To read more about Bjorn Wiinblad, have a look at my first post on him which I have also just updated with a few more details. HERE

Soholm - Auction Find

I had a very productive day at the auctions today, after a quiet few weeks-getting a number of quite significant pieces, plus some other smaller interesting ones as well which I will share over the next few days.

This piece is a highly coveted pattern by Soholm that is very hard to come by - also a very large piece at 33cm in diameter - a great table centerpiece. The glaze is a lovely satiny oatmeal with the great images of flowers in cobalt blue. A true retro collectors piece.

If you havent seen my post on the history of Soholm Pottery read it here

Royal Albert Gossamer 1950

Generally I'm not a lover of Royal Albert China as I find the patterns too fussy as are many of the shapes- which is what attracts many collectors to it in the first place. Its quality is undoubted though - it is incredibly hard bone china that never seems to crack or craze. Most of the designs have a very English "cottage garden" or "romantic" quality to them. The designs however do change with the times, and  have been adapted and updated through periods of fashion from 1896 until the present day.

There are two Royal Albert patterns which I like for their simplicity and finesse. One is "Safari" and the other "Gossamer".  The Gossamer pattern was introduced by Royal Albert in 1950. The simple "smooth" shape suits the design and it all works well. Another of the shapes in this pattern "Lyric" I find too Baroque and fussy. Gossamer continued on into the 1970's in various shapes, and there is quite a nice mug design in Gossamer from the 1970's.

The photographs here are of Cup, Saucer and Plate trios all from the 1950's, in the "simple" shape. The design was produced in 6 colours - Blue, Grey, Green, Pink, Yellow, Orange. I quite like it when the pieces are interchanged to make it more interesting.

Studio Pottery by Carmelite Nuns

South Australia has a fascinating history of Studio pottery, ceramics and brickmaking from its foundation as a British Colony in 1836 until today. Adelaide is the only Australian city literally built on clay. Amongst my favourite South Australian potteries of the second half of the 20th Century, is Carmel.

Carmel Pottery began around 1959 after the Carmelite Nuns at their Glen Osmond Convent were taught the techniques of throwing, glazing and firing by a former graduate of the South Australian School of Arts and Crafts Thelma Fisher, who had learnt her technique from Kelly Koster of Kosters Pottery. Koster had a precise and mathematical approach to throwing forms on the wheel, and this technique was passed down through Fisher to the Carmelite Nuns.

It was the simplicity of form, and sense of perfection about the pieces which first attracted me to the work of the Nuns. My Aunt who was a Roman Catholic had some of their pieces, and I can remember being fascinated by the simple beauty of the pieces as a teenager, especially the subtle decoration they used.

Originally 2 sisters were taught by Fisher - sister Gemma Derrida and Sister St John. Their work was sold from the convent as Carmel Pottery. Sister Gemma left the convent in the late 1970's to set up her own pottery under the name of Carmel-Gem. I'm not sure when the Carmel Pottery ceased production, but It was still operating in the 1980's. In 2008 the beautiful convent and its massive grounds with olive groves was closed and later sold.

My favourite pieces of Carmel/Carmel Gem are the pieces from the early to mid seventies, like these by Sister Gemma.

Lin Utzon - Rosendahl - Hans Christian Andersen Plates

I just had to share this find with my readers even though not quite Retro...it does however tick all the right boxes for me - Danish, Blue & White, Great Designer, Superb Porcelain, Superb Manufacturer.

Erik Rosendahl established Rosendahl, Copenhagen in 1984. They are one of the top manufacturers in Denmark of design for the home and table.The list of their designers and licences is amazing, and amongst their top designers is Lin Utzon. Lin Utzon’s father was responsible for designing the iconic Sydney Opera House.

2005 marked the bicentenary of HANS CHRISTIAN ANDERSEN, and Rosendahl launched a Hans Christian Andersen dinner service, designed by Lin Utzon to celebrate this anniversary. These (31cm) service plates are inspired by six of Hans Christian Andersen’s best-known fairy tales: The Little Mermaid, The Ugly Duckling, The Snow Queen, The Butterfly, Thumbelina and The Nightingale.

The motifs are white and stand out brilliantly against the deepest of cobalt blues - a combination that hallmarks many of Lin Utzon’s creations. This dinner service won the prestigious Germany design prize DESIGN PLUS 2004.

Simply breathtaking. Imagine having a whole dinner service in white, with these as service plates.Very elegant, very designer, very Danish.

Read Lin Utzon's Biography here on the Rosendahl site, and while you are there, drool over their amazing tableware and ceramic designs. HERE

I want one of those watches too!

 

New Retro & Vintage Listings in my Store

I've spent the large part of the past 2 days listing items in my eBay store, as I haven't had much time to get to it lately. There are some lovely retro and vintage items, some of which have already sold. Here is a selection of some of my favourites - Click on the store tab or link to go to the full listings.

Lotte Figgio Milk Jug

 Danish Stoneware Wall Plaque

 Susie Cooper Original Duo - circa 1930

 1 of 5 Chinese Cloissonne Enamel Pill Boxes c 1950

 Carlton Ware Tea Set Retro 60's

 Beautiful Large Jar, Einar Johansen Soholm Blue Series

 Selsbo Denmark, Stoneware Bottle

 Traditional Danish Christmas Bowl

for Candles & Pine Needles

 Bing & Grondahl 150th Anniversary Bell

Bing & Grondahl Hallins-Koch Jardiniere

Joghus, Bornholm Denmark, Tribal Vase

Auction Find - Midwinter "Mexicana" Jessie Tait 1966

I was lucky to find a complete Midwinter "Mexicana" dinner set at auction earlier this week. It was one of those patterns that I was immediately attracted to, but hadn't seen before. I know the Midwinter "Stonehenge" range quite well, as I have had many of the designs in that range previously...and it is something I need to do a post for on the blog given its popularity.

"Mexicana" was designed by the iconic Jessie Tait for Midwinter Pottery in 1966. It was the only hand painted pattern she produced for the new "Fine" shape begun in 1962.

The Fine shape was developed to have more strength and durability and improved "whiteness". The straight sides were perfect for decoration, and the shape was also designed to stack well and some of the pieces were designed to have dual functionality. These new shapes were very popular with the public.

The Mexicana pattern was painted in rust, ochre, olive, grey and black. The pattern was later produced as a transfer pattern to speed up production. It is such a fresh looking design and it wouldn't look out of place in a kitchenware shop today - I think both the colours used and simple design are just timeless.

Portmerion Totem 1963, Susan William-Ellis

This week I was lucky enough to buy several pieces of Portmerion "Totem" at Auction. Apart from the white piece I bought last week, I've never come across it before at auction - although Ive seen pictures of it.

Originally launched in 1963, Totem propelled Portmerion pottery into stardom and is now considered to be a design icon of the 1960s. It was designed by Susan Williams-Ellis the owner of the pottery.

Like Denby Chevron and Arabesque by Gill Pemberton at about the same time, it was a revolutionary design and created a sensation as there was nothing else like it. It was successful into the seventies, and the motifs on the ware are the most copied of all design motifs of that period. I think there is something quintessentially Celtic or English Tribal about it.

It had a striking cylindrical shape and beautifully textured surface, featuring stars and spirals, making you just want to touch it. These designs were carved directly into the moulds by Susan. It was originally made in 3 colours – blue, amber and dark green. The translucent flow glaze accentuated the relief pattern. I'm not sure when the white was introduced - but if anyone knows please leave a comment.

The idea for the shapes of the range was a practical one. When Susan and her husband had bought the pottery a few years earlier, it had been Kirkham’s Pottery. In the factory there were a large number of cylindrical moulds that had been used for making medical, pharmacological and laboratory vessels. Susan put them to creative use in designing the Totem range.

 In these images you can see the beautiful transparency of the glaze, and the amazing depth of the teapot lid! - designed so you didn't have to hold it to stop it falling out when pouring.

This year for its 50th Anniversary, PORTMERION has re-released the totem design in a anniversary mug in white.

Australian Studio Pottery of Victor Greenaway

This post in italic below has been re-posted with permission from the very important and significant blog on Australian Pottery 1960's to date, run by Judith Pearce who also runs a studio-pottery gallery and shop, at Bemboka (near Canberra, Australia's Capital). Judith has a huge collection of Australian Studio Pottery from this period, and it is a must see if you are in that region.

The post is on a Victor Greenaway 1970's "Dinner Party" - what a great idea.

One of the Victor Greenaway items that we have acquired for our collection is a six piece table setting dating from 1969-73, with dinner plate. side plate and bowl. Glazed in red and yellow rust, and heavy to hold, these pieces are archetypal examples of the brown stoneware associated with the early 1970s. I wondered how this set would have looked at a dinner party in 1974.

 We decided to put it to the test and here is the result, on our Tasmanian blackwood dinner table, with goblets and carafe from the same period. In the slanted evening sunlight the pieces glow with warmth, and the straight-sided, flanged goblets that were Greenaway’s signature through to 1995 have a timeless appeal.What would have been on the menu? At our house, home-made chicken liver pate from the Australian and New Zealand Complete Book of Cookery (Sydney, Hamlyn, 1970) in individual stoneware dishes, beef bourguignon from Louisette Bertholle’s Secrets of the Great French Restaurants (London, Weidenfield & Nicholson, 1973) with baked potatoes in their jackets and a green salad on the side, chocolate mousse (also from the ANZ book) for dessert, and a cheese plate to finish.

To find out more about Victor Greenaway, who is still producing wonderful studio pottery, go to Judith's blog post on his work HERE. There are also a number of books on Vic and his Craft.

Below is my favourite piece of Vic Greenaway. I have about 20 pieces, all purchased from eBay. This one is a beautifully made teapot - I think from the early 1980's.

L.Hjorth, Denmark

The Hjorth Factory was founded in 1859 in Roenne on Bornholm, and island off Denmark.

Lauritz Hjorth was a trained potter. He started the factory in his parents house in Roenne. In the beginning production consisted of utilitarian terracotta pieces. From 1862 he solely made vases and figurines in terracotta. Models of antique and old Norse vases were the latest fashion at the time, and his products were sold worldwide.

Hjorth Terracotta was well represented at the World Exhibitions. In 1862 the factory could moved its location to Krystalgade - the production including decorative items, at a time when such factories generally produced kitchen utensils.

By the 1880 Hjorth pieces were sold in the big department stores of Paris, London and Berlin, and as far away as Australia and the United States. Around 1900 “Jugendstyle” made it's entry at Hjorth's, represented mainly by a black burned terracotta. This work was inspired by the style of sculpor Bertel Thorvaldsen who's work was manufactured at Hjorth.

Lauritz Hjorth's two sons, Peter Christian Hjorth (1873-1959) and Hans Adolph Hjorth (1878-1966) took over the production in 1912. Hans Hjorth produced the factory's first stoneware in 1902 for which he received several international awards.. The children of Lauritz Hjorth took over the company following their father's death in 1912.

Above: A page from the Hjorth 1930 Catalogue - All of my terracotta pieces photographed here are in this catalogue, which makes dating easy for a change!.  Fortunately also there is a Hjorth Museum on Bornholm, with an online presence which has many of their catalogues from 1884-1967 digitised, available HERE. The Hjorth backstamping is sometimes hard to ready, but once you are familiar with it, its quite recognisable. There seem to be quite a few variations on the font, and size of font used. Sometimes the stamp is "Hjorth, Bornhom", and sometimes "Hjorth Denmark" - possibly to do with whether it was for export or not. From 1927 a Deer was added to the backstamps. All pieces have the shape number written or stamped as well. I've never seen any of the backstamps pre-1927 however. (and cant find any documented)

Thora Hjorth was in charge of the painting workshop, where she decorated most of the work, while her brothers did the throwing and turning. At the World Exhibition in Brussels in 1910, Hans Hjorth’s stoneware received the gold medal. 

All the terracotta pieces pictured are from my collection, and all from the same period as I have already mentioned. This ware comes up for sale regularly in Australia, due to its being imported in huge amounts around the 1930's. It is also very tough ware - although terracotta - it has been fired to stoneware temperatures (around 1280c) making it quite strong. It also has the loveliest of silky finishes - being a very fine grained clay.

During World War II they started the production of white-glazed fajance, which can be seen in the catalogues I mentioned above.  It was a wide selection of many item-numbers from tea-sets to bowls and dishes - often with narrow, close set grooves. This style was designed by Erik Hjorth (Peter Hjorth's son). The piece below is one of mine, I believe from around the 1960's, and continues with that theme.

The Fourth generation Hjorths - Ulla and Marie Hjorth took over the factory in 1982 after the father Erik Hjorth. Both sisters work with studio ceramics as well as tableware.

Hjorth responded to trends, effortlessly spanning movements as diverse as art deco, bio morphism, and always honouring their commitment to technical excellence and impeccable quality.
In the past several artists were connected to the factory:

• Holger Drachmann (painter and poet 1846-1908)
• Kristian Zahrtmann (painter 1888-1968)
• Gertrud Kudielka
• Adam Fischer
• Lisbeth Munch-Petersen (daughter of Hans Hjorth)
• Ursula Munch-Petersen (grand daughter)
• Jane Reumert
• Ulla Gahrn

The piece below is one of my favourites of all the Hjorth pieces. It is a small stoneware bottle, and everything about it is perfect - the shape, the exquisitely fine decoration, the glaze, gloss and colour. Probably from around the 1960's

The factory closed in 1993, but reopened in 1995 as a working museum.