Lehmann Pottery Denmark
Lehmann Pottery was located on the island of Langeland in Denmark, but not much else than that has been documented about their history.
It’s most active period was in the 1960s and 1970s, but ran until 2016 when it closed under different operators.
I have seen a few references to Erik (Ulrich) Lundbergh Ebeltoft as designer/maker of Lehmann pottery, and I have had pieces stamped Lundbergh Ebeltoft with a very similar look and feel to them.
Most of the pieces from this pottery are instantly recognisable with their velvety red or orange glazes, and dark brown textured (Chamotte) clay.
Lemann pottery is often stamped with a very tiny impressed LEHMANN stamp on the base, and sometimes you will find a piece with an original triangular sticker if lucky, in which case it is usually not stamped as well.
Royal Tettau Ria Design
Royal Tettau is a German/Bavarian Porcelain manufacturer with a long history starting in 1794. I found quite a concise and comprehensive history about it HERE, with all the backstamps!
This very stylish design by Royal Tettau dates to between 1954 to 1968 and from what I can see, the forms of this series are called “Ria”, and the pattern is “no. 1347, grauer Rand” (Grey Border), although these 2 terms are often transposed online and you can often find it simply called “Ria” and in Germany “Ria, 1347 Grauer Rand”
The lovely line pattern reminds me of Jessie Tait’s Midwinter “Sienna” design. The shapes are very elegant, stylish and speak of the 1950’s.
Royal Tettau Ria 1347
Royal Tettau Ria 1347 via “FromTheSeller” Etsy
Stavangerflint//Figgjo “Florry” 1960s
This is a design by Nils Aarrestad Siversten(b1920, Stavanger, Norway) called “Florry”. A stoneware (Ildfast) series. From what I can find the design dates to 1960 .
It was designed at Stavangerflint, and you can find some with the Stavangerflint stamp, and others with the Figgjo stamp – which means it was still in production when Figgjo and Stavangerflint merged in 1968.
Nils Siversten also designed for Stavangerflint “Amber”, “Bardu”, “Beito”, and “Karin” designs as well as a very popular series of decorative objects under the name of “Rondane”.
One of the charming features of this design is that the motif is a different colour on each side.
Royal Doulton “Iris” V1346
Sometimes there are designs which you come across which are simply blindingly beautiful, and this happened when I saw this design as a set for the first time.
I don’t collect or buy a lot of Royal Doulton, but I do really like some of their series from the first half of the 20th Century, in particular from the Art Deco Era.
This is the era in which Doulton created some outstanding designs which were popular for decades to follow.
The pattern is “Iris” V1346, which was manufactured between 1937 and 1940 – officially not in the Art Deco Era – but such an archetypal art deco design with its design of an Iris. The angles and forms are also an identifier of the Art Deco era.
The shapes I think are actually very similar to Royal Copenhagen of the same period – like Fensmark and Quaking Grass.
The hand painting on this set is exquisite, as is the use of colour and line. Each piece is like a work of art and it’s fascinating to see how it all fits together – e.g. when the cup is on the plate how the shapes and design relate to each other so well.
Royal Doulton “Rosslyn” D5399
After 80+ years Royal Doulton Rosslyn is still a very popular design in Australia. It is probably because it was so popular in its period – (designed in 1933 but produced for years) as a wedding gift – that many people grew up with either their mother or grandmother having at least a few pieces of the set, if not the whole thing. In this era dinner sets were huge, and usually consisted of over 100 pieces.
What I like about the Rosslyn pattern is its Art Deco look with the stylised floral motif combined which is combined with black line work on a cream coloured glaze. The floral design isn’t over fussy, and has an almost Japanese quality about it.
The black line work also reminds me of the Architecture of that period too and of the Californian Bungalow style (1920-1939) with its black timber work staining in each room (“Japaning” as it was called).
There was also a version of this which instead of the black outline, had an orange outline – but to me that version does not work. The orange line looks lost on the design, which loses its impact because of it.
Below are some images of pieces in this design which have passed through my hands. Read more
Noritake Harlequin c1953
This beautiful set of Noritake “Harlequin” demitasse coffee cups is from c1953. I used to see them come up at auctions and online frequently, but they seem to be much more scarce now.
I just love the strong colours and the lusciously thick glaze on this design – and Noritake is one of the few makers who used gold without having it look tacky – to my mind anyway – even with their totally gold glazed pieces.
It is fantastic how well these colours all go together in different combinations. Something about them also reminds me of children’s painted woooden building blocks from the same era – must be all those primary and secondary colours!
Noritake Harlequin c1953
Tuominen Pottery, Adelaide Australia.
Lauri Tuominen (b1949 -) worked here in South Australia as a potter for about 20 years during the late 1970s into the 1990’s. I remember his gallery outlet as being very successful commercially and accessible to people who knew nothing about pottery…except for what they liked.
Lauri Tuominen Studio Pottery
Practically everyone I know locally has a piece of Tuominen pottery from this period. What wasn’t purchased personally was often given as a gift, wedding present or housewarming gift etc.
Occasionally I have see Tuominen pottery for sale now mistakenly attributed as “Arabia Finland” because of the Finnish designer at Arabia, Kati Tuominen.
Lauri was Finnish born and trained as, then worked as an art teacher here for 4 years before moving full time into being a full time potter. He did some further design study in Scandinavia in his early years as a potter. In his studio he employed 1 apprentice and 1 assistant.
His large variety of domestic stoneware pottery is characterised by dark subdued glazes in earthen colours, as is much of his one-off studio ware. There were other colours produced but these darker tones were the most popular and are the ones most often found these days at auctions, second hand stores, markets etc.
Lauri Tuominen Studio Pottery Large Teapot
Lauri Tuominen Studio Pottery Blossom Vase
Lauri Tuominen Studio Pottery – Small Jug
Midwinter Designs by Charles Cobelle
When I first found the Midwinter Pottery items in the first image below at an auction, I was reminded of the work of French artist Leger…….I was on the right track at least (French)
The design turns out to be by painter Charles Cobelle (born Carl Edelman (1902-1994). His early career was in France then continued in the U.S. from the 1920’s.
I found a record of the design in the Midwinter Pottery book by Steven Jenkins. The design is called Desert Scene, and is a transfer print from a painting by Cobelle – It is known as a pattern on a range of dinner ware in the “Fashion Shape” (c 1955-1960)
Midwinter Dinnerware, Charles Cobelle Desert Scene
Here is a fascinating summary of the life and work of Cobelle from Wikipedia: Read more