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Posts from the ‘European Makers’ Category

Glit Iceland

In the previous incarnation of this website, I had a brief article on Glit Pottery, Iceland. At the time I could not find out much about the maker, except that early Glit works were heavily textured and utilised volcanic lava melted into the glaze as decoration. This early Glit pottery featuring pumice, lava rock and ash was not that well known at that time outside Iceland, but over the past few years has become very collectable.

The images below are of a large piece of Glit pottery I had in 2013.

Glit Iceland

Glit Iceland

Glit Iceland

Glit Iceland

Glit Iceland Stamp

Early Glit Iceland Stamp

Recently I found out more about Glit, when I came across the Design Museum Iceland, which in 2013 held a retrospective exhibition of works from Glit Pottery.

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Rorstrand Fiesta

Rorstrand “Fiesta” was produced c1950s by Rorstrand Sweden. It is a timeless design, equally at home in a contemporary kitchen. This was a golden era for Rorstrand, with designers like Marianne Westman, Birger Kaipiainen, and Inger Person working there. The designs by Marianne Westman are said to have produced 45% of the company’s turnover in the 1950’s to mid 1960’s

However I haven’t been able to ever find any reference to the designer of “Fiesta” which came in 3 colour-ways. Yellow, Red and Blue.

The design is a simple, striking design consisting of a black line pattern, over hand-painted yellow, blue or red banding. The forms are simple, generous, streamlined and elegant.

Rostrand Fiesta

Rostrand Fiesta – Yellow Variation

Rostrand Fiesta - Yellow Variation

Rostrand Fiesta – Yellow Variation

Rostrand Fiesta - Yellow Variation

Rostrand Fiesta – Yellow Variation

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Eva Zeisel “Ceylon”

It is not well known that Eva Zeisel (1906- 2011) – more known now as an iconic America designer, in her youth was an important emerging designer in West Germany.

The very striking design in this post by Eva is called “Ceylon” and was design by her at Schramberger, and later developed further at Carstens. It appears to be now very rare.

Eva Zeisel was born Eva Stricker into a Jewish family in Budapest, where she studied painting at the Royal Academy of Art from 1923 -24 and sold some of her pottery designs at open air markets.

Around 1925 she was employed by Schramberger Majolikafabrik as in the Black Forest, as their chief designer. Here she produced over 200 designs, many of which weren’t well documented. Many of them though stayed in production long after she left Schramberger. Some of them have been reissued by MoMA in New York, the Brooklyn Museum and others.

In 1930, she moved to Berlin, where she worked  briefly for Carstens Lübeck, then for about 18 months at Carstens-Hirschau and also as an independent designer.

Eva designed several coffee and tea sets including this Ceylon for Carstens-Hirschau.

The tea service “Ceylon” was released in 1933, and produced until about 1935 with at least 4 documented patterns. The design for “Ceylon” was obviously designed earlier by Eva though, as there are a number of pieces you can find with the Schramberger Ceylon stamp like the one in this post.

I love the sugar bowl in the first image below – it looks like something of a cross between Bauhaus, Cubism and Futurism.

The influential Bauhaus and the emerging Modernist movement must have been quite an influence on Eva at the time. You will notice some subtle differences between the larger plate design (above) and the smaller plate design (below).  I would love to see what the cups and tea/coffee pots from this service looked like – but havent been able to locate any images.

Carstens-Hirschau closed production in 1956, while the Schramberg facilities closed in the late 1980s.

Some of information above has been sourced from the informative Spritzdekor website here: 

Eva Zeisel "Ceylon", Schramberger

Eva Zeisel “Ceylon”, Schramberger

Eva Zeisel "Ceylon", Schramberger

Eva Zeisel “Ceylon”, Schramberger

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Auction Watch 2018.2 – Dorothy Hafner’s “Flash”

The amazing dinner setting in this post just popped up in my email and took my breath away. It is part of a large “Design from the 20th Century” auction at Lauritz.com starting on May 6th.

It is of course the now iconic Rosenthal design “Flash”.

“Flash” was designed by Dorothy Hafner for Rosenthal in 1982 (released 1984) and quickly became an 80’s iconic design…and seems to be currently attracting a whole new audience.

Dorothy Hafner is an American painter and sculptor who started her career in ceramics in 1973 after training as a painter and sculptor.  She designed a number of dinnerware designs for Rosenthal including “Tango”, “New Wave”, “Suomi Day and Night”  as well as the stunning “Chevron” design for Tiffany.

The influences cited on Dorothy’s website are:

“The poetry of the sea, the marvel of outer space and scientific imagery, and the love of music and dance are the inspirational springboards from which from Hafner has worked for over 30 years”

Like all dinnerware services, the visual power and presence of a service when seen together like this is so much more impressive, and gives us an insight into the design process and creativity of its creator.

The estimated price for this dinner set is EUR 1300. It will be interesting to watch what it sells for.

Rosenthal "Flash" Dorothy Hafner

Rosenthal “Flash” Dorothy Hafner. Photo Lauritz.com

Rosenthal "Flash" Dorothy Hafner

Rosenthal “Flash” Dorothy Hafner. Photo Lauritz.com

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Tilgman’s Sweden

Tilgman’s Sweden

Tilgman’s ceramics was a pottery just outside the city of Gothenburg Sweden, operating from c1948-1975.  In its heyday it employed about 80 staff.

It was started by Paul Harald Tilgmann (1904-1974) and in its early years was known for animal figurines, but today it is the style developed by artistic director at Tilgmans, Marian Zawadzki (1912-1978), which has come to define the “look” of Tilgman’s output. Most of this work is from the 1950s, and appears soon after Marian started with Tilgman’s in 1953 as a Polish refugee.

Marian developed a technique using a sgrafitto – of carving fine lines into the background of a design through a light coloured glaze, down to a dark grey clay slip. This created a unique textured ground which has become a style associated with Tilgman’s. The decorative elements also appear to outlined with a carved line, and then hand painted with overglazes. Birds, Fish, Flowers, Butterflies and other animals were a common theme.

This style and technique proved to be so popular it was also used by other Swedish potteries for a time – including Alingsås Ceramics and Nila Ceramics (in the town of Alingsas)

Tilgmans Sweden Bowl

Tilgmans Sweden Bowl, via PotsAndLamps Etsy

Tilgmans Sweden Bowl

Tilgmans Sweden Bowl photo via BotanyBoutique Etsy

Tilgmans Sweden

Tilgmans Sweden – Photo via 20thCenturyStudio Etsy

Tilgmans Sweden Bow

Tilgmans Sweden Bowl Photo via FrostyVintage Etsy

Tilgmans Lamp Base

Tilgmans Lamp Base photo via Timeless Ceramics eBay

At the end of the 1960s and early 1970s, the pottery style produced at Tilgman’s was a darker and more rustic style, popular at the time in Scandinavia. The 1960s works by Marian Zawadzki from Tilgmans in this era often have bold, abstract designs – and although very different from his earlier, more delicate work, are equally as striking.  Read more

Braemore Carstens

Braemore Carstens

Some die hard fans of West German Pottery will know that the Carstens brand was produced under license in Australia during mid 1960s by Braemore Australia…but it is not a very well known fact…and it can lead to confusion when identifying West German pottery sometimes.

Judith from the Australian Pottery 1960s to date blog has a comprehensive post full of useful information about the history of Australian pottery Braemore and its relationship with Carstens, and also with the company Haeger.

Braemore Pottery was opened in 1939 and ran until around 1985 producing pottery under its own label plus the Braemore Carstens label from the 1960s.

One of the most coveted Carstens designs was – Ankara. Designed in 1964 by Von Scholtis it was produced in both Germany and Australia – and is now a very sought after Carsten’s design.

German versions of the Ankara design were made using a reddish-brown clay, but a white clay was used in Australian production.

Braemore Carstens pieces are marked with an embossed B-C and the model number as in the image below.

Braemore Carstens Ankara Design

Braemore Carstens Ankara Design

Braemore Carstens Ankara Design

Braemore Carstens Stamp

Braemore Carstens Ankara Stamp

Below are some other fantastic designs I have had from the Braemore-Carstens label: Read more

Royal Tettau Ria

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

Royal Tettau Ria 1347

Royal Tettau Ria 1347 via “FromTheSeller” Etsy

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Rorstrand Sweden “Amanda”, Christina Campbell

Rorstrand “Amanda” – Designer, Christina Campbell.

Christina Campbell , (b1940) Sweden is a Swedish graphic artist and printmaker. She studied both as a Graphic Designer, and Ceramicist (Konstindustololan avd. Ceramics Gothenburg 1961 – 1965 (now HDK), Grafikskolan Forum Malmö 1968 – 1972). 

She worked for Rörstrand Swedn 1966-1972, where she created the designs: Amanda, Agda, Pyret, Tobias, Klunk, Glunt, Augusta, Mamsell, Laban and Karolina.

I have only recently discovered “Amanda”. The design was in production at Rorstrand from 1968-77.

It is on the same forms as many other designs during this era, and I really like the way Christina uses blue and brown hues together in this design. I also really like the graphic elements on “Amanda” – and how the pattern suits the forms so well. Equally I love the graphic boldness of “Tobias” by Christina.

Since her time at Rorstrand, Christina has mainly devoted herself to graphics and etching. Her work is well represented in Museums and Galleries in Sweden and Denmark, and she has held over 50 exhibitions since the 1970s. You can visit her current website HERE

 

Rorstrand "Amanda" Creamer & Sugar Bowl

Rorstrand “Amanda” Creamer & Sugar Bowl

Rorstrand "Amanda" Bowl

Rorstrand “Amanda” Bowl

Rorstrand "Amanda" Casserole

Rorstrand “Amanda” Casserole

Rorstrand "Amanda" Casserole

Rorstrand “Amanda” Casserole, Top View

Rorstrand "Amanda" Backstamp

Rorstrand “Amanda” Backstamp

The designs by Christina,  apart from “Amanda” seem to be hard to get hold of, but I did spot 3 of them on Etsy Read more