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Posts tagged ‘1970s’

Axella Denmark

Axella Denmark

Axella Denmark pottery has quite a distinctive 1970s look about it, and as far as I have seen appears to be all stoneware (Stentoj)

The pottery began around 1970 in the town of Norresundby (Near Aarhus) Denmark, being founded by Aksel Larsen. It had several name changes during its short operational life starting as Axella Design then around 1978, changing its name to Axella Ceramics and then back to Axella design. It closed in 1987-8. 

Jens Jensen, and Jette Helleroe both worked there for a period – in fact the majority of the work that you will come across from Axella, is work by Jette Helleroe – her stunning series of pendant light shades and lamps for Axella.

Thankfully, it seems that all Axella works as clearly stamped with an impressed stamp, and are often found with a foil label still. The work by Jette Helleroe for Axella is signed by her in addition to being stamped. Many pieces also have a stamped number – which I am guessing is the shape or form number.

Axella Denmark, Tall Form

Axella Denmark, Tall Form

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Lehmann Pottery Denmark

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.

Lehmann Denmark

Lehmann Denmark

Lehmann DenmarkLehmann Denmark Read more

Royal Doulton “Basque”

Royal Doulton Basque

This oh so seventies looking design was produced at the Lambeth factory of Doulton between 1974 and 1981.

Going by the number of pieces from the set for sale on various online shops still, it must have been a very popular pattern.

Its easy to see the design is classic seventies even without knowing much about it.

It has the loveliest dark chocolate brown coloured glaze- a colour often called “mission brown” in its day when it was often used as a paint trim colour in houses.

The design consists of a subtle design of country flowers in a basket.  The glaze has a great sheen and smoothness to it as well.
I like the shape of the pieces too, solid but with rounded edges and with nice proportions – quintessentially British.

Being stoneware it is very tough as well. I have seen photographs of several other patterns by Doulton using this form as well, but Basque stands out from the others.

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque

Royal Doulton Basque Mark

Royal Doulton Basque Mark

Kiln Craft Bacchus

Kiln Craft Staffordshire – Bacchus Design

“Kiln Craft” Bacchus was huge in the 1970’s as utilitarian and affordable kitchen ware –  It is probably not highly collectable, as it isn’t as tough and long-lasting as many wares from other English potteries of the period – but I like it because of the pattern design which couldn’t be more seventies, and also the forms in the series.

Additionally the trademark “Kiln Craft” logo would have to be one of the most iconic pieces of Graphic Design from the 1970’s

Kiln Craft Bacchus - Tea Cup

Kiln Craft Bacchus – Tea Cup

Kiln Craft Bacchus Stamp

Kiln Craft Bacchus Stamp

Kiln Craft was produced by Staffordshire Potteries Ltd., which grew out of the Keele Street Pottery Group. In the 1950s they were producers of utilitarian white cups, and dinner wares.

During the 1960s and 1970s the company concentrated on the production of mugs as well.

Kiln Craft Bacchus Ramekin Bowl

Kiln Craft Bacchus Ramekin Bowl

Kiln Craft Bacchus Bowl

Kiln Craft Bacchus Bowl

The Kilncraft brand name was introduced in 1972 and introduced a new range of modern shapes, colours and surface decorations, such as the Bramble and Bacchus ranges.

This range was so successful that the name and trade mark was adopted as the corporate symbol for Staffordshire Potteries Ltd.

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Hertha Bengtson – Scandic Shadow, Thomas Germany

Hertha Bengtson, b 1917 – d1993 , was a Swedish ceramicist and designer. She worked for Hackefors porcelain factory , Rörstrand Porcelain Factory (23 years) , Höganäs AB Ceramics and Strömbergshyttan Glassworks .

During the years 1969-1981 she worked in Germany designing for Thomas (part of the Rosenthal Group). Her most famous designs are those from her years at Rorstrand, but there are also many outstanding but lesser known designs from her time at Thomas – including this fabulous lime green variation of the “Scandic Shadow” series, usually referred to as simply “Scandic” – of which there are a large number of colour and design variations.

Her other important design at Thomas was the restaurant ware design TH300, and for Rosenthal (the parent company of Thomas) she design “Caldo Freddo” – a beautifully patterned design.

Scandic Shadow Green is a bold colour combination of an intense lime green, with deep blue rims – and it all works so well together on the fantastic forms of domed lids, and bulbous bodies.

Thomas Germany, Scandic Shadow Green, Tea Cup

Thomas Germany, Scandic Shadow Green, Tea Cup

Thomas Germany, Scandic Shadow Green, Eared Soup Bowl & Plate

Thomas Germany, Scandic Shadow Green, Eared Soup Bowl & Plate

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Annette From

Annette From, Denmark

Work by Annette From of Denmark made in the 1970s and 1980s I come across from time to time. As of 2012 she was still working at her studio in Asnæs (a village in the western part of Zealand, DK)….I am not sure if this is still the case.

She was born in 1931 in Ghent, Belgium. Annette exhibited widely in Denmark between the 1960s and 1990s – but surprisingly little of her work is seen on the market these days.

Her training as a potter was completed in 1951 after having been taught by Nathalie Krebs (Saxbo) and others,  and she set up her own studio in 1963.

The thrown forms I have seem made by her are from the 1970s and 1980s, and are solid, well made pieces with uncomplicated glazes. These thrown forms are made with have heavily textured clay as I find with quite a lot Danish Studio Pottery.

Her free-form sculptural pieces pictured below are also interesting, especially when grouped together in different ways – creating different interactions and small sculptural vignettes. While there are only 2 in a group below, they dont appear to have been made as “sets” and any number could be arranged in any manner.

If any readers of this site have work by Annette, I would love to see it – contact me via email or post to the facebook page for the website.

Annette From, Denmark, Studio Bowl

Annette From, Denmark, Studio Bowl

Annette From, Denmark, Studio Bowl

Annette From, Denmark, Studio Bowl , Top View

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Desiree Thule, Denmark

Desiree “Thule”, Denmark 1960s.

The Danish ceramics company Desiree was located in the small town of Benlose in central Zealand, Denmark.

It began in 1964 under the direction of H.C. Torbol, who had been production manager at Bing & Grondahl for many years. Torbol’s son Knud and his Artist wife Lis took over the company in 1975.

Desiree’s production consisted of mainly stoneware utility items (dinnerware) and lamps. They are also known for their range of quality blue and white Mothers Day and Christmas plates in blue and white in the Danish tradition.

The factory closed around the year 2001 but still maintains a website HERE which showcases their designs, with some other good information on the “frames” (shapes) produced in each setting etc.

The design “Thule” by Desiree is their stand out design, and still very popular – although hard to get outside of Denmark.  It went into production in the late sixties and I believe continued in some capacity until the factory closed. It is a very well known design in Denmark, but not as well known outside Denmark as for example the designs like “Cordial” or “Azur” by Jens Quistgaard are known.

Desiree Denmark, Thule Teapot

Desiree Denmark, Thule Teapot

Desiree Denmark, Thule Cup & Plates

Desiree Denmark, Thule Cup & Plates

I think “Thule” is up there with the best of Danish dinnerware designs of this era. I think of it as a “Danish Modern” classic. The deep iron saturated glaze is quite unique, and compliments the greens of the pattern so well.

The forms and shapes of the dinnerware are also outstanding examples of great design. It is incredibly tough and durable – without being “noisy” as many stoneware dinner services can be when in use.

I love the variations in the iron saturated glaze, which at first glance  might look rough to the touch – but is actually very smooth. The whole design to me shows very high levels of technical mastery with glazing, manufacture, and concept development.

From the Desiree (archived) website: Read more

Midwinter Stonehenge

Midwinter Stonehenge is one of the standout British designs of the 1970s. The series was created by Eve Midwinter c1972 who had previously worked at the Portmeirion factory. The look of Stonehenge was revolutionary and so much of its time.

The Stonehenge shape is typified by its studio like geometric forms, bold curved handles and the very tactile rounded lids and knobs. The designs and colours in Stonehenge typify the “back to nature” design ethos of 1970s in the same way as does Arabia Finland’s Ruska.

“Creation” was the first design of the Stonehenge series – an light cream coloured gloss base glaze, flecked with iron oxide and rustic iron saturated edges. It became popular instantly, and at the height of its popularity 5 tons of glaze was being used each week to keep up with demand. It was exported world wide – and you will sometimes find different names used for the U.S. market.

The Stonehenge designs of “Sun”, “Moon”, and “Earth” soon followed after “Creation” and all became equally as popular. These designs which were all based on “creation” were in production until 1982, and “Sun” even longer. The pieces could be mixed and matched – adding to their appeal.  A variation of the design “Wild Oats” by Eve Midwinter also became a very high selling pattern. These 5 patterns from the “Creation” series are the ones you now see most often on the secondary market, and are now being discovered by a whole new generation.

The very last pattern of the Stonehenge series was “Nasturtium” (designed by Jessie Tait) with very vivid colours – but was later withdrawn around 1982 because of legislation on cadmium in blazes. Read more