This stylised Italian 'Alla Moda' [Tr. 'Fashionable'] work of Art Pottery is of mid-century Modernist design. 

Currently held on consignment at Andrews Oakville

The gently exaggerated curves create beautifully sleek arches giving the dish the form of a lightly curled leaf. Accentuating the form is a textured Milk white glaze that creates the canvas for the handpainted vibrant Poppy and flora design with a gold-edged trim framing the pieces. 

This charming and elegant work is suitable for standalone display or for functional use as a vide poche. 

CONDITION
Excellent. No chips, cracks, or repairs. The most notable wear is to the handpainted gold trim and mild movement marks on the underside of the base that is commensurable with the age of the pieces. Mentioned for completeness: There is one area at the base rim with incomplete glazing and dusting of black glaze that was part of the production process and not damage. Please refer to photographs as they form part of the condition report. The base bears the handpainted model numbers '1459/42', '4759/49' and the origin of 'Italy'.

MEASUREMENTS
Height c. 3.1" / 8 cm. Width (widest point) measurements: c. 7.7" / 19.5 cm. Length: c. 10.2" /  26 cm. Base measurements: c. 4.1" / 10.5 cm x c. 2.2" / 5.5 cm. Unpackaged weight: c. 0.6 kg / 610 g 

This beautifully biomorphic work of Czech Modernist art glass was designed by Miloslav Klinger (b. 1922 - d. 1999) for Bohemian glassworks Zelezny Brod Sklo (ZBS). Handblown and hot-worked, gently exaggerated folds, curves, and arcs are executed with expert technique around the solid glass base and the central theme to the winged contemporary form of this piece.  

Currently held on consignment at Andrews Oakville

Crafted in the less common jewel-like tone of Emerald teal, the form and condition of this piece make it a rarer find and a gem to the art glass enthusiast's collection. 

CONDITION
Excellent, no chips or cracks or repairs. There is very mild surface wear that is commensurate with the age of the piece and most evident in movement marks on the underside of the base. Please refer to the photos as they form part of the condition report. 

MEASUREMENTS
Height c. 2.8" / 7 cm. Length (longest point) measurements: c. 5.6" / 14.3 cm. Width (widest point) measurements: c. 3.1" / 8 cm. Base measurements: c. 1.7" / 4.3 cm x c. 1.4" / 3.6 cm. Unpackaged weight: 0.6 kg / 565 g

A BIT OF HISTORY 
Miloslav Klinger (b. 1922 - d. 1999) Miloslav Klinger was born in Hrubá Horka near Železný Brod. After a year of apprenticeship in glass chandeliers with Josef Kleinert, Klinger studied at the Glass School in Železný Brod under the guidance of prof. Jaroslav Brychta and master Jan Stuchlík. After graduating, Klinger worked in Kleiert's company as a designer for two years. After completing his studies, Klinger returns to Železný Brod as a designer, where, apart from his brief career as director of the Glass School in Železný Brod, he remained throughout his life.

Zelezny Brod Glassworks
Železný Brod is an old glass-producing town founded in the eleventh century. It was originally known as Brod ("ford") or Brodek ("little ford"). Železný ("iron") was added to its name in the fourteenth century, alluding to the town's steelworks. The town's main industry is represented by producers of blow-moulded glass, as well as that of jewellers. The Železný Brod (ZBS) glassworks was created in 1948 as a result of nationalisation, at the time, this was made up of 9 glass factories in the town. ZBS being particularly well known for its free-form organic vases and bowls designed by Miroslav Klinger.

This stunning statement work of Swedish mid-century Modernist design is by Hjördis Oldfors (b. 1920 - d. 2014) for Upsala Ekeby. Oldfors was a celebrated Swedish ceramicist and designer, known for the many popular series she designed at Upsala Ekeby. Designed and in production from 1958, this particular piece with the form of a stylised bottle floor vase comes from Oldfors' Palma series. 

Currently held on consignment at Andrews Oakville

The series is characterised by its highly tactile, textured décor resembling the ridged petioles of palm leaves. The hand-painted decor is glazed with a base of rich and semi-matte Teal green, through which the Dark-Chocolate toned earthenware beneath can be seen at the ridges. The rich glaze graduates into the Golden Chartreuse dappling the length of the vase neck and ending with an accent of Ink black glaze on the interior.

Timeless in aesthetic style yet very representative of the mid-century Swedish Modernist design movement, the size and design of this Palma series work are very much sought after and rare to market. 

CONDITION
Very Good. There is mild surface wear that is commensurate with age, most noticeable as minor bruising to the glaze at the rim. The underside of the vase is inscribed with Upsala Ekebys stamp 'UE Sweden', bearing Oldfors 'HJ' monogram and the model number '5134'. 

MEASUREMENTS
Vase Height: c. 20.2" / 51.5 cm tall (from base to tallest point). Rim diameter: c. 4.7" / 12 cm x c. 3.3" / 8.5 cm. Diameter (across widest point): c. 6.1" / 15.5 cm. Base measurements: c. 5.9" / 15 cm. Unpackaged weight: c. 4.8 kg / 4,755 g

A BIT OF HISTORY
Hjördis Hanna Maria Oldfors (b. 1920 - d. 2014) was a celebrated Swedish ceramicist, painting, and textile artist. Oldfors is known for many series she designed at Upsala Ekeby which went on to become classics; including Poäng (Points), Kokos (Coconut), Trio (Trio), Palma (Palma), and Granit (Granite). Oldfors is represented at a number of museums including; National Museum (Sweden), Röhsska Museum, and the Nordenfjeldske Konstindustrimuseum.

Though Oldfors was a late arrival to her ceramics career, beginning her studies in 1947 in Gothenburg, she became incredibly successful. Her career at Upsala Ekeby began in 1950 when she was 30 and she would go on to set up her own studio 'Bränd Form' with a number of exhibitions representing Upsala Ekeby and her own studio. The curators of the day are notably known to have said "She has an astonishing certainty in the abstract decor and its adaptation to the form. In this area, she does not have many competitors in our ceramics."

This striking work of Murano art glass in the Triple Sommerso technique, handblown in temperatures of c. 2,400°F / 1,300°C was from Luigi Onesto for his studio La Vetreria Artistica Oball.

Currently held on consignment at Andrews Oakville

With an elegant beauty created by the masterful execution of the Sommerso art glass technique, Sommerso is one of the most commonly known Murano techniques, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colours) inside a single object, giving the illusion of “immersed” colours without mixing.

In art glass, and particularly in this piece, the edges are anything but vague. The core colour of this sculpted piece is a vibrant Teal green, Ultraviolet purple and Hot Fuschia pink. The work is accented with a lollipop stopper containing 3 rings of concentrated colours from the palette.

The final form is a softly rounded slice with two polished facets which provide excellent windows to the feature of colour layers. This exceptional work of sculpted art glass is timelessly Modern yet luxurious in style and brings an elevated yet glamorous simplicity. 

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear of movement marks on the underside of the bases that are commensurate with the age. Please refer to the photographs as they form part of the condition report. The underside of the base is signed with 'L. Onesto Murano'. The label 'Vetreria Artistica Oball Murano' is also on the body of the bottle.

MEASUREMENTS
Height: c. 5.7" / 14.6 cm (base to stopper) x c. 4.4" / 11.3 cm length (across longest point) x width: c. 3.3" / 8.5 cm (across widest point). Unpackaged weight: c. 1.1 kg / 1,120 g.

A BIT OF HISTORY Luigi Onesto for Vetreria Artistica Oball One of the most famous makers of Italian Murano art glass is Luigi Onesto. Born in Murano, Italy to a family of glass-makers, Luigi was immersed in the art from an early age. At 15, he honed his craft during his apprenticeship at Gambaro & Poggi, one of the oldest and leading glass-making companies in Italy at the time. Eventually, he founded his own art glass studio, Vetreria Artistica Oball, where he now works with his sons.

Luigi’s work is characterised by his exceptionally skilled use of the Sommerso technique. Sommerso involves layering multiple colours of glass for a very distinctive and beautiful effect. It is not a simple process by any means and in the hands of lesser artists, the effect is often ruined by the presence of air bubbles between the layers.

Sommerso is one of the most commonly known Murano techniques, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colours) inside a single object, giving the illusion of “immersed” colours without mixing.

The different layers of glass are put through heat, repeatedly immersing them in pots of molten coloured glass. This technique is easily recognisable; characterised by an outer layer of colourless glass and thick layers of coloured glass inside it. The effect is as if a big drop of colour had been captured inside the clear glass.

This striking and vivid work of handblown, Italian mid-century art glass design brings with it the beauty created by expert Murano art glass techniques. 

The form is that of a stylised, unfurling splash, expertly hot-worked into the elegantly dramatic form with vibrantly flourishing and poised tips. The base colour is the iconic and rich Murano Scarlet red, classic to the mid-century period which cascades into the companion Candy red and Amber and encasing petals of Midnight blue. The encasing of colour within colour is the well-known technique name Sommerso. One of the most commonly known Murano techniques characterised by an outer layer of glass with the effect of definitively capturing colour. 

The form of this piece is distinctive as not are the petals of Midnight blue captured with the Sommerso technique but the overall form was also 'pulled' when the glass was molten to create the ridged and highly tactile effect. The compound effect from the different techniques has created a superb canvas for the refraction of light. 

The iconic colour palette, form and majestic size make this piece excellent for a standalone display. 

CONDITION
Excellent. No chips, cracks or repair. There is negligible surface wear and movement marks on the underside of the base that is commensurable with the age of the piece - please see photos as they form part of the condition report. 

MEASUREMENTS
Height: c.7.5" / 19 cm tall (from base to tip) x c.19.7" / 50 cm in length (across longest point). Width: c. 9" / 23 cm. Base measurements: c. 4.1" / 10.5 cm x 3.7" / 9.5 cm. Unpackaged weight: c. 2.6 kg / 2,640 g

A BIT OF HISTORY
The Sommerso [Literal translation 'submerged'] technique was brought to fame by Archimede Seguso c.1950s, prior to his exploration into the Bullicante technique. The technique is used to create layers of glass - often several layers and usually with different contrasting colours - inside a single object, giving the illusion of “immersed” colours without mixing. The different layers of glass are put through heat, repeatedly immersing them in pots of molten coloured glass before being encased in an outer layer of colourless glass.

This exquisite and majestic work of mid-century art glass is attributed and bears the technical hallmarks of Canadian art glassworks Chalet Artistic Glassworks which was originally located in Cornwall, Ontario. (Estd. 1962 to 1975)

Crafted with the heritage of Murano techniques, this particular piece uses the technique of Sommerso [tr. 'Submerged'] to capture the liquid Tangelo orange colour into the clear crystal base casing. The impressive 'wings' of the dish are teased outwards from the centre as the dish unfurls. Further complimenting the form are beautifully and evenly ridged lobes that trace the unfolding form.

This exceptional piece of handblown art glass is most suitable for standalone statement display and can be used either functionally or for aesthetic display.   

CONDITION
Excellent. There is negligible and most prominent wear in the form of movement marks on the underside of the base that is commensurable with the age of the piece, please refer to the photos as they form part of the condition report.

MEASUREMENTS
Height: c. 8.3" / 21 cm tall (from base to rim) x c. 19.8" / 50.3 cm in length (across longest point). Width measurements: c. 7.4" / 18.8 cm (across widest point). Base measurements: c. 4.7" / 12 cm x c. 4.7" / 12 cm. Unpackaged weight: c. kg 2.6 / 2,580 g

A LITTLE BIT OF HISTORY 
Chalet Artistic Glass (Estd. 1962 to 1975) Chalet glass was founded in 1958 in Montreal as Les Industries de Verre et Miroirs before changing its name to Murano Glass in 1960. After a devastating fire, the glassworks moved to Cornwall after encouragement from federal government financial incentives, resuming production in 1961.

The glassworks was Canada’s first handmade decorative glassware company founded by three master glass artists from Venice: brothers Angelo and Luigi Tedesco and Sergio Pagnin. Experiencing success, additional Venetian glassblowers were hired as well as local, Cornwall-based assistants. 

Early production was in the style of traditional Venetian glass that was ornate, following the joining of Sid Heyes from Toronto as its first president, and Garry Daigle as sales manager, Angelo Tedesco and the glassblowers were persuaded towards simpler styles.

Production shifted to the fluid lines and heavy free-form style of what is known as stretch glass and sales began to soar. The glassworks name was finally changed to Chalet Artistic Glass in 1962. Pieces were produced in attention captivating vivid, jewel tones in the 1960s and the organic, flowing shapes were exciting. The range was broad, including centrepieces, bowls, vases, candleholders, baskets, goblets, birds and animals. Chalet Glass entered the United States and Commonwealth markets with more than 400 shapes. 

Despite the glass artists incredible skill, there were problems within the business operations and sadly, the glassworks went bankrupt in 1975 

This awesome work of Mid-Century Modern design is by Ingrid Atterberg, (b. 1920 - d. 2008) a celebrated epitome for illustrious 20th-century Swedish ceramic design. Atterberg was also a leading designer for Upsala Ekeby for whom she designed this vase. 

This hand-thrown and hand-glazed piece comes from Atterberg's Chamotte series designed in 1957 and in production between 1957-1959. The series would go on to be very well-known during this time. The series is comprised of earthenware bowls and vases, characterised by raw textured earthenware juxtaposing the gloss and matte glaze.

This particular piece is beautifully rounded, an excellent canvas for the hand-glazed decor. The chamotte earthenware is incised with sgraffito bands that are filled with the Milk white glaze and a wash all over the bottle form creates the semi-gloss glaze dapple effect. The piece is finished with a band of gloss Iris purple around the belly of the vase as well as the neck.

A Modernist design piece that is classic of its time yet also contemporarily timeless.  

CONDITION
Excellent. No chips, cracks, or repairs. There is mild wear to the underside of the vase that is commensurable with the age of the piece. Please refer to the photographs as they form part of the condition report. The underside is inscribed and stamped with 'UE, 3030 and '547'.

MEASUREMENTS
Height: c. 7.5" / 19 cm tall (from base to rim) x c. 1.2" / 3 cm rim diameter. Diameter: c. 4.9" /  12.5 cm (across widest point. Base diameter: c. 4.7" / 12 cm. Unpackaged weight: c. 0.7 kg / 720 g

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Ingrid Magdalena Atterberg-Göransson (b. 1920 - d. 2008) was a celebrated epitome of illustrious Swedish ceramic design of the 20th century and a leading designer for Upsala Ekeby in the 1950s and 1960s. Atterberg is represented at the Swedish National Museum of Art and Design.

In 1944, she was employed at Upsala Ekeby, where appreciation for her works as a ceramicist continued to grow over the years. She was known for using 'manganese clay' in the 1940s and chamotte in the 1950s and successfully developed her own glazes. In the late 1940s, her own collection called "Ekeby Verkstad" was born with a numbered series that began at 100.

During her career, Atterberg had several exhibitions and received a gold medal for her work in Italy as well as completing a number of public commissions. 

This striking work of Swedish mid-century Modernist design is by Tilgmans Keramik of Gothenburg, Sweden, and was designed during the era of Marian Zawadzki (b. 1912 - d. 1978) a professor, artist, and ceramist who became artistic director for Tilgmans during the fifties. A bottle vase personally incised and signed by Zawadski in an aesthetically similar style can be seen in the photos. 

Zawadzki's experimentation with the Sgraffito technique brought great popularity and appreciation for Tilgman's ceramics and his work became exemplary for Tilgmans. 

Zawadzki's stylised use of the Sgraffito technique is a significant feature in this piece, with deep incisions creating the angular and textured décor. True to the roots of Modernist design, the simple bottle form and boldly geometric décor overlaid onto the base material speaks to an honest expression of the natural earthenware. From the incised décor to the glaze to the earthenware, all aspects are highly tactile. The unglazed sections creates confident contrast against the individually glazed sections of boldly geometric, Sgraffito décor. The vase is finished with an interior of gloss glaze that is coloured in a dappled brown on beige, a 'cookies and cream' effect. 

This Swedish Modernist work is stylistically bold and timeless, making it suitable as a statement feature for its surrounding space.

CONDITION
Superb. No cracks or repairs. There are minor, negligible chips on the exterior which are commensurate with the age of the piece, and mild use wear on the interior. Please refer to the photos as they form part of the condition report. The underside of the base of the vase is stamped with 'Tilgmans Keramik' and 'Made in Sweden' stamp and model number '619'. 

MEASUREMENTS
Height: c. 16.9" / 43 cm tall (from base to rim) x c. 3.5" / 8.8 cm rim. Base diameter: c. 5.1" / 13 cm. Unpackaged weight: c. 2.2 kg / 2,230 g.

NOTES
Vase will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Marian Zawadzki (b. 1912 - d. 1978)
Antoni Marian Zawadzki (sometimes known as 'Zawadski' or 'Zawadsky') was an associate professor, artist and ceramist, was born in Poland in 1912 who, as a refugee, moved to Gothenburg in Sweden in 1953. In Gothenburg he worked as an artistic director at Tilgmans Keramik. Zawadzki's best known for his richly decorated objects in the Sgraffito technique.

His works included lamp bases, vases, bowls, urns and wall plates and he would receive commissions for public, municipal and private buildings. Zawadzki would leave Tilgman's Ceramics in 1970, moving to Vallda outside Kungsbacka where he opened his own workshop, Vallda Keramik. The production in his own workshop is very similar to his work at Tilgmans.

These sleek and chic works of iconic mid-century Modern art pottery are by celebrated and prominent designer Kurt Tschörner (b. 1912 - d. 1987) for the influential West German Pottery studio of Ruscha Keramik (1905 - 1996). 

The form features gently exaggerated curves and arches all over, reminiscent of popular works of Italian art potteries such as Bertoncello Ceramiche and Roberto Rigon with echoes of architectural geometricism worked into the design. The form is an excellent canvas for the semi-matte and textured lava glaze with similarly bold, hand-painted curves, delineation, charming florals, and colour palette. 

With the seamlessly blended echoes of Italian mid-century art pottery design and earlier Art Deco and Picasso-Cubist-esque influences to the form, it's easy to see why this form is sought after. 

The combination of the form, condition, sizes, and palette makes this duo an even rarer find. These statement works are excellent for stand-alone display.

CONDITION
Excellent. No chips, cracks, or repair. There is negligible surface wear and movement marks on the underside of the bases that is commensurable with the age of the pieces - please see photos as part of the condition report. The underside of the bases are signed - the taller: '321/4, Ruscha, Handgemalt (Handmade) M' and the smaller '321/3, Ruscha, Handgemalt (Handmade) Ed'. 

MEASUREMENTS
321/4 Height: c. 9.6" / 24.3 cm (from base to rim) x c.  6.5" / 16.5 cm in length (across longest point). Width: c.  4.3" / 11  cm. Base measurements: c.  3.5" /  9 cm. 

321/3 Height: c. 7.9" / 20 cm (from base to rim) x c.  5.1" / 13 cm in length (across longest point). Width: c.  3.9" / 10 cm. Base measurements: c.  2.9" /  7.3 cm. Unpackaged weight [Pair]: c. 1.2 kg / 1,215 g

A BIT OF HISTORY
Ruscha (established 1906 - 1996) Originally founded in Rheinbach by Georg Schardt, it was known as Klein & Schardt until 1948. Rudolf Schardt would take over the company and rename it to Ruscha, the name created from the first letters of his fore and surname. As Ruscha entered the ceramics boom in the 1950s, the pottery was joined by art pottery director Cili Wörsdörfer who made her handpainted designs for series such as Milano and Zebra wildly popular. Otto Gerharz was the production director, designing innovative glazes such as Vulkano. 

Ruscha would later add to its success with Kurt Tschörner joining in the 1960s, designing whimsical and daring forms such as the 313 and 321 jug vase that became and remain sought-after hits. 

Other greats who joined Ruscha included Ernst Borens, Hans Welling and Adele Bolz. Unfortunately, the pottery's success came to an end in the 1990s, when it finally closed its doors in 1996, selling its name and many designs to Scheurich who produced vintage-inspired designs under the 'Ruscha Art' brand.