Mari Simmulson for Upsala Ekeby, Pair of 1960 Agave Series, Incised Leaf Polychrome Glaze Jug Vases

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 exquisitely intricate, Japanese Cloisonné enamel piece is dated to c.1900 from the Meiji era (1868-1912) by Takahara Komajiro 高原駒次郎 of Kyoto.

Currently held on consignment at Andrews Oakville

Takahara is referenced as the most well-known and consistent maker of Kyoto-Jippo (tr. 'Cloisonné') wares, founding a workshop in 1894. The Cloisonné technique is revered for hand-applying thin wire or metal and different coloured enamels. The technique has been elevated to astounding heights in this piece when you consider the detailed wired sections are as thin as 1mm in width.

Also present are Takahara's signature design characteristics despite being unsigned; most notably the floral patterns and the 'Takara-mono' (tr. 'treasured items') featured in the roundels. Further indications of Takahara's style can be seen in the green overlapping scales and band of dotted red circlets brocading the foot and rim of the vase. From delicate sprigs of Sakura Cherry Blossom to Moutan Peonies and Wisteria, the Cloisonné flourishes with elements of jewel-coloured enamel in a joyful celebration of flora in bloom.

The exceptional skill in delicately applying the cloisonne in such a diminutive size is a true wonder and the condition of the enamel décor makes this piece a rare find. Not only did Takahara's Cloisonné skill contend with creating the enamel art in minute detail, but it was also applied to the rise and fall of each curve for the 6 lobes. This fantastic work of art makes a superbly decorative and highly collectable art feature.

CONDITION
Very Good. There is mild surface bruising with traces of enamel loss, minor impressions to the rim and base, as well as some natural enamel pitting that is commensurable with age, please see the photos as part of the condition report. 

MEASUREMENTS
Height: c. 3.7" / 9.5 cm x c. 1.8" / 4.5 cm diameter (across widest point). Base diameter: c. 1" /  2.5 cm. Rim diameter: c. 0.7" / 1.7 cm. Unpackaged weight [pair]: c. 0.1 kg / 65 g

A BIT OF HISTORY
Japanese Cloisonne enamelware is a technique introduced to Japan around the Tokugawa period during the 16th century.

Cloisonne or 'Cloisonné' are metalwork objects with decoration that is applied by creating separating sections using wire or thin metal. The sections are filled with different coloured enamels to create a visual image or pattern and the whole piece is fired multiple times to realise the colours.

Currently held on consignment at Andrews Oakville

This exquisitely intricate, Japanese Cloisonné enamel piece is dated to c.1900 from the Meiji era (1868-1912) by Takahara Komajiro 高原駒次郎 of Kyoto.

Takahara is referenced as the most well-known and consistent maker of Kyoto-Jippo (tr. 'Cloisonné') wares, founding a workshop in 1894. The Cloisonné technique is revered for hand-applying thin wire or metal and different coloured enamels. The technique has been elevated to astounding heights in this piece when you consider the detailed wired sections are as thin as 1mm in width.

Also present are Takahara's signature design characteristics despite being unsigned; most notably the floral patterns and the 'Takara-mono' (tr. 'treasured items') featured in the roundels. Further indications of Takahara's style can be seen in the green overlapping scales and band of dotted red and black circlets brocading the foot and rim of the vase. From delicate sprigs of Sakura Cherry Blossom to Chrysanthemums, Anemones, Wisteria and even a butterfly, the Cloisonné flourishes with elements of jewel-coloured enamel in a joyful celebration of flora in bloom.

The exceptional skill in delicately applying the cloisonne in such a diminutive size is a true wonder and the condition of the enamel décor makes this piece a rare find. Not only did Takahara's Cloisonné skill contend with creating the enamel art in minute detail, but it was also applied to the curving and thin-stemmed form. This fantastic work of art makes a superbly decorative and highly collectable art feature.

CONDITION
Excellent. No chips, cracks or repairs. There is some natural enamel pitting that is commensurable with the age of the piece, please see photos as part of the condition report. 

MEASUREMENTS
Height: c. 5" / 12.6 cm by c. 3.1" / 8 cm diameter (across widest point). Base diameter: c. 1.4" /  3.6 cm. Rim diameter: c. 1.1" / 2.8 cm. Unpackaged weight: c. 0.1 kg / 105 g

A BIT OF HISTORY
Japanese Cloisonne enamelware is a technique introduced to Japan around the Tokugawa period during the 16th century.

Cloisonne or 'Cloisonné' are metalwork objects with decoration that is applied by creating separating sections using wire or thin metal. The sections are filled with different coloured enamels to create a visual image or pattern and the whole piece be fired multiple times to realise the colours.