Ceramics

This elegantly sculptural, hand-built, and glazed studio art ceramic lamp is of British Modernist design by Peter Ellery for his Cornish pottery studio Tremaen Pottery (1965 - 1988). Ellery's work is heavily influenced by the Cornish environment where the Tremaen studio was based. Influences such as sea-washed pebbles, rocks, and boulder-shaped forms, and Cow Parsley from abundant hedgerows inspired the décor, as are traces of rough-hewn stone harbour walls and whitewashed fishermen's cottages. Many pieces have an organic feel, being deliberately weathered or textured.

This particular piece comes from the 'Gwarra' series. 'Gwarra' is the Cornish word for 'higher' and is believed to relate to the Cornish coastal feature 'Pol Gwarra' or 'Pol Gwartha' [tr. 'Higher Pool']. The decor of this lamp reflects the influences and textural references from the Cornish coastal and countryside landscape. The overall composition is characterised by the tactile, organic qualities with the lamp body shaped like a pebble worn smooth by the ocean tide and the textured decor resembling trails in the wet sand. The glaze is silky and touch-inviting, with the colour palette comprising of rich, semi-matte Dark Chocolate, Mocha browns blended with Cappuccino Foam and Creams. 

This stunning piece brings to life many key principles of Modernist design, with a focus on combining function with bringing forth the beauty in the natural material. 

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear to the protective felting on the underside of the base that is commensurate with the age of the piece. Please see photographs as they form part of the condition report. The underside of the base is fitted with protective felting and also bears Tremaen's original label. The lamp takes standard European A-series Bayonet bulb.

MEASUREMENTS
Height: c. 7.9" / 20 cm high (excluding bulb holder) c. 9.8" / 25 cm (including bulb holder). Width c. 4.5" / 11.5 cm (across the widest point) x depth: c. 3.1" / 8 cm. Base measurements: c. 4.9" / 12.5 cm x c. 3.3" / 8.5 cm. Weight: c. 1 kg / 970 g. The lamp takes a standard A-series Bayonet bulb with a British plug fitting. 

A BIT OF HISTORY
Peter Ellery, Tremaen Pottery (1965 - 1988)
Tremaen Pottery was founded by Peter Ellery in Marazion, UK in 1965, typically creating large-scale pieces using unconventional techniques in both construction and glazing. His work quickly gained appreciation and popularity, and within 2 years Tremaen Pottery moved to larger premises in Newlyn with the workforce expanding to twelve to cope with demand.

Although work continued to be by hand, the range of pieces produced by Tremaen expanded to include smaller-scale and figural pieces. Tremaen's work maintained its popularity but sadly, the recession of the early 1980s created increasing economic difficulties. Ellery sustained Tremaen's production until 1988 when he made the decision to close the pottery.

This elegantly sculptural, hand-built, and glazed studio art ceramic lamp is of British Modernist design by Peter Ellery for his Cornish pottery studio Tremaen Pottery (1965 - 1988). Ellery's work features a heavy influence from the Cornish environment where the Tremaen studio was based. Influences such as sea-washed pebbles, rocks, and boulder-shaped forms, and Cow Parsley from abundant hedgerows inspired the décor, as are traces of rough-hewn stone harbour walls and whitewashed fishermen's cottages. Many pieces have an organic feel, being deliberately weathered or textured.

This particular piece comes from the Cow Parsley series, reflecting the influences and textural references from the Cornish coastal and countryside landscape. The overall composition is characterised by its exceptionally tactile and organic qualities, shaped like a pebble worn smooth by the ocean tide to reveal the Cow Parsley fossil impression. The glaze is silky and touch-inviting, with the colour palette comprising of a rich, semi-matte Dark Chocolate, Mocha browns blended with Cappuccino, Flat White creams. 

This stunning piece brings to life many key principles of Modernist design, with a focus on combining function with bringing forth the beauty in the natural material. 

CONDITION
Excellent. No chips, cracks, or repairs. There is faint wear to the protective felting on the underside of the base that is commensurate with the age of the piece. Please see photographs as they form part of the condition report. The underside of the base is fitted with protective felting and also bears Tremaen's original label. The lamp takes standard A-series Bayonet bulb.

MEASUREMENTS
Height: c. 7.9" / 20 cm high (excluding bulb holder) c. 9.8" / 25 cm (including bulb holder). Width c. 4.5" / 11.5 cm (across the widest point) x depth: c. 3.1" / 8 cm. Base measurements: c. 4.9" / 12.5 cm x c. 3.3" / 8.5 cm. Weight: c. 1 kg / 970 g. The lamp takes a standard A-series Bayonet bulb with a British plug fitting. 

A BIT OF HISTORY
Peter Ellery, Tremaen Pottery (1965 - 1988)
Tremaen Pottery was founded by Peter Ellery in Marazion, UK in 1965, typically creating large-scale pieces using unconventional techniques in both construction and glazing. His work quickly gained appreciation and popularity, and within 2 years Tremaen Pottery moved to larger premises in Newlyn with the workforce expanding to twelve to cope with demand.

Although work continued to be by hand, the range of pieces produced by Tremaen expanded to include smaller-scale and figural pieces. Tremaen's work maintained its popularity but sadly, the recession of the early 1980s created increasing economic difficulties. Ellery sustained Tremaen's production until 1988 when he made the decision to close the pottery.

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.

This gorgeous work of original Art Deco design is by the British company Beswick Pottery. From the softly geometric, chasing triangles in raised relief decor to the classic ginger urn form with the twist of added depressions of 'dimples', the form of this piece is clean and elegant and classically Art Deco. The excellent form is complimented by a semi-matte Pale-Grey dappled on Stone base glaze complimented by the handpainted, stylised flora decor in powdered tones of Teal, Buttercup, Cornflower and Lilac.

CONDITION
Excellent. No chips, cracks or repairs. There is natural and mild crazing all over and light use wear on the interior of the vase that is commensurate with the age of this piece. The underside of the base is inscribed with 'Beswick Ware, MADE IN ENGLAND' and the impressed model number '70'.

MEASUREMENTS
Height: c. 7" / 18 cm tall (from rim to base) x c. 5.3" / 13.5 cm wide (across widest point). Base diameter: c. 3.5" / 9 cm. Weight: c. 0.8 kg / 750 g

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

A BIT OF HISTORY
The Beswick firm was founded around the 1890s by John Beswick in Staffordshire, UK. His son James would take over upon his death, introducing a new range of jugs, bowls and vases decorated with new matt glazes. Responding to the modernist influence in design, many of these highly distinctive shapes were designed by Mr Symcox and decorated in 'satin matt' glazes using soft pastel colours running into each other or arranged in striking modern geometric blocks and lines. Beswick would go on to become known for their ceramic animal figures before being taken over by Royal Doulton in 1969 and finally closing in the early 2000s.

Though it is said these pieces will never be worth thousands, still, there is revived and growing interest in these Art Deco pieces as they survive in very good condition.

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. 

This sleek and chic work of iconic mid-century Modern art pottery is by influential West German Pottery studio of Ruscha Keramik (1905 - 1996). 

The form features gently exaggerated curves inward becoming an excellent canvas for the semi-matte and textured lava glaze with bold, hand-painted curves, round-angled shapes, charming blue and yellow florals. The colour palette is whimsical, carrying echoes of the 1960s-70s Flower Power period during which the piece was created.

The combination of the form, condition, size, and palette makes it a rare find. This work makes it an excellent statement piece for stand-alone display.

CONDITION
Excellent. No chips, cracks, or repairs. 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 part of the condition report. The underside of the base is signed with '708 2, Ruscha, Handgemalt (Handmade) BW'. 

MEASUREMENTS
Height: c. 2.8" / 7 cm (from base to rim) x c. 12.7" / 32.3 cm in width (across widest point). Base measurements: c.  3.9" / 9.9 cm. Unpackaged weight: c. 1.2 kg / 1,190 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. 

This rare and stunning work of Italian mid-century Modern art pottery is by Fratelli Fanciullacci (1862-1988) from the stylised Town series that was designed and in production between the 1950s to 1960s, during the Italian ceramics boom.

The Town series* is characterised by its highly tactile Sgraffito on raw clay décor that is beautifully juxtaposed against the gloss, semi-matte and lava glaze techniques. The base is a rich and matte Cookie-toned earthenware, upon which is incised the geometric town buildings and landscape silhouettes. The vibrant colour palette of Lime green, Tomato Red and Dandelion yellow is boldly offset against the tones of Chocolate, Cookie browns and Milk white. The interior is further gloss glazed in white which enables this to be used functionally. 

Timeless in aesthetic style yet very representative of the mid-century Italian Modern design movement, this piece is in excellent condition with the design and form being particularly rare find.

*Reference: Page: 121, Alla Moda, Italian Ceramics of 1950s-70s, Mark Hill, Published 2012 

CONDITION
Excellent, there are no cracks, or repairs. There is mild surface wear to the glaze that is commensurate with age. The underside of the vase is noted with the model number '7852'. 

MEASUREMENTS
Height: c. 8.4" / 21.3 cm tall (from base to tallest point). Rim diameter: c. 3.2" / 8.2 cm. Diameter (across widest point): c. 5.9" / 15 cm. Base measurements: c. 4" /  10.2 cm. Unpackaged weight: c. 1.0 kg / 985 g

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

A BIT OF HISTORY
Fratelli Fanciullacci (f. 1862 - c. 1988) came from an illustrious lineage with family members having worked for the Ginori porcelain company since the 1700s. Founded as Ceramich Capraia by Raffaello Fanciullacci, it would be the late 1870s before being renamed as Fratelli Fanciullacci.

As early as the 1910s, Fanciullacci became the single largest employer in Montelupo Fiorentino offering over 1,000 different forms and a plethora of patterns and glazes by 1914. During the 1920s-30s, the team included Aldo Londi (who would go on to found Bitossi). Fanciullacci was known for reflecting public desires and contemporary taste in their work. Modern design was introduced shortly after WWII with inspiration taken from Modern art offering a profusion of clean-lined, geometrically influenced forms in a vivacious rainbow of colours. During the mid-century period, over 90% of Fanciullacci's production was exported abroad. 

Sadly, the natural disaster of the River Arno flooding in November 1966 meant widespread destruction, forced closure and redundancies for over a year. Though Fanciullacci rallied in the 1970s, cheaper production abroad resulted in loss of market share and after a number of falterings, Fanciullacci would eventually close in 1988. 

These stunning works of Swedish mid-century Modernist design are by Hjördis Oldfors (b. 1920 - d. 2014) for Upsala Ekeby. Oldfors was a celebrated Swedish ceramicist, painting, and textile artist, known for the many series she designed at Upsala Ekeby which went on to become classics. 

Designed and in production between 1958 to 1961, this hand crafted work of art pottery comes from Oldfors' City series, for which there are 5 works of vases and dishes. 

The City series is characterised by its highly tactile décor. The base is a rich and matte chocolate-toned earthenware, upon which is incised the interlocking geometric pattern. Reminiscent of stylised city plan blueprints, the incised ‘paths’ are highlighted with the glossy Pale Pistachio green glaze. The work is further complimented by a vivid, glossy Sunshine yellow on the interior. 

Timeless in aesthetic style yet very representative of the mid-century Swedish Modernist design movement, both works are in excellent condition with the vase being a particularly rare find.

CONDITION
Excellent, there are no chips, cracks or repairs. There is mild surface wear that is commensurate with age. The reverse of the dish is stamped with Upsala Ekebys 'UE' and Oldfors 'HJ' monogram and the model number '5174'. The underside of the vase is stamped with Upsala Ekebys 'UE' and Oldfors 'HJ' monogram and the model number '5176'. 

MEASUREMENTS
- Dish: Height: c. 2" / 5.2 cm (from base to rim). Rim measurements: c. 6.5" / 16.5 cm x c. 9.2" / 23.4 cm. Depth: c. 1.9" / 4.8 cm. Base diameter measurements: c. 6" / 15.3 cm x c. 3.4" / 8.6 cm. 

- Vase: Height: c. 9.1" / 23 cm tall (from base to tallest point). Rim diameter: c. 1.3" / 3.3 cm. Diameter (across widest point): c. 3.5" / 8.8 cm. Base measurements: c. 2.4" / 6 cm x c. 2" / 5 cm. 

Unpackaged weight [Combined]: c. 1.1 kg / 1,125 g

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

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 at 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 and sculptural work of mid-century Swedish Modernistic design is by Lillemor Mannerheim (b. 1927 - d. 1994). Mannerheim was a countess, ceramicist, and illustrator who designed this Labrynt (Labryinth) vase in 1954 for Gefle Keramiks, together with a number of her other well-known series such as Kulisaner, Dixie, Mambo, Singoalla and Pärlor.

This elegant Labrynt vase features Mannerheim's gentle swelling design characteristic which tapers into fluted rim to create the flask form. This form is overlaid with the rich, semi-matte Onyx black glaze called Mangania that was a feature of many of Mannerheim's most popular series. The piece is finished with the hand-glazed gloss swirling in Powdered Lime tone on both sides to further elevate the piece. 

The combination of the form, glaze and Modernistic accents gives the overall piece a stylistically timeless presence. And yet the design of this piece is completely suited to the Atomic Design period that it's from, when space exploration and futuristic influences were at the forefront of world news.

CONDITION
Excellent. No chips, cracks, or repairs. There is mild use wear, predominantly in the form of movement marks on the underside of the base that is commensurable with the age of the piece. The underside of the base bears 'Gefle' and 'Lillemor' stamp and inscribed with the model number 'M43' and 'Labrynt'. 

MEASUREMENTS
Height: c. 11.4" / 29 cm tall (from base to rim) x c. 3.9" / 10 cm diameter (across widest point). Rim measurements: c. 4.6" / 11.7 cm x c. 1.6" / 4 cm. Base Measurements: c. 2" / 5.2 cm x c. 2.2" / 5.7 cm. Unpackaged weight: c. 0.6 kg / 630 g

A BIT OF HISTORY
Lillemor Mannerheim (b. 1927 - d. 1994) Ingeborg Aina Sophie Constance "Lillemor" Mannerheim-Klingspor was a countess, a ceramicist and illustrator who began her studies into art and design in 1945, at the end of WWII. Mannerheim began her career at Gefle in 1949, designing a number of popular series such as Kulisaner, Dixie, Labyrint, Mambo, Pärlor, Föl, Solros and Singoalla. She also designed a number of figurines and sculptures during her time at Gefle where she remained until 1957. 

Mannerheim spent time studying in Italy and France at the end of the 1950s before taking her career to the next step at Rorstrand in 1960. Her art is represented in a number of museums in France, Sweden and Finland. 

This striking and sculptural work of mid-century Swedish Modernistic design is by Lillemor Mannerheim (b. 1927 - d. 1994). Mannerheim was a countess, ceramicist, and illustrator who designed this Dixie vase in 1957 for Gefle Keramiks, together with a number of her other well-known series such as Kulisaner, Labyrint, Mambo, Singoalla and Pärlor.

This elegant Dixie vase features Mannerheim's gentle swelling design characteristic which tapers into fluted rim to create the flask form. This form is overlaid with the rich, semi-matte Onyx black glaze called Mangania that was a feature of many of Mannerheim's most popular series. The piece is finished with hand glazed gold angular and linear accents serves to further elevate the piece. 

The combination of the form, glaze and Modernistic accents gives the overall piece a stylistically timeless presence. And yet the design of this piece is completely suited to the Atomic Design period that it's from, when space exploration and futuristic influences were at the forefront of world news.

CONDITION
Excellent. No chips, cracks, or repairs. There is mild use wear, predominantly in the form of movement marks on the underside of the base that is commensurable with the age of the piece. The underside of the base bears 'Gefle' and 'Lillemor' stamp and inscribed with the model number 'M43'. 

MEASUREMENTS
Height: c. 11.4" / 29 cm tall (from base to rim) x c. 3.9" / 10 cm diameter (across widest point). Rim measurements: c. 4.6" / 11.7 cm x c. 1.6" / 4 cm. Base Measurements: c. 2" / 5.2 cm x c. 2.2" / 5.7 cm. Unpackaged weight: c. 0.6 kg / 630 g

A BIT OF HISTORY
Lillemor Mannerheim (b. 1927 - d. 1994) Ingeborg Aina Sophie Constance "Lillemor" Mannerheim-Klingspor was a countess, a ceramicist and illustrator who began her studies into art and design in 1945, at the end of WWII. Mannerheim began her career at Gefle in 1949, designing a number of popular series such as Kulisaner, Dixie, Labyrint, Mambo, Pärlor, Föl, Solros and Singoalla. She also designed a number of figurines and sculptures during her time at Gefle where she remained until 1957. 

Mannerheim spent time studying in Italy and France at the end of the 1950s before taking her career to the next step at Rorstrand in 1960. Her art is represented in a number of museums in France, Sweden and Finland. 

This statement 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 centrepiece. 

This hand-thrown and hand-glazed piece comes from Atterberg's Chamotte series designed in 1957, the series would go on to be very well known during this time. The series was comprised of 13 earthenware bowls and vases characterised by textured earthenware in juxtaposed gloss glaze and matte glaze.

This particular piece is elegantly lengthy, providing an excellent canvas for the hand-glazed decor. The colour palette is a composition of muted Ink and Midnight navy, Stone whites, Powdered Mint green, and Electric blue that is offset against the matte Mocha brown. The glaze is overlaid with bold geometric accents in Jet black as is the exterior of the bowl. 

A stunning piece that is majestic in size with excellent condition and in a Modernist design that is classic of its time yet also contemporarily timeless.  

CONDITION
Excellent. No chips, cracks, or repairs. There is mild wear to the exterior of the bowl 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, 2308 and Atterberg's 'Abg' initials. The interior of the dish also bears the original Upsala Ekeby label. 

MEASUREMENTS
Height: c. 3.1" / 8 cm tall (from base to rim) x c. 7.5" / 19 cm width x c. 16.5" / 42 cm length (across widest and longest points) Depth c. 3" / 7.5 cm Base: c. 5.9" / 15 cm x c. " 2.6 / 6.5 cm. Unpackaged weight: c. 1.4 kg / 1,395 g

NOTES
Bowl 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.