Glit Pottery, REAL Lava in Rare Dark Chocolate and Sunburst Yellow Chalice Bowl | Iceland, 1960-70s

This elegantly diminutive and subtly exquisite, handpainted work of late Art Deco design is by Enoch Boulton for the British Pottery Crown Devon. The baluster form is an excellent canvas for the semi-matt, satin glaze décor. The base glaze is a tone of Powdered Teal green, applied in the layered, overlapping scale manner characteristic of the Mattajade glaze technique pieces.

The handpainted featured decor is that of the Fairyland series, also sometimes known as the 'Fairycastle' series that Boulton designed. Mattajade Fairyland was a popular series during its time and the rarity of finding it now has since made it highly collectable. The scene-lets are of charming turreted buildings nestled in the fantastical fauna in tones of Powdered Teal green, Azure blue, Jet black, Coquelicot orange, yellow with stylised lineations of gold - all of which wake up the islands that rest on the stylized waves. 

The overall piece is finished with a hand-painted flora and fauna border that wraps around the external rim. The border is an echo of the main flora, with gold-edged black leaf clusters graduating into a band of Cerulean blue and Coquelicot yellow, finished with dotted blooms in orange and Verdigris. 

Timeless in style and when combined with the featured design; the size and overall condition of this piece make this an exceptionally rare find. 

CONDITION
Excellent. There are no chips or repairs. There is mild surface wear to the gold and hand-painted décor and movement marks on the underside of the base that are commensurate with the age of the piece. Please refer to the photos as they form part of the condition report. The underside of the base bears Crown Devon's stamp and the model number '2406'.

MEASUREMENTS
Height: c. 6" / 15.3 cm (from base to rim) x c. 4.4" / 11.3 cm diameter (across widest point). Base diameter: c. 2.9" / 7.5 cm. Unpackaged weight: c. 0.6 kg / 560 g

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

A BIT OF HISTORY
Enoch Boulton (b. - d. unknown) 
Little is known about the early years of the unsung hero that was Enoch Boulton, who has only now started to come into recognition for his contribution towards art deco design. Many accounts of his history begins with his apprentice years at the Grimwades factory and studying at the Burslem school of Art. Enoch, affectionately known as Ernie began to rise to significant fame when he became design chief in the early 1920s for Carlton Ware. A highly accomplished painter, Boulton is said to have created many of Carlton’s most collectible lines of the 1920s. The Tutankhamen ware is but one of his more notable contributions. The V & A Museum lauded Boulton's Carlton Ware Jazz patterns as the quintessence of British Art Deco design. The pattern 3352 is represented in the museum’s pottery collection and is dated by the museum as c1921-30.

Despite his success at Carlton, Boulton was said to have been lured to Crown Devon Fieldings in the late 1920s, and with him at the helm as design chief, designs were a harmonious yet contrarian merging of modernism with Sybaritic exuberance. Series after popular series of exquisiite were produced including Orient, Mattajade, Amazine and Mattitia adorning a myriad of geometric forms including ribbed bodies and mouldings that gave an asymmetrical look. 

Crown Devon Fieldings (1870 - 1982) The pottery was founded in 1870 by Simon Fieldings in Stoke on Trent but it would be 10 years later before they began to produce Majolica style pottery that was popular during the 1880s. Their product range began to expand in the 1890s, working with British United Clock company and they would continue to expand their product range as popularity flourished after successful world trade fairs in the 1900s. They sustained their success for over a century before sadly closing in 1982 at the time of the recession.

This stunning work iconic to Troika Studio Pottery (est. 1962 cse. 1983) called the 'Anvil', brings with it the earthy vibes of British Cornish pottery and Modernist design influences. 

Beautifully Modern, the form, deeply incised Sgraffito decor, and glaze bear all of Troika's hallmarks of edgy, textured, and unconventional production techniques.  Avant-garde techniques included utilising sediment from the local tin mines, household emulsion paint and melted broken glass. The hallmarks of the founder's vision resulted in innovative and extraordinary works of art that were highly popular during their time and exceptionally collectable today. 

This exceptional piece is suitable for a standalone statement display or paired with other Modernist greats such as Peter Ellery for Tremaen, Barbara Hepworth, Marian Zawadski or Roger Veal for Tolcarne.   

CONDITION
Excellent. No chips, damage, or repairs. There is very mild use wear that is most evident in the interior and movement marks on the underside of the base, please refer to photos as they form part of the condition report. The underside of the vase bears 'TROIKA CORNWALL' and 'LJ' for decorator Louise Jinks. 

MEASUREMENTS
Height: c. 8.5" / 21.5 cm x Width: c. 9" / 23 cm (across widest point). Depth c. 2.6" / 6.5 cm. Unpackaged weight: c. 1.6 kg / 1,590 g

A BIT OF HISTORY
Founded in 1962 by Lesley Illsley, Jan Thompson and Benny Sirota who each contributed £1,000 to purchase the Powell and Wells Pottery at Wheel Dream, St Ives. They bought the pottery with a vision for distinctive, individualistic wares and were not afraid to experiment with unconventional production ideas, methods and materials. 

They chose the name Troika (meaning a Russian sleigh drawn by three horses) for its sharp, angular sound that hinted at the sharp, angular forms they had in mind for production. Fantastic designs were produced including Cycladic masks with Aztec-esque decor and heavily textured monolithic wares that would go on to become a trademark. 

In 1968 Troika ware was sold by Heals and Liberty in London during the peak of the pottery thriving. This continued into 1970 when they left the Wheel Dream for larger premises in Fradgan Place, Newlyn, with a staff of 15.

It was in the mid-1970s that changing public taste, declining tourism, and economic strife saw the first strains to the pottery and it would be 1983 before Troika would finally wound up in December 1983.

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

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 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 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 exemplary work of Modernist ceramic artistry is from the rare-to-market and highly sought-after Montblanc series designed by Kurt Tschörner for the internationally renowned West German pottery Ruscha. Tschörner was a prolific designer who worked for Ruscha from 1953 to 1974. This Montblanc series, and indeed, this vase stands out with its bold geometric, incised décor in the beautifully contrasting matte black and white gloss glaze. A statement piece that combines Modern boldness with classic elegance in remarkable condition makes this difficult-to-refuse work of ceramic art.

The combination of this work's form, condition, size, and palette makes it an even rarer find considering the scarcity of Montblanc pieces. 

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 'Ruscha, Montblanc 861R'. 

MEASUREMENTS
Height: c. 12.6" / 32 cm (from base to rim) x c. 4.6" / 11.7 cm in width (across widest point). Base measurements: c. 3.1" / 8 cm. Unpackaged weight: c. 1.0 kg / 990 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 who designed whimsical and daring forms such as the 313 jug that became 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.