This beautiful work of Brutalist Modern design is by Icelandic pottery Glit.
Germany has Fat Lava, France has Foam Lava and well - Iceland has Lava, real lava that is incorporated into their glaze. The rarity of this particular piece comes from the exquisite swirling blue and white glaze at the centre of the dish. The whorl of Snow-white at the centre is like the eye of a storm that casts the encircling glaze in a flurry of dappled Slate blue and white glaze rivulets.
The chunky rim of the dish is finished with a severe straight edge and bears Glit's characteristic Dark Chocolate brown and the exterior bears a tempered coating raw dark lava.
It's easy to see why these pieces are sought after and how the skill in creating these pieces is being celebrated. The poetic colour palette of these works reflects the original inspiration that sparked its creation - the Icelandic tundra which the mineral, clay and lava were taken from.
Excellent. No chips, cracks or repairs - please see photographs as part of the condition report. The underside bears Glit's inscription 'Glit, Iceland, LAVA' and also a yellow 'B' denoting the ceramist who would have decorated the dish.
Height: c. 1.6" / 4 cm high by c. 2.5" / 6.3 cm diameter (across the widest point). Unpackaged weight: c. 0.7 kg / 703 g
Dish will be securely packaged and shipping will be insured. Please note that this listing is for the Glit ceramic pieces only. Shipping will be combined for multiple items.
A BIT OF HISTORY
Glit Reykjavik Pottery was the only ceramic factory in Iceland when it was founded by Ragnar Kjartansson, sculptor and ceramic artist (b.1923 - d.1989) in 1958. Kjartansson founded Glit together with Einar Eliasson, Pétur Saemundsen. Kjartansson was a member of the Icelandic Sculptors Society, which he established in the Icelandic capital in 1972.
Glit was adamantly devoted to utilising Icelandic clay and ground minerals in production during its first decade of operation—especially hardened lava. In many ways, the studio, was well ahead of its time — making deep impressions in the history of Icelandic ceramic art.
Many of the country’s best-known 20th-century artists worked at Glit at one point or another, the place became known as an artistic breeding ground, especially during the time when Ragnar was in charge of the manufacturing workshop at Othinsgata. Technological advances and the desire to increase production led Glit to shift gears, moving them from Iceland’s history of art and design and into its industrial history.