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They have an extensive collection of early Iznik wares, including this 16rh century piece in the "Golden Horn" style. They are generally hard to photograph.
DESCRIPTION
A stunning vintage 1930s, Swiss Bauhaus era design, studio pottery teapot with natural ceramic tone.
It was designed and made by the Fritz and Helen Haussmann Atelier in Uster Switzerland (1928-1961).
Its downwardly pointing spout design has been invented, maybe even patented, by the Haussmann atelier.
The simple form mirrors the influences of the Bauhaus movement.
The teapot is sleek, practical and easy to use.
But it is above all a wonderfull and very rare decorative piece!
Context and History:
Completely in keeping with the art and craft-related endeavours of the 20th century, the young ceramicist couple Fritz (1900 – 1968) and Helen (1905 – 1989) Haussmann opened a "ceramic workshop" in Uster in 1928. Items produced there included tableware and ceramic art. The company evolved rapidly. The everyday pottery conformed with the contemporary and modern sense of form.
In the ceramic art we see simplicity of forms and experimentation with glazes from the outset. The fact that this endeavour had an unforeseeable outcome is demonstrated by three small bowls from the very early period. The vases created somewhat later and the bowls with yellow crackle glaze are indicative of growing security and unbridled joy in experimenting however.
The early forties saw the first attempts with stoneware and with the so-called china firing, a reduction firing technique. Glazes were produced with obvious East Asian influences. The forms and examples with running glaze are also reminiscent of the Far East. This reflects a renewed interest in Eastern Asian ceramics appearing in Western ceramics following the Second World War. With a whole range of high quality products in the forties and fifties, the Haussmann workshop created a pioneering role for Switzerland in this area. A little later, Mario Mascarin (1901 – 1966) and next generation representatives such as Philippe Lambercy (1919 – 2006) and Edouard Chappalaz (*1921) would go on to develop this style further.
(Reference: Swiss National Museum, Zunfthaus zur Meisen Zürich, Zurich)
This is a teacup for green tea, called Yunomi in Japanese, my son painted.
On a school-excursion, children did the painting on a unglazed pottery. After one month, baked ceramics were sent to the school.
修学旅行で、息子が絵付けした湯呑み。足尾銅山のトロッコを思い出して描いたそうです。
PENTAX *ist DS2 / SIGMA MACRO 50mm F2.8 EX DG
Title: Part Dinner Service
Artist/Maker: Unknown
Place Made: China
Date Made: ca. 1810-1820
Medium: ceramic; porcelain
Measurements: Various sizes
Credit Line: Gift of Mr. and Mrs. Philip J. Richmond
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-1966.0028.1-.72
Japanese ceramic painted gold with human figures. Missing handle. 4.5" tall, 5" wide including spout.
Black Goshu brushed on before bisque. White glaze inside and dipped in Shino on outside. Cone 10 reduction.
The three photos in this series were taken at the Sheboygan, Wisconsin riverfront on a sunny. afternoon.
This little brown jug is something I'd expect outside a tavern, not a coffee house. It's been there for years and it's only purpose seems to be as a decoration.
10"x10" bowl with relief polar bear in white, hand painted black numbers (shown) and pheasant eye flower.
Oaxaca Gallery, INAH, National Museum of Anthropology, Mexico City. Complete indexed photo collection at WorldHistoryPics.com.
Glass frit combines with a deep oribe green glaze to make a really interesting surface on this bowl. Inside is a clear coat over a two types of stoneware clay marbled together. Amazing purples, deep ruby red, powder blue and aqua green all show up and gather around the bottom of the bowl to form drops. This is the only larger bowl with the oribe green glaze in the last firing and it is exceptional. This was a difficult piece to photograph because of the extremely shiny surface but the colors really show in the detail photos. Perfectly holds whatever you choose. (use the zoom tool below each photo for a detailed view)
signature stamp on the bottom
H 3.25 inches
W 5.25 inches
Weight 13.3 ounces
Holds 1.5 cups comfortably
I have a set "Ceramic garden", photos of ceramic flowers made by children.
www.flickr.com/photos/davidlev/sets/72157614880401544/
Now from the same workshop, Ceramic birds. This is a project of children creating ceramic Birds with Diener Miszkin Miriam. She is a Nirim member and a ceramics Artist who teaches them this art.
No invites to groups and No graphics PLEASE!
ca. 1850. The outside is glazed white and the inside is glazed brown. Missouri History Museum Collections.
x07478
Measures 2 3/8" in diameter. Image stamped into clay, decorated with red and green underglaze, then clear glazed all over.
Twin handled porcelain Japanese akae export Kutani vase decorated with two panels, one containing a Geisha and boy whilst the other side has a lakeside scene. It has been made in a European Art Nouveau shape in Japan during the Taishō (大正天皇) period, also known as the Taisho era, which is a Japanese era that extended from 30 July 1912 - 25 December 1926.
Emperor Taishō (大正天皇) was the 123rd Emperor of Japan, according to the traditional order of succession, reigning from 30 July 1912 until his death in 1926.
Circa 1912-1926, the vase is decorated with two panels of typical Japanese scenes.
Marked on the base in Japanese characters Kutani (Nine Valleys) in Gold on a Iron Red background panel.
Height: 24cm
Width: 17.5cm
Kutani - Generic two character mark.
The word Kutani means Nine Valleys and is the name of an area and a village. The two characters that make up the word Kutani consist of the character for "nine", ku and "valley". Since Kutani is a place, almost all pieces marked Kutani were decorated there even if by any of the many manufacturers or trading shops, rather than just a single factory. Porcelain decorators familiar with the Kutani style could also move around so as an example we can sometimes find pieces marked Yokohama & Kobe with decoration in typical Kutani style. Many Kutani made pieces might also have just the artist's as a mark, and no location at all, leading us to also needing to look at style as a clue to the origin of a piece.
The first time we hear of porcelain from the Kutani (nine valleys) Village, was in 1655, in the in the first year of the Myoreki epoch. Japanese ceramic history has it that stones suitable for porcelain making was found in the Kutani mine of the Daishoji Clan, whereupon Lord Maeda Toshiharu sent Goto Saijiro to the Arita Village in the Hizen province to learn how to make porcelain. Kutani Porcelains from this early period are specifically called Ko-Kutani and are extremely rare. The production of this ware continued for about 50-60 years.
Around 1800 the Kutani kilns was restored in Kasugayama, Kanazawa City to make utilarian porcelains. After just a few years this kiln was destroyed by fire. Around 1806-1820 Honda Sadakichi built new kilns in Wakasugi with the purpose of reviving the old style. In 1823-1831 Yoshidaya Kilns were built in Daishoji at the site of Ko-Kutani to concentrate on commercial porcelain with printed designs. The production continues until today. In the mid-1800s the Kutani name was again revived by a number of skilled craftsmen working in different styles of which Kutani Shoza (1816-1883), working with gaudy enamels and with gold brocade, might be the best known.
During and after the Meiji period (1868-1912) up until today almost all Kutani porcelain in Shoza style was exported. Most of the Kutani porcelain we see today is thus 'Shoza style', 'Yoshida Kiln' export wares, dating from early 19th century up until today.
Marks on Kutani porcelain:
First of all, ceramic artists like physicians, have incredibly poor penmanship, and a great number of markings remain illegible. There are seven styles of writing, and all seven can be written illegibly if one tries hard enough. They are: Sosho style, Giosho style, Kaisho style, Reisho style, Hiragana (phonetic), Katagana (phonetic for foreign words), and Romaji (Romanized alphabet, such as "Made in Japan"). Many of the characters used in Meiji and before are no longer in use. You can't even assume that the Japanese themselves can read the markings. Japanese writing can be left to right, right to left, horizontal, or vertical, but not diagonal.
Markings can be in almost any colour, with red dominating Kutani, but black on green, and gold on red are common also. The mark can be incised, impressed, underglaze, over glaze, or in magic marker. They can be centered, off center, in a circle, in a square, in a double square, in a rectangle, stand alone, and can appear on the reverse or the front of a piece, or in both places simultaneously. The mark might be a place, a name of a person, artist, potter, a shop, a kiln, some marks are pictures and not words, or none of the above.
Originally a silver and stainless tableware company started in the 1970's, Godinger has branched out to china and crystal. Perfect Godinger china teapot found at thrift store. Distributed by Home Essentials, probably 2006. May 2012.
5.75" x 4.75" x 4.25" , ceramic tile over wood box, with vintage porcelain rose;
It's Christmas! And, for me, that means trying to produce some things that are gift items. I've done a number of frames already, but I wanted to do something else. I had purchased a number of these box blanks last year, and so decided to do one the one pictured. It sold before I finished it, so I'm starting on a couple of more today.