{"title":"TEMP","description":"","products":[{"product_id":"ceramic-table-lamps-by-elspeth-cohen-for-lapid-pottery-works-set-of-2","title":"ELSPETH COHEN TABLE LAMPS FOR LAPID POTTERY (ISRAEL)","description":"\u003cp\u003eA pair of casual yet sophisticated table lamps from LAPID POTTERY of Tel Aviv, Israel, designed in the 1960s by Elspeth Cohen-Silberschmidt. The columnar bottle forms were hand-finished with an abstract décor comprised of multiple overlapping elements—in shades of brown, white, and light blue—applied using a series of 'wax-resist' techniques to allow the underlayers of decoration and the tan ground to show through. The base is marked and signed beneath the felt (...in all likelihood; we have not confirmed). Height listed is to the to the top of the socket.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eELSPETH COHEN\u003c\/b\u003e was responsible for some of the finest ceramics produced in Israel during the second half of the 20th century. During a long tenure as head of its art department, Cohen introduced a modernist, European aesthetic at LAPID POTTERY of Tel Aviv-Jafo. She was celebrated for the clean, austere, and classical lines of her work—a style very reminiscent of contemporaneous Scandinavian design.\u003c\/p\u003e\n\u003cp\u003eLAPID's owner Kurt Musberg had brought in Dr. Bertha Rosenthal—herself the owner of factories in Germany and Czechoslovakia—to organize an art wares department at LAPID in 1952. Its largely female staff was for the most part recruited from the famed Bezalel Academy of Art and Design of Jerusalem, and Elspeth Cohen, a German émigrée, was named its chief. (Elspeth, incidentally, is a Scottish version of the name Elizabeth.) LAPID designers were responsible for the shapes of objects on Cohen's watch and \"decorators\" for the finishes—though there was often collaboration. Teams of seven or so decorators painted the molded forms by hand using either glazes or colored oxides, often employing wax-resist and sgraffito techniques to enhance surface interest. Subtle changes to base patterns yielded individually unique items. The painters were compensated on a piecework basis; to keep track of wages due, completed items were signed on the base, typically with first names only. As Cohen's department became established, its work grew increasingly chic, and its output was made available for export.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLAPID POTTERY\u003c\/b\u003e was established in 1943 in Tel Aviv-Jafo during the British oversight of Mandatory Palestine with the goal of manufacturing sanitary ware and ceramic tiles. In 1949, after Israel's founding, new owner German émigré and industrialist Dr. Kurt Musberg installed a 50-meters-long tunnel kiln for the high-temperature firing of household stoneware. (The huge oven took a full two weeks to turn on and off. Apart from two exceptions when repairs required shut-downs, the kiln operated continuously, around the clock, for the life of the firm.)\u003c\/p\u003e\n\u003cp\u003eThe company enjoyed a commercial boost in 1957 when it was purchased by Koor Industries, at the time Israel’s largest commercial enterprise. Koor had been born as an arm of Solel Boneh, a construction and civil engineering company founded by the \u003ci\u003eHistadrut\u003c\/i\u003e, Israel's federation of trade unions. Its ceramics division included LAPID POTTERY, Naaman Porcelain, and Harsa Ceramics. The acquisition plan had been for LAPID to abandon the manufacture of bathroom fixtures and focus exclusively on tableware and art pottery, but workers nixed the idea: they were compensated on a quota basis, and sinks and toilets were much easier to make than hand-painted vases. Although LAPID never entirely gave up producing sanitary items, it was always better known for its decorative products.\u003c\/p\u003e\n\u003cp\u003eIn consumers' minds, LAPID household stoneware pieces embodied a particularly Israeli aesthetic—despite the fact that most of the designs were inspired by (sometimes copied from) Scandinavian pottery. There were regional influences of course—archeological finds, desert colors, images of Arab women holding pots on their heads, etc.—and product lines were often given local geographical names: e.g., \u003ci\u003eEin Gedi\u003c\/i\u003e, \u003ci\u003eNegev\u003c\/i\u003e, and \u003ci\u003eCarmel\u003c\/i\u003e. But if LAPID was less essentially Israeli than was generally imagined, its popularity was undeniable. Its heyday spanned the 1960s and ’70s, and a couple who got married in Israel in those days would have undoubtedly received a LAPID dinnerware set as a wedding present. Israeli kitchen cupboards were full of LAPID in the second half of the 20th century—and many of them still are.\u003c\/p\u003e\n\u003cp\u003eIn the late '60s LAPID's marketing manager Dan Eyal took advantage of CEO Joseph Givol's acquaintances with many of the nation's bigwigs. He approached Lily Sharon, the wife of Ariel Sharon—at the time a high commander in the army—knowing that she hosted frequent garden parties. He offered to supply all the dishes she needed for the affairs, telling her to put everything unwashed in a box at the end of the event for collection the next morning. All she had to do in exchange was to let anyone who asked know that the dishes were from LAPID. Ruth Dayan, the first wife of Moshe Dayan, then Israel’s minister of defense, got a similar deal.\u003c\/p\u003e\n\u003cp\u003eAnother marketing tack involved the workers’ committees of the \u003ci\u003eHistadrut\u003c\/i\u003e who bought LAPID products for their members as holiday gifts. Employees of huge companies like Egged Transportation, Israel Aerospace Industries, and of course Koor, all received LAPID for Rosh Hashanah. Prior to the dramatic shift in Israeli politics that occurred with the 1977 election (that ended a near 30-year rule of the left) the \u003ci\u003eHistadrut\u003c\/i\u003e was one of Israel's premier institutions; it only stands to reason that so many in Israel were eating off LAPID plates.\u003c\/p\u003e\n\u003cp\u003eBy the 1970s LAPID tableware was being mass-produced—although most of it was still hand-painted. In spite of its having infiltrated nearly every household in the country by this time, it was still seen as prestigious. However, LAPID started to decline in the 1980s—first artistically and then financially. Israel's government was opening up the country for imports, and trade was liberalizing. People started opting for lighter and cheaper dishes from overseas rather than LAPID’s relatively heavy and expensive tableware, even though it was of higher quality and lead-free. Local industry was unprotected from the encroachment of globalization; one Israeli ceramics factory after the next was shuttered. The value of the firms' real estate so outstripped that of their factories and production potential that all hope for new designs that might adapt to changing consumer taste was forgotten. Struggles with debt and repeated threats of liquidation finally forced the hand of parent company Koor: LAPID closed its doors in 1990 after 47 years in operation.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eELSPETH COHEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eLAPID POTTERY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eISRAEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; MODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTAN, BROWN, LIGHT BLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 110V (US STANDARD), CORDED, TYPE \"A\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 22\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845978564,"sku":"ELSPETH COHEN TABLE LAMPS FOR LAPID POTTERY, ISRAEL (PAIR)","price":885.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230622_130341-01.jpg?v=1687468734"},{"product_id":"vico-magistretti-dalu-table-lamp-for-artemide","title":"VICO MAGISTRETTI ‘DALÙ’ TABLE LAMP FOR ARTEMIDE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eVico Magistretti designed the 'Dalù' lamp for ARTEMIDE in 1969.  These early examples retain their original cable management springs as well as the often absent clip-on light bulb diffusers.  Both are in remarkably good condition considering their age.  [Offered\/priced individually.]\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eVICO MAGISTRETTI\u003c\/b\u003e was born in Milan in 1920, the son of architect Pier Giulio Magistretti.  He studied in Italy and Switzerland during WWII and graduated from the Politecnico di Milan in 1945.  While in Switzerland, he met architect Ernesto Nathan Rogers.  Under the influence of Rogers' humanist ideas for the reconstruction of postwar Italy, Magistretti began a career in urban design at his father's firm in Milan.  He worked on the realization of the experimental suburb QT8, designing and building its famed round church, Santa Maria Nascente.  He also collaborated on the planning of several of its working-class neighborhoods, including an estate for Pirelli workers.  Their design stands out even today for its human scale and its use of green space.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eIn the 1950's Magistretti moved into the field of furniture mass-production.  He enjoyed successful stints as a designer with many prominent Italian and Scandinavian firms—ARTEMIDE, DE PADOVA, FLOU, FRITZ HANSEN, KARTELL, and SCHIFFINI among them.  His first break-out success came with the world-famous 'Carimate' chair produced by the Italian furniture manufacturer CASSINA.  Created in 1959, the chair combined rural simplicity with urban sophistication and was a best-seller for years.   Magistretti began to work directly with CASSINA in 1960.  Over the next three decades, his work there produced a number of classics, including the 'Maralunga' sofa (1973) and the 'Nuvola Rossa' bookcase (1977).  These items combined an almost functionalist simplicity with the smooth lines of Italian style.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eMagistretti's long collaboration with CASSINA was based on his twin abilities to experiment and to work directly with artisans.  Never formally trained as a designer, he adopted an unorthodox and intensely practical approach to collaboration.  Perhaps consequently very few of his ideas went unproduced.  Magistretti had a close relationship with CASSINA's head, Cesare Cassina, designing his luxurious villa in the town of Carimate, near Como, in 1964-65.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eMagistretti's works have been shown in the most important international museums in Europe, USA, and Japan.  His works are in the collections of MoMA in New York and the Stedelijk Museum in Amsterdam.  Magistretti has been the recipient of many awards—the Gold Medal at the 1951 Triennale, the Grand Prix at the 1954 Triennale, two Compasso d'Oro awards in the years 1967 and 1979, and the Gold Medal of the Chartered Society of Industrial Artists \u0026amp; Designers in 1986, among others.  He taught for 20 years at the Royal College of Arts in London, and was nominated as a royal designer.  He died in 2006.  His legacy is overseen by the Vico Magistretti Foundation.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eARTEMIDE\u003c\/b\u003e was founded in 1960 by Ernesto Gismondi and Sergio Mazza in a suburb of Milan.  It specializes in the manufacture of lighting designed by designers and architects.  Famous ARTEMIDE productions include the 'Tizio' desk lamp designed by Richard Sapper (1972) and the 'Tolomeo' desk lamp designed by Michele De Lucchi and Giancarlo Fassina (1986).  Other noted designers collaborators include Mario Botta, Sir Norman Foster, Ettore Sottsass, Enzo Mari, Neil Poulton, Karim Rashid, Giò Ponti, Zaha Hadid, Luigi Serafini, Cini Boeri, and Carlotta de Bevilacqua.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eARTEMIDE has won numerous awards including the Compasso d'Oro in 1995 and the European Design Prize in 1997.  In 2006, two \"Best of The Best\" Red Dot awards went rrespectively to lamps by designer Neil Poulton and by architects Herzog \u0026amp; de Meuron.  Carlotta de Bevilacqua's 'Cata' lamp for ARTEMIDE took the IF Product Design Award in 2013.  The permanent collections of the Musée des Artes Décoratifs de Montreal, the Metropolitan Museum of Art and MoMA in New York City, and the Galleria Nazionale d'Arte Moderna in Rome hold the work of ARTEMIDE.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Year – \u003cspan\u003e\u003cb\u003e1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eITALY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eVICO MAGISTRETTI (1920-2006)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eARTEMIDE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003ePLASTIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WHITE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e10.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e7.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e7.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845988420,"sku":"VICO MAGISTRETTI 'DALÙ' LAMP FOR ARTEMIDE (1969)","price":325.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/dalu-table-lamps-by-vico-magistretti-for-artemide-1970s-set-of-2-1.jpg?v=1558299319"},{"product_id":"stoneware-vessel-by-eunice-prieto","title":"STONEWARE VESSEL BY EUNICE PRIETO","description":"This orb shaped stoneware vessel was designed by Eunice Prieto. The pot is glazed in shades of beige and tan with longitudinal striations around the entire circumference, stretching from the small opening at the top down to just above the foot.\u003cbr\u003eEunice Prieto (later Damron) taught ceramics at the Walnut Creek Civic Center and at Mills College, where she also curated the Prieto Gallery and the Antonio Prieto Collection of her late husband's work. Eunice Adams and Antonio Prieto met while studying ceramics at Alfred University in the 1940s. After graduating, they married and moved to Oakland, California when Tony joined the faculty at the California College of Arts and Crafts. In 1958, Tony became the Chair of the Art Department at Mills College, where he taught until his untimely death in 1967. As ceramics teachers and collaborators,Tony and Eunice raised their four sons – Esteban, Mark, Peter, and Paco – on the Mills College campus where their home was a center for a community of artists. In the 1970s, Eunice and her sons relocated to West Oakland where they established Prieto Studios, which is still active today.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e**Designer** - Prieto, Eunice\u003cbr\u003e\u003cbr\u003e**Design Period** - 1960 to 1969\u003cbr\u003e\u003cbr\u003e**Country of Manufacture** - United States\u003cbr\u003e\u003cbr\u003e**Attribution Marks** - Signed at base.\u003cbr\u003e\u003cbr\u003e**Style** - Mid-Century, Hand-Crafted\u003cbr\u003e\u003cbr\u003e**Detailed Condition** - Flawless — This vintage item is in its original state. It has no defects and no restorations.\u003cbr\u003e\u003cbr\u003e**Product Code** - \u003cbr\u003e\u003cbr\u003e**Materials** - Ceramic\u003cbr\u003e\u003cbr\u003e**Color** - Beige, cream, ivory\u003cbr\u003e\u003cbr\u003e**Height** - 6 inch\u003cbr\u003e\u003cbr\u003e**Diameter** - 6 inch","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51846032708,"sku":"Stoneware Vessel by Eunice Prieto","price":395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/stoneware-vessel-by-eunice-prieto-1.jpg?v=1506039632"},{"product_id":"ishmael-soto-stoneware-vessel","title":"1970s ISHMAEL SOTO STONEWARE VESSEL","description":"\u003cp\u003eThis stoneware vessel was created by renowned Texas artist Ishmael Soto. Masterfully thrown and altered, it features exciting tactile qualities. Soto worked with a variety of materials since the early 1950s and consistently demonstrated a singular proficiency with all of them. His ceramic pieces exhibit great variety and are much sought after.  This piece bears a handwritten signature on the base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eISHMAEL SOTO (1932–2017)\u003c\/b\u003e was a native of Austin, Texas. He earned a Bachelor of Fine Arts from the University of Texas at Austin in 1958 and subsequently, in 1960, a Master’s degree from the renowned Cranbrook Academy of Art in Bloomfield Hills, Mich.\u003c\/p\u003e\n\u003cp\u003eFrom 1964 to 1968, Soto worked as a pottery instructor at the San Antonio Art Institute in San Antonio, Texas. From 1968 to 1974, he was an Assistant Professor of Art at the University of Texas at Austin, teaching concurrently at that city’s St. Edwards University. From 1976 to 1977, Soto served as the Artist-in-Residence at the Alabama Coushatta Indian Reservation in Livingston, Texas. Beginning in 1977, Soto presented numerous private workshops at various locations around the US, including the Haystack Mountain School of Arts and Crafts in Deer Isle, Maine; the Penland School of Arts and Crafts in Penland, N.C.; and the Arrowmont School of Arts and Crafts in Gatlinburg, Tenn. In 1986, he became an Adjunct Professor of Art at the Rio Grande Campus of Austin Community College, where he taught beginning and advanced pottery classes as well as three-dimensional design and figure drawing.\u003c\/p\u003e\n\u003cp\u003eSoto was the recipient of many awards for his pottery and sculpture. He maintained his own studio production in the Texas municipalities of Austin, Westlake, and Blue from 1960 until he died in 2017 at age 84 following a long struggle with cancer.  His work is widely collected.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003e[Quote from designer goes here.]\u003c\/i\u003e – DESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e[POTTERY maker description goes here.]\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eISHMAEL SOTO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eMAKER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eDARK GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" DIAM. × 7\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51846033732,"sku":"ISHMAEL SOTO STONEWARE VESSEL","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/stoneware-vessel-by-ishmael-soto-1.jpg?v=1506039636"},{"product_id":"psychedelic-table-lamp-in-the-style-of-ingrid-atterberg-for-upsala-ekeby","title":"PSYCHEDELIC TABLE LAMP IN THE STYLE OF INGRID ATTERBERG FOR UPSALA-EKEBY","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA slender, blue, lava-glazed ceramic table lamp in the style of Ingrid Atterberg for UPSALA-EKEBY.  The elongated, Scandinavian Modern style lamp body is complimented by a tall, psychedelic drum shade with a swirling pattern of blues, greens, purples, red, and a touch of black.  It rises from a solid walnut base to an assembled height of 50\" (127 cm)!  Maker unknown.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eStyle – \u003cspan\u003e\u003cb\u003eSCANDINAVIAN MODERN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WALNUT\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eBLUE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, GREEN\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, PURPLE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, RED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e50.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e16.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":51846035908,"sku":"INGRID ATTERBERG FOR UPSALA ECKEBY","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200130_120223-01.jpg?v=1580412017"},{"product_id":"vintage-lucite-vanity-stool-with-vinyl-seat","title":"VINTAGE LUCITE STOOL WITH TEXTURED VINYL UPHOLSTERY","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eA 70s lucite vanity stool with a round textured vinyl seat in a neutral beige and tan. The upholstery is in very good original condition while the base shows some minor signs of age.  Produced by Karmel Plastics of Bridgeport, CT.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Period\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- 1960 to 1969\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCountry of Manufacture\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- United States\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStyle\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- Vintage, Mid-Century\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDetailed Condition\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- Good\/Fair — This vintage item remains fully functional, but it shows signs of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Code\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- CRM-142546\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRestoration and Damage Details\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- Minor scuffs and dings as expected with age.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaterials\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- Upholstery, Vinyl, Lucite\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColor\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- Beige, Clear, tan\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiameter\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- 14 inch\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeat Height\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e- 17 inch\u003c\/p\u003e\n\u003cstyle\u003e\u003c\/style\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51846047620,"sku":"VINTAGE LUCITE STOOL WITH TEXTURED VINYL UPHOLSTERY","price":185.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220201_151254-01.jpg?v=1643751759"},{"product_id":"vintage-rosenthal-netter-aldo-londi-mid-century-modern-italy-pottery-vase-7-3-4-112302988449","title":"ALDO LONDI ‘PIETRA’ (STONE) DÉCOR VASE FOR BITOSSI","description":"\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003eA substantial hand-turned vase in the blue on white 'Pietra' (Stone) decor designed in the 1960s by Aldo Londi for Bitossi Ceramiche, and imported into the USA by Rosenthal Netter.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e.\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cp\u003e\u003cstrong\u003eBITOSSI CERAMICHE\u003c\/strong\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino in Tuscany—a region with an ancient tradition of ceramics a few kilometers from Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, painters, but especially as potters. In the twentieth century, under Guido's leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, master ceramist Aldo Londi (1911-2003) was named BITOSSI CERAMICHE's creative director. He held the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. Nevertheless, he keenly appreciated the streamlined forms of the mid-century moment. He is best known for his 'Rimini Blu' collection (1955-1965), an iconic series comprised of over 150 designs—bowls, vases, jugs, and animal figurines—all glazed in a vibrant azure hue and embossed with abstract motifs and shapes. It helped to bring expressive, hand-crafted work into the modernist design conversation in Italy. Londi’s last solo collection, 'ARKitectura,' stands somewhat apart from his earlier work and features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum. Both collections are still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi's tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass. An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials concerning the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eALDO LONDI (1911-2003)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003e was one of Italy's most noted master ceramicists who spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics manufactory Bitossi Ceramiche.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eLondi’s hometown just outside of Florence, Montelupo Fiorentino, has been an important center for pottery production since the Renaissance. In 1922, at the age of eleven, Londi started working for Fratelli Fanciullacci, the region’s premier ceramics workshop at the time. Following World War II—upon returning to Italy from South Africa, where he was a prisoner of war—Londi became Bitossi’s Creative Director. He would hold this position for more than 50 years and would design over 1,000 objects—ranging from jugs and vases to clocks and animal figurines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eLondi employed his high-level technical expertise and vast experience in traditional artisanal methods to create distinctively expressive and whimsical forms, patterns, and finishes. Londi’s best-known collection is the 1950s-era \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eRimini Blu\u003c\/span\u003e\u003c\/em\u003e (1955-1965), a now-iconic midcentury modern series encompassing over 150 designs, all glazed in vibrant blue and embossed with abstract motifs and shapes. Londi created \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eBall Vase,\u003c\/span\u003e\u003c\/em\u003e his first piece in Persiano Blue, in 1955. Not long after in 1959, he began to create more pieces in this proprietary chromatic finish. The collection holds historical importance because it helped to bring handcrafted works into the modernist design conversation in Italy. Although blue was not the only color Londi utilized, it has become closely associated with his oeuvre. Londi’s last solo collection, \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eArkitectura\u003c\/span\u003e\u003c\/em\u003e (ca. 1950s), was very different from his earlier work; it features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eStarting in 1958, Londi began a fruitful collaboration with legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi to be an important mentor. During his time at Bitossi, Londi also collaborated with Piero Fornasetti (1913-1988), Matteo Thun (b. 1952), and Karim Rashid (b. 1960).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 10.5pt; font-family: 'Helvetica Neue'; color: #212b36;\"\u003eMost of Londi’s collections, including the \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eRimini Blu\u003c\/span\u003e\u003c\/em\u003e and \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eAkitectura\u003c\/span\u003e\u003c\/em\u003e, are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003ch3 class=\"section-title\" id=\"js-heading-details\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv id=\"js-info-details\" class=\"product-info-content collapse in\" role=\"tabpanel\" aria-labelledby=\"js-heading-details\" aria-expanded=\"true\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e4.25ʺW × 4.25ʺD × 7.75ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eItalian\u003c\/dd\u003e\n\u003cdd\u003eMid-Century Modern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eBitossi\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDesigner\u003c\/dt\u003e\n\u003cdd\u003eAldo Londi\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eItaly\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eWhite\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"display-item-id\"\u003e\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515737444391,"sku":"ALDO LONDI 'PIETRA' (STONE) DECOR VASE FOR BITOSSI (7.75\")","price":185.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220302_114957-01.jpg?v=1646256862"},{"product_id":"bob-rankin-abstract-oil","title":"UNTITLED ABSTRACT - OIL ON CANVAS BY BOB RANKIN (1970s)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eBright blocks of amber, ochre, umber, and vermillion contrast with deep browns in this masculine, abstract oil on canvas by well-regarded North Carolina artist Bob Rankin.  The somber, urban color scheme is not typical of his work.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eBOB RANKIN\u003c\/b\u003e is a respected North Carolina artist and former high school art teacher whose distinctive work has been exhibited in New York, Philadelphia, and across the US.  He studied at the NC State University School of Design and the American Institute of Foreign Study in London.  His paintings typically explore color relationships and surface treatments.  Rankin's work resides in over 30 corporate collections.  He currently lives in Raleigh, NC, where he maintains an active studio.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cspan\u003e\u003cb\u003eBOB RANKIN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eREMINISCENT IN STYLE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMedium – \u003cspan\u003e\u003cb\u003eOIL ON CANVAS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eRED\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, ORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, YELLOW\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e41.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e31.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515829194791,"sku":"BOB RANKIN ABSTRACT - OIL ON CANVAS (1970s)","price":1850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-141-01-01.jpeg?v=1628968891"},{"product_id":"vintage-mid-century-funky-14-orange-brown-lava-drip-glaze-desk-table-lamp-252229696389","title":"CRUSTY VOLCANIC BALL LAMP","description":"\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003eA funky vintage ball shaped lamp with a great crusty volcanic and flowing lava like glaze in shades of orange, yellow and greenish brown with a green conical fiberglass shade. Would work well in a variety of interiors from modern to rustic to boho chic.\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Modernist, Bohemian, Brutalist, Rustic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Good — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e\u003c\/th\u003e\n\u003ctd\u003eThe vendor has confirmed this piece is in working order.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eRestoration and Damage Details\u003c\/th\u003e\n\u003ctd\u003ePatina consistent with age and use\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003ePlug Type\u003c\/th\u003e\n\u003ctd\u003eUS Plug (up to 110V)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic, Fiberglass\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eOrange, yellow, olive, forest green\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e17.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e17.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e22.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 100px; top: 488px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2516056932391,"sku":"CRUSTY VOLCANIC BALL LAMP","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200517_132118-01.jpg?v=1589751345"},{"product_id":"pair-of-1950s-retro-mid-century-modern-eames-era-atomic-majestic-boomerang-lamps-371873361731","title":"1950s ‘BOOMERANG’ TABLE LAMPS WITH TRIPLE-LEVEL FIBERGLASS SHADES (PAIR)","description":"\u003cp\u003eA striking pair of 50s era table lamps with a classic atomic age boomerang motif in black painted metal and tubular brass.  Each lamp has a three-way rotary switch and a pair of parchment-colored triple-decker fiberglass lamp shades decorated with freeform black lines.  Real statement pieces!\u003c\/p\u003e\n\u003ch3 class=\"section-title\" id=\"js-heading-details\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv id=\"js-info-details\" class=\"product-info-content collapse in\" role=\"tabpanel\" aria-labelledby=\"js-heading-details\" aria-expanded=\"true\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e28ʺW × 14ʺD × 29.5ʺL\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eSpace Age\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eLamp Shade\u003c\/dt\u003e\n\u003cdd\u003eIncluded\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003e\"Styled After\"\u003c\/dt\u003e\n\u003cdd\u003eMajestic Lamp Company\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1950s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eUnited States of America\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eBrass\u003c\/dd\u003e\n\u003cdd\u003eFiberglass\u003c\/dd\u003e\n\u003cdd\u003ePaint\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eGood Condition, Original Condition Unaltered, Some Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eGoldenrod\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003eAll four shades have developed a deep goldenrod patina and the brass has not been polished. The lamp bases appear to have been repainted at some point.\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2516621656103,"sku":"1950s BOOMERANG TABLE LAMPS WITH TRIPLE LEVEL FIBERGLASS SHADES (PAIR)","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210906_151025-01.jpg?v=1630962750"},{"product_id":"red-sails-oil-on-canvas","title":"\"RED SAILS\" OIL ON CANVAS","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA highly atmospheric maritime oil on canvas executed with palette knife.  The lining has been restored.  The gilt wood frame is original and exhibits minor finish loss [see photos] but presents well.  The signature is illegible.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eArtist – \u003cspan\u003e\u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eSIGNED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMedium – \u003cspan\u003e\u003cb\u003eOIL ON CANVAS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eRED\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, GREEN\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, YELLOW\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLUE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eGOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (fully functional, but shows signs of age: scuffs, dings, faded finishes, minimal upholstery defects, and\/or visible repairs)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e30.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e36.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2627018358823,"sku":"\"RED SAILS\" ILLEGIBLE SIGNATURE - OIL ON CANVAS","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-262_47cfad39-8d74-43b1-b290-a57535ac7121.jpeg?v=1583874002"},{"product_id":"street-scene-with-carriage-oil-impasto-on-canvas","title":"STREET SCENE WITH CARRIAGE - OIL IMPASTO ON CANVAS","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis evocative, mid-century oil on canvas depicts a narrow, perhaps Parisian or Mediterranean, streetscape with figure groupings and vehicles in the foreground.  Executed in heavy impasto style, it's signed (illegibly) and dated at the bottom right.  Remarkably well matched to its new frame.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Year – \u003cspan\u003e\u003cb\u003e1964\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cspan\u003e\u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMedium – \u003cspan\u003e\u003cb\u003eOIL ON CANVAS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eMULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e31.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e17.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2627099197479,"sku":"ILLEGIBLE SIGNATURE - OIL ON CANVAS (1964)","price":995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-141_8fbf18c7-e44a-4a7b-9ec3-03ab12ef5670.jpeg?v=1558048129"},{"product_id":"e-j-gold-stellar-composition-2","title":"E.J. GOLD \"STELLAR COMPOSTION 2\"","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eSigned acrylic drip action painting by artist, author, musician, and spiritual teacher E.J. Gold.  Newly framed.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eEUGENE JEFFREY GOLD\u003c\/b\u003e was born in New York City in 1941.  The son of Horace (H.L.) Gold, editor of Galaxy Science Fiction magazine, he grew up in the company of artists and intellectuals from a wide variety of disciplines—notably Isaac Asimov, Arthur C. Clarke, Charles Laughton, Orson Welles, John Cage, and Merce Cunningham.  In the mid 1950s he moved to Hollywood and attended the Otis Art Institute.  In the 1960s, he worked as a jazz musician, a composer, and as a photographer for Tiger Beat magazine.  By the early '70s, Gold had emerged as a sculptor and painter associated with the infamous \"California Nine,\" a guerrilla artist group.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eE.J. Gold has been a prominent and controversial figure in the Human Potential movement in California for more than a quarter century.  Although his discipline and work bear a strong affinity with the \"Fourth Way\" school of G.I. Gurdjieff, Gold's teachings also demonstrate the influence of Tibetan tantric Buddhism.  The fundamental emphasis of Gold’s view, like that of Gurdjieff, is on the concept of spiritual \"work\" in daily life—a constant effort to increase and maintain heightened awareness in all activities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cspan\u003e\u003cb\u003eEUGENE JEFFREY GOLD (b. 1941)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eSIGNED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMedium – \u003cspan\u003e\u003cb\u003eACRYLIC ON CANVAS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eMULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e26.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e37.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2627110633511,"sku":"EUGENE JEFFREY GOLD (b. 1941) - ACRYLIC ON CANVAS","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-607-01.jpeg?v=1579021710"},{"product_id":"sculpted-geometric-relief-table-lamps","title":"1960s SCULPTED GEOMETRIC RELIEF TABLE LAMPS","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA lovely pair of mid-century modern geometric relief table lamps in moss green and white with bleached walnut bases and necks.  Some finish loss on the side of one base as pictured.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eGREEN\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WHITE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e30.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e18.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2635787534375,"sku":"PAIR OF SCULPTED GEOMETRIC RELIEF TABLE LAMPS","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200119_111931-01.jpg?v=1579454563"},{"product_id":"portrait-of-woman-with-lipstick-oil-sand-on-fabric","title":"PORTRAIT OF WOMAN WITH LIPSTICK - OIL \u0026 SAND ON FABRIC","description":"\u003cp\u003eAfro-Cubist portrait of a woman applying lipstick executed in oil on fabric, by Georges-Ebrin Adingra. The highly impastoed, sculptural surface is typical of his work and was achieved with the addition of ground sandstone to the paint. Possibly dated 1991; signature illegible. The handsome oak frame is new. One of a trio.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGEORGES-EBRIN ADINGRA (1933–2005)\u003c\/b\u003e was born in 1933 in Adaou in Côte D’Ivoire (Ivory Coast) as Ebrin Adingra, Prince of Krindjabo. He studied philosophy in Abidjan until the age of 17, when he received a scholarship to the École des Beaux-Arts in Marseille, France. He graduated with distinction after three years, winning first prize for a fresco in his senior year. This was followed by architectural studies in Nancy, concluded in 1957, and travels through Europe and America.\u003c\/p\u003e\n\u003cp\u003eIn his paintings, Adingra “flipped the script” on the narrative invoked about Picasso and the origins of Cubism, synthesizing the elements of the early-20\u003csup\u003eth\u003c\/sup\u003e-century European movement with African themes and subjects—such as calao birds (hornbills), kora string instruments, and the tribal imagery and mysticism of various West African peoples. By mixing his paint with fine sandstone and working with burlap canvas, he added a characteristic depth and texture to his work.\u003c\/p\u003e\n\u003cp\u003eAdingra exhibited in Paris, New York, Amsterdam, Milan, Rotterdam, Abidjan, Kobe, and Malmö. An extensive monograph about his life and work was published in 1990. Adingra maintained a studio in Paris and often sold pieces in Place du Tertre (Montmartre). He died in 2005.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eGEORGES-EBRIN ADINGRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRANCE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eAFRICAN; CUBISM; TRIBAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eMIXED MEDIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBURLAP\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSAND, PEACH, OLIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Newly framed.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e29 ½\" H × 22\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2635808964647,"sku":"\"WOMAN WITH LIPSTICK\" AFTER PICASSO - OIL \u0026 SAND ON FABRIC","price":985.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-393-03.jpeg?v=1564268877"},{"product_id":"table-lamp-ceramic-base-lampada-ceramica-mid-century-gambone-fantoni-bagni-vietr-222446425245","title":"STUDIO POTTERY \"POD\" TABLE LAMP (ITALIAN?)","description":"\u003cp\u003eA stunning one-of-a-kind studio pottery table lamp attributed to the C.A.S. (Ceramiche Artistiche Solimene) factory in Vietri Sul Mare. The organic hand-built form is reminiscent of a plant or even a triffid. It is completely hand-sculpted, painted, and fired, and has been newly rewired in the French style. Unfortunately, it is unmarked.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eUNKNOWN\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eC. A. S. VIETRI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eYear of Production\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThe style of the design is reminiscent of the designer and\/or manufacturer\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted, Modernist, Bohemian, Rustic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Very Good — This vintage item has no defects, but it may show slight traces of use.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e\u003c\/th\u003e\n\u003ctd\u003eA professional electrician has rewired this piece to be in working order.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eRestoration and Damage Details\u003c\/th\u003e\n\u003ctd\u003eLight wear consistent with age and use, Rewired and\/or new electrical components, Rewired\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003ePlug Type\u003c\/th\u003e\n\u003ctd\u003eUS Plug (up to 110V)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eCyan, ivory, yellow\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e14.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e14.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e25.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2639866593319,"sku":"STUDIO POTTERY \"POD\" TABLE LAMP (ITALIAN?)","price":1950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200425_144004-01.jpg?v=1587847560"},{"product_id":"marcello-fantoni-for-raymor-pottery-bowl-or-ashtray-mid-century-1950s-signed-201803774211","title":"UNUSED MARCELLO FANTONI ASHTRAY FOR RAYMOR (ITALY)","description":"\u003cp\u003eA beautiful, signed, abstract discus-form ashtray or bowl, crafted from wonderfully textural chamotte clay and produced in the studio of Marcello Fantoni for distribution in the US by Raymor. This item appears to have never been used and remains in excellent vintage condition. It would be perfect as a vide-poche at the main entry of any modern home.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARCELLO FANTONI (1915–2011)\u003c\/b\u003e was born in Florence, Italy. He began his studies at the Instituto d’Arte Porta Romana in Florence at the age of twelve under the great ceramicist Carlo Guerrini, then the creative director of the famous Cantagalli Factory. Fantoni’s training in the arts included sculpture classes with Libero Andreotti (1875–1933) and Bruno Innocenti (1906–1986) and instruction in figure drawing with the painter Gianni Vagnetti (1898–1956); he finally graduated from the institute as a \u003ci\u003emaestro\u003c\/i\u003e, or master, in 1934. Upon completing a stint as the art director of a ceramics factory in Perugia, he opened the Fantoni Ceramic Studio in Florence in 1936, where he produced both serial and one-of-a-kind pieces, the latter including sculptures and furnishings. In 1937, his work was shown in the Florence National Arts and Crafts Exhibit. Its decoration—with painted figures and African and marine motifs—and its rustic forms captured a great deal of attention. By the onset of World War II at the decade's end, Fantoni’s integration of decidedly Modernist elements with ancient Italian pottery techniques had brought him artistic and commercial success, at home and abroad.\u003c\/p\u003e\n\u003cp\u003eFantoni participated in the Italian resistance during World War II, a conflict that temporarily paused his burgeoning career. In the initial years after the War, he resumed his work at the 500-year-old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. By the 1950s, he had refocused on his studio in Florence, dedicating himself to larger sculptural pieces and working with collaborators. Fantoni’s post-war work, with its technical mastery and wholly unique abstract style, helped push ceramics into the sphere of the serious. It raised the profile of Italian ceramics, laying the groundwork for their enduring prestige. Fantoni drew from varied influences—Primitivism, Novecento style, Cubism, and Abstract Expressionism—experimenting with materials and forms alike. Marcello Fantoni produced unique, often experimental, “studio” works himself, and designed numerous “ranges” that translated the essentials of his experiments into pieces that could be put into serial production.  A special emphasis on ancient Etruscan techniques, glazes, and colors heightened the timelessness of much of his work. In addition to clay, he frequently worked in metals to great effect. Every Fantoni piece was ultimately rendered unique by his hand-painting it. No two items are ever alike. His painting style remains one of the most identifiable qualities of his creations.\u003c\/p\u003e\n\u003cp\u003eIn 1970, Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. Many of his students and employees have gone on to become noteworthy artisans and artists. Fantoni maintained great versatility throughout his career, completing large-scale projects for public and private buildings. When he died in Florence at the age of 95, his obituary in the Italian newspaper \u003ci\u003eLa Nazione\u003c\/i\u003e hailed him “the master of beauty.”\u003c\/p\u003e\n\u003cp\u003eThe following museums hold works by Fantoni:\n\u003c\/p\u003e\u003cul\u003e\n  \u003cli\u003eMoMA New York\u003c\/li\u003e\n  \u003cli\u003eMetropolitan Museum of Art of New York\u003c\/li\u003e\n  \u003cli\u003eBrooklyn Museum\u003c\/li\u003e\n  \u003cli\u003eMuseum of Fine Art of Boston\u003c\/li\u003e\n  \u003cli\u003eVictoria and Albert Museum of London\u003c\/li\u003e\n  \u003cli\u003eRoyal Scottish Museum of Edinburgh\u003c\/li\u003e\n  \u003cli\u003eMuseums of Modern Art of Tokyo\u003c\/li\u003e\n  \u003cli\u003eMuseums of Modern Art of Kyoto\u003c\/li\u003e\n  \u003cli\u003eInternational Museum of Ceramics in Faenza\u003c\/li\u003e\n  \u003cli\u003eBargello National Museum\u003c\/li\u003e\n  \u003cli\u003eUffizi Galleries in Florence\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eIf done with passion, it becomes fashion.\u003c\/i\u003e – MARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eMARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ITALIAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eEARTHENWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBURNT UMBER, WHITE, CANARY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" DIAM. × 2\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":5320939798567,"sku":"UNUSED MARCELLO FANTONI ASHTRAY FOR RAYMOR (ITALY)","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211028_144207-01.jpg?v=1635450973"},{"product_id":"alvino-bagni-sea-garden-turbine-vase-18-cm","title":"ALVINO BAGNI ‘SEA GARDEN’ TURBINE VASE (18 cm)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA very nice Alvino Bagni \"turbine\" with a series of cogs and piercings circling the upper portion below the mouth.  The dynamic form is dressed in Bagni's famous 'Sea Garden' glaze with its mixture of green, blue, yellow, and goldenrod.  Condition is pristine; it stands roughly 18 cm (7.4\") tall.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eALVINO BAGNI\u003c\/b\u003e was born in Lastra a Signa in the environs of Florence in 1919.  His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under fascism.  A young Bagni learned the basics of drawing and clay modeling under the tutelage of artist and sculptor Torello Santini.  His interest in ceramics, a locally important industry, grew, and he found work at Arnaldo Pugi’s furnace in Ponte a Signa.  Following WWII, Pugi helped Bagni finance the opening of his own studio, BAGNI CERAMICHE, where several family members were employed—including wife Gina, who would work along side Bagni throughout his career.  3,500 elephant-head plates bearing the slogan “I like Ike” were manufactured for export during Eisenhower's 1952 US presidential campaign—an early and prophetic commission:  the large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eIn the 1950s and '60s Bagni established fundamental artistic and business collaborations—with Bitossi Ceramiche in nearby Montelupo Fiorentino and with import companies Rosenthal Netter and Raymor, the dominant American firm.  These relationships allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito among them.  Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio work.  He was always experimenting with glazes, and he produced truly radical combinations and colors schemes.  A case in point is the 'Sea Garden' decor, an unusual mix of turquoise, blue, green, yellow, brown, and black.  Bagni often incorporated metal rings or other pieces with his ceramic designs.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eBy 1980 BAGNI CERAMICHE had about 100 employees and was internationally renowned for its high-quality artistic production and its use of new techniques.  However, as a globalizing world became increasingly opened up to competition, the company found itself in financial difficulty.  Tied as it was to an “artisanal” approach, it struggled to withstand falling prices.  Despite Bagni's best efforts to save his employees and factory, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eIn 1993 Bagni returned to pottery with Nuove Forme, a venture he founded along with son-in-law Gianfranco Ghiretti.  A natural evolution of his older company, Nuove Forme continued to research and experiment with techniques and colors.  It found a niche producing limited runs of virtually unique objects for the most discerning of buyers.  Nuove Forme owns many of Bagni's historical designs and curates an enormous Bagni showroom—something of a museum of his work.  Bagni retired for health reasons in 2001.  He died in 2009 at age 90.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eITALY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eALVINO BAGNI (1919-2000)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eMULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e18.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e14.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":5323796545575,"sku":"ALVINO BAGNI 'TURBINE' VASE (18 cm)","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200110_162446-01.jpg?v=1578755119"},{"product_id":"arnow-studio-pottery-vase-mid-century-chicago-volcanic-lava-glaze-natzler-232294232226","title":"1960s EDNA ARNOW STUDIO POTTERY BOWL\/VASE\/CACHEPOT WITH A VOLCANIC PUMICE GLAZE","description":"\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003eA highly textural \u003cmeta charset=\"utf-8\"\u003estudio pottery bowl with a volcanic glaze by Chicago potter Edna Arnow.  It features a nice bubbly glaze in perfect condition.  5.5 x 7.25\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"vip item-title\" itemprop=\"name\"\u003e\n\u003cdiv\u003e\n\u003cstrong\u003eEDNA ARNOW (1921-2013)\u003c\/strong\u003e \u003cspan\u003ewas a well-known Chicago area studio potter and sculptor who received early instruction from Leah Balsham at The Art Institute of Chicago, but was otherwise largely self taught.  For more than 40 years, Arnow made stoneware pottery in the basement of her house in Chicago's Rogers Park neighborhood on the North Side, where she started out on a wheel that her husband Robert made for her using an old washing machine.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cspan\u003eIn the 1950s, Arnow was part of the important artist collective 'Exhibit A Gallery', together with Earl Hooks, Leo Segedin, Eve Garrison, Frank Petersen, and Tristan Meinecke.  She also exhibited her work at The Art Institute of Chicago, at The Chicago Public Library, and at the Ceramic Nationals in Syracuse, New York in 1956 and in 1962.  Edna was friends with most of the local independent craftsmen. She participated in local organizations, meetings and events to promote the cause, and she was a regular fixture at many craft fairs in the city.  T\u003c\/span\u003e\u003cspan\u003ehe Wells Street \u0026amp; 57th Street Art Fairs were her favorite venues as well as others \u003c\/span\u003e\u003cspan\u003eincluding, South Side, Evanston and Oak Park.  For some 30 odd years, \u003c\/span\u003e\u003cspan\u003eshe and her husband, Robert - who also made pottery, but worked as a Chicago policeman - spent most weekends during the summer, \u003c\/span\u003e\u003cspan\u003epacking up their Pontiac station wagon with functional pottery to sell at art fairs around the city and suburbs.  She became a well known presence, \u003c\/span\u003e\u003cspan\u003ealways wearing a large hat, and became renowned for her owl sculptures.\u003c\/span\u003e\u003cspan\u003e  She ultimately gained a reputation across the Midwest as a well-known and respected craftswoman and proponent of the Midwest craft scene.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cspan\u003eWhile her work varies in style, it never drifts far from a strong mid century modern craft pottery aesthetic. She was a great innovator in form, design, and surface glaze treatments, having developed many distinctive textured glazes and clay bodies.  at a later point of her life, she became motivated to create modern sculpture, and became famous amongst collectors of 20th Century Modern Art. Her work has been displayed in major galleries and museums throughout the midwest, and is\u003c\/span\u003e\u003cspan\u003e held in several important private and corporate collections.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cspan\u003eIn 2001 she hosted a gallery show in North Carolina celebrating 50 years of her work as well as her 80th birthday.  In May 2012 she was featured in an article by The Studio Potter Archive Blog. ( \u003ca href=\"https:\/\/t.umblr.com\/redirect?z=http%3A%2F%2Fwww.studiopotterarchiveblog.com%2F2012%2F05%2Fstudio-potter-archive-visits-with-potter-sculptress-edna-arnow%2F\u0026amp;t=NjgwOTZlYjFmYjM0YTNhYzg4Mzc5YjM3ODk3MDUwODM1Y2ZiODJjMCxWQzd2SkNEZw%3D%3D\u0026amp;b=t%3ALYm4p89tJC4Ty7PJps4eoA\u0026amp;p=https%3A%2F%2Fmtmodern.tumblr.com%2Fpost%2F42666506115%2Fedna-arnow-a-common-touch-originally-posted\u0026amp;m=1\" title=\"http:\/\/www.studiopotterarchiveblog.com\/2012\/05\/studio-potter-archive-visits-with-potter-sculptress-edna-arnow\/\" target=\"_top\"\u003ehttp:\/\/www.studiopotterarchiveblog.com\/2012\/05\/studio-potter-archive-visits-with-potter-sculptress-edna-arnow\/\u003c\/a\u003e)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eEDNA ARNOW\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eEDNA ARNOW\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Hand-Crafted, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eStoneware\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eTan, beige\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e6.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 103px; top: 1078px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":5328800284711,"sku":"EDNA ARNOW STUDIO POTTERY BOWL, VASE, CACHEPOT","price":885.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200417_175414-01.jpg?v=1587164566"},{"product_id":"ceramic-floor-lamp-in-the-style-of-maurice-chalvignac","title":"CERAMIC FLOOR LAMP IN THE STYLE OF MAURICE CHALVIGNAC","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA fantastic, mid-century modern, ceramic, and wood tripod floor lamp with an abstract fat-lava glaze in shades of orange, brown, and beige.  Reminiscent in style to the ceramic lamps of the Québécois Maurice Chalvignac; however its identity is uncertain.  Good vintage condition; glaze evinces minor crazing.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WOOD\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BROWN\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BEIGE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eGOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (fully functional, but shows signs of age: scuffs, dings, faded finishes, minimal upholstery defects, and\/or visible repairs)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e55.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e14.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":5705088729127,"sku":"CERAMIC FLOOR LAMP IN THE STYLE OF MAURICE CHALVIGNAC (60s\/70s)","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/1970s-ceramic-floor-lamp-in-the-style-of-maurice-chalvignac-0833.png?v=1623069536"},{"product_id":"west-german-art-pottery-hoy-heyne-cobalt-blue-vase-fat-lava-mid-century-vintage-162606239920","title":"1960s HARTWIG HEYNE STUDIO POTTERY “KLEIN” BLUE PITCHER VASE","description":"\u003cp\u003eA beautiful hand-formed pitcher vase from the HARTWIG HEYNE TÖPFERIE, finished in the studio's signature Yves Klein blue matt glaze. Produced in the 1960s.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHARTWIG HEYNE\u003c\/b\u003e founded his ceramics workshop in 1850 in the small village of Tschöpeln, about 10 km west of Gdańsk in what was then the German Empire. Owing to large deposits of white and light gray clays in the area, pottery was the dominant occupation in the town of about 330 inhabitants. Heyne's was one of nine studios located there; at times it employed as many as 50 people. In 1936 the town was renamed Töpferstedt in celebration of its primary industry.\u003c\/p\u003e\n\u003cp\u003eFollowing WWII the Heyne Family emigrated from what was now Polish communist territory (Töpferstedt was renamed Czaple) to the West German town of Oer-Erkenschwick in the district of Recklinghausen in North Rhine-Westphalia, roughly 75 km from the Dutch border. Here daughter and master potter Christine Heyne established a new, smaller business with her aunt Meta at Esseler Str. 2: HARTWIG HEYNE GmbH. Christine's son Hans Bellers was the last master standing when the company closed in 2005.\u003c\/p\u003e\n\u003cp\u003eProduction from HARTWIG HEYNE consisted of handmade, never molded, studio items. They were fashioned rustically and so are generally heavier than molded or otherwise more finely crafted studio ware. In addition to a pleasing heft, much of HARTWIG HEYNE's output can be recognized by the studio's most famous décor: a thick, matt glaze in the rich blue color commonly known as Yves Klein (AKA International Klein Blue or IKB)—a deep ultramarine made famous by the radical artist and reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval art. (Pieces are also found with bright red, orange, and yellow glazes.) The number of HARTWIG HEYNE vases that survive testifies to a prolific output, if not on the mass-production scale of the major West German manufacturers.\u003c\/p\u003e\n\u003cp\u003eFor many years the company was mistakenly known to collectors as Hoy Töpferei, probably due to a misreading of the incised mark 'Hey' which appears on the base of some items. Other works were signed fully with 'Heyne' and marked with individual letters and numbers denoting model. More recent examples sport a foil label reading 'Hartwig Heyne pottery since 1850' with the form and size numbers inscribed by hand on the base.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eHartwig Heyne GmbH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWest Germany\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eModern; European Rustic\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCeramic\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eYves Klein blue (IKB)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ½\" W × 6\" D × 9\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":5716089339943,"sku":"1960s HARTWIG HEYNE STUDIO PITCHER VASE","price":185.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20230317_175739_1-01.jpg?v=1679428904"},{"product_id":"ulm-studio-pottery-vase","title":"ULM STUDIO POTTERY VASE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn impressive, hand-built, studio vase with a running, lava-like glaze in mushroom shades—with a hint of green.  The flattened, rounded form is constructed from a dark brown chamotte clay and has six tubular openings at the top, rising from the body to various heights.  The piece is believed to have come from the region around Ulm in southern Germany (home of renowned ceramicist Helmut Schäffenacker) and is marked on the base with the initials \"BW.\"  Dated '82.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Year – \u003cspan\u003e\u003cb\u003e1982\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e35.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (cm) – \u003cspan\u003e\u003cb\u003e29.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (cm) – \u003cspan\u003e\u003cb\u003e13.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13910075408426,"sku":"ULM STUDIO POTTERY VASE","price":550.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-655.jpeg?v=1558819706"},{"product_id":"172990646432-schlossberg-vintage-60s-german-space-age-brutalist-fat-lava-bumble-bee-xl-vase","title":"RARE SCHLOSSBERG KERAMIK ‘BUMBLE BEE’ VASE Nr. 286\/20","description":"\u003cp\u003eA double handled Schlossberg Keramik vase with a rare black and yellow decor of irregular horizontal stripes.  The black is a rough volcanic pumice texture against the contrasting smooth and glossy yellow.  The decor name is as yet unknown, so we just call it the Bumble Bee.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSCHLOSSBERG KERAMIK\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas established as a workshop in 1946 by Ilse and Theodore Stefan in the village of Volmarstein, in the German state of North Rhine-Westphalia. Its name was derived from its situation at the foot of the schloßberg—the castle-hill—of the ruined castle Volmarstein (destroyed by fire in 1754). Initially the Stefans produced hand-turned, hand-painted faience exclusively. Their output met with positive receptions at trade fairs in Frankfurt and Hanover. Company growth and the factory's gradual conversion for the manufacture of serial products twice necessitated expansion of the buildings. When it finally become impossible to scale up further in Volmarstein, SCHLOSSBERG moved south to a newly built building in the village of Langenaubach in Hesse in 1954.\u003c\/p\u003e\n\u003cp\u003eThat same year Liesel Spornhauer, previously of Dümler \u0026amp; Breiden, became the firm's first in-house designer. She remained with the company through the decade and was responsible for most of the successful designs from the period. Though SCHLOSSBERG would remain a relatively minor player in the field of German art pottery, it managed to produce a disproportionate number of entirely first-rate designs, particularly under Spornhauer's direction. When she left in 1959, co-founder Ilse Stephan assumed the position of head designer. In the mid-sixties, like most other makers of the time, SCHLOSSBERG emphasized the production of the popular \"fat lava\" décors. The talented Hanns Welling, renowned for the game-changing designs that he introduced while working for Ruscha and Ceramano, would leave his mark at SCHLOSSBERG as a freelancer. Unfortunately, the business was not able to sustain the successes of the 1950s and '60s, and it closed its doors in 1975.\u003c\/p\u003e\n\u003cp\u003eWhite clay was used exclusively in the manufacture of SCHLOSSBERG's products. Some pieces were inscribed with the intertwined letters, \"T\" and \"S,\" probably representing co-founder Theodore Stephan's initials. Many items had only form and size numbers engraved or molded on the base, separated by a slash mark or stacked one atop the other. Usually a distinctive typeface was employed, which can be an aid in identifying the company's pottery. Some pieces are entirely unmarked.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eSchlossberg keramik\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eGermany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Modernist, Space Age\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBlack, yellow\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e8.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 107px; top: 1027px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13910472753194,"sku":"SCHLOSSBERG KERAMIK 'BUMBLE BEE'","price":285.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200629_131352-01.jpg?v=1594156113"},{"product_id":"es-keramik-fat-lava-floor-vase-885-40","title":"1960s ES KERAMIK FAT LAVA FLOOR VASE 885\/40","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA spectacular ES KERAMIK floor vase in rare cadmium yellow with black, fat-lava streaks dripping down from the mouth.  A pristine example for the true connoisseur.  Flawless and beautiful.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eES KERAMIK\u003c\/b\u003e was founded in 1948 by Josef Emons and his two sons—ES being an initialism for Emons \u0026amp; Söhne—in the town of Rheinbach near Bonn in the German state of North Rhine-Westphalia when Emons and then partner Jean Fuss dissolved their terracotta business.  (Fuss established Marei Keramik with his son that same year.)  Fuss \u0026amp; Emons had been formed in 1921 when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik.  Its output consisted of flower pots, ornamental ceramics, and eventually drainage pipes.  With the start of WWII, production came to a near standstill—with the exception of the inserts for so-called \"Hindenburg lichter,\" an important source of wartime emergency lighting.  The full program was resumed as conditions normalized after the war, but the two men chose to go in different directions.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eThe factory housing ES KERAMIK was largely converted to mechanical production with the company's launch, and its coal stoves were replaced with modern electric kilns.  The initial product offering of planters, tubs, pots, and simple vases was soon expanded to include more decorative items.  Hans Kraemer joined the firm in 1952 as a senior modeler.  He produced all of the shapes for ES KERAMIK until 1968, at the remarkable rate of 15-20 designs per year.  The art department was led by Willi Hack from 1954 until the firm's 1974 close.  By the second half of the '50s, as many as 18 female painters were employed, among them numerous alumnae of the local glassmaking school.  The total workforce topped out at 70 employees.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eSales of ES KERAMIK’s decorative wares were carried out through trade fairs and by territorial representatives.  Brochures were never printed, and the company never advertised.  The composition of its repertoire was determined solely by feedback from the reps and the current order situation.  Successful ES KERAMIK molds and décors would remain in production as long as demand held.  The quality of shapes and decorations varied broadly, but the good items were quite good; one of the best is Kraemer's pitcher-form 683, later released as shape number 883.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eAfter the death of Josef Emons senior in 1964, management of ES KERAMIK passed to his sons.  The firm's 50th anniversary was celebrated in 1971, and the factory closed its doors three years later.  Some technical equipment had previously been sold off to Ruscha Keramik; but the company itself, its premises and the balance of the equipment—as well as the majority of the workforce—were taken over by the senior Emons' former partner, Jean Fuss, and absorbed by neighboring Marei Keramik.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eES KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eYELLOW\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e40.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e24.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13911039279146,"sku":"ES KERAMIK 885\/40","price":550.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200129_181519-01.jpg?v=1580344131"},{"product_id":"391930504040-carstens-german-heuckeroth-70s-space-age-brutalist-fat-lava-pop-art-peking-vase","title":"CARSTENS TÖNNIESHOF ‘PEKING’ VASE Nr. 0076\/20 BY GERDA HEUCKEROTH","description":"\u003cp\u003eA gorgeous example of Gerda Heuckeroth's 'Peking' decor for Carstens Tönnieshof in a rare colorway.  Form number 0076\/20 has been glazed in a very glossy and beautiful cadmium yellow topped with a sparkling metallic brown that flows down from the double-ringed neck of the vase.  Very reminiscent of a series designed by Renee Neue for Hutschenreuther.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCARSTENS TÖNNIESHOF\u003c\/strong\u003e was founded in 1946 by Ernst Carstens and his son Christian. Their family had a long prior history of manufacturing ceramics and porcelain in Germany, but all of its businesses had collapsed by the end of WWII. Most of the CARSTENS factories wound up on East German soil when the country was divided and so were expropriated by the DDR. Father and son built the new Tönnieshof factory on a farm of that name in Fredelsloh in Lower Saxony, just west of the border with East Germany.  Very little is known about Carstens Tönnieshof's earliest production of table ceramics which began in 1947; the first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eThe first known decorative ceramics are probably from the period 1949-1954 and had simple forms and discreet colors. More advanced decors with organic patterns and elements of gold were developed by Trude Carstens in the mid-50s. Examples of this type of decor are Utrecht and Graz.  Some forms with geometric, molded patterns were also developed at the end of the 1950s. One example is the relief series 'Carmen' from 1958.\u003c\/p\u003e\n\u003cp\u003eCarstens was very successful for many years and produced an enormous variety of shapes and glazes. In addition to their own pottery, they also manufactured ceramics for the Austrian company Goldscheider.  By 1953 Carstens had around 400 employees.  When Ernst Carstens died in 1954, the firm's leadership passed to his son Christian under whose guidance the company once again became a very dynamic leader in the German Ceramics industry, producing vast ranges of shapes and decors, many of which are much sought after today by collectors.  Heinz Siery began working at Carstens in 1959.  His form designs with their harmonious 'Golden Ratio' proportions are common in Carstens' early 60s products and indeed throughout the company's remaining history.  Of special note is the first 'Atelier' series designed by Gerda Heukeroth (decors) and Heinz Siery (forms) released in 1962.  Together the two designers would create some of Carstens' most remarkable products. \u003c\/p\u003e\n\u003cp\u003eHelmut Scholtis (listed as von Scholtis in much of the literature) designed the very popular 'Ankara' décor in 1963 during a stint with CARSTENS; an example of the \"wax resist\" technique, it was applied to a broad array of forms and can be found in a variety of permutations and combinations of shapes and colors.  'Ankara' was in continuous production until 1969.  Carstens produced many variations of the Ankara decor and, like most of the large ceramics companies of the time, they used different decor techniques on the same forms which created a huge variety of products.  At the end of the 60s, Dieter Peter and Rudolph Christman created several advanced, odd forms, often with very advanced 'fat lava' glazes, for the higher end 'Luxus' series of 1967, followed in 1968 by Gerda Heukeroth's 'Boutique' series.  These lines were created to be sold in large department stores and were some of Carstens' most labor-intensive and expensive items to produce.\u003c\/p\u003e\n\u003cp\u003eProduction was eventually expanded to Austria, Brazil, Chile, Argentina, and Australia—it may well have topped out at close to 10,000 items daily, but by the mid 70's profitability in the ceramics industry fell victim to cheap imports and lagging public interest.  The company went bankrupt in 1977 and was taken over by employees under the name Kiel Atelier which continued production until 1984.\u003c\/p\u003e\n\u003cp\u003ePrimary Designers:  Trude Carstens (1946-early 60s); Heinz Siery (1959-1967); Gerda Heuckeroth (1962-1964); Dieter Peter (early 70s); Rudolph Christmann (1967-1968); Helmut Scholtis (60s) (Decors)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGERDA HEUCKEROTH\u003c\/strong\u003e began her career with an apprenticeship under renowned ceramist Siegfried Möller and studies at the School of Applied Arts in Bremen.  She showed her first pieces at the Grassi Museum in Leipzig in 1939.  Less than two years later she was appointed the artistic director at Carstens-Uffrect KG in Neuhaldensleben and soon took over the management of the group's Hubbe branch.  (The Carstens-Uffrecht factory would be nationalized by the DDR with the division of Germany and operate as VEB Haldensleben up until reunification.)  During WWII Heuckeroth set up a workshop in her home in a suburban district of Hamburg.  Following the war, she worked for various firms, among them Grünstadt, Villeroy \u0026amp; Boch, and the Koninkliijk Plateelbakkerij Zuid Holland in Gouda, as a designer of both forms and décors.  Heuckeroth became artistic director of Ruscha Keramik in 1959 when Hanns Welling left the company.  She succeeded him again in 1962 as the senior designer for Ceramano.  In 1964 she moved to CARSTENS TÖNNIESHOF as head of its Atelier department, where she produced a great number of outstanding designs.  Along with much of her early work, these have become highly sought-after by a new generation of collectors.  Eventually retiring from industry, Heuckeroth returned to freelancing out of her Hamburg studio.  Her work has received numerous awards and prizes over the years at national and international exhibitions.\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e9.5ʺW × 9.5ʺD × 8ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eSpace Age\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eBrand\u003c\/dt\u003e\n\u003cdd\u003eCarstend Tönnieshof\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1970s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eGoldenrod\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13911057629226,"sku":"CARSTENS 'PEKING' VASE Nr. 0076\/20 BY GERDA HEUCKEROTH","price":228.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210904_125459-01.jpg?v=1630779168"},{"product_id":"kreutz-keramik-orange-black-fat-lava-jug-vase-201-23-5-cm","title":"KREUTZ KERAMIK ORANGE\/BLACK FAT-LAVA JUG VASE 201 (23.5 cm)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA wonderful '70s-era jug vase from KREUTZ KERAMIK.  Explosive black volcanic eruptions around the center contrast dramatically with the thick, tangerine-orange fat-lava glaze.  A striking specimen of KREUTZ's form no. 201.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eKREUTZ KERAMIK\u003c\/b\u003e was founded in 1958 by Helmut Kreutz in the picturesque village of Langenaubach in the central German state of Hesse.  Its products are characterized by red-clay bodies covered with very thick and bubbly glazes—the epitome of what's broadly thought of as German \"fat lava,\" we might argue.  KREUTZ often achieved foamy, cratered, or \"volcanic\" surfaces with the addition of organic substances to the glaze that released oxygen during firing, or, alternatively, the use of silicon carbide and its release of carbon dioxide.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eDetermining the origin of a KREUTZ vase can be a challenge as a good deal of the company's output was sold to other potteries—Montanus, Gerlach Keramik, and Marzi \u0026amp; Remy among them.  Naturally this causes consternation for those connoisseurs and historians trying to unravel the mysteries that continue to dog the study of post-war German art pottery.  The wholesale trade firm Riffarth also bought vases from KREUTZ and labeled them as their own.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eKREUTZ KERAMIK used red clay exclusively.  Shape numbers are often impressed on the base of items; size and country of origin are never indicated.  KREUTZ-branded vases usually had two paper stickers on them, the more prominent reading \"Kreutz Keramik\" and a secondary one, \"Handarbeit\" (handwork).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eKREUTZ KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, BLACK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e23.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e16.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13913152258090,"sku":"KREUTZ 201 (23.5 cm)","price":195.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-677_2ac3322b-6227-49ab-984b-20fe3b1ac9cb.jpeg?v=1562533527"},{"product_id":"391915354749-vintage-60-70s-dumler-breiden-studio-61-red-ufo-vase-german-pottery-fat-lava-e","title":"RARE DUMLER \u0026 BREIDEN ‘STUDIO’ VASE Nr. 61\/24","description":"\u003cp\u003eThis space-age vase from the 1970s (...a machine-age throwback?) is an especially nifty example of the quirky flavor of some of DÜMLER \u0026amp; BREIDEN's later forms. The chunky, eight-inch tube is flanked by regularly-spaced, fluctuating protuberances. The idiosyncracy of the form is offset nicely by the simplicty of the shiny red finish.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003e Following WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition; no damage. May show some signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ½\" DIAM. × 8 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13916980903978,"sku":"RARE DUMLER \u0026 BREIDEN 'STUDIO' SERIES VASE Nr. 61\/24","price":185.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230708_180247-01.jpg?v=1689101173"},{"product_id":"382270983770-10-vintage-60-70s-ruscha-keramik-costa-red-black-fat-lava-vase-w-german-pottery","title":"RUSCHA KERAMIK ORANGE AND BLACK ‘COSTA’ DÉCOR VASE Nr. 848\/1","description":"\u003cp\u003eA rare Ruscha Keramik form nr. 848\/1 in the orange and black 'Costa' decor.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRUSCHA KERAMIK\u003c\/strong\u003e launched in 1948 when Rudolf Schardt assumed the management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia.  (RUSCHA is a syllabic abbreviation of his name.)  The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom.  RUSCHA KERAMIK became a leading manufacturer during the \"golden age\" of Western German ceramics and is credited with some of the era's key developments.  It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape.  Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.\u003c\/p\u003e\n\u003cp\u003eRUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases.  Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes.  When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003cp\u003eNotes on identification:  White clay was used practically exclusively.  The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out.  Embossed and incised base-numbering was used for vessels.  If a vase was made in more than one size, a single digit indicating relative size followed the form number.  Low form numbers (\u0026lt; 100) were sometimes preceded by a letter.  Like a few other manufacturers RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors.  Pieces were never molded with \"Germany\" or \"West Germany.\"\u003c\/p\u003e\n\u003cp\u003eIn rare instances, bases were hand-inscribed—less often, painted—with the name RUSCHA and a décor name (these tend to be earlier 1950s items).  Where stickers are found they always read \"Ruscha Art.\"  Many items were not stickered.  Sometimes a retailer's label was applied.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eRuscha\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1970 to 1979\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1970 to 1979\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eGermany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBlack, orange\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.5 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e10.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13917573447722,"sku":"RUSCHA KERAMIK 'COSTA' DECOR VASE Nr. 848\/1","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200716_135727-01.jpg?v=1594927296"},{"product_id":"carstens-tonnieshof-basalt-floor-vase-7581-40","title":"CARSTENS TÖNNIESHOF ‘BASALT’ FLOOR VASE 7581\/40","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eHere is a rather rare CARSTENS TÖNNIESHOF floor-vase form in a very rare colorway of glossy red and orange on a dark, matte coffee-colored ground.  The 'Basalt' décor was designed in the very late 1960s or early '70s for CARSTENS' up-market Luxus range by art director Dieter Peter.  This bold combination of shape and decoration is extremely collectable.  The vase retains its original label.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eDIETER PETER\u003c\/b\u003e designed for CARSTENS in the early 1970s.  He is responsible for several famous relief décors from CARSTENS' Luxus range—'Reptile' among them, as well as the designs popularly styled 'Moon Crater' and 'Beehive.'  Little else is known for certain about this acclaimed artist.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eCARSTENS TÖNNIESHOF\u003c\/b\u003e was founded in 1946 by Ernst Carstens and his son Christian.  Their family had had a long prior history of manufacturing ceramics and porcelain in Germany, but all of its businesses had collapsed by the end of WWII.  Most of the CARSTENS factories wound up on East German soil when the country was divided and so were expropriated by the DDR.  Father and son built the new Tönnieshof factory on a farm of that name in Fredelsloh in Lower Saxony, just west of the border with East Germany.  Production of table ceramics began in 1947; the first known decorative pieces date from the early 50s.  Ernst's wife Trude Carstens served as artistic director until her death in 1965.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eCARSTENS TÖNNIESHOF was very successful for many years and produced an enormous variety of shapes and glazes.  The 'Luxus' and 'Atelier' ranges were more expensive lines and they sold in large department stores—'Atelier,' launched in 1962, was the creation of renowned designer Gerda Heuckeroth.  Helmut Scholtis introduced the very popular 'Ankara' décor in 1963 during a stint with CARSTENS; an example of the \"wax resist\" technique, it was applied to a broad array of forms.  Lava glazes were employed during the second half of the 1960s.  Production was eventually expanded abroad to \u003cspan\u003eAustria, Chile, Argentina, and Australia—it may well have topped out at close to 10,000 items daily.\u003c\/span\u003e  Other distinguished designers on CARSTENS' roster included Heinz Siery, Rudolph Christmann, and Dieter Peter.  The firm went bankrupt in 1977.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1965-1974\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eDIETER PETER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eCARSTENS TÖNNIESHOF\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e40.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e21.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13917612802090,"sku":"CARSTENS 'BASALT' 7581\/40","price":410.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-331.jpeg?v=1559344218"},{"product_id":"roth-keramik-trumpet-vase-20-cm","title":"ROTH KERAMIK TRUMPET VASE (20 cm)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis rare and eccentric double-trumpet style vase from ROTH KERAMIK features an asymmetrical form covered in a flowing glaze of brown, tan, and goldenrod.  It was very likely designed by Dorothea Roth in the early 1970s and exhibits many of the earmarks of studio pottery.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eROTH KERAMIK\u003c\/strong\u003e was founded in the late 1960s or the very early 1970s by Edmund and Dorothea Roth in the tiny municipality of Ebernhahn, in the German state of Rhineland-Palatinate.  ROTH was quite small compared to the big names in West German art pottery manufacturing.  It only employed about 20 people in its heyday, and its output was naturally tiny measured against that of giants like Scheurich or Carstens.  Dorthea is believed to have been responsible for the designs, and Marei appears to have supplied many of the forms that were unique to the company.  Very little else is known about ROTH, but in spite of their small size, they did still manage to produce some of the most sought after and collectible pottery of the late mid century period, as well as having developed some really distinctive volcanic and fat lava glazes.  At the end of the Art Pottery heyday, ROTH began producing rather utilitarian tableware.  the company was officially dissolved in 2008.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eDOROTHEA ROTH\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eROTH KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eBROWN\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, TAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e20.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e17.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13928179171370,"sku":"ROTH 'TRUMPET' (20 cm; rare)","price":66.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-341.jpeg?v=1554656410"},{"product_id":"152700028934-mid-century-modern-abstract-italy-marcello-fantoni-art-pottery-dish-bowl-vintage","title":"FREEFORM BOWL BY MARCELLO FANTONI FOR CERAMICHE FANTONI","description":"\u003cp\u003eA great 60s freeform bowl with an abstract decor in shades of orange, brown, and green with hints of yellow from the studio of master ceramicist Marcello Fantoni of Florence, italy.  A really nice piece without chips, cracks, or blemishes. about 10 inches long by 8.5 wide\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMARCELLO FANTONI\u003c\/strong\u003e was born in Florence in 1915.  He began his studies at the Instituto d’Arte Porta Romana in Florence at the age of twelve under the great ceramicist Carlo Guerrini, then the creative director of the famed Cantagalli Factory.  Fantoni's training in the arts included sculpture classes with Libero Andreotti and Bruno Innocenti and instruction in figure drawing with the painter Gianni Vagnetti; he finally graduated from the institute as a maestro in 1934.  Upon completing a stint as the art director of a ceramics factory in Perugia, he opened the Fantoni Ceramic Studio in Florence in 1936 where he produced both serial and one-of-a-kind pieces, the latter including sculptures and furnishings.  In 1937 his work was shown in the Florence National Arts and Crafts Exhibit.  Its decoration—with painted figures and African and marine motifs—and its rustic forms captured a great deal of attention.  By the onset of World War II at the decade's end, Fantoni’s integration of decidedly Modernist elements with ancient Italian pottery techniques had brought him artistic and commercial success, at home and abroad.\u003c\/p\u003e\n\u003cp\u003eIn the initial years after the War (during which he had participated in the Italian resistance) Fantoni worked for the 500-year old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery.  In the 1950's he refocused on his studio in Florence, dedicating himself to larger sculptural pieces and working together with collaborators.  Fantoni's post-war work, with its technical mastery and wholly unique abstract style, helped push ceramics into the sphere of the serious. It raised the profile of Italian ceramics in particular, laying the groundwork for their lasting prestige.  Fantoni drew from varied influences—Primitivism, Novecento style, Cubism, and Abstract Expressionism—experimenting with materials and forms alike.  A special emphasis on ancient Etruscan techniques, glazes, and colors heightened the timelessness of much of his work.  In addition to clay, he frequently worked in metals to great effect.  Every Fantoni piece was ultimately rendered unique by his hand-painting of it.  His painting style remains one of the most identifiable qualities of his creations.\u003c\/p\u003e\n\u003cp\u003eIn 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation.  Many of his students and employees have gone on to become noteworthy artisans and artists in their own right. Fantoni maintained great versatility throughout his career and completed large-scale projects for public and private buildings.  When he died in Florence in 2011 at the age of 95, his obituary in the Italian newspaper La Nazione hailed him “the master of beauty.”\u003c\/p\u003e\n\u003cp\u003eThe following museums hold works by Fantoni:  MoMA New York, Metropolitan Museum of Art of New York, Brooklyn Museum, Museum of Fine Art of Boston, Victoria and Albert Museum of London, Royal Scottish Museum of Edinburg, Museums of Modern Art of Tokyo and Kyoto, International Museum of Ceramics in Faenza, National Bargello Museum and Gabinetto Disegni e Stampe of the Uffizi in Florence.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf done with passion, it becomes fashion. – MARCELLO FANTONI\u003c\/em\u003e\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eMarcello Fantoni\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eFantoni Ceramic Studio\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBrown, green, grey, orange\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e9.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\n\u003cspan class=\"schema-only\" itemtype=\"http:\/\/schema.org\/Distance\" itemprop=\"depth\"\u003e 2\u003c\/span\u003e\u003cspan\u003e8.3 inch\u003c\/span\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e1.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13928262467626,"sku":"ABSTRACT MARCELLO FANTONI BOWL","price":285.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200522_142123-01.jpg?v=1590177243"},{"product_id":"graflich-ortenburg-candleholder","title":"GRÄFLICH ORTENBURG CANDLEHOLDER","description":"\u003cp\u003eA glossy, citric-acid yellow candleholder from Gräflich Ortenburg. The curdling drip glaze is applied over a reddish-brown clay which peeks through as an accent color.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGRÄFLICH ORTENBURG\u003c\/b\u003e was founded in 1946 by Hungarian count Alram Graf zu Ortenburg (1925-2007) on his family’s estate in Tambach, Germany. Several clay pits had been developed on the property in 1939, and upon inheriting it, the Count decided to open a ceramics workshop in a side wing of his castle, Schloß Tambach. Initial production focused on ornately painted vases, bowls, and wall plates, all decorated by hand in an affiliated studio. As the decades progressed, more and more exciting Modernist designs—especially out of Italy—caught Ortenburg’s eye, and he re-aligned the studio’s aesthetic to take advantage of this post-war trend.\u003c\/p\u003e\n\u003cp\u003eIn 1949 the workshops in Gräflich began producing coffee and tea services. For cost reasons, only very few pieces were hand-painted at this point. International designers such as Tunisian sculptor Sebastiano Buscetta and American stylist Irene Pasinski were hired; their modern contributions to the product lines helped the company to achieve international success.\u003c\/p\u003e\n\u003cp\u003eGRÄFLICH ORTENBURG’s later production was known for its heavy, rounded, Bauhaus-inspired shapes made of dark red clay. The period’s glazes were luxurious—thick and glassy. These innovations achieved great popularity as the post-war German art pottery industry burgeoned. By 1968, however, flagging sales prompted the Count to close down the ceramics studio and, as he was an avid sportsman, convert his estate into a game reserve. It survives to this day as a wildlife park.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eGRÄFLICH ORTENBURG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTAN, BLUE, DARK GRAY, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" DIAM. × 5\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13944490983466,"sku":"GRÄFLICH ORTENBURG","price":42.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-294_5b3c8a85-5888-4e4a-a95c-98d1507089ae.jpeg?v=1560276354"},{"product_id":"ceramano-negro-hanns-welling-vase-60er-jahre-west-germany-handarbeit","title":"HANNS WELLING FOR CERAMANO ‘NEGRO’ DÉCOR VASE Nr. 561","description":"\u003cp\u003eA Hanns Welling \u003ci\u003eNegro\u003c\/i\u003e décor bottle vase designed for CERAMANO in the 1960s. A matt background of bronze-brown supports glossy decorations of light blue dots and stripes that emerge from a slick, running espresso top glaze. Scratched into the base are the model number, the decor and maker names, the country of origin, \u003ci\u003e\"Handarbeit\"\u003c\/i\u003e (handwork), and the decorator's initials. The foil label is present as pictured. The interior is white.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHANNS WELLING (1924–?)\u003c\/b\u003e was responsible for some of the most sophisticated output of several of the best post-war German art-pottery manufacturers—Keto, Ruscha, and Ceramano, among them. He served as the third firm's artistic director in the early 1970s—otherwise, little is recorded about his relationships with these makers. Many famous CERAMANO shapes and décors are ascribed to him: \u003ci\u003ePergamon\u003c\/i\u003e, \u003ci\u003eKoralle\u003c\/i\u003e, \u003ci\u003eMinerva\u003c\/i\u003e, \u003ci\u003eCeralux\u003c\/i\u003e, and \u003ci\u003eTundra\u003c\/i\u003e. Welling also designed tableware and collectibles for Goebel Porzellan GmbH.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCERAMANO\u003c\/b\u003e was the brainchild of Jakob Schwaderlapp, the founder of Jasba Keramik. He set up the sister company in 1959 to produce high-end ceramics that would complement Jasba's mass-produced lines and respond to the growing demand for innovation in the decortive arts. The manufacture of more artistic and experimental items had heretofore been the province of small workshops; Schwaderlapp had the idea to replicate the look and feel \u003ci\u003eand the creativity\u003c\/i\u003e of artisanal work using modern factory methods. CERAMANO went public with the debut of an extensive product range at the Frankfurt Trade Fair. The celebrated Hanns Welling was introduced as the man in charge—responsible for the company's marketing as well as for all of its shapes and décors (glaze and pattern combinations). Welling remained at the helm until 1962 when the position of head designer was handed off to Gerda Heuckeroth, later known for her amazing body of work at Carstens.\u003c\/p\u003e\n\u003cp\u003eTo achieve its goals, CERAMANO employed many of the top ceramic artists of the day, notably (in addition to Welling and Heuckeroth) the Hungarian designer Dudas Laszlo. Unsurprisingly, the items it produced were generally of high quality and varied nature. Many of the more expensive pieces were completely handmade on a wheel; most vases were built using the company's signature reddish-brown clay. Compared with other German ceramics firms, an unusual amount is known about the décors of CERAMANO owing to its practice of listing their names on vessel bottoms. Top décors include \u003ci\u003eRubin\u003c\/i\u003e, \u003ci\u003eToscana\u003c\/i\u003e, \u003ci\u003eStromboli\u003c\/i\u003e, and \u003ci\u003ePergamon\u003c\/i\u003e, plus rarities like \u003ci\u003eSaturn\u003c\/i\u003e, \u003ci\u003eAchat\u003c\/i\u003e, and \u003ci\u003eIncrusta\u003c\/i\u003e. Along with the décor name, bases were generally engraved (by the décor artist) with the model number and the artist's initials. This practice enhanced the \"studio\" semblance of CERAMANO's pieces. Willi Schwaderlapp, Jakob's son and partner, took over the company in 1964, after which it was split off from Jasba entirely.\u003c\/p\u003e\n\u003cp\u003e[Note: shape numbers usually have three digits. They are sometimes followed by a slash (virgule) and a second number, ranging from one to six, that denotes the piece's relative size. Whether or not and how much text is included on the base seems to depend on the size of the vessel in most cases. \"Handarbeit\" (handmade) is also a common marking. Vases from later periods were provided with paper labels.]\u003c\/p\u003e\n\u003cp\u003eCERAMANO continued to develop economically with the takeovers of Waku Feuerfest and Steinzeug und Mosaikplattenfabrik in the 1970s, which allowed for expansion into the production of, respectively, tableware and architectural tiles. The company's export share slowly increased for a time, but CERAMANO's gambit ultimately proved unsuccessful. As the 1980s progressed, interest in art pottery waned sharply. CERAMANO finally closed its doors in 1989. (Jasba is still in operation, producing industrial tiles exclusively).\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHanns Welling, 1959–1961\u003c\/li\u003e\n\u003cli\u003eGerda Heuckeroth, 1962–1964\u003c\/li\u003e\n\u003cli\u003eDudas Laszlo, 1960s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCERAMANO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eHANNS WELLING\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eOP ART; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTURQUOISE, INK BLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3 ¼\" DIAM. × 6 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13950901583914,"sku":"WELLING 'NEGRO' VASE Nr. 561 FOR CERAMANO","price":140.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210906_122228-01.jpg?v=1630952648"},{"product_id":"di-meglio-keramik-ischia-italien-__-katzen-_-1960er__grosse-wandplatte","title":"'ALLEY CATS' WALL PLATE BY LA CERAMICA DI MEGLIO (ITALY)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAn excellent v\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eintage\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e ceramic wall plate with a glossy, stylized clowder of alley cats on a frothy off-white volcanic ground produced in the 1960s by La \u003cmeta charset=\"utf-8\"\u003eCeramica Di Meglio on the island of Ischia, Italy\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e16ʺW × 1.5ʺD × 6ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eItalian\u003c\/dd\u003e\n\u003cdd\u003eMid-Century Modern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1960s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eItaly\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eAntique White\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\n\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition \u003c\/span\u003e\u003cspan class=\"hidden js-swap-sibling\"\u003eExcellent Vintage Condition \u003ca class=\"js-swap-trigger\" href=\"#\"\u003eless\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdiv class=\"product-info-footer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 167px; top: 271.078px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13955633872938,"sku":"'ALLEY CATS' WALL PLATE BY LA CERAMICA DI MEGLIO (ITALY)","price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211223_121945-01.jpg?v=1640294984"},{"product_id":"liesel-spornhauer-haiger-fish-mouth-vase-101-21-for-schlossberg","title":"1950s LIESEL SPORNHAUER ‘HAIGER’ FISH-MOUTH VASE 101\/21 FOR SCHLOSSBERG","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis handsome, SCHLOSSBERG KERAMIK fish-mouth vase sports Liesel Spornhauer's 'Haiger' décor—one of her last designs for Schlossberg before she left in 1959.  'Haiger' went into production in 1960, and joins her other '50s-era black and white designs including 'Roulette' and 'Lotus.'  Haiger is a small country town 3 km away from the village of Langenaubach, to which SCHLOSSBERG relocated in 1954.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eSCHLOSSBERG KERAMIK\u003c\/b\u003e was established as a workshop in 1946 by Ilse and Theodore Stefan in the village of Volmarstein, in the German state of North Rhine-Westphalia.  Its name was derived from its situation at the foot of the schloßberg (the castle-hill) of the ruined castle Volmarstein (destroyed by fire in 1754).  Initially the Stefans produced hand-turned, hand-painted faience exclusively.  Their output received positive receptions at trade fairs in Frankfurt and Hanover.  Company growth and the factory's gradual conversion for the manufacture of serial products twice necessitated expansion of the buildings.  When it finally become impossible to scale up further in Volmarstein, SCHLOSSBERG moved south to a newly built building in the village of Langenaubach in Hesse in 1954.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eThat same year Liesel Spornhauer, previously of Dümler \u0026amp; Breiden, became the firm's first in-house designer.  She remained with the company through the decade and was responsible for most of the successful designs from the period.  Although SCHLOSSBERG would always remain a relatively minor player in the field of German art pottery, it produced a disproportionate number of entirely first-rate designs, particularly under Spornhauer's tenure.  When she left in 1959, co-founder Ilse Stephan assumed the position of head designer.  In the mid-sixties, like most other makers of the time, SCHLOSSBERG emphasized the production of the popular \"fat lava\" décors.  Ilse would step aside for the famous Hanns Welling to take the helm during his brief stint with the firm.  Renowned for the game-changing designs he introduced at Ruscha and Ceramano, Welling would leave his mark on the work being produced by SCHLOSSBERG.  Unfortunately, the business was not able to sustain the successes of the 1950s and '60s, and it closed its doors in 1975.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eWhite clay was used exclusively in the manufacture of SCHLOSSBERG's products.  Some pieces were inscribed with the intertwined letters, \"T\" and \"S,\" probably representing co-founder Theodore Stephan's initials.  Many items had only form and size numbers engraved or molded on the base, separated by a slash mark or stacked one atop the other.  Usually a distinctive typeface was employed, which can be an aid in identifying the company's pottery.  Some pieces are completely unmarked.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Period – \u003cspan\u003e\u003cb\u003e1950-1959\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eLIESEL SPORNHAUER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eSCHLOSSBERG KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eBLACK\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, WHITE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e21.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (cm) – \u003cspan\u003e\u003cb\u003e13.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (cm) – \u003cspan\u003e\u003cb\u003e12.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13956120707114,"sku":"SCHLOSSBERG \"HAIGER\" VASE 101\/21","price":148.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200128_143420-01.jpg?v=1580326913"},{"product_id":"vintage-mid-century-1950-mcm-raymor-londi-bitossi-large-pottery-partridge-bird","title":"ALDO LONDI BIRD FIGURINE FOR BITOSSI","description":"\u003cp\u003eA fantastic bird figurine in beautiful autumnal colors of orange, brown, and yellow with a 'piume' (plumage) decor designed specifically for this form.  It was created in the 1960s by Aldo Londi for Bitossi (Italy).  These figurines were available both with and without 'legs' in the form of two thick black metal wires welded to a plate metal base.  This one comes without, but does have the holes in case one wanted to have them fabricated.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eALDO LONDI (1911-2003)\u003c\/strong\u003e was one of Italy's most noted master ceramicists who spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics manufactory Bitossi Ceramiche.\u003c\/p\u003e\n\u003cp\u003eLondi’s hometown just outside of Florence, Montelupo Fiorentino, has been an important center for pottery production since the Renaissance. In 1922, at the age of eleven, Londi started working for Fratelli Fanciullacci, the region’s premier ceramics workshop at the time. Following World War II—upon returning to Italy from South Africa, where he was a prisoner of war—Londi became Bitossi’s Creative Director. He would hold this position for more than 50 years and would design over 1,000 objects—ranging from jugs and vases to clocks and animal figurines.\u003c\/p\u003e\n\u003cp\u003eLondi employed his high-level technical expertise and vast experience in traditional artisanal methods to create distinctively expressive and whimsical forms, patterns, and finishes. Londi’s best-known collection is the 1950s-era \u003cem\u003eRimini Blu\u003c\/em\u003e (1955-1965), a now-iconic midcentury modern series encompassing over 150 designs, all glazed in vibrant blue and embossed with abstract motifs and shapes. Londi created \u003cem\u003eBall Vase,\u003c\/em\u003e his first piece in Persiano Blue, in 1955. Not long after in 1959, he began to create more pieces in this proprietary chromatic finish. The collection holds historical importance because it helped to bring handcrafted works into the modernist design conversation in Italy. Although blue was not the only color Londi utilized, it has become closely associated with his oeuvre. Londi’s last solo collection, \u003cem\u003eArkitectura\u003c\/em\u003e (ca. 1950s), was very different from his earlier work; it features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi to be an important mentor. During his time at Bitossi, Londi also collaborated with Piero Fornasetti (1913-1988), Matteo Thun (b. 1952), and Karim Radhid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections, including the \u003cem\u003eRimini Blu\u003c\/em\u003e and \u003cem\u003eAkitectura\u003c\/em\u003e, are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBITOSSI CERAMICHE\u003c\/strong\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino in Tuscany—a region with an ancient tradition of ceramics a few kilometers from Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, painters, but especially as potters. In the twentieth century, under Guido's leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s master ceramist Aldo Londi (1911-2003) was named BITOSSI CERAMICHE's creative director. He held the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. Nevertheless he keenly appreciated the streamlined forms of the mid-century moment. He is best known for his 'Rimini Blu' collection (1955-1965), an iconic series comprised of over 150 designs—bowls, vases, jugs, and animal figurines—all glazed in a vibrant azure hue and embossed with abstract motifs and shapes. It helped to bring expressive, hand-crafted work into the modernist design conversation in Italy. Londi’s last solo collection, 'ARKitectura,' stands somewhat apart from his earlier work and features elegantly minimalistic animal figures glazed in monochromatic black, white, or platinum. Both collections are still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi's tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass. An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials in relation to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003e\u003ca href=\"https:\/\/www.pamono.com\/designers\/aldo-londi\"\u003eAldo Londi\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003e\u003ca href=\"https:\/\/www.pamono.com\/makers\/bitossi\"\u003eBitossi\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1950 to 1959\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003eUnknown\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eOrange, yellow, brown, chartreuse\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e11.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e4.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e7.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13958250528810,"sku":"ALDO LONDI BIRD FOR BITOSSI","price":1325.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200524_112013-01.jpg?v=1590341700"},{"product_id":"bruno-gambone-studio-vase","title":"BRUNO GAMBONE STUDIO VASE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA tall, studio bottle vase from Italian maestro Bruno Gambone. The heft and feel are extraordinary.  Its flattened form likely dates to the early 1970s and measures just shy of 15\" tall.  Glazed in contrasting brown and tan tones with a single dark vertical stripe on either side.  The charming irregularities characteristic of much of studio pottery make this a true one-of-a-kind. Signed at base.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eBRUNO GAMBONE\u003c\/b\u003e was born in Salerno, Italy, in 1936.  His early work experience included an apprenticeship at his father, Guido Gambone's, studio at the age of 14.  (The elder Gambone is counted among the greatest Italian potters of the last century.)  Following a brief stint at Andrea d'Arienzo's ceramics factory in 1958, Bruno began to explore other artistic experiences, including fabric decoration and painting on canvas.  He held his first exhibition of paintings at the La Strozzina Gallery in 1959.  In the early 1960s Gambone took up residence in New York City, where he moved in exalted circles among artists such as Rauschenberg, Lichtenstein, Louise Nevelson, Frank Stella, and Warhol, gaining much experience in the fields of painting, sculpture, cinema, and theater.  He returned to Italy in 1968—and to Florence the following year when his father died.  He took up the reins of Guido's ceramics studio and devoted himself almost exclusively to pottery.  He worked with remarkable intensity and produced works of great interest.  Bruno Gambone occasionally explored other sectors of applied art, such as glass, furnishings, and jewelry.  His activism in defense of artistic craftsmanship is often noted.\u003c\/p\u003e\n\u003cp class=\"designer-quote\"\u003e\u003ci\u003e…Between birth and death, there is a story made of everyday earth. – BRUNO GAMBONE\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eITALY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eBRUNO GAMBONE (b. 1936)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eSIGNED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e37.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (cm) – \u003cspan\u003e\u003cb\u003e11.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (cm) – \u003cspan\u003e\u003cb\u003e6.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13958267666474,"sku":"SALE PRICE","price":899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-463.jpeg?v=1555799720"},{"product_id":"alvino-bagni-fish-mouth-vase-189-8-for-raymor-32-cm","title":"ALVINO BAGNI FISH-MOUTH VASE 189\/8 FOR RAYMOR (32 cm)","description":"\u003cp\u003eA beautiful fish mouth vase with a bulbous top and empire silhouette designed by Alvino Bagni for Raymor.  It is decorated with horizontal stripes in shades of orange, black and brown and accented with raised yellow volcanic rings.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eALVINO BAGNI\u003c\/strong\u003e was born in 1919 in Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father; as a communist, he had been exiled under Italian fascism. The young Bagni learned the basics of drawing and clay modeling under the tutelage of artist\/sculptor Torello Santini. Bagni's interest in ceramics—a locally important industry—grew, and he found work at Arnaldo Pugi’s furnace in Ponte a Signa. Following WWII, Pugi helped him finance the opening of his own studio, BAGNI CERAMICHE, where several family members including wife Gina were employed. Gina would work along side Bagni throughout his career. 3,500 elephant-head plates bearing the slogan “I like Ike” were manufactured for export during Eisenhower's 1952 US presidential campaign—an early and prophetic commission: the large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eIn the 1950s and '60s Bagni established fundamental collaborations with Bitossi Ceramiche in nearby Montelupo Fiorentino and with the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. These relationships allowed Bagni to open a larger, better-equipped factory where he was able to surround himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio work. He was always experimenting with glazes and produced some truly radical combinations and colors schemes. A case in point is the 'Sea Garden' décor, an unusual mix of turquoise, blue, green, yellow, brown, and black. Bagni often incorporated metal rings or other pieces with his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980 BAGNI CERAMICHE had almost 100 employees and was internationally renowned for high-quality, artistic production and the use of innovative techniques. However, as the world increasingly opened up to global competition, the company found itself in financial straits. Tied as it was to an “artisanal” approach, it struggled to withstand the downward pressure on prices. Despite Bagni's noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning of buyers. Nuove Forme owns many of Bagni's historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eAlvino bagni\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eAlvino bagni\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has an attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Italian Modern, Hand-Crafted, Modernist, Empire\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta content=\"http:\/\/schema.org\/UsedCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" itemprop=\"itemCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBlack, orange, yellow, brown\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.8 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e13.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13958583320618,"sku":"ALVINO BAGNI 189\/8 FOR RAYMOR (32 cm)","price":585.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200520_160851-01.jpg?v=1590012500"},{"product_id":"ruscha-german-vintage-60s-mid-century-modernist-space-age-fat-lava-vase","title":"RUSCHA KERAMIK ‘CORTINA’ BOX VASE Nr. 873\/25","description":"\u003cp\u003eA wonderful blue and tan fat lava box vase #873\/25 from Ruscha Keramik.  The name of the decor is 'Cortina' and it dates to the 1980s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRUSCHA KERAMIK \u003c\/strong\u003ewas launched in 1948 when Rudolf Schardt assumed the management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia. (RUSCHA is a syllabic abbreviation of his name.) The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom. RUSCHA KERAMIK became a leading manufacturer during the \"golden age\" of Western German ceramics and is credited with some of the era's key developments. It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape. Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.\u003c\/p\u003e\n\u003cp\u003eRUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases. Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes. When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: White clay was used practically exclusively. The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Embossed and incised base-numbering was used for vessels. If a vase was made in more than one size, a single digit indicating relative size followed the form number. Low form numbers (\u0026lt; 100) were sometimes preceded by a letter. Like a few other manufacturers, RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors. Pieces were never molded with \"Germany\" or \"West Germany.\"\u003c\/p\u003e\n\u003ch3 id=\"js-heading-details\" class=\"section-title\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv aria-expanded=\"true\" aria-labelledby=\"js-heading-details\" role=\"tabpanel\" class=\"product-info-content collapse in\" id=\"js-info-details\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e5.25ʺW × 4.25ʺD × 10ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eAbstract\u003c\/dd\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eModern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1980s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eGermany\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eBlue\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13958598557738,"sku":"RUSCHA KERAMIK 'CORTINA' BOX VASE Nr. 873\/25","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220322_142925-01.jpg?v=1648075999"},{"product_id":"carstens-german-vintage-60s-70s-quant-modernist-flower-power-fat-lava-wall-tile","title":"CARSTENS TÖNNIESHOF LUXUS SERIES “FLOWER POWER” WALL TILE","description":"\u003cp\u003eA 60s era 'Flower Power' relief wall tile in shades of yellow, orange and green with a dark brown clay outline.  Designed by Dieter Peter as part of his 'Luxus' series (1967-69) for Carstens Tönnieshof.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCARSTENS TÖNNIESHOF\u003c\/strong\u003e was founded in 1946 by Ernst Carstens and his son Christian. Their family had had a long prior history of manufacturing ceramics and porcelain in Germany, but all of its businesses had collapsed by the end of WWII. Most of the CARSTENS factories wound up on East German soil when the country was divided and so were expropriated by the DDR. Father and son built the new Tönnieshof factory on a farm of that name in Fredelsloh in Lower Saxony, just west of the border with East Germany. Production of table ceramics began in 1947; the first known decorative pieces date from the early '50s. Ernst's wife Trude Carstens served as artistic director until her death in 1965.\u003c\/p\u003e\n\u003cp\u003eCARSTENS TÖNNIESHOFF was very successful for many years and produced an enormous variety of shapes and glazes. The 'Luxus' and 'Atelier' ranges were more expensive lines and they sold in large department stores—'Atelier,' launched in 1962, was the creation of renowned designer Gerda Heuckeroth. Helmut Scholtis introduced the very popular 'Ankara' décor in 1963 during a stint with CARSTENS; an example of the \"wax resist\" technique, it was applied to a broad array of forms. Lava glazes were employed during the second half of the 1960s. Production was eventually expanded abroad to Austria, Chile, Argentina, and Australia—it may well have topped out at close to 10,000 items daily. Other distinguished designers on CARSTENS' roster included Heinz Siery, Rudolph Christmann, and Dieter Peter. The firm went bankrupt in 1977.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003eDieter Peter\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003e\u003ca href=\"https:\/\/www.pamono.com\/makers\/carstens-toennieshof\"\u003eCarstens Tönnieshof\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eGermany\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eYellow, orange, green, brown\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e10.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e1.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e18.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13958613499946,"sku":"CARSTENS TÖNNIESHOF LUXUS SERIES 'FLOWER POWER' WALL TILE BY DIETER PETER (1967-69)","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201201_143831-02.jpg?v=1606858671"},{"product_id":"bodo-mans-kuba-2001-30-for-marei-keramik-rare","title":"BODO MANS ‘KUBA’ VASE 2001\/30 FOR MAREI KERAMIK (RARE)","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA beautiful and rare example of an early MAREI KERAMIK vase in the 'Kuba' décor, designed by Bodo Mans in 1958.\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eBODO MANS\u003c\/b\u003e was born in 1935.  From 1949 to 1951 he apprenticed as a window dresser and a decorative painter.  He next trained as a graphic designer in Cologne before taking up the study of ceramics at the technical school in Höhr-Grenzhausen (1954-1956).  After brief employment as a ceramic painter with Keto Keramik, he took a temporary job at the Madoura company in Vallauris, a small community in southeastern France bordering the resort town of Antibes.  The Madoura workshop is famously where Picasso realized his ceramic designs while living in Vallauris (1948-1955).\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003eFollowing his 1957 return to Germany and a short stint with Ruscha Keramik, Mans went to work as a designer for MAREI KERAMIK in Rheinbach, where he was employed through the end of 1958.  Clear influence of his earlier work at Keto is seen in his work for MAREI.  Some of his designs from the period were adopted by Bay Keramik of Ransbach-Baumbach, and in 1959 Mans began to freelance officially for the company, providing plans for both forms and décors.  Well-known examples of the latter include 'Reims' (approx. 1960), 'Istanbul,' 'Ravenna,' and 'Saarburg' (all approx. 1961).  Mans became a permanent designer for BAY in 1962.  That same year, along with Liesel Spornhauer and others, he became a founding member of the ceramic group \"Muffel.\"  Its exhibitions brought his ceramic objects and murals to public attention; he won great acclaim for their color, playfulness, and formal technical design.  The popularity of his early work for Bay anticipated that of German art pottery more generally.  Mans officially retired from Bay in 1975.  Since then he worked as a freelance industrial designer, painter, graphic artist, and journalist.  He passed away in 2001.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eMAREI KERAMIK\u003c\/b\u003e was founded in 1948 by Jean Fuss and his son in the town of Rheinbach near Bonn in the German state of North Rhine-Westphalia when Fuss and then partner Josef Emons dissolved their terracotta business.  (Emons established ES Keramik with his sons in the same year.)  Fuss \u0026amp; Emons had been formed in 1921 when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik.  Its output consisted of flower pots, ornamental ceramics, and eventually drainage pipes.  With the start of WWII, production came to a near standstill—with the exception of the inserts for so-called \"Hindenburg lichter,\" an important source of wartime emergency lighting.  The full program was resumed as conditions normalized after the war, but the two men chose to go in different directions.  MAREI is a syllabic abbreviation of the first part of the company's legal name, MAjolikafabrik RhEInbach Jean Fuss \u0026amp; Sohn.  Fuss's son tragically died in an accident in 1951.\u003c\/p\u003e\n\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"maker-text\"\u003eThe focus of MAREI's initial production program was flower pots and vases with simple surface designs.  However in 1957, daughter Hildegard Fuss and her husband Wolfgang Bruchhausen joined the family business—the latter would soon assume management of the company.  Soon thereafter they engaged the well-known designer Bodo Mans enrich the MAREI product line.  When Mans left a year later he was succeeded for a short time by Walter Weiland.  \u003cspan\u003eWeiland\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ein turn moved on to Fohr Keramik where he rose to head of design.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eIt was once generally thought that MAREI had been a fairly small company and that their output peaked in the 1950s.  However research has shown that it was something of a manufacturing powerhouse and that some of its best work was produced in later decades.  Catalog discoveries have credited to MAREI many pieces previously attributed to Roth Keramik.  (The work of historians has been confounded by MAREI's practice of reusing both form numbers and glaze names over the years.)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Year – \u003cspan\u003e\u003cb\u003e1958\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cspan\u003e\u003cb\u003eBODO MANS (1935-2001)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eMAREI KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eTERRA COTTA\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, MULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e30.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (cm) – \u003cspan\u003e\u003cb\u003e6.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13960319238186,"sku":"MAREI KERAMIK \"KUBA\" DECOR 2001\/30 - RARE (1958)","price":198.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20191206_150746-01.jpg?v=1575670076"},{"product_id":"vintage-70s-ruscha-keramik-vulcano-lamp-west-german-pottery-fat-lava-era-vase-er","title":"RARE ‘VULCANO’ ACCENT LAMP BY OTTO GERHARZ FOR RUSCHA","description":"\u003cp\u003eA rare vintage accent lamp by Kurt Tschörner (form) and Otto Gerharz (glaze) for RUSCHA KERAMIK, decorated in the pioneering fat-lava décor, \u003ci\u003eVulcano\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eFitted with a European plug; US adapter included. 13\" to the top of the shade.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e was launched in 1948 when Rudolf Schardt assumed management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in Rheinbach—a small town southeast of Bonn in the German state of North Rhine-Westphalia, with a long tradition of earthenware pottery. (RUSCHA is a syllabic abbreviation of the name Rudolf Schardt.) The timing of the takeover put Schardt in a good position to take advantage of West Germany's post-war boom, and RUSCHA KERAMIK would become one of the leading lights of the \"golden age\" of German ceramics.\u003c\/p\u003e\n\u003cp\u003eRUSCHA is credited with some of the era's key developments. It produced some very successful and innovative forms and finishes, including the iconic model Nr. 313 (Kurt Tschörner, 1954)—probably the period's most famous shape—and the \u003ci\u003eVulcano\u003c\/i\u003e décor (Otto Gerharz, 1951)—which anticipated by decades the move toward thick, dripping fat-lava glazes.\u003c\/p\u003e\n\u003cp\u003eAs well as high-quality vases, RUSCHA is celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications. Specimens from the '70s often exhibit remarkable volcanic and \"fat lava\" glazes. When RUSCHA shuttered its factory in 1996, Scheurich Keramik acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: RUSCHA KERAMIK used white clay almost exclusively. Rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Vessels are typically embossed or incised with form numbers on their bases. If a model was available in more than one size, a single digit indicating relative size follows the form number (separated by dash or virgule). Lower form numbers (\u0026lt; 100) are occasionally preceded by a letter. Along with a handful of other manufacturers, RUSCHA would sometimes recycle model numbers—a cause of distress for some collectors.\u003c\/p\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOtto Gerharz\u003c\/li\u003e\n\u003cli\u003eKurt Tschörner\u003c\/li\u003e\n\u003cli\u003eHanns Welling\u003c\/li\u003e\n\u003cli\u003eAdele Bolz\u003c\/li\u003e\n\u003cli\u003eHeinz Siery\u003c\/li\u003e\n\u003cli\u003eCilli Wörsdörfer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eKURT TSCHÖRNER (1912—1987)\u003c\/b\u003e is probably best known for the ceramic forms he designed for RUSCHA KERAMIK, particularly the iconic jug vase Nr. 313 (1954)—considered to be among the very best shapes to have emerged from the post-war German ceramics industry. When RUSCHA's arts director Otto Gerharz left to form his own company, Otto-Keramik, Tschörner went with him. He and Gerharz were responsible for all of the forms and glazes for the new firm well into the 1980s.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOTTO GERHARZ (b. 1927)\u003c\/b\u003e began training as a ceramicist in 1942, but his apprenticeship was interrupted in 1944 when he was drafted into the military. He emerged from service in 1946 with his interest in ceramics intact, but his focus had shifted away from pottery making toward glaze chemistry. He began attending classes at the technical school at Höhr-Grenzhausen, which had just reopened after the war. Two years later, he completed his thesis on ceramic glazes as an engineer. Gerharz continued his education with complementary studies in electro-ceramics, followed by laboratory and consultancy work in the industry.\u003c\/p\u003e\n\u003cp\u003eIn 1951 Gerharz went to work at RUSCHA KERAMIK as operations manager and lead ceramist. There he developed a wide range of glazes and played a decisive role in the emergence of RUSCHA as an important manufacturer of art pottery. He left RUSCHA in 1964 to resume his independent research, forming the eponymous Otto-Keramik.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eOTTO GERHARZ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, FABRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, DARK GREEN, GOLDENROD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 250V (EUROPE\/UK STANDARD), CORDED, TYPE \"C\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent Vintage Condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5 ¾\" DIAM. × 13\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13960332771370,"sku":"RARE OTTO GERHARZ FOR RUSCHA KERAMIK 'VULCANO' ACCENT LAMP","price":175.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230601_152700_1-01.jpg?v=1685655555"},{"product_id":"mcm-piere-fornasetti-3d-op-pop-art-pottery-eyeball-paperweight-eames-era","title":"PIERO FORNASETTI POP ART EYEBALL PAPERWEIGHT","description":"\u003cp\u003eA wonderfully surrealistic ceramic paperweight in the form of an eyeball, created in the late 1960s by Piero Fornasetti.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePIERO FORNASETTI\u003c\/b\u003e\u003cb\u003e \u003c\/b\u003ewas born in Milan in 1913 and, from an early age, he started to draw. Much to his accountant father’s displeasure, he yearned to be an artist.  in 1932, \u003cmeta charset=\"utf-8\"\u003ePiero enrolled at the Accademia di Brera, but was expelled two years later for insubordination. He later enrolled in the Scuola Superiore of Arts Applied to Industry at Castello Sforzesco, also in Milan.  Irremediably rebellious, he was unable to adhere to the dogma of any school. Endlessly curious, he spent his days reading magazines and books on arts and science, and continued to study; appropriating information and constantly expanding the horizons of his knowledge. He taught himself lithography and etching.\u003c\/p\u003e\n\u003cp\u003eIn 1933 he exhibited his first artwork at the University of Milan and produced a series of printed silk scarves that caught the eye of architect and designer Gio Ponti. The two men collaborated on various projects and combined Ponti’s signature angular forms with Fornasetti’s witty and whimsical motifs.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFornasetti’s success reached its peak in the 1950s and, during this period, the artist created his Themes \u0026amp; Variations series, a collection of plates featuring his muse, the \u003ci\u003efin de siècle\u003c\/i\u003e opera singer Lina Cavalieri, whose face he spotted in a magazine. He started painting her in 1952 and never stopped, creating a series of more than 350 pieces.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"image-handler__container image-handler__container--aspect\"\u003e\u003c\/div\u003e\n\u003cp\u003eBy the 1970s, popularity for Fornasetti’s bold patterns had waned and the company was struggling financially, but in 1984 Liliane Fawcett and Giuliana Medda opened a gallery located in London's Notting Hill called 'Themes and Variations' where the pair sell 20th century decorative items., and specialize in objects from the Italian avant-garde movement of the late 60's, and especially the works of Piero Fornasetti.  They have been credited with almost single handedly accelerating the revival of his designs.  \u003cspan class=\"Apple-converted-space\"\u003e\u003cspan\u003eThis also revived interest in his work overseas, where he was already widely known. As Fornasetti's oeuvre began to be rediscovered, Piero collaborated with Patrick Mauriés on the first monograph on his work, accompanied by an introduction by Ettore Sottsass. Sadly, the book was published posthumously.  \u003c\/span\u003e\u003c\/span\u003eFornasetti died in 1988, having produced more than 13,000 designs over a 50 year period.  \u003cmeta charset=\"utf-8\"\u003eFornasetti’s brilliant mind has inspired numerous designers over the decades, from Philippe Starck to Sue Timney. His son, Barnaba, continues the atelier today, with limited-edition pieces and a range of home accessories using archive designs.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003ePiero Fornasetti\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eManufacturer\u003c\/th\u003e\n\u003ctd\u003eAtelier Fornasetti\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eItaly\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Excellent — This vintage piece is in near original condition. It may show minimal traces of use and\/or have slight restorations.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eCeramic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBlack, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e3.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e2.3 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13960382611498,"sku":"PIERO FORNASETTI EYEBALL PAPERWEIGHT","price":650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20201214_143044-01.jpg?v=1607978421"},{"product_id":"ruscha-keramik-scheuende-pferde-wall-tile-782-3","title":"RUSCHA KERAMIK ‘SCHEUENDE PFERDE’ WALL TILE 782\/3","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn extra-large, vertical wall tile from RUSCHA KERAMIK depicting two rearing horses on a red-and-brown, fat-lava background. The décor, 'Scheuende Pferde' ('Shying Horses'), was designed in 1968. The tile is numbered 782\/3 and is initialed inverso by the unknown artist (\"E.M.\") who painted it.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003elaunched in 1948 when Rudolf Schardt assumed the management of Klein \u0026amp; Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia.  (RUSCHA is a syllabic abbreviation of his name.)  The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom.  RUSCHA KERAMIK became a leading manufacturer during the \"golden age\" of Western German ceramics and is credited with some of the era's key developments.  It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape.  Hanns Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eRUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases.  Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes.  When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eNotes on identification:  White clay was used practically exclusively.  The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out.  Embossed and incised base-numbering was used for vessels.  If a vase was made in more than one size, a single digit indicating relative size followed the form number.  Low form numbers (\u0026lt; 100) were sometimes preceded by a letter.  Like a few other manufacturers RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors.  Pieces were never molded with \"Germany\" or \"West Germany.\"\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eIn rare instances, bases were hand-inscribed—less often, painted—with the name RUSCHA and a décor name (these tend to be earlier 1950s items).  Where stickers are found they always read \"Ruscha Art.\"  Many items were not stickered.  Sometimes a retailer's label was applied.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Year –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003e1968\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003eRUSCHA KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003e52.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (cm) –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003e24.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (cm) –\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\u003cb\u003e2.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":13960639545386,"sku":"RUSCHA 'SCHEUENDE PFERDE' (SHYING HORSES) WALL TILE 782\/3 (1968)","price":225.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-773.jpeg?v=1563384306"},{"product_id":"anton-fortescu-smyth-interlock","title":"ANTON FORTESCU-SMYTH \"INTERLOCK\"","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA hard-edge abstract serigraph in shades of orange and yellow by well-known listed artist Anton Fortescu-Smyth.  8.5\" square framed.  Titled \"Interlock,\" the piece recalls intersecting architectural beams.  Serigraph number 136 of a limited series of 200, signed and numbered by the artist.  A brief biography by former Chelsea art dealers, Gary Arts Wholesale, is attached inverso.  (Any irregularities in tone seen in the photos are the result of reflections in the glass.)\u003c\/p\u003e\n\u003cp class=\"designer-text\"\u003e\u003cb\u003eANTON FORTESCU-SMYTH\u003c\/b\u003e is a naturalized citizen of the US.  Born in 1936 in Bucharest, son of an English father and Romanian mother, the artist paints under his mother's name, Fortescu.  He began painting and print-making at the age of 21, when he discovered his talents while working in a Greenwich Village ceramics factory.  Fortescu-Smyth has studied at numerous design and art schools in the US and abroad and was a founder of the New York School of Serigraphy.  He has permanent exhibitions in several New York City galleries.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cspan\u003e\u003cb\u003eANTON FORTESCU-SMYTH (b. 1936)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eSIGNED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMedium – \u003cspan\u003e\u003cb\u003eSERIGRAPH\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cspan\u003e\u003cb\u003e136\/200\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFrame – \u003cspan\u003echrome.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eORANGE\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, YELLOW\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e8.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e8.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e1.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":13962122821674,"sku":"\"INTERLOCK\" ANTON FORTESCU-SMYTH (b. 1936) - SERIGRAPH, ED. 136\/200","price":145.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-1012-02.jpeg?v=1567119462"},{"product_id":"11-05-pair-of-wilshire-house-crackle-glaze-lamps-mid-century-regency-hollywood-modern","title":"CRACKLE-GLAZE LAMPS BY PAUL LÁSZLÓ \u0026 MARIA KIPP FOR WILSHIRE HOUSE","description":"\u003cp\u003eA pair of mid-century white \u003cspan\u003ecrackle glaze lamps with original Maria Kipp shades produced by \u003c\/span\u003e\u003cspan\u003eWilshire House and \u003c\/span\u003eattributed to \u003cspan\u003ePaul László.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePAUL LÁSZLÓ (1900-1993)\u003c\/strong\u003e, internationally known interior designer and architect, was born February 6, 1900 in Debrecen, Hungary. He attended the Staatliche Akademie der Bilden den Kunste in Stuttgart, Germany where he studied architecture and design. László apprenticed with Fritz August Brueuhaus in Cologne Germany before he opened his practice in Vienna in 1925, at the age of 24. In 1936, László immigrated to the United States to escape increasing anti-Jewish sentiment in Europe, and settled in Los Angeles, where he opened an architecture and design studio on Rodeo Drive.  He quickly became the designer of choice in Beverly Hills, gaining numerous residential commissions. One of his first commissions in California was to design the Bullock’s department store on Wilshire Boulevard. Throughout László’s career the majority of his work consisted of ultra-modern, spacious residential homes for celebrities and the wealthy.  By the late 1940s, Laszlo had built and designed homes for Hollywood’s most elite insiders such as William Wyler, Cary Grant, Elizabeth Taylor, Barbara Stanwyck, Barbara Hutton, Fritz Lang, as well as the casino, showrooms and hotel interiors for Howard Hughes.  László often designed all of the furniture and interiors for his buildings. As his career progressed László focused more of his energy on interior design. Some of his more notable projects include designs for department stores, including Bullock’s, Goldwater’s, Robinson’s, and Ohrbach’s stores.  Mr. John Daniel Hertz, the founder of Yellow Cab and Hertz rent-a-car spent over $89,000 in the 1950s for a László’ designed bomb shelter to be built for him at the corner of Shoup Avenue and Oxnard Street in Woodland Hills.  The shelter, which still exists,  was considered a masterpiece of engineering. Shaped like a submarine, it had bath facilities, an elevator, an electric kitchen and sleeping accommodations for 30 people.  In 1948 George Nelson described Laszlo’s designs as having “generous dimensions, great elegance of appearance, and impeccable taste”, all of which translated easily to the glamorous Hollywood lifestyle. Paul László died on March 28, 1993, at the age of 93.\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cb\u003eMARIA KIPP\u003c\/b\u003e\u003cstrong\u003e (1900–1988) \u003c\/strong\u003ewas born in Weihsenbrunn, Bavaria in 1900. Her father was a Protestant minister, and her family’s associations with Bavarian royalty provided a relatively privileged upbringing. In 1906 her family moved to Gaub, and she enjoyed private tutoring in French, music and embroidery. She attended a household and horticulture school, and discovered her proclivities towards drawing and painting. In 1918, she enrolled at the Kunstgewerbschule (School of Applied Arts) in Munich. Though the women’s liberation movement in Germany had recently allowed equal admission to both men and women, there were lingering prejudices surrounding women’s enrollment in art schools, in particular. Gunta Stozl also attended that school from 1914-1916, and would later go on to assume the position of head of the Weaving Workshop at the renowned Bauhaus, although It is unclear whether Kipp was exposed to or influenced by the Bauhaus manifesto during this time.\u003c\/p\u003e\n\u003cp\u003eIn 1920, she enrolled at Staatliche Hohere Fachschule für Textilindustrie (State Academy for the Textile Industry), in Münchberg, Bavaria. She was the first female student to attend the school since its founding in 1854. Kipp proved to be a highly disciplined and talented student, motivated to become not only a textile designer but also a textile engineer. On Saturdays when class was not in session, she and her classmates taught themselves how mechanical looms worked by disassembling and reassembling them. It was there that she gained the necessary technical knowledge of weaving, learning about natural fibers, spinning, finishing techniques, warp calculation and became proficient with weaving on both mechanical (jacquard) and hand looms.\u003c\/p\u003e\n\u003cp\u003eAfter graduating from the Academy in 1923, she was reluctant to begin her career as a textile engineer because it would require her to relocate to eastern Germany where the weaving mills were situated. A year later, after receiving a handloom as a gift from a friend, she decided to launch her own business. She married Ernst Haeckel in late 1923, and became deeply involved in the spiritual Mazdaznan movement, which Kipp thoroughly describes in her autobiography. In 1924, Kipp and Haeckel \u003cspan\u003eemigrated to the United States without sponsorship. They settled in \u003c\/span\u003e\u003cspan\u003eLos Angeles, the headquarters of the Mazdaznan organization and also a cultural haven for European artists and intellectual émigrés.  \u003c\/span\u003e\u003cspan\u003eKipp and Haeckel quickly established what would become a very successful workshop, \"\u003c\/span\u003e\u003cspan\u003eMaria Kipp Handweaves,\" specializing in handwoven textiles for interior designers and architects.\u003c\/span\u003e Los Angeles had experienced unprecedented economic growth in the 1920s and 30s, largely due to the success of the oil, film, aviation and automobile industries. This economic abundance fostered an inviting environment for writers, musicians, filmmakers, architects and artists – creating ample opportunity for successful business ventures. \u003c\/p\u003e\n\u003cp\u003eDuring this period, they worked on two important commissions: in 1928 Kipp designed the drapery for the Los Angeles City Hall and the San Francisco Stock Exchange. They also worked with fellow émigrés and modernist architects Rudolph Schindler, Paul Frankl, \u003cspan\u003ePaul László, \u003c\/span\u003eand Richard Neutra who \u003cspan\u003esought out her designs for their interiors. Neutra used Kipp's designs in his own home, as did other prominent Southern California architects such as Welton Becket, who commissioned her to create interiors for the Bullock's chain of department stores, and Paul Revere Williams, who partnered with her to create interiors for celebrity homes and the Beverly Hills Polo Lounge.\u003c\/span\u003e  She designed textiles for upholstery, drapery and casements, lampshades and more. Though she and Haeckel divorced in 1931, they continued their professional relationship until it was no longer practical. Kipp married again in 1933 to George Engelke, an accountant, who provided her with enough financial security that she could feel free to expand her new firm “Maria Kipp, Inc” even further. \u003c\/p\u003e\n\u003cp\u003eThough she preferred to practice primarily as a small-run handcraft producer, Kipp created handwoven textiles for the superliner SS United States, Airforce One, the Beverly Hills Hotel and the Los Angeles Times Offices. She also executed many important commissions for Hollywood elites like the actress Loretta Young, Frank Sinatra, Dean Martin and Rita Hayworth, among many other private and commercial commissions.  Her textiles often feature open-weave structures, with dimensionality, abstract imagery, and geometric forms, but in quiet, calm colors.  \u003cspan\u003eAlthough she was lesser known than her contemporaries Anni Albers and Dorothy Liebes, Kipp received an inaugural award for woven fabrics from the American Institute of Decorators in 1948.\u003c\/span\u003e In addition to being a successful and talented technical handweaver, Kipp was also a shrewd businesswoman, and enjoyed a long and fruitful career before finally retiring in 1977. Maria Kipp died in 1988.\u003c\/p\u003e\n\u003ctable class=\"properties\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesigner\u003c\/th\u003e\n\u003ctd\u003ePAUL LÁSZLÓ AND MARIA KIPP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDesign Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduction Period\u003c\/th\u003e\n\u003ctd\u003e1960 to 1969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eCountry of Manufacture\u003c\/th\u003e\n\u003ctd\u003eUnited States\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eIdentifying Marks\u003c\/th\u003e\n\u003ctd\u003eThis piece is attributed to the above-mentioned designer\/maker. It has no attribution mark\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eStyle\u003c\/th\u003e\n\u003ctd itemprop=\"style\"\u003eVintage, Mid-Century, Hand-Crafted, Modernist\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eDetailed Condition\u003c\/th\u003e\n\u003ctd\u003e\n\u003cmeta itemprop=\"itemCondition\" itemtype=\"http:\/\/schema.org\/OfferItemCondition\" content=\"http:\/\/schema.org\/UsedCondition\"\u003e Very Good — This vintage item has no defects, but it may show slight traces of use.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e\u003c\/th\u003e\n\u003ctd\u003eThe vendor has confirmed this piece is in working order.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eRestoration and Damage Details\u003c\/th\u003e\n\u003ctd\u003ePatina consistent with age and use, RARE TO FIND A MATCHING PAIR OF THESE LAMPSHADES IN SUCH EXCELLENT VINTAGE CONDITION\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003ePlug Type\u003c\/th\u003e\n\u003ctd\u003eUS Plug (up to 110V)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eProduct Code\u003c\/th\u003e\n\u003ctd\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMaterials\u003c\/th\u003e\n\u003ctd\u003eBeech, Ceramic, Fabric, Metal\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eColor\u003c\/th\u003e\n\u003ctd itemprop=\"color\"\u003eBeige, gold, tan, white\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"width\"\u003e\n\u003cth scope=\"row\"\u003eWidth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e15.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"depth\"\u003e\n\u003cth scope=\"row\"\u003eDepth\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e15.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eHeight\u003c\/th\u003e\n\u003ctd\u003e\u003cspan\u003e35.0 inch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14199813111850,"sku":"PAIR OF PAUL LASZLO TABLE LAMPS (ORIGINAL MARIA KIPP SHADES)","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200831_151926-01.jpg?v=1598910320"},{"product_id":"dumler-breiden-vase-604-30","title":"DÜMLER \u0026 BREIDEN VASE Nr. 604\/30","description":"\u003cp\u003eA large, colorful DÜMLER \u0026amp; BREIDEN vase of eccentric shape. The glossy, textural, red-orange lava top-glaze slips down over a dark, matte, blue\/black ground. The interior is shiny black.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003e Following WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003ePUMPKIN, INK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ¾\" W × 4 ¼\" D × 11 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14209916665898,"sku":"DÜMLER \u0026 BREIDEN 604\/30","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-34_4ef97a67-4c90-4def-adbf-5e2c448e97a1.jpeg?v=1559859183"},{"product_id":"09-01-santi-schale-60s-50s-italien-lava-alla-moda-italy-fanciullacci-ara-vase","title":"LUIGI SANTI DECORATIVE BOWL WITH STILL LIFE AND VOLCANIC EDGE - ITALY","description":"\u003cp\u003e\u003cspan\u003eAn eye-catching one-of-a-kind sgraffito pottery bowl with a bright fruit and vegetable still life in shades of orange, blue, green, yellow, purple, and red, trimmed in a black volcanic glaze.  Produced in the 1950s by Luigi Santi\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLUIGI SANTI\u003c\/strong\u003e was born in Faenza in 1907.  He graduated from the Royal School of Faenza, a pupil of\u003cspan\u003e Anselmo Bucci \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eand\u003cspan\u003e Domenico Rambelli\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e, and completed his training working in ceramics factories in central Italy, including the \"Manifattura Ceramica Minghetti\u003c\/span\u003e\u003cspan\u003e\" in Bologna. It was there that he met and married \u003c\/span\u003e\u003cspan\u003eItala Minghetti,\u003c\/span\u003e\u003cspan\u003e the daughter of the factory owner\u003cspan\u003e Gennaro\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e Minghetti\u003c\/span\u003e\u003cspan\u003e.  Santi remained with the company until 1930 when he set out on his own.  \u003c\/span\u003e\u003cspan\u003eIn 1952, helped by a financing partner, he founded the \"Santi \u0026amp; Biancoli\u003c\/span\u003e\u003cspan\u003e\"\u003cspan\u003e \u003c\/span\u003efactory\u003cspan\u003e \u003c\/span\u003ein Miramare, near Rimini, and began producing ceramics commercially, in competition with the nearby San Marino manufacturers.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAfter a few years, he assumed lone management of the company, and changed the name to \"Santi Ceramiche.\"  He soon started a new office in Cattolica where, alongside commercial production, he also created artistic one-of-a-kind ceramics which he presented at various exhibitions and competitions.  \u003c\/span\u003e\u003cspan\u003eLuigi Santi retired from the business in 1962 and died in Cattolica in 1974.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"section-title\" id=\"js-heading-details\"\u003eDetails\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv id=\"js-info-details\" class=\"product-info-content collapse in\" role=\"tabpanel\" aria-labelledby=\"js-heading-details\" aria-expanded=\"true\"\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eDimensions\u003c\/dt\u003e\n\u003cdd\u003e12.5ʺW × 8ʺD × 0.75ʺH\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eStyles\u003c\/dt\u003e\n\u003cdd\u003eBoho Chic\u003c\/dd\u003e\n\u003cdd\u003eItalian\u003c\/dd\u003e\n\u003cdd\u003eMid-Century Modern\u003cbr\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePeriod\u003c\/dt\u003e\n\u003cdd\u003e1950s\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003ePlace of Origin\u003c\/dt\u003e\n\u003cdd\u003eItaly\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eItem Type\u003c\/dt\u003e\n\u003cdd class=\"item-type-item\"\u003eVintage, Antique or Pre-owned\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eMaterials\u003c\/dt\u003e\n\u003cdd\u003eCeramic\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition\u003c\/dt\u003e\n\u003cdd\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eColor\u003c\/dt\u003e\n\u003cdd\u003eOrange\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cdl class=\"detail-list\"\u003e\n\u003cdt\u003eCondition Notes\u003c\/dt\u003e\n\u003cdd\u003e\u003cspan class=\"js-swap-sibling\"\u003e Excellent Vintage Condition\u003c\/span\u003e\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14209921810474,"sku":"LUIGI SANTI DECORATIVE BOWL WITH STILL LIFE AND VOLCANIC EDGE - ITALY","price":386.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211228_172136-01-01.jpg?v=1641252746"},{"product_id":"biomorphic-soap-bubble-art-glass-sculpture","title":"BIOMORPHIC SOAP BUBBLE ART GLASS SCULPTURE","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eAn unsigned '70s-era biomorphic art glass sculpture of a compound soap bubble in the style of Santa Fe studio artist John Bingham.  There is some minor chipping around the inside lip of the piece's base that does not detract from the its beauty [see photos].\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eProduction Period – \u003cspan\u003e\u003cb\u003e1970-1979\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eGLASS\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e12.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (in.) – \u003cspan\u003e\u003cb\u003e8.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (in.) – \u003cspan\u003e\u003cb\u003e4.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14209926529066,"sku":"STUDIO ART GLASS","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200111_160244-01.jpg?v=1578782851"},{"product_id":"es-keramik-fat-lava-vase-684-12","title":"ES KERAMIK FAT-LAVA VASE 684\/12","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eA compact, cube-form vase from ES KERAMIK.  The sides gently taper up from the base and culminate in a volcano top with a round opening.  Finished with a beautiful, bubbly, blue-and-white fat-lava glaze.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003e\u003cb\u003eES KERAMIK\u003c\/b\u003e was founded in 1948 by Josef Emons and his two sons—ES being an initialism for Emons \u0026amp; Söhne—in the town of Rheinbach near Bonn \u003cspan\u003ein the German state of North Rhine-Westphalia\u003c\/span\u003e when Emons and then partner Jean Fuss dissolved their terracotta business.  (Fuss established Marei Keramik with his son that same year.)  Fuss \u0026amp; Emons had been formed in 1921 when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik.  Its output consisted of flower pots, ornamental ceramics, and eventually drainage pipes.  With the start of WWII, production came to a near standstill—with the exception of the inserts for so-called \"Hindenburg lichter,\" an important source of wartime emergency lighting.  The full program was resumed as conditions normalized after the war, but the two men chose to go in different directions.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eThe factory housing ES KERAMIK was largely converted to mechanical production with the company's launch, and its coal stoves were replaced with modern electric kilns.  The initial product offering of planters, tubs, pots, and simple vases was soon expanded to include more decorative items.  Hans Kraemer joined the firm in 1952 as a senior modeler.  He produced all of the shapes for ES KERAMIK  until 1968, at the remarkable rate of 15-20 designs per year.  The art department was led by Willi Hack from 1954 until the firm's 1974 close.  By the second half of the '50s, as many as 18 female painters were employed, among them numerous alumnae of the local glassmaking school.  The total workforce topped out at 70 employees.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eSales of ES KERAMIK’s decorative wares were carried out through trade fairs and by territorial representatives.  Brochures were never printed, and the company never advertised.  The composition of its repertoire was determined solely by feedback from the reps and the current order situation.  Successful ES KERAMIK molds and décors would remain in production as long as demand held.  The quality of shapes and decorations varied broadly, but the good items were quite good; one of the best is Kraemer's pitcher-form 683, later released as shape number 883.\u003c\/p\u003e\n\u003cp class=\"maker-text\"\u003eAfter the death of Josef Emons senior in 1964, management of ES KERAMIK passed to his sons.  The firm's 50th anniversary was celebrated in 1971, and the factory closed its doors three years later.  Some technical equipment had previously been sold off to Ruscha Keramik; but the company itself, its premises and the balance of the equipment—as well as the majority of the workforce—were taken over by the senior Emons' former partner, Jean Fuss, and absorbed by neighboring Marei Keramik.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Period – \u003cspan\u003e\u003cb\u003e1965-1974\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cspan\u003e\u003cb\u003eES KERAMIK\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAttribution – \u003cspan\u003e\u003cb\u003eMARKED\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (cm) – \u003cspan\u003e\u003cb\u003e12.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWidth (cm) – \u003cspan\u003e\u003cb\u003e10.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDepth (cm) – \u003cspan\u003e\u003cb\u003e10.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14210601549866,"sku":"ES KERAMIK 684\/12","price":95.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-673_f2b4dfcc-857d-4d16-a93b-83f72551f154.jpeg?v=1562710477"}],"url":"https:\/\/modernredux.myshopify.com\/collections\/temp.oembed?page=6","provider":"MODERN REDUX","version":"1.0","type":"link"}