Berit Sundell, Gustavsberg. Ceramic tabletop clock in the shape of a soccer ball

Gustavsberg, Britt-Louise Sundell (b. 1928) ceramic vase. In perfect condition. Measure: 25 cm high.

Britt Louise Sundell for Gustavsberg. Rare ceramic candlestick in the form of a groom. Hand-glazed. 1960s. Perfect condition. Signed. Dimensions: H 19.5 cm x D 12.0 cm.

Britt-Louise Sundell (1928–2011) for Gustavsberg Studio, Sweden. Ceramic vase with glaze in greenish tones. 1960s. Signed and stamped with Studio Hand mark. In perfect condition. Di...

Britt-Louise Sundell (1928-2011) for Gustavsberg Studio. Bowl in partially glazed stoneware. Beautiful speckled glaze in deep blue shades. 1960s. Measures: 18 x 5 cm. In excellent c...

Britt-Louise Sundell (1928-2011) for Gustavsberg, Sweden. Ceramic vase in dark brown and sand-colored glaze. Approx. 1960. In perfect condition. Dimensions: H 13.5 cm x D 9.0 cm.

Clock in brass, "La Fontaine", France, circa 1900. In good condition, some were.

An aneroid barometer and timepiece clock movement in an unusual ebonised oak case in the form of a Caduceus (the staff of Hermes or a herald). With...

Ceramic clock from the 1940s. Fine centerpiece or mantel clock made in the 1940s. The structure is completely made of glazed ceramic with shades ranging from brown to light blue. ...

A very rare and unusual boudoire clock in the form of a scent bottle. The case made of gilded bronze and onyx with a lovely dial of mother of pearl with a fine hand painted dial centre and the hours picked out in gilt. The time is told through two blued steel hands. The time is adjusted and the clock is wound through moving the top of the bottle so no holes or keys of any kind are visible. On the back of the bottle in gilt bronze there is the play on the famous perfume Chanel No. 5 by engraving on the back "Le Numero 7 de Juvenia" (a very famous Swiss clock...

A Lucite clock sculpture displaying a clock face and pieces in the manner of French artist Arman. Please note this is not a functioning clock.

French tabletop clock with angels in brass and marble, in Luis XVI, 19th century style. Gilded sphere with Roman numbers and enamels in the manner of 'C...

Interestingly, while nearly all of the designs that came out of George’s studio were attributed to him, many were actually designed by him and his team. Some were even designed solely by someone else working at the studio. Nelson famously recounted the story of how the Ball Clock came to life in an interview decades after it’s release: “It was one of the really funny evenings. Noguchi came by, Bucky Fuller came by, and here was Irving, and here was I, and Noguchi - who can’t keep his hands off anything - he saw we were working on clocks and started making doodles. Then Bucky sort of brushed Isamu aside. He said, ‘This is a good way to do a clock’ and made some utterly absurd thing. Everybody was taking a crack at this, pushing each other aside and making scribbles. At some point we left – we were suddenly all tired, and we’d had a little bit too much to drink – and the next morning I came back, and here was this roll of paper, and Irving and I looked at it, and somewhere in this roll, there was a ball clock. I don’t know to this day who cooked it up.” Nevertheless, whoever it was that came up with George Nelson’s designs, it’s almost certain that they would never have come to fruition if it wasn’t for George’s vision and forward-thinking approach. Can you tell me more about his clocks? George’s clocks were one of his most impressive bodies of work. In total, he and his team designed over 130 clocks in just three decades. While it is widely accepted that Irving Harper was the lead designer for the Howard Miller Clock Company at George Nelson Associates, the collection arose after two insightful observations from George: one, that people no longer used the numbers to tell the time; and two, that since most people now used their wristwatch to tell the time, interior clocks were now free to become more decorative in nature. The clocks were designed and released in batches of 8 and were initially only given numbers for names. The Sunflower Clock was simply ‘Clock 2261’, the Flock of Butterflies Clock was 'Clock 2226’, and so on. The Ball was the first clock designed by George and his team and it was followed shortly after by the Star, Sunburst, Spindle, Asterisk, Turbine, Flock of Butterflies, Eye and others. The clocks were purposefully abstract and were designed to complement the modernist furniture emerging at the time. As well as wall clocks, George’s studio also produced a series of desk clocks during that time, most notably the bubble-shaped Night Desk...