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Mid-century modern miniature vase "Castrol" by Swen Wejsfeldt, Gustavsberg

Name: Mid-century modern miniature vase "Castrol" by Swen Wejsfeldt, Gustavsberg
Brand: Gustavsberg
Price: 776.82 USD
Availability: InStock

About the Item

A very rare handmade vintage miniature pottery vase known as "Castrol" made and signed by Swen Wejsfeldt for Gustavsberg, Sweden. This is an example of true craftsmanship when it comes to hand thrown miniature ceramic vase, it is delicate and made to perfection. It has a small sun symbol on the front and the color is a warm yellow and there is harpsichord glazing in parts. It is in perfect condition. -It is 10cm high and 6cm in diameter. (3.93"/2.36"). The price includes free shipping. Gustavsberg Gustavsberg history dates back to 1825. In 1826, the wholesaler Herman Öhman tore down the old brick mill and started a porcelain factory on the site. His plan was to supply the growing Swedish middle class with porcelain goods. However, there were major production problems in the factory, and the quality of the produced goods was substandard. No artists were recruited, and the Gustavsberg pottery was highly influenced by German and English shapes and decorations. Like many of the local Gustavsberg boys, Josef Ekberg (1877-1945) started to work at the porcelain factory at the age of 12. He was first hired as an assistant, but over time he began crafting artworks on his own. Ekberg and fellow artist Gunnar Wennerberg jointly developed the famed Sgraffito technique, where a pattern is carved on a glazed surface. The art pieces they produced received a warm welcome at the World Exhibition in Paris in 1900. The Gustavsberg company was about to received worldwide recognition for the quality of its work. Wilhelm Kåge (1889-1960) first gained notoriety in Sweden for his colorful posters during the 1910s. He soon attracted the attention of the Gustavsberg factory which sought out artists with new ideas. Kåge accepted the offer from the factory, despite his lack of experience in ceramic production. His task was to add an artistic touch to the factory’s functional items. Berndt Friberg (1899-1981) was hired by the Gustavsberg factory in 1934. During his first years, he worked as a thrower for Wilhelm Kåge. Friberg’s arrival was marked by a significant increase in the quality of Kåge’s art pieces. Soon enough, he became the undisputed master thrower at Gustavsberg. Through his early career, Friberg wasn’t known for his artistic ambition. His artistic debut wouldn’t come until the age of 42. He became known as a perfectionist with an eye for delicate, sensuous forms and magnificent glazes. The young art student Stig Lindberg (1916-1982) went unannounced to the Gustavsberg factory in 1937 looking for a summer job. The skinny, odd-looking young man exuded confidence: ”If you hire me, I will ensure that there will be jobs in the factory.” Lindberg was hired as an assistant but climbed fast through the ranks because of his frenetic energy and wealth of fresh ideas. Wilhelm Kåge and Stig Lindberg jointly developed the noteworthy faience production through the late 1930s and early 1940s. The faience objects were created from reddish earthenware, coated with a milky-white glaze and hand painted bold colored decor. The floral motifs of the 1940s slowly gave way to the era-typical geometrical decor of the 1950s and 1960s. The faience series became a huge success and is still one of the most well-known symbols of Swedish mid-century design. In 1949, Stig Lindberg succeeded Wilhelm Kåge as artistic leader. His influence was quickly felt across the entirety of the design world; from slender, delicate stoneware to TV sets, wash basins, tableware, home decor, textiles, children’s books, enamel, and glass art. It is easy to get lost in the sheer breadth of artistic production over Lindberg’s lifetime. He did not make a distinction between the artistic merit of industrial design and more traditional works of art. Lindberg famously noted, “A thumbtack holds for me as much poetry as a wildflower.” Lisa Larson was hired by Stig Lindberg in 1954 after performing well in a Scandinavian school competition. The Gustavsberg factory flourished in the 1950s and 60s, and Larson quickly became one of the most notable designers. Her serial production often depicted people and animals with rounded and swelling shapes. The expression was warm-hearted, humorous, and sometimes subtly ironic. Rustic primitive art often inspires Larson’s unique artworks. Spontaneous whim is generally treasured more than perfectionism. She frequently experiments with traditional techniques, incised decorations, rough surfaces and matte glazes in her unique production.

Creator:

Gustavsberg (Manufacturer),Sven Wejsfeldt (Artist)

Dimensions:

Height: 3.93 in (9.99 cm)Diameter: 2.96 in (7.52 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Ceramic,Glazed

Place of Origin:

Sweden

Period:

1970-1979

Date of Manufacture:

circa 1970

Condition:

Wear consistent with age and use.

Seller Location:

Skarpnäck, SE

Reference Number:

1stDibs: LU7766236037212

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Shop All Gustavsberg

Gustavsberg

The Gustavsberg porcelain factory was, for many decades, the largest ceramics maker in Sweden and home to some of the most innovative and ingenious makers of the past century. The company, founded in 1825, mass-produced a wide range of products: first decorative household items and tableware in the English style and later bathroom fixtures, including the first pressed-steel bathtubs that would oust heavy cast iron. But of first interest to collectors are the remarkable decorative works created in the Gustavsberg art pottery studio, in particular those by master ceramists Wilhelm Kåge, Berndt Friberg and Stig Lindberg.

Gustavsberg began producing some individually crafted, highly decorated and richly glazed pieces in the 1860s. While the forms of their mass-produced vessels and plates derived from English, Continental and Asian styles, a select few painters won acclaim for their personal artistry. Gunnar Wennerberg became known for his work in the organic Art Nouveau style, and Josef Ekberg, the company’s design chief from 1908 to 1917, was revered for his expert use of iridescent lusterware glazes and the sgraffito technique, in which a decorative pattern is incised in the surface of a clay pot before it is glazed and fired.

It was not until Ekberg’s successor, Wilhelm Kåge, opened Gustavsberg’s first dedicated art pottery studio that the work became widely recognized. Kåge’s “Argenta” series, which encompasses a variety of vessels coated with an oxidized green glaze and decorated in silver motifs, remains popular. Though perhaps his most striking works are his “Surrea” vases — white bisque porcelain in off-kilter forms inspired by Cubist paintings — and his “Farsta” wares, which include totemic, spindly footed stoneware vases and bowls with textured surfaces, glazed in brown, green and blue.

Kåge’s finest protégés, Berndt Friberg and Stig Lindberg, took over from Kåge as Gustavsberg’s design directors in 1945. Friberg was a master potter. He threw elegant, simple, symmetrical vases and bowls painstakingly coated in layer after layer of matte glazing to achieve a classic striated effect known as “rabbit’s fur.” Lindberg’s highly collectible studio ceramics fall into two principal categories: The first is made of white porcelain pieces in round, biomorphic or stylized natural forms. The second includes weightier vases — many with textured bodies and applied decorations — glazed in deep, earthy colors. As you will see from the works on these pages, Gustavsberg was a bastion of creativity and precise artistry that turned out a remarkable range of works whose style still resonates with lovers of Scandinavian design.