Dodecagon Vase

£345.00

A magnificent Bjorn Wiinblad Rosenthal vase made for their Studio Line ceramics.

A pure white porcelain vase made as a twelve sided polygon with a wonderful cobalt blue design on each panel.

Signed Bjorn Wiinblad.

Marked on base with green Rosenthal factory mark Studio-linie Germany.

A massive 54 cm high

Condition : Excellent, no damages to the ceramic surface.

More detailed photos can be emailed please use the contact us form.

Over 2 kg please ask for mail costs outside of the European Union.

In stock

Description

Bjorn Wiinblad              

Danish artist, illustrator, and ceramicist Bjørn Wiinblad was born in Copenhagen in 1918. He studied graphic arts at the Royal Danish Academy of Fine Arts in Copenhagen, graduating in 1943. In 1946, Wiinblad joined Nymølle, a Danish pottery manufactory (which Wiinblad would eventually take ownership of in 1976). He opened his own design studio in 1952, and shortly after began designing for the German porcelain company Rosenthal. Wiinblad was appointed Rosenthal’s chief designer in 1957, a position that allowed him to travel across Europe while achieving international recognition. 

Even though Bjørn Wiinblad was Copenhagen born and bred, and had trained in Copenhagen, his style was anything but Danish, and while functionalism ruled the roost in Denmark, Bjørn Wiinblad went the other way, espousing a style dominated by wavy lines, bright colours and romantic worlds.

He soon developed his art from ‘just’ drawing to include ceramic art as well. It is said that his work illustrating the ‘1001 Nights’ inspired him to draw a variety of ceramic objects such as vases and pots decorated with themes from the fairy tales.

Wiinblad taught himself a variety of ceramic techniques, and from there he expanded his vigorous talent for creation and delight in art to encompass ‘all platforms’: tapestries, complete furnishing designs for hotels, etc. – not to mention grill tables, cutlery, porcelain and matching glassware, fabrics, posters and more.

Wiinblad did not leap randomly from one object to the next. It was more a matter of an ongoing process, in which one object pointed to the next, and where Wiinblad’s curiosity served to reinforce the flow.

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