{"product_id":"hand-thrown-studio-stoneware-bottle-vase-variegated-pink-and-mint-glaze-with-black-splash-brushed-artists-mark-to-the-unglazed-foot-c-1980-2000","title":"Hand-Thrown Studio Stoneware Bottle Vase, Variegated Pink and Mint Glaze with Black Splash, Brushed Artist's Mark to the Unglazed Foot, c. 1980–2000","description":"\u003ch3\u003eThe Piece\u003c\/h3\u003e\n  \u003cp\u003eA hand-thrown stoneware bottle vase with a bellied body and a tall straight neck, glazed in a surface that behaves like weathered stone.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe neck carries the throwing rings\u003c\/strong\u003e — a regular spiral rising the whole way up it, evenly spaced, left exactly as the potter’s fingers made them on a moving wheel. Nobody applies those. They are a record of how the pot was made.\u003c\/p\u003e\n  \u003cp\u003eThe glaze is layered and deliberate. A \u003cstrong\u003evariegated ground in pink, mint green and white\u003c\/strong\u003e, dry and lichen-like where it pools in the recesses and glossy where it sits proud, and over the top of it \u003cstrong\u003eblack splashed and dripped\u003c\/strong\u003e, run during the firing into blots and rivulets that could not have been planned exactly.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe foot is unglazed buff stoneware\u003c\/strong\u003e, flat and wiped clean, with the glaze running down and stopping in a thick bead just above it — a high-fire glaze doing what it should, on a pot fired standing upright on a kiln shelf.\u003c\/p\u003e\n  \u003cp\u003eThe base carries a \u003cstrong\u003ebold black brushed mark\u003c\/strong\u003e on the raw clay, with faint pencil beside it.\u003c\/p\u003e\n  \u003ch3\u003eHistory \u0026amp; Provenance\u003c\/h3\u003e\n  \u003cp\u003e\u003cstrong\u003eEverything about this pot says studio rather than factory.\u003c\/strong\u003e Factories slip-cast, and a cast pot has no throwing rings, a perfectly uniform wall and a moulded foot. This one was raised on a wheel by hand, the foot was wiped by hand, and the mark was brushed rather than stamped or printed. Potters sign. Factories stamp.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe glaze is the work.\u003c\/strong\u003e Two or more layers applied over one another and then trusted to the kiln: a variegated base that breaks light and dark over the form, and a dark glaze splashed across it that moves and pools as it melts. A potter doing this is running an experiment every time, and no two results are the same. That is the whole appeal, and it is the reason studio pottery holds value where decorated commercial blanks do not.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe palette belongs to a moment.\u003c\/strong\u003e Pink and mint with black splatter is the signature colour combination of mid-to-late 1980s decorative arts, running through ceramics, textiles and graphics alike. That is style evidence rather than construction evidence, and it is weaker than a maker’s date — but it is consistent, and the construction puts no limit against it.\u003c\/p\u003e\n  \u003cp\u003eDated on the hand-thrown high-fired construction and, secondarily, the palette: \u003cstrong\u003ec. 1980–2000\u003c\/strong\u003e. The brushed mark has not been matched to a recorded potter, and the vase is offered \u003cstrong\u003eunattributed\u003c\/strong\u003e.\u003c\/p\u003e\n  \u003ch3\u003eProduct Details\u003c\/h3\u003e\n  \u003ctable\u003e\u003ctbody\u003e\n  \u003ctr\u003e\n\u003ctd\u003eObject\u003c\/td\u003e\n\u003ctd\u003eHand-thrown studio stoneware bottle vase\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eDimensions\u003c\/td\u003e\n\u003ctd\u003eApproximately 9 in tall by 5 in at the widest\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eForm\u003c\/td\u003e\n\u003ctd\u003eBellied body rising to a tall straight neck with visible throwing rings; flat unglazed foot\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eGlaze\u003c\/td\u003e\n\u003ctd\u003eVariegated pink, mint green and white ground, matte in the recesses and glossy on the high points, with black splashed and dripped over the top; glaze runs to a thick bead above the foot\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eMarks\u003c\/td\u003e\n\u003ctd\u003eBrushed black mark to the unglazed base with faint pencil alongside. Not matched to a recorded potter. Offered unattributed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eEra\u003c\/td\u003e\n\u003ctd\u003ec. 1980–2000, on the hand-thrown high-fired construction and the period palette\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eCondition\u003c\/td\u003e\n\u003ctd\u003eExcellent. \u003cstrong\u003eNo chips, no cracks, no crazing and no repairs.\u003c\/strong\u003e The rim is smooth and true, the body is sound, and the vase stands level. The glaze is intact throughout with all its original variation and movement. The unglazed foot shows the light shelf wear normal to a pot that has stood on hard surfaces. Condition Guaranteed.\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003ctr\u003e\n\u003ctd\u003eAvailability\u003c\/td\u003e\n\u003ctd\u003eOne of a Kind — 1 Available\u003c\/td\u003e\n\u003c\/tr\u003e\n  \u003c\/tbody\u003e\u003c\/table\u003e\n  \u003ch3\u003eWhy It Belongs in Your Home\u003c\/h3\u003e\n  \u003cp\u003eThis is the object that makes a shelf of ordinary things look considered.\u003c\/p\u003e\n  \u003cp\u003eThe surface reads as mineral rather than decorated — something quarried rather than painted — and that is unusual and valuable in a room. It gives the eye texture to land on without introducing a pattern you then have to live with.\u003c\/p\u003e\n  \u003cp\u003e\u003cstrong\u003eThe colours are stranger and more useful than they sound.\u003c\/strong\u003e Pink and mint sound sweet; in this glaze they read as lichen on stone, muted and cool, and the black splash breaks them up so nothing goes pastel. Against oak, walnut, plaster or a dark wall it holds its own.\u003c\/p\u003e\n  \u003cp\u003eThe proportion does real work. A bellied body under a tall narrow neck is the classic bottle form because it reads as a silhouette from across a room and holds a single stem upright without help. One branch, one stem of something architectural, or nothing at all.\u003c\/p\u003e\n  \u003cp\u003eAnd it is a genuine one-off. A potter made this, fired it once, and got this result and no other. Whatever else is on the shelf beside it, nobody has this pot.\u003c\/p\u003e\n  \u003cp\u003eA note on care. \u003cstrong\u003eHand wash in warm water, no dishwasher.\u003c\/strong\u003e Detergent dulls a matte glaze permanently and the whole character here is the contrast between matte and gloss.\u003c\/p\u003e\n  \u003cp\u003eUse a liner for fresh flowers if the interior is unglazed at the base, and dry it out between arrangements — standing water in stoneware leaves a ring that will not come out.\u003c\/p\u003e\n  \u003cp\u003eDo not scour it. The recessed glaze holds grit and the scratches show. A soft brush reaches everything.\u003c\/p\u003e\n  \u003cp\u003eFelt the foot if it stands on a polished surface. Unglazed stoneware is effectively sandpaper against a waxed tabletop.\u003c\/p\u003e","brand":"Viridian Eclection","offers":[{"title":"Default Title","offer_id":48047805202537,"sku":"VE-0750","price":185.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/0093\/9369\/files\/BBE34B66-D0F8-439A-A6DD-8F98D345A348.jpg?v=1789322692","url":"https:\/\/viridianeclection.com\/products\/hand-thrown-studio-stoneware-bottle-vase-variegated-pink-and-mint-glaze-with-black-splash-brushed-artists-mark-to-the-unglazed-foot-c-1980-2000","provider":"Viridian Eclection","version":"1.0","type":"link"}