eBay

On offer is a pair of functional pottery from the celebrated ceramicist Marianne Westman: two ceramic containers for storing salt (Salt) and flour (Mjöl) that can be either mounted on a wall or set on a countertop or window sill. These creamy beige jars have a hand-applied pale, cyan blue, swirling vine-like motif that is echoed in some of Westman’s Nytt Kök (“New Kitchen”) designs. Each container comes with a solid teak lid and stands approximately 8 inches tall (20 cm); is about 5 inches wide (13 cm); and has a depth of about 4 inches (10 cm). The weight of each container is about 1.65 lbs when lidded (750 grams).

Marianne Westman worked for the Rörstrand factory from 1950-1971, where she enjoyed tremendous success, becoming renowned for her whimsical, light-hearted household pottery designs. Her creations were so wildly successful – both domestically and abroad – that she was often lovingly referred to as the “Mother of Porcelain” by her colleagues at Rörstrand, which included Hertha Bengtson and Carl-Harry Stålhane.

Condition Report:

This collection is in very good vintage condition. There is clear evidence of a repair done to one of the lids.

Salt (Salt): The exterior glazing here is vibrant, and oblique lighting reveals virtually no scuffs, scrapes, or crazing. There is a pinpoint “glaze pop” on the decline of the lip of the vessel (visible in Pictures 2-3, left item, 2 o’clock). The interior is smooth, clean, and odor-free, and there is no evidence of crazing or damage. The very top of the piece — near the cut-out for the wall hanger and to its right — three errant drops of blue glaze left over from manufacture are noted (Pictures 7-8). The unglazed back is mottled, but this could be from manufacture or from having been mounted on a wall. There is no evidence of damage in this area, however (Picture 9). There is a “seam” on the right side of the piece (if you’re facing the Salt script) that is more visible on this cellar than on the Mjöl one (Picture 10). All flour and salt cellars from this line have this seam — it’s just a question of how visible they are once the pieces have been glazed. (It is being noted here only to distinguish it from something like crazing or a stress fracture.) The teak lid has had one of its “ears” reapplied. This repair is an extremely good repair (in my opinion), but in oblique lighting, one can see a bit of clear residue from the compound that was used that has seeped a bit (Pictures 16-17). This small area can be sanded with a fine-grade sanding paper and then reoiled, but I have decided to leave that for the new owner to decide. As is, the lid has a beautiful patina, is very solid and provides a very adequate fit to the piece. This item is unnumbered but its glazed bottom is stamped “Rörstrand Sweden” and with Marianne Westman’s initials.

Flour (Mjöl): The exterior glazing here is also vibrant, and oblique lighting reveals virtually no scuffs, scrapes, or crazing. The interior is smooth, clean, and odor-free, and there is no evidence of crazing or damage. At the very top of this piece — directly above the cut-out for the wall hanger — there is a small notch that is visible (Picture 12). It is unclear whether this is a defect from manufacture, or evidence of a mishap that occurred when a previous owner was trying to wallmount this piece. It does catch the nail, so it is being mentioned for accuracy. The “seam” on this piece is not nearly as pronounced as on the Salt cellar (Picture 13). The teak lid has no visible evidence of any repair work done. Its top has a very beautiful patina, with a grain that is not quite a “striped” as its Salt counterpart. The underside is not as smooth as the top, but this is not necessarily unusual, as some owners sand and stain only the tops of lids for these pieces. (For all intents and purposes, the lids offered here are interchangeable. I’ve paired the teak lids with the pieces that I feel they rest the best on.) The right “ear” — if you’re facing the piece — appears to have lost a tiny bit of wood near the top over time, as it is not as smooth as the left one (Picture 18). However, there is no evidence that this “ear” has ever fallen off and been reattached. This item is unnumbered but its glazed bottom is stamped “Rörstrand Sweden” and with Marianne Westman’s initials.

Shipping:

The listed shipping is for buyers in the contiguous United States. If you reside in Alaska or Hawaii, please contact me for a shipping quote. My auctions are currently closed to international customers, but if you reside outside the US and are interested in bidding, please reach out to me. (Please understand that I am not responsible for any duties or delays imposed by Customs in your country, and I cannot declare any items shipped to you for less than their sale price.)

Since I am a new seller, for auction lots with more than one item, I may use an outside packing service in order to help ensure that your purchase arrives damage-free. Fragile collectibles will be double-boxed where appropriate and practical.

Return Policy:

As a longtime buyer of vintage pottery, I understand that disappointments sometimes happen. Terms like “excellent” and “near mint” are subjective, meaning wildly different things to different people. And it can be difficult to agree on when “wear and tear consistent with age” has ventured into the territory of actual damage. Rather than quibble, if you are dissatisfied with any item that you purchase from me, for any reason, simply return it to me within 14 days in the condition in which it was sent, and I will happily refund your money. I will pay for return shipping costs, but regrettably, I cannot refund outbound shipping and handling fees in such cases. Of course, should an item sustain any damage during transit, you will receive a complete refund. (In the event that a multi-item shipment sustains only partial damage, please contact me so that we can work out a satisfactory solution.) All I ask in return is that you document any damage, retain all packing materials, and assist me during the claims process.

In my experience, the best transactions are ones where there is open, honest communication on both sides. My goal is to find happy homes for these treasures, with the hope that they will bring their new owners as much joy as they’ve brought me.

About Me:

I have been an avid Blue Fire (Blå Eld) and Koka Blue (Koka Blå) collector for almost 20 years. I own over 400 pieces in each line, so if you are hunting for something in particular, please reach out to me – there’s a good chance that I have what you’re looking for. I absolutely love chatting with other Rorstrand enthusiasts!

Finally, don’t be afraid to ask questions. I’d rather be deluged with questions than to have my buyers experience one drop of regret with any item that I sell.