Earlier we've pointed out Hans-Agne Jakobsson as an underestimated designer of lighting. In this matter the relative lack of interest in swedish potter Tom Möller (1914-2009) is even more startling. Tom and his wife Grete Möller ran a studio in Stockholm between 1943-70. Though mainly associated with Reijmyre glass (Tom also worked for Alsterbro and Lindshammar), Möller's ceramic pieces are far more scarce and characteristically interesting.
The simple and functional shapes of both glass and ceramics are by all means of high standard. However, it's in the surface designs that Möller's potency truly stand out. The pattern-like decors, even in solitary figures, are always of infallible and unpredictable colour sense. It's a bothering thought that Möller never put his mind to fabrics and wallpapers...
Putting his signature on pieces Möller generally abstracted the specific decor with a title and a symbol. These are in themselves pieces of art and indicate a sincere respect and pride of the individual works. It's about time that we pay them the same respect.
Utterly clean decorative bottles with a delicate scewness or irregularity in the thin walled necks. Nanny Still, Riihimäen Lasi, 1959. Tall tulips in a Signe Persson-Melin sangria pitcher.
Tall rubber glove mould produced by Rosenthal. Part of "A shoulder where death comes to cry" by contemporary swedish artist Andreas Poppelier. Love him at: www.poppelier.se
Sea mine shaped vase. Large with exceptional glaze. Jerk Werkmäster, Nittsjö, c 30s. Please note that none of the pieces above are for sale.
