A scarce decorative pair of Mid-Century studio pottery candle holders figures.

Stock Number: – OWA3127

Date: – Circa 1960s/70

Materials: – German Westerwald Clay; An Advantage For Potters! The extensive clay quarries of the Westerwald region are the largest connected deposits in Europe. Only a few other regions in the world are known to have clay sources of comparable size and quality. Around 15 different types of clay occur here, including a very valuable white clay also known as “white gold”. The Westerwald clay has a high degree of ductility, is almost free of impurities and has very good sintering properties. These clays are perfectly suited for stoneware production, a high fired, waterproof, acid-resistant, impermeable pottery. The clay was easily kneaded, thrown, deformed as well as knitted, melt, beaten and whipped. It is a serious partner to the potter reacting to any treatment. 

Country of Origin: – Germany, Höhr Grenzhausen 

Description: – A scarce and highly decorative pair of Mid-Century German studio pottery figures modelled by Elfriede Balzar Kopp as candle holders. Each figure exhibits superb modelling and character and are adorned in sgraffito, traditional enamels and a salt-glaze. They measure 27.5cm & 26cm tall and weigh 2385g

Size: –The figures measure 27.5cm & 26cm tall and weigh 2385g in total

Condition: – The figures are in excellent condition without any chips, cracks, losses or restoration to the body or decoration. 

History & Marks: – The figures are marked/Incised  Balzar Kopp and date from Circa 1960s/70. Figures modelled in a similar fashion were very popular throughout Europe from the 1960s onwards. Rosenthal produced comparable figures by Danish artist Bjørn Wiinblad.  Romanian born Kiss Roóz Ilona (1920-2010), (later relocated to Hungary) also produced stunning studio pottery figure groups in a similar manner

Whilst no one could say that these figures are a one off study. One could however say that, although you may come across another example. One would quickly realise that each one stands alone –  ‘it is a one off’. I state this because the outcome of each piece of studio pottery is decorated individually and the outcome depends deeply on how it is placed in the kiln. Moreover, how it reacts during the firing. Very few studio pieces are totally identical.