Lot 148
  • 148

Axel Salto

Estimate
8,000 - 12,000 GBP
bidding is closed

Description

  • Axel Salto
  • 'Fruit Form' Vase, model no. 20.818
  • inscribed SALTO, stamped ROYAL COPENHAGEN DENMARK, numbered 20818 and with blue wave mark
  • stoneware with Sung glaze

Literature

Susanne Bruhn and Pia Wirnfeldt, eds, Axel Salto - Master of Stoneware, exh. cat., Copenhagen, 2017, p.180, cat. no. 272

Condition

Overall excellent condition. The vase has been inspected under ultra violet light and it appears that no restoration has been undertaken.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Initially trained as a painter, Salto turned his hand to ceramics in 1920-21, working closely with Carl Halier at the Royal Copenhagen Manufactory to realise his artistic vision in clay. The ceramics of Axel Salto find their roots in the naturalistic world, engaging with it, yet never attempting to create a facsimile of nature itself. Reflecting on the landscape that was to be his greatest influence, Salto states that ‘It is of greater importance for an artist to create in the spirit of nature than to imitate its exterior.’ Salto’s relationship with nature continued throughout all of his designs, with styles such as ‘Budding’ and ‘Sprouting’ becoming some of his most celebrated. Salto’s relationship between the material and its form was at once dynamic and tightly entwined, ‘…since only the complete interaction between form and material determines the work of art, and it is the work of art…that is the aim of the ceramicist.’ It is fitting that Salto chose to establish his naturalistic designs on a material that came from the very earth that so inspired him.