Quotes from The Collectors Eye

a n d e r s e n s t u d i o a n d e r s e n d e s i g n

The Collector's Eye Decorating with the Objects you Love

Christine Churchill, published by Harper Collins

M u r a n o G l a s s S t u d i o Pot t e r y

"If you’d like to know the next big thing in collecting twentieth century design, you might want to ask Sara Blumberg and James Oliveira…..... Italian glass is one of the fields that now consumes them, particularly the stunning shapes that have been produced for hundreds of years on the fabled isle of Murano in the Venetian Lagoon. They’ve also been buying American studio pottery from the 1950’s and the 1960’s ,especially the simple bowls and vases made by Weston and Brenda Andersen in East Bootbay, Maine. Not to mention twentieth century Scandinavian pottery. What do these disparate fields have in common? Looking at the pottery shapes on display, you can see that the crosscurrents of design have flowed from Europe to America and back. But Sara has a more elemental reason: “It all comes down to form”. In relating why they love one group of Andersen pieces, she calls them “organic” and the same would be said about their favorite objects-not to mention the way they have decorated their home.”
"Responsible for changes good and bad in architecture and design, the industrial Revolution changed the manufacturing process of pottery for good. New factories spat out thousands of pieces of pottery per day – their goal to stock kitchens and dining rooms of middle-class Europe and America quickly and inexpensively. The Scandinavians were the first to rebel. The y began to address the need for “good design for every day use” around 1916. For Swedish artist and alchemist Wilhem Kage, that meant inventing hundreds of new glazes. The Americans were quick to follow suit, benefiting from the influx of European designers during the 1930’s and 1940’s. The Scheiers were a husband-wife team famous for creating slightly iff-center pieces. Also thumbing their noses at machine-made perfection were Weston and Brenda Andersen of East Boothbay Maine ( many of their pieces are seen in this spread)"

"If you’d like to know the next big thing in collecting twentieth century design, you might want to ask Sara Blumberg and James Oliveira….....

Italian glass is one of the fields that now consumes them, particularly the stunning shapes that have been produced for hundreds of years on the fabled isle of Murano in the Venetian Lagoon. They’ve also been buying American studio pottery from the 1950’s and the 1960’s ,especially the simple bowls and vases made by Weston and Brenda Andersen in East Bootbay, Maine. Not to mention twentieth century Scandinavian pottery.

What do these disparate fields have in common? Looking at the pottery shapes on display, you can see that the crosscurrents of design have flowed from Europe to America and back. But Sara has a more elemental reason: “It all comes down to form”. In relating why they love one group of Andersen pieces, she calls them “organic” and the same would be said about their favorite objects-not to mention the way they have decorated their home.”

"Responsible for changes good and bad in architecture and design, the industrial Revolution changed the manufacturing process of pottery for good. New factories spat out thousands of pieces of pottery per day – their goal to stock kitchens and dining rooms of middle-class Europe and America quickly and inexpensively.

The Scandinavians were the first to rebel. The y began to address the need for “good design for every day use” around 1916. For Swedish artist and alchemist Wilhem Kage, that meant inventing hundreds of new glazes.

The Americans were quick to follow suit, benefiting from the influx of European designers during the 1930’s and 1940’s. The Scheiers were a husband-wife team famous for creating slightly iff-center pieces. Also thumbing their noses at machine-made perfection were Weston and Brenda Andersen of East Boothbay Maine ( many of their pieces are seen in this spread)"

The Collectors Eye by Christine Churchill

Featuring several pages of photographs of Andersen work as well as a discussion of the work of Weston and Brenda Andersen in the context of notable twentieth century

designers

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