Oldrich Asenbryl, Sarn Pottery

By Oldrich Asenbryl, Sarn Pottery

Brilliant, thank you

By Oldrich Asenbryl

Thanks Naomi,that was quick

Afternoon All, I bought this beauty today and even though it has a stamp, I have no idea


who made it. Any help would be lovely, thanks!

By Oldrich Asenbryl, Sarn Pottery

Oh my goodness! It's so lovely to know where this beauty comes from. Big thanks Naomi Another potter added to my list of reading up on 🤩

Hello!

As the title dictates, I’m trying to date this coffee pot and jug, and understand if this comes from a named collection, or was a one off design.

Any insight is very welcomed!

What makes you assume that it is a named collection? Part of the very nature of studio pottery is that it is produced by an individual, and not a standard mass produced piece in which every piece is identical. The style of individual work might be similar, but a studio potter would rarely produce work that was exactly the same. Unless it was for a specific client who wanted a batch of mugs or such like.
           Style wise it looks much like  a set produced in the 1970's, when such styles were quite widespread.
This is our thread on Asenbryl if you have not read it.

https://www.20thcenturyforum.com/t6787-oldrich-asenbryl-sarn-pottery?highlight=asenbryl

Hi Philpot! Thanks for your response :)

Perhaps I used the wrong terminology - I'm fairly new at all this, and dipping my toes in the water, and very much want to learn more.

By collection, I mean, was there a period when Asenbryl was working in this style, with these blue green colours, and did he have a name for that style, as opposed to the taupe / brown colours I've seen when looking at some of his other work. (I'm more knowledgeable about painting than pottery, but wondered if this might be akin to something like 'Blue period' in Picasso's work. I wasn't suggesting there was any lack of individuality or mass production - I hope that makes sense!

I'm also really interested in his story -  coming to Britain, his very unfortunate stroke, time at Aldermaston, and the advent of Sarn Pottery -  I wondered where this set might have landed in his journey. I've had a read through the thread already - I'm not sure if you've ever stumbled upon the blog post from 'Memoirs of a Husk' - but its really interesting, and details a visit to Asenbryl's studio.

Thank you for your take on it being circa 1970's, I really appreciate the insight.

I think it’s early. Simon Rich was making similar pieces when he left Aldermaston Pottery, and Asenbryl was trained at Aldermaston too

Thank you Naomi!! I'm taking a liberty and making the assumption that you are the genius behind BISPM!!! If so, thank you - I have spent countless hours there over the last week, learning so much about studio pottery. What a wonderful piece of work that is. Many congratulations and thanks.

Mention of Aldermaston and Oldrich Assenbryl. In Jane White's book on Alan Caiger Smith there are a number of refences to Oldrich Assenbryl. Pages 61 to 63 in particular.
On his first visit to Aldermaston he could not speak English and had a young slovak woman with him Doroka Sebestrova to interpret.He lived in Alan Caiger Smith's home for a few months.
Alan Caiger Smith was also writing his magnum opus on the history of tin glazed pottery in Europe at the time. He collaborated with Asenbryl on the chapter on Central Europe. Alan Caiger Smith thanks Assenbryl in the introduction to the book There are a number of other references to Asenbryl within in the book.

His work comes up regularly on Ebay. There are 6 pieces of his work there at the moment. Plus there are two photos for sale of his Sarn pottery!

Mention of Aldermaston and Oldrich Assenbryl. In Jane White's book on Alan Caiger Smith there are a number of refences to Oldrich Assenbryl. Pages 61 to 63 in particular.
On his first visit to Aldermaston he could not speak English and had a young slovak woman with him Doroka Sebestrova to interpret.He lived in Alan Caiger Smith's home for a few months.
Alan Caiger Smith was also writing his magnum opus on the history of tin glazed pottery in Europe at the time. He collaborated with Asenbryl on the chapter on Central Europe. Alan Caiger Smith thanks Assenbryl in the introduction to the book There are a number of other references to Asenbryl within in the book.

I've only just seen your message....many thanks for that lovely info! I emailed Oldrich and attached a photo of the flagon I'd bought, had a sweet response to confirm it was one of his and gave me the date and place he had made it. Made my day

Sadly deceased

https://funeral-notices.co.uk/notice/asenbryl/5192510

Thanks for that. All those notices always do feel so very sad. This on especially.