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Axella brutalist stoneware plate | Denmark, 1970s

Axella brutalist stoneware plate | Denmark, 1970s

100,00 zł
100,00 zł
Sale Sold out
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A stoneware plate produced by Axella in Denmark during the 1970s. The piece embodies the Brutalist ceramic sensibility that emerged in Scandinavian studio pottery during this decade – a deliberate rejection of refined, smooth surfaces in favour of raw, expressive texture.

The substantial form and organic surface treatment position this plate within a broader movement that valued material honesty and tactile presence over decorative polish.

SER-191

Key features

  • Produced by Axella, Denmark
  • Stoneware construction
  • Substantial, weighty form
  • Organic, textured surface
  • 1970s production

Condition

Perfect. No chips, cracks, or repairs. The piece presents as one would hope for a carefully preserved example from this period.

Dimensions

  • 18.5 cm diameter × 3 cm height

Perfect for

  • Display on shelves, consoles, or dining furniture in interiors informed by 1970s craft movements
  • Collectors of Scandinavian brutalist ceramics
  • Spaces benefiting from tactile, sculptural accents
  • Pairing with other examples of studio pottery or raw-material objects

Shipping & pickup

  • Free local pickup available (Kraków, Poland)
  • Shipping cost calculated individually based on your location
  • Contact us before purchase for a shipping quote

SLOY quality standard

All vintage objects are carefully inspected and cleaned before sale. We ensure every piece meets our standards for authenticity and condition.

Manufacturer

Axella was a Danish ceramics studio, producing stoneware objects characterised by heavy forms, rough textures, and earth-toned glazes. The studio's work aligned with a broader Nordic interest in brutalism – a term borrowed from architecture to describe ceramics that emphasised mass, surface irregularity, and unrefined materiality. Unlike the smooth, functional pottery associated with earlier Scandinavian modernism, Axella's output treated each piece as a sculptural object first. The studio's production remained relatively small, lending its surviving pieces a certain scarcity among collectors of the period.

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