Eva Zeisel: Life, Design, and Beauty
Pat Moore, Pirco Wolfframm
Eva Zeisel was one of the twentieth century's most influential ceramicists and designers of modern housewares. Her distinctive take on modern industrial design was inspired by organic form and brought beauty and playfulness to housewares, earning her designs a beloved place in midcentury homes. This richly illustrated volume—the first-ever complete biographical account of Zeisel's life and work—presents an extensive survey of every line she ever created, all captured in gorgeous new photography, plus 28 short essays from scholars, collectors, curators, and designers. The definitive book on the grande dame of twentieth-century ceramics, this is an essential resource for anyone who appreciates modern design.
changed circumstances made little difference to her, stating, “I was never conscious of whether we had money or not, nor cared.”104 When talking to Eva about this period, I always sensed a wanderlust. The tradition of wandering journeymen persisted in Central Europe and Eva was keen to see more of the world. Although (or perhaps because) she was close to her family (especially her mother), she said that, out of three potteries that replied to her, she chose Hamburg because it was “the one
close friend. The renowned architect-designer Vladimir Tatlin praised Eva’s work at a conference on design, and period archives indicate that Yeva Alexandrova Shtriker, or Shtrikker (as she was known in the USSR), was held in such high esteem that the pieces she designed were usually painted by the very best artists in each factory.180 After her expulsion from the USSR, her designs were either attributed to Suetin or identified only by the name of the painter who had designed the decorative
the United States in the 1940s, 1950s, and early 1960s. During her extensive career she also worked for companies in Mexico, Italy, Hungary, England, Russia, India, and Japan. She was honored with many prestigious awards, from honorary degrees to two of the highest awards open to civilians in her native Hungary. Introducing Eva This chapter introduces Eva’s ideas, work, and life in all their varied aspects in the hope that readers will gain a better understanding of her as a person and of
plate, sauce dish, and cup and saucer. A sugar and creamer set, three-piece salad set, and five-piece salad set were offered along with the other Stratoware serving pieces that were sold individually.5 Later catalogues offered a thirty-five piece set that included a sugar and creamer as well as a new soup plate with rim.6 Initially, Sears catalogues credited Stratoware’s design to “the Industrial Design Depart. of Pratt Institute,” but later catalogues credited “Eva S. Zeisel and associates at
way and partly to distinguish himself from nouveau riche Hungarian Jews whom he felt were overly eager to be seen to be assimilating.34 Cecile often went by Pollacsek Polanyi, and the children’s last name was altered to Polanyi in the first decade of the century.35 Laura’s biographer notes that Cecile and the children converted to Protestantism of a Calvinist persuasion, but family members believe that this was a category checked off on official documents.36 Significantly, however, Cecile chose