Stoneware in two glazes, thrown and fired to a single cone in one small studio in Hannover. Covered, the clay vanishes under a satin grey; left bare, it stays warm to the hand. Ten pieces, made to order against each firing — that one decision, glaze or none, is the entire range.
The collections
New this season
Sand
Glazed only where food meets the piece. Everywhere else, bare stoneware.
Bare fired stoneware without — warm, faintly grained, it takes the light rather than returning it. Within, a clean white glaze that wipes like porcelain. The outside keeps a fine tooth, cool at first touch and warming to the hand, so a cup reads as the clay it was thrown from.
- Glaze
- White gloss, interior only
- From
- € 46
Everything is thrown, dried for three weeks, then taken to 1285 °C over fourteen hours in a kiln starved of oxygen.
Oyster
Glazed inside and out — the clay disappears beneath a satin grey.
A satin grey, pooling a shade deeper where the wall turns and along the foot. Smooth throughout — no surface left raw. It reads almost matte until the light moves across it, then lifts to a low sheen and settles again as you turn it in the hand.
- Glaze
- Grey satin, full dip
- From
- € 44
One room on a Hannover street — the wheel at the back, the shelves at the front.
The shop is the studio. Everything on the shelves was thrown, glazed and fired a few steps behind the counter it is sold over, and the window is the only thing standing between the street and the work.
So there is no warehouse, and no season. The shelves hold what the last firing gave back — ten pieces in two glazes, made against the next kiln rather than kept in stock.
And the work is in the room you buy from: the wheel, the boards where a piece stiffens for three weeks, the kiln door it came out of at cone 10. None of it is staged for the front — the room simply has a counter in it, and once a year the rest of it opens too.
Inside the shop
