Where each object is made, how many at a time, and what changes from one piece to the next.
A run of forty is made by a person who sees every piece. A run of four thousand is not. The batch size is the quickest honest measure of how much a human hand had to do with the object, so we print it rather than the word “handmade”, which has come to mean very little.
Stoneware, porcelain, granite and marble. A studio of three on the south coast of the island, sharing one gas kiln. Slip-cast forms (the bisque bottle, the ribbed bud vase, the two-tone bottle, the celadon dish) are made in runs of forty from plaster moulds the studio cuts itself. Thrown forms (the throwing-line pair) come in runs of twenty. The coiled jar is built by hand, twelve per firing, and glazed with ash from the kiln's own beech.
What varies: dipped glaze lines by up to 5 mm; ash-glaze colour from grey-green to near black; the depth of throwing ridges; the exact curve of a hand-formed loop. What does not: height and diameter of cast pieces within 2 mm; watertightness of anything described as glazed inside.
The stone objects — the ring candle holder, the paperweights, the marble bookend — are cut from offcuts by a mason in the next village and honed in the same studio. Stone type and veining depend on what the mason worked that month.
Glass. A two-furnace glassworks in the old glass district, five people on a good day. Three methods are used and each is named on the product page: free-blown (the carafe, the fluted pair) has no mould and the most variation; mould-blown (the smoked vases, the ribbed tumblers) sets the outline and leaves the wall thickness to the blower; pressed (the water glasses) is machine-consistent and the heaviest.
What varies: seeds in the body, an uneven or slightly leaning rim on free-blown pieces, height by up to 2 mm within a set of tumblers, colour depth in the smoked glass by wall thickness. What does not: capacity to within 5%; the ground base sitting flat.
None of the glass is tempered. Boiling water will crack any of it.
Oak, ash, walnut, brass and beeswax. A joinery of four in a converted dairy, with two lathes that turn wood in the morning and brass in the afternoon. Bowls are turned twice with a month's drying in between, so they stay round. Boards are cut from single planks. Everything wooden is oiled; nothing is lacquered. Brass is left bare.
What varies: walnut colour from pale to near black, sometimes within one bowl; medullary flecks in quarter-sawn oak; the exact height of a hand-dipped taper by a few millimetres; beeswax colour by season. What does not: bowl diameter within 3 mm; candlestick cup diameter, which is bored to 2.2 cm for standard tapers.
The beeswax comes from an apiary next to the joinery. Tapers are dipped twenty times, four hundred per run, and burn about nine hours each in still air.
Lamps. A lighting workshop that blows its own opal glass and spins steel shades on a lathe from a flat disc. Both lamps are wired for the EU with an inline switch, tested individually, and shipped with a 4 W LED in the fitting you chose.
What varies: opal globe diameter by a few millimetres; the brass base darkens with handling. What does not: electrical safety; the powder-coat colour within a run.
Earthenware. A family pottery throwing jugs since the 1960s, in runs of sixty. Red earthenware under a tin glaze, softer than stoneware and not for the oven. They are retiring the rose glaze, which is why that colour is reduced.
| No. | Object | Material | Workshop | Year | Per run |
|---|---|---|---|---|---|
| 01 | Bisque Bottle Vase | Stoneware, unglazed | Bornholm, Denmark | 2021 | 40 |
| 02 | Coiled Jar, Ash Glaze | Stoneware, wood-ash glaze | Bornholm, Denmark | 2023 | 12 |
| 03 | Ribbed Bud Vase | Porcelain, satin glaze | Bornholm, Denmark | 2022 | 40 |
| 04 | Two-Tone Bottle | Stoneware, half-glazed | Bornholm, Denmark | 2026 | 40 |
| 05 | Earthenware Jug | Red earthenware, tin glaze | Porto, Portugal | 2020 | 60 |
| 06 | Throwing-Line Vases, Pair | Stoneware, matte white glaze | Bornholm, Denmark | 2024 | 20 |
| 07 | Mouth-Blown Carafe | Soda-lime glass, mouth-blown | Småland, Sweden | 2021 | 30 |
| 08 | Smoked Glass Vases | Soda-lime glass, tinted in the melt | Småland, Sweden | 2022 | 24 |
| 09 | Ribbed Tumblers | Soda-lime glass, optic-moulded | Småland, Sweden | 2020 | 120 |
| 10 | Pressed Water Glasses | Soda-lime glass, pressed | Småland, Sweden | 2020 | 200 |
| 11 | Fluted Tumblers, Pair | Soda-lime glass, mouth-blown | Småland, Sweden | 2026 | 40 |
| 12 | Turned Walnut Bowl | European walnut, oiled | Jutland, Denmark | 2021 | 40 |
| 13 | Ash Nesting Bowls | European ash, oiled | Jutland, Denmark | 2022 | 30 |
| 14 | Oak Serving Board | European oak, oiled | Jutland, Denmark | 2020 | 50 |
| 15 | Oak Board with Cord | European oak, oiled, hemp cord | Jutland, Denmark | 2021 | 50 |
| 16 | Walnut Round Tray | European walnut, oiled | Jutland, Denmark | 2023 | 30 |
| 17 | Opal Globe Table Lamp | Opal glass, steel or brass base | Porto, Portugal | 2023 | 40 |
| 18 | Dome Table Lamp | Spun steel shade, steel stem, cast base | Porto, Portugal | 2025 | 25 |
| 19 | Brass Candlesticks | Solid brass, unlacquered | Jutland, Denmark | 2021 | 60 |
| 20 | Stone Ring Candle Holder | Granite offcut, honed | Bornholm, Denmark | 2026 | 30 |
| 21 | Beeswax Tapers | 100% beeswax, cotton wick | Jutland, Denmark | 2020 | 400 |
| 22 | Marble Quarter Bookend | Marble, honed | Bornholm, Denmark | 2022 | 20 |
| 23 | Stoneware Incense Holder | Stoneware, unglazed | Bornholm, Denmark | 2023 | 40 |
| 24 | Celadon Incense Dish | Stoneware, celadon glaze, stone insert | Bornholm, Denmark | 2021 | 60 |
| 25 | Oak Incense Tray | European oak, oiled, ceramic bead | Jutland, Denmark | 2021 | 30 |
| 26 | Stone Paperweights | Granite, gneiss and marble offcuts, honed | Bornholm, Denmark | 2024 | 40 |
The workshops are working places, not showrooms, and we do not arrange visits. We do photograph every run and send the pictures to anyone who asks — email studio@thestylemusei.com with the object's number.