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Rib 16X Sturdy Deep Blue Cornice Vessel by Lenny Stopp

$1,391per item

£1,031.02per item

€1,180per item

CA$1,940.52per item

A$1,968.31per item

CHF 1,123.96per item

MX$23,836.82per item

NOK 13,231.72per item

SEK 13,187.80per item

DKK 8,997per item

Quantity

About the Item

Rib 16X Sturdy Deep Blue Cornice Vessel by Lenny Stopp Dimensions: D 25 x H 45 cm Materials: Alpha crystalline gypsum (Hard plaster) Cornice is an evolving collection of vessels born from a deep exploration of the traditional craft of running cornice. For centuries, this technique has adorned interiors and exteriors with intricate plasterwork, carrying with it a legacy of ornamentation often perceived as antiquated. However, in reimagining this method, a compelling dialogue emerges between past and present. By honoring the historical essence of the craft while reshaping its purpose, these contemporary forms transcend mere decoration. The process involves crafting hollow molds and substituting traditional plaster with alpha crystalline gypsum, allowing these once-static embellishments to become functional objects. In this transformation, the technique is not only revived but redefined, shedding its association with obsolescence and finding new relevance in the modern world. Lenny Stopp’s design process is deeply rooted in a hands-on exploration of materials. He engages with each element intuitively, allowing the act of making to shape the outcome. By reinterpreting existing techniques—particularly in how he constructs molds—Lenny challenges conventional approaches to everyday objects, transforming them through continuous research and experimentation. At the start of each project, he deliberately leaves space for the unknown, letting the material’s inherent qualities guide the evolution of form and function. This openness invites a dialogue between process and outcome, where refinement emerges not from strict control but from a raw, unfiltered engagement with the medium. A central ambition in Lenny’s work is to navigate the balance between rawness and refinement. He considers how an object reaches a state of completion—both from his perspective and through the eyes of the viewer. The presence of the maker remains essential; traces of human touch imbue the final piece with character, grounding it in a personal and tactile reality. Lenny Stopp’s design practice is an exploration of instinct, materiality, and transformation. He takes a hands-on approach, letting materials guide the outcome rather than imposing rigid expectations. By repurposing techniques and reshaping conventional methods, Lenny creates objects that challenge perception and value. His work exists in a space of raw refinement, questioning the boundary between finished and unfinished. A trace of the human hand remains, embedding character and presence into each piece. These objects are more than functional or aesthetic—they carry emotion, a tactile memory of their making. Innovation arises from ignorance, from allowing the unknown to guide the hand. Lenny does not seek control, but collaboration with material. To shape the future, he believes we must embrace unpredictability and transformation. Lenny’s ideas manifest as emotions—he feels them before he defines them. Creation is not just about form but impact, shifting perception and disrupting norms. Through instinct, play, and introspection, he refines his work. We exist in a world of consumption, yet our choices have power. Objects and materials contribute to a greater narrative—a legacy of renewal. By reinterpreting materials, Lenny creates cycles of meaning beyond the present moment. To move forward, he posits that we must look back. We must desacralize convention, dismantle preconceptions, and reconstruct with curiosity. The anchor point is never fixed; it shifts with new perspectives. We turn, we face the strange, we transform. Light and darkness coexist in creation. Sometimes, to truly shine, one must first step into shadows. Lenny’s practice is a space between moments of creation, where instinct meets precision, and materiality becomes a vessel for human expression. He dares the viewer to shine—to embrace contradictions, imperfections, and the unknown. To create is to leave a trace, to shape a fragment of existence that carries the soul of its maker. This is Lenny's design. Witness his design.

Dimensions:
Height: 17.72 in (45 cm)Diameter: 9.85 in (25 cm)
Style:
Post-Modern (Of the Period)
Materials and Techniques:
Other,Other
Place of Origin:
Netherlands
Period:
2010-
Date of Manufacture:
2026
Production Type:
New & Custom(Current Production)
Estimated Production Time:
5-6 weeks
Condition:
Seller Location:
Geneve, CH
Reference Number:
1stDibs: LU1219249043692

Materials

Other

Origine Blue Ceramic II by Benjamin Poulanges

By Benjamin Poulanges

Located in Paris, FR

Origine ceramics are one off pieces, designed by the French artist Benjamin Poulanges who is represented by Galerie Negropontes. Multi-faceted artist Benjamin Poulanges offers a ...

Category

21st Century and Contemporary French Vases

Materials

Ceramic

Rhimini Blue Bitossi Vase by Aldo Londi Italy 60‘s

By Aldo Londi

Located in Vienna, AT

An Italian Design classical from the 1960‘s. Brings good mood into everybody’s home. Original, limited and signed : 727/21. Italy on bottom.

Category

Mid-20th Century Italian Organic Modern Pottery

Materials

Ceramic

Located in BUNGAY, SUFFOLK

A Cobridge stoneware cylindrical Cathedral pattern vase, designed by Samantha Johnson, copyright 2000. - The striking pillars and arches create spaciousness in the design. - The different tones of blue capture the texture and coolness of the stone interiors of these magnificent centres of worship, learning, art and community. - Rare pattern illustrating medieval architecture in a contemporary context The underside bears the Cobridge Stoneware stamp and is marked S Johnson, J.S. c.o.o. and S.J. c.c.c. 2000. Measures: Height 20.7cm Diameter (top) 8.5cm Diameter (base) 9cm Cobridge Stoneware was a short-lived pottery company born out of the fascination of the head of one of the leading potteries for a process that died with its inventor early in the 20th century. Cobridge Stoneware was in business 1998–2005. It was an Associate company of Moorcroft Pottery. The consequence of the business closing in down 2005. Is that the vases are now becoming very rare and demanding premium prices on the secondary market. Hugh Edwards, owner of Moorcroft, was keen to develop the ideas of William Howson Taylor - the man behind the closely guarded secrets of Ruskin Pottery. A new company and name was needed for the new range - Moorcroft is known and recognized universally by its distinctive appearance. Cobridge, an area of The Potteries, was featured in the Industrial Landscapes that were planned to furnish some of the designs for the new range. Its skyline was dominated in earlier years by bottle kilns, now mainly demolished, and Cobridge was chosen as the new name. The Cobridge Pottery was set up in a new imposing building a couple of hundred yards from the Moorcroft pottery and the official opening was in September 1998. The building was designed with future needs in mind. Only the outer walls are load-bearing, and the inner walls are built from blocks which can, if the need arises, be knocked down and re-built in another place. All the pieces were produced and hand painted here. The designs for Cobridge Stoneware Pottery vases were designed by well known ceramic designers. Many were also designing for Moorcroft Pottery. These designers include Philip Gibson, Kerry Goodwin, Nicola Slaney and Angela Davenport. Also Anita Harris...

Category

21st Century and Contemporary English Post-Modern Vases

Materials

Stoneware

Rib 16X Sturdy Deep Blue Cornice Vessel by Lenny Stopp

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