Peter Hedegaard started his adult life as a fine art painter, but eventually found himself working for W.O. Larsen in 1972; during his tenure with the venerable company, he studied with the likes of Teddy Knudsen and Hans "Former" Nielsen. If you look at his art, at first there's seems to be a rather jarring disunion between his very organic, Danish "Fancy" and neoclassical pipes, and his experimental, ultra-modernist, Barnett Newman-esque, paintings
. But Peter, in the words of his wife, always drew from tradition. Most of all he admired the work of the Italian Renaissance artist, Piero della Francesca. In approaching his paintings, it seems to make sense, considering that you can see a visual and harmonic affinity with, for instance, the receding interior space many of Piero's paintings, such as The Flagellation of Christ
. Here, in probably the most conservative piece we've had from this artist (also the only one not a freehand), Peter clearly employed classic form in the bowl, but also bridged the gap into something more modern, as seen in the pinched transition, rounded shank with Oak Ferrule, and trailing stem.