Three candles hand-poured in Riebeek-Kasteel from soy wax and wild olive leaf, packed into a lidded pine box that people tend to keep long after the wax is gone. Each one burns for about forty hours with the wick trimmed back, which works out at roughly six evenings. The scent is closer to a firebreak in January than to anything on a chemist shelf — dry leaf, a little resin, and no vanilla anywhere near it.
R530.00Add to cart
A spun copper shade on a weighted blackwood base, assembled by hand in Salt River and wired with a fabric flex and an inline switch on the cord. The arm tilts far enough to read by without lighting the whole room, which is the entire reason it exists. The copper is left unlacquered, so it darkens over the first year and then settles and stops.
R1 450.00Add to cart
An offcut of kudu horn shaped and polished around a stainless steel lever, made in a workshop in Athlone out of horn that would otherwise have been thrown away. No two come out the same colour, which is rather the point, so we photograph one and send you another. Wash it in the sink and dry it properly; it does not go in the dishwasher.
R260.00Add to cart
A folding kiaat board with twenty-four turned cows in two woods, small enough for a rucksack and heavy enough not to slide off a stoep table in the wind. The rules take a minute to learn and years to stop arguing about, and they are printed on a card inside the lid for the people who insist they already know them. Cut and turned in Ceres.
R520.00Add to cart
Cut from a single offcut of South African white marble and honed on all four edges, so there is nothing sharp left to catch a cloth on. It holds the cold, which means butter and a soft cheese survive a long lunch outside in a way they never do on a wooden board. Wipe it rather than soaking it, and keep the cut lemon off the surface.
R455.00Add to cart
Thrown in a Kalk Bay studio and glazed in a speckled oatmeal that shifts from one kiln load to the next, so the one that arrives will not match the photograph exactly. It is sized for a single stem rather than a bunch — one protea, or three stems of whatever is worth cutting in the garden. The foot is left unglazed and slightly rough.
R630.00Add to cart
Carved from a felled olive out of a Paarl orchard, oiled once and then left unvarnished. The grain darkens with use, which is how you know they are working, and a wipe of sunflower oil twice a year is the whole of the maintenance. Both hands are cut from the same branch, so the colour and the figure match across the pair.
R540.00Add to cart
A matte-black stoneware pot with a bent cane handle and a spout that actually pours, which is a good deal less common than it ought to be. It holds four cups, about right for a Sunday, and the walls are thick enough that the last cup is still warm. The cane is bound rather than glued, so it can be replaced if it ever gives up.
R370.00Add to cartThree candles hand-poured in Riebeek-Kasteel from soy wax and wild olive leaf, packed into a lidded pine box that people tend to keep long after the wax is gone. Each one burns for about forty hours with the wick trimmed back, which works out at roughly six evenings. The scent is closer to a firebreak in January than to anything on a chemist shelf — dry leaf, a little resin, and no vanilla anywhere near it.
R530.00Add to cartA spun copper shade on a weighted blackwood base, assembled by hand in Salt River and wired with a fabric flex and an inline switch on the cord. The arm tilts far enough to read by without lighting the whole room, which is the entire reason it exists. The copper is left unlacquered, so it darkens over the first year and then settles and stops.
R1 450.00Add to cartAn offcut of kudu horn shaped and polished around a stainless steel lever, made in a workshop in Athlone out of horn that would otherwise have been thrown away. No two come out the same colour, which is rather the point, so we photograph one and send you another. Wash it in the sink and dry it properly; it does not go in the dishwasher.
R260.00Add to cartA folding kiaat board with twenty-four turned cows in two woods, small enough for a rucksack and heavy enough not to slide off a stoep table in the wind. The rules take a minute to learn and years to stop arguing about, and they are printed on a card inside the lid for the people who insist they already know them. Cut and turned in Ceres.
R520.00Add to cartCut from a single offcut of South African white marble and honed on all four edges, so there is nothing sharp left to catch a cloth on. It holds the cold, which means butter and a soft cheese survive a long lunch outside in a way they never do on a wooden board. Wipe it rather than soaking it, and keep the cut lemon off the surface.
R455.00Add to cartThrown in a Kalk Bay studio and glazed in a speckled oatmeal that shifts from one kiln load to the next, so the one that arrives will not match the photograph exactly. It is sized for a single stem rather than a bunch — one protea, or three stems of whatever is worth cutting in the garden. The foot is left unglazed and slightly rough.
R630.00Add to cartCarved from a felled olive out of a Paarl orchard, oiled once and then left unvarnished. The grain darkens with use, which is how you know they are working, and a wipe of sunflower oil twice a year is the whole of the maintenance. Both hands are cut from the same branch, so the colour and the figure match across the pair.
R540.00Add to cartA matte-black stoneware pot with a bent cane handle and a spout that actually pours, which is a good deal less common than it ought to be. It holds four cups, about right for a Sunday, and the walls are thick enough that the last cup is still warm. The cane is bound rather than glued, so it can be replaced if it ever gives up.
R370.00Add to cart
