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n the world of mid-twentieth-century décor, it wasn't enough for a there’s another reason Brastoff remains
designer to be a household name. What sold everything—from just as popular with today’s collectors
Idinnerware to dishwashers to draperies—was exactly the right as he was with consumers of the past:
household name. That name had to be exotic, but not so exotic as to his natural flair for self-promotion.
frighten away customers. It had to suggest exclusive buyer taste, Brastoff’s public persona became so
without suggesting exorbitant cost. And, most importantly, it had intermingled with his work that it’s
to be unique. hard to imagine one existing without
To ensure that their names were firmly implanted in the minds of the other. “Sascha Brastoff” became a
the buying public, many giftware designers of the 1950s and ‘60s household name, encompassing both
had them boldly emblazoned on their work. No need to wonder if a the artist and his art.
fused glass platter was by Michael and Frances Higgins. The “Higgins” Ads of the period show the
signature in gold said it all. perennially youthful and photogenic
Some designers, whose given names were less than melodious, took “Ballerina” plate, by Brastoff, Sascha ensconced among his many
the movie star path, rechristening themselves with names that were, like 11-3/4” d, $75-$100 modernistic creations, looking just as
their designs, fresh, new, and previously unknown. Georges Briard, for one might imagine an artist should
instance, whose signed kitchen and partyware items became ubiquitous look — pensively musing; art pad and brushes in hand. No false
mid-century fixtures, began life as the equally mellifluous (but perhaps modesty here: he was billed as “the man of many talents,” “the modern
less ad-friendly) Jascha Brojdo. Cellini,” and "the internationally acclaimed designer from whose
For three popular ceramists of the period, whose careers were talented hands comes a galaxy of new and exciting contemporary
entwined, their names became their brand. Two opted to go the accessories.”
name-changing route. Sascha Brastoff originally answered to the more Brastoff was also more than happy to promote his work with
mundane moniker of Samuel Brostofsky. His protégé, Marc Bellaire, frequent in-store appearances
was known to the folks back home as Donald Fleischman. The least and gala gatherings with such
well-known member of the trio, however, opted to stick with the name stars-of-the-time as Zsa Zsa
he was given: Matthew Adams. Gabor and Joan Crawford.
The message was clear: Sascha
Sascha Brastoff: The Modern Cellini Brastoff exuded glamour –
and, by extension, so did
those who purchased his
product. Fortunately, the
Brastoff talent more than
lived up to the promotion.

Sascha Brastoff’s
Americana circular
covered box, 5-1/4”
d, $100-$125.
Detail, Sascha
Brastoff signature

Born in 1918, Brastoff trained briefly at Cleveland’s Western
Rooftops irregular plate by Sascha Brastoff’s Jeweled Leaf tobacco jar, Reserve School of Art, then moved to New York. Following military
Brastoff, 10-1/2” longest side, $75-$100 8” h, $125-$150
service during World War II (which included stage and screen appear-
ances in Winged Victory), his flair for theatrical design found an outlet
Sascha Brastoff was his own best invention. While many giftware at 20th Century Fox, where he designed costumes for, among others,
designers of the era have faded into oblivion, the Brastoff name Carmen Miranda. Along the way, his ongoing ceramic work attracted
endures. Certainly, his superb decorative talents, accompanied by the attention of Winthrop Rockefeller. The philanthropist/investor
seemingly limitless imagination, account for much of that success. But became Brastoff’s patron, an association that lasted throughout the
artist’s career.
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