Estudio y cerámica artística estadounidense del siglo XX

A.R. Cole(1892-1974) Pottery Frogskin Green Covered Casserole Dish. 5.75" tall x 10.75" with handle x 6 7/8" wide lid. No cracks, chips, restorations, or crazing.

Leer Más Menos

Pewabic Pottery Arts and Crafts Style Trivet/Wall tile 2012 Detroit. No cracks, chips, or crazing. 7.25".TW189

Leer Más Menos

16.5" Polia Pillin(1909-1992) Mid century Modern California Art Pottery Bowl late 1940's-50's. Exceptional early heavily potted Pillin piece just discovered estate fresh. Bought from Polia for $75, I'm thinking the 101 on the tag indicates it was likely her 101st piece made. This is a really big bowl with typical crazing and 3 of the tiniest glaze flakes on the outside rim. No cracks, chips, or restorations.Polish-born Polia Pillin (1909-1992) and her husband William established their ceramic studio, The Pillin Art Pottery Company, in their Los Angeles, CA garage in 1948. Her husband shaped and glazed the pots that became canvases that Polia used to paint fanciful scenes of people and animals in the mid-century style. Thousands of pieces were produced and Polia became one of the most highly regarded of contemporary studio potters today.The clay used for Pillin pottery was typically red-brick in color. William experimented with different glazes and produced some pieces without Polia’s artwork. However, it was Polia’s artistic designs that garnered her international recognition. Polia was inspired by the Cubism movement and by the works of Pablo Picasso whom she greatly admired. Her style is often referred to as “Byzantine”. Polia’s favorite subjects were women, horses, birds, fish and other animals painted over colorfully rich glazes. The overall pallet had an organic, jewel-toned quality.Each piece of Pillin pottery was hand-thrown, glazed, painted and hence, unique. Because Pillin worked from her garage (and in her kitchen when she lived in Chicago), she did not have access to expert tradesmen, chemists or specialized equipment that could mass produce her work. For that reason, most Pillin pottery is highly crazed. Rare pieces with little to no crazing command higher values.Most pieces of Pillin pottery were produced beginning in 1948 and marked on the bottom with Polia’s signature “Pillin” in either thick or thin black ink. Rare pieces produced in her Chicago kitchen in 1946 and 1947 are incised “46” or “47”. Some very early pieces are marked “W+P” above the Pillin signature to indicate William throwing the pieces and Polia decorating them. Thicker thrown pieces tend to indicate earlier works.

Leer Más Menos

1987 Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Art Pottery Vase. 12" tall x 6.5" wide. An unusual piece from before he got more into mass production, great piece of large art pottery.B55Walt grew up in San Antonio and, after serving in the Army, graduated from The University of the Incarnate Word where he later received an Outstanding Alumnus Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed 40 years together. After finding his artistic passion in creating beautiful, handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village Gallery, in San Antonio's historic La Villita and a production studio in McQueeney, Texas. He and Cynthia loved participating in craft fairs around the country with a special fondness for the "Starving Artists Show" along the San Antonio River Walk and La Villita.They enjoyed a successful artistic venture for over forty years and their pottery has been appreciated across the globe. His unique pottery was collected by dignitaries from around the world, including the Queen of England, Ronald Reagan, and other notables, as well as being featured by San Antonio's sister city in Japan.As a master potter, Walt enjoyed mentoring professional potters from around the world, sharing his technique and skill. Later in his career, he loved teaching Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both in and out of the classroom. With the help of TLU students and faculty, he introduced the "Empty Bowls Project" to the Seguin area, raising funds to help feed the hungry.

Leer Más Menos

12" Arts and Crafts Weller Rosemont Low bowl centerpiece. Rare in this larger size. No cracks, chips, or restorations. Impressed weller in center of base. Some scratches in interior and fine crazing in places.TW157

Leer Más Menos

This piece and two more I'm listing are from the Estate of Lael Cater Seagert UT Art Department and later Director of Laa Gloria Art Museum here in Austin so these were likely gifts from Soto as they had signed books from so many Texas Artists that were given to them as gifts.Piece measures 7 5/8" tall x 5.25" wide. No cracks, chips, restorations, or crazing. Below is an excerpt from the artists eulogy. Ishmael Soto, longtime Austin ceramicist and teacher, died Monday after a battle with cancer. He was 84.“Ishmael’s passing is a loss for us all in the community,” said Sylvia Orozco, director of Mexic-Arte Museum. “He was a great human being, teacher and artist. Ishmael was one of the first, if not the first Mexican-American Austinite to become a professional visual artist.”Artist and teacher Ishmael Soto died Feb. 27 at age 84. Contributed by Tahila MintzSoto won many prizes and was exhibited frequently in group and solo shows.A native Austinite, Soto earned his first degree from the University of Texas and his second from the famed Cranbrook Academy of Art in Michigan. His 57th Annual Potters Show and Sale took place in December 2016. He taught ceramics at UT for seven years — one of the first Hispanics to teach in the art department — then at St. Edward’s University and Austin Community College for a total of more than 30 years..“He was a modest, generous mentor and major inspiration to many artists,” said his widow, Cynthia Leigh. “He taught thousands of students over his lifetime. Many of his students decided to become artists from his encouragement and support. He did not try to mold his students to imitate his work; he encouraged them to follow their own artistic path and draw on their own talents.B26

Leer Más Menos

1950's Roseville Art pottery Console Set. Guaranteed Authentic original Roseville American Pottery mid 20th century with no cracks, chips, restorations, or crazing. I'm 100% sure it has no restorations and have the experience to back up my confidence. It's estate fresh with a little candle wax residue on the candle holders. The bowl is huge, these are always damaged but this one isn't. 17.5" handle to handle x 8". Selling the set.B53

Leer Más Menos

Van Briggle Pottery Dragonfly Bowl in Mulberry and Blue 8.5". Nice old piece of Van Briggle art pottery from the second quarter of the 20th century with no cracks, chips, or restorations.TW94

Leer Más Menos

Great piece 9.75" wide x 7" tall with no cracks, chips, or restorations. There is a tiny flaw on the handle, very insignificant and minor crazing.TW79

Leer Más Menos

Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Blue Red Drip Pitcher and Goblet Set. The pitcher is signed, the goblets aren't. All made by Walt Glass, all from same estate. One very small nick on footrim of one goblet shown in the back right of the last pic. No other cracks, chips, or restorations. The goblet vary a little as they're handmade. Pitcher is 7.5" tall, goblets average about 7.25" tall.TW14, Tw17Walt grew up in San Antonio and, after serving in the Army, graduated from The University of the Incarnate Word where he later received an Outstanding Alumnus Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed 40 years together. After finding his artistic passion in creating beautiful, handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village Gallery, in San Antonio's historic La Villita and a production studio in McQueeney, Texas. He and Cynthia loved participating in craft fairs around the country with a special fondness for the "Starving Artists Show" along the San Antonio River Walk and La Villita.They enjoyed a successful artistic venture for over forty years and their pottery has been appreciated across the globe. His unique pottery was collected by dignitaries from around the world, including the Queen of England, Ronald Reagan, and other notables, as well as being featured by San Antonio's sister city in Japan.As a master potter, Walt enjoyed mentoring professional potters from around the world, sharing his technique and skill. Later in his career, he loved teaching Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both in and out of the classroom. With the help of TLU students and faculty, he introduced the "Empty Bowls Project" to the Seguin area, raising funds to help feed the hungry.

Leer Más Menos

2 Roseville Bleeding Heart 972-10 3/8" Evers pair c 1940's. Nice large pair of original roseville ewers. One has very small glaze flake on one of the sharp points up top shown in pics. No cracks, chips, or restorations other than small glaze flake. TW8

Leer Más Menos

Ishmael Soto Austin Texas Studio Pottery Abstract Sculpture Duck Planter. Measures 6.5" wide x 5.5" tall. Below is an excerpt from the artists eulogy. This is a good vintage piece from a local Austin estate.Ishmael Soto, longtime Austin ceramicist and teacher, died Monday after a battle with cancer. He was 84.“Ishmael’s passing is a loss for us all in the community,” said Sylvia Orozco, director of Mexic-Arte Museum. “He was a great human being, teacher and artist. Ishmael was one of the first, if not the first Mexican-American Austinite to become a professional visual artist.”Artist and teacher Ishmael Soto died Feb. 27 at age 84. Contributed by Tahila MintzSoto won many prizes and was exhibited frequently in group and solo shows.A native Austinite, Soto earned his first degree from the University of Texas and his second from the famed Cranbrook Academy of Art in Michigan. His 57th Annual Potters Show and Sale took place in December 2016. He taught ceramics at UT for seven years — one of the first Hispanics to teach in the art department — then at St. Edward’s University and Austin Community College for a total of more than 30 years..“He was a modest, generous mentor and major inspiration to many artists,” said his widow, Cynthia Leigh. “He taught thousands of students over his lifetime. Many of his students decided to become artists from his encouragement and support. He did not try to mold his students to imitate his work; he encouraged them to follow their own artistic path and draw on their own talents”TW2

Leer Más Menos

No cracks, chips, or restorations. 14.5" tall x 8" wide one of a kind item.Well known for her shakers Originally created in 1981 as a means to inspire a stressed-out friend "to take life with a grain of salt", the Shakers actually began their lives a functional salt and pepper shakers. Nineteen years and 30,000 sculptures later… the shakers have evolved into a collection of figurative ceramic art that is displayed and sold in galleries nationwide. Each Shaker is a page in the diary of my life, a 3-dimensional metaphor, which arise from my day-to-day experiences. These living doodles are tiny monuments to the daily experiences of "being". The sculptures capture life's moments of absurdity, contradiction, pain, joy, befuddlement and love. Each Shaker is a completely unique piece of sculpture. They are carefully handcrafted of fine porcelain, then fired and individually hand-painted.No two are ever alike. And the Shakers do indeed let us"take life with a grain of salt" by making us laugh andcry at the absurdity of our predicaments,the humor of our foibles and thewonder of being human.Tw49

Leer Más Menos

c1915 8.75" Van Briggle Owl Lamp. Looks like someone began or removed a restoration to one ear. No other cracks, chips, crazing, or restorations. This is the less common larger version. Lamp works.

Leer Más Menos

1930's Brown Pottery Arden North Carolina Pottery Pitcher Redware Albany Slip Interior. Nice old utilitarian piece 4.5" tall x 7.75" wide with handle. No cracks, chips, or restorations.

Leer Más Menos

Ishmael Soto(1932-2017) Austin Texas Studio Pottery Candle Bowls. These measure 5.5" and 5 1/8" wide. The middle area is over 2" on both. No cracks, chips, or restorations. Selling both, not an exact match.Ishmael Soto, longtime Austin ceramicist and teacher, died Monday after a battle with cancer. He was 84.“Ishmael’s passing is a loss for us all in the community,” said Sylvia Orozco, director of Mexic-Arte Museum. “He was a great human being, teacher and artist. Ishmael was one of the first, if not the first Mexican-American Austinite to become a professional visual artist.”Artist and teacher Ishmael Soto died Feb. 27 at age 84. Contributed by Tahila MintzSoto won many prizes and was exhibited frequently in group and solo shows.A native Austinite, Soto earned his first degree from the University of Texas and his second from the famed Cranbrook Academy of Art in Michigan. His 57th Annual Potters Show and Sale took place in December 2016. He taught ceramics at UT for seven years — one of the first Hispanics to teach in the art department — then at St. Edward’s University and Austin Community College for a total of more than 30 years..“He was a modest, generous mentor and major inspiration to many artists,” said his widow, Cynthia Leigh. “He taught thousands of students over his lifetime. Many of his students decided to become artists from his encouragement and support. He did not try to mold his students to imitate his work; he encouraged them to follow their own artistic path and draw on their own talents”

Leer Más Menos

c1920 Weller Hudson Hand Painted Artist Signed 3 ftd Cachepot 5.5" wide x 2 7/8" tall. No cracks, chips, or restorations. Some crazing with no stains, one glaze flake to enamel petal.

Leer Más Menos

Mint with no cracks, chips, crazing, or restorations guaranteed. Clean inside and out, really tough to find in this condition.

Leer Más Menos

3.5" tall x 4.5" tall. Really incredible piece of complex hand made art pottery by the Texas Artist Barbara Woodruff. No damage whatsoever.

Leer Más Menos

Weller Hudson Cherry Blossom Vase. 9.25" tall with no cracks, chips. or<br>restorations. Some crazing with a few light stains.

Leer Más Menos

1920's Weller La Sa Scenic Cabinet Vase 3.75" tall with no cracks, chips, or restorations. Two thumbprint blemishes on back side that I didn't attempt to clean or modify.tw163

Leer Más Menos

1964 Harding Black Texas Studio Art pottery bowl 8.75" wide x 3" deep with no<br>damage or restorations. tw105<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.

Leer Más Menos

Northwestern Terra-Cotta Denver Colorado Sample Dog Doorstop/Bookend. 5.5" tall x 5" deep, a few glaze flakes on base, no large chips, no cracks, no restorations. Rare exampletw119Northwestern Terra Cotta Co.Founded in Chicago in 1878 by a group of investors including John R. True, this company became a major producer of terra cotta trimmings used by the construction industry. By the early 1890s, when Northwestern Terra Cotta employed approximately 500 men, annual sales approached $600,000. By 1910, its large plant at Clybourn and Wrightwood Avenues had about 1,000 workers. The popularity of placing terra cotta moldings on building facades peaked in the 1920s, and Northwestern Terra Cotta led the way, in Chicago and around the country. Around this time, the company opened plants in St. Louis and Denver. Beginning with Louis Sullivan earlier in the century, prominent Chicago architects like Frank Lloyd Wright had extensive contracts with the company. Included among the many landmark Chicago buildings for which Northwestern supplied extensive decorative moldings were the Civic Opera House, the Chicago Theater, the Wrigley Building, and the Randolph Tower. Northwestern's operations in Chicago declined alongside the construction industry during Great Depression and never returned to their 1920s levels. In 1965, Northwestern Terra Cotta Co.'s only remaining plant, in Denver, closed.

Leer Más Menos

UND Pottery North Dakota School Of Mines Vase Mattson. 4 5/8" tall with nodamage or restorations. Really an incredible and complex glaze on a very cool form.UND pottery was a turn of the 20th century effort to promote “a wealth of design material peculiar to the prairies” — as Margaret Cable wrote in a 1926 brochure. UND Pottery is now highly collectible, has been featured on the PBS series Antiques Roadshow and is the subject of several books.Ms. Julia Mattson joined the University of North Dakota Pottery or ceramics department faculty in 1924 the same year she graduated from the school. She spent the next thirty-nine years teaching in the Ceramics Department. She was a hard worker and extremely devoted to the production of UND art pottery. Ms. Mattson continued making art pottery at UND until her retirement in 1963. Ms. Julia Mattson later moved to California, where she died in 1967.tw119

Leer Más Menos

Early Pre 1913 UND Pottery North Dakota School Of Mines Toothpick/Cabinet Vase2.75" tall, though the style is Art Deco I believe this to be a pre 1913 mark, correct me if I'm wrong. No cracks, chips, or restorations.UND pottery was a turn of the 20th century effort to promote “a wealth of design material peculiar to the prairies” — as Margaret Cable wrote in a 1926 brochure. UND Pottery is now highly collectible, has been featured on the PBS series Antiques Roadshow and is the subject of several books.tw119

Leer Más Menos

1921 Rookwood Art Pottery Trivet/tea tile 5.5" square with one shallow glaze flake shown on the top rim, very difficult to see. No other chips, cracks, restorations, or crazing. Very uncommon if not one of kind piece.tw119

Leer Más Menos

Sarah Reid McLaughlin (1872-1939) for Weller Hudson line vase. 8" tall x 5" widewith no cracks, chips, or restorations, overall crazing. tw122 isshelf

Leer Más Menos

Van Briggle Elephant Paperweight in Blue Matte. Great piece from the second quarter of the 20th century. No cracks, chips, or restorations, some crazing with no stains. 3.5" long x 2.5" tall.tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs.Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900.Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glazeIn 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame.Van Briggle Memorial PotteryPottery loses its founderArtus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and warThe pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips, restorations or crazing. 3 7/8" long x 2.5" tall.tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs.Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900.Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glazeIn 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame.Van Briggle Memorial PotteryPottery loses its founderArtus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and warThe pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips, restorations or crazing. 3 7/8" long x 2.5" tall.tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs.Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900.Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glazeIn 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame.Van Briggle Memorial PotteryPottery loses its founderArtus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and warThe pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

c1899 J&J.G Low Art Tile Chelsea MA. 4 5/16" wide with no cracks, chips, or restorations.isshelf

Leer Más Menos

Art Deco Cowan Art Pottery Tea Tile Trivet 6.75" wide with no damage whatsoever, factory firing flaw in front mostly glazed over.isshelf

Leer Más Menos

1987 Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Art Pottery Vase.<br>5.75" tall An unusual piece from before he got more into mass production, great<br>piece of large art pottery.<br><br>Walt grew up in San Antonio and, after serving in the Army, graduated from The<br>University of the Incarnate Word where he later received an Outstanding Alumnus<br>Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed<br>40 years together. After finding his artistic passion in creating beautiful,<br>handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village<br>Gallery, in San Antonio's historic La Villita and a production studio in<br>McQueeney, Texas. He and Cynthia loved participating in craft fairs around the<br>country with a special fondness for the "Starving Artists Show" along the San<br>Antonio River Walk and La Villita.<br>They enjoyed a successful artistic venture for over forty years and their<br>pottery has been appreciated across the globe. His unique pottery was collected<br>by dignitaries from around the world, including the Queen of England, Ronald<br>Reagan, and other notables, as well as being featured by San Antonio's sister<br>city in Japan.<br>As a master potter, Walt enjoyed mentoring professional potters from around the<br>world, sharing his technique and skill. Later in his career, he loved teaching<br>Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both<br>in and out of the classroom. With the help of TLU students and faculty, he<br>introduced the "Empty Bowls Project" to the Seguin area, raising funds to help<br>feed the hungry.<br><br>isshelf

Leer Más Menos

Large c1926 Roseville Carnelian II Art deco vase 10.25" x 7". No cracks, chips, restorations, or exterior crazing, some crazing on base inside the footrim.

Leer Más Menos

Weller Hudson Cherry Blossom Vase. 7.25" tall with no cracks, chips. or restorations. Some crazing with a few light stains.tw212

Leer Más Menos

1920's Fulper Porcelain perfume lamp. 6" tall x 5" wide in working condition<br>with no cracks, chips, or restorations. Embossed fulper on base. The same Fulper<br>American art pottery company from New Jersey.<br>tw212<br><br>The Fulper Pottery Company was founded in Flemington, New Jersey in 1899 by<br>Charles Fulper and his sons. However, the pottery had existed since 1815 when<br>the first pottery was created by Samuel Hill. The pottery initially produced a<br>wide variety of utilitarian ware, and drain tiles and storage crocks and jars<br>from Flemington’s red earthenware clay. In 1847 Dutchman Abraham Fulper, an<br>employee since the 1820s became Hill’s partner. He later took over the company.<br><br>It was not until the early 1900s when William Hill Fulper II (1870-1953) started<br>to experiment with colored glazes and the company started to create some of the<br>art pottery it is famed for. Fulper is credited with inventing the dry-body slip<br>glaze, which was used to create colorful designs on his pottery. He also<br>developed a method of using electric kilns to fire his glazes, which resulted in<br>brighter and more consistent colors.<br><br>Fulper Pottery’s Vasekraft line was inspired by the work of German potter John<br>Martin Strangl. The line includes a wide variety of vases, bowls, and other<br>vessels, all with Strangl’s signature clean lines and simple forms.<br><br>The company is especially known for the Fulper lamps-with glazed pottery shades<br>inset with colored glass-were truly innovative forms. The firm’s most<br>spectacular and innovative accomplishments are the table lamps made with glazed<br>pottery bases and shades, which were inset with pieces of colored opalescent<br>glass. These were produced from about 1910-1915 and are very rare, especially in<br>perfect order.<br><br>William Hill Fulper II was also an excellent advertiser and marketeer and<br>Fulper’s Vasekraft products were sold throughout the United States in the most<br>prestigious department stores and gift shops. Fulper’s pottery was exhibited at<br>the 1915 Panama-Pacific International Exposition in San Francisco, where it<br>received a gold medal. His work is also included in the collections of the<br>Metropolitan Museum of Art, the Smithsonian Institution, and the Philadelphia<br>Museum of Art.<br><br>During its first twenty-five years, Fulper Pottery was particularly known for<br>its flambé glazes, which were heavily influenced by Chinese and Japanese ceramic<br>traditions. These glazes, which resulted in vibrant and often unexpected colors,<br>helped to establish Fulper Pottery’s reputation for innovative and high-quality<br>art pottery.<br><br>After World War I, Fulper Pottery began to shift away from its Germanic roots<br>and move towards more Oriental-inspired forms. The company’s designers began to<br>experiment with new shapes and glazes, inspired by the Art Deco movement that<br>was sweeping Europe at the time. The Vasekraft name was changed to Fulper<br>Pottery Artware. These new pieces were softer and more graceful than the<br>functional stoneware that Fulper had been producing up until that point, and<br>they proved to be very popular with the public.<br><br>In the 1920s, Fulper Pottery was one of the leading producers of Art Deco<br>ceramics in the United States. The company’s designers created a wide range of<br>vases, lamps, and other objects that were both beautiful and stylish. Fulper’s<br>pieces were featured in some of the most prestigious design magazines of the<br>day, and they were popular with both collectors and everyday consumers.<br><br>In 1925, Charles Fulper died, and his sons took over the operation of the<br>pottery. Under their leadership, Fulper Pottery continued to experiment with new<br>glazes and firing techniques. They also began to produce a line of dinnerware,<br>which was very popular during the Depression-era.<br><br>The Great Depression hit Fulper Pottery hard, as it did many other businesses.<br>The company was forced to lay off a large number of employees and cut back on<br>production. However, Fulper’s designers continued to experiment with new ideas,<br>and the company managed to survive the difficult economic times.<br><br><br>William Hill Fulper II died suddenly in 1928. The company continued to be run<br>with Martin Stangl as President. In 1935, Fulper Pottery Artware production was<br>ceased at the small remaining Flemington location, and that building was<br>utilized solely as a retail showroom for the company’s ceramic products. After<br>1935, the company continued to be Fulper Pottery, but produced only Stangl<br>Pottery brand dinnerware and artware.

Leer Más Menos

1957 Harding Black Texas Studio Art pottery Lava Glaze vase. No cracks, chips,<br>or restorations 5 1/8" tall.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br>tw163

Leer Más Menos

c1900 Weller Dickens Ware Stag Pitcher. 7" tall x 5" wide. Hand painted and hand<br>carved design. No cracks, chips, or restorations. Factory chip on back side of<br>base resulting in a sharp edge that has the tiniest chigger bite off of it.<br><br>tw163

Leer Más Menos

Sarah Timberlake for Weller Hudson line vase. 8" tall x 5" wide with no cracks,chips, or restorations, overall crazing. tw119

Leer Más Menos

Early Van Briggle Cabinet vase. Teens-20's 4" tall with no cracks, chips, restorations, or crazing.tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs.Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900.Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glazeIn 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame.Van Briggle Memorial PotteryPottery loses its founderArtus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and warThe pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

c1920's Van Briggle Elephant Paperweight in Blue Matte. No cracks, chips, or restorations, overall crazing with no stains. 3.5" long x 2.5" tall.tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs.Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900.Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glazeIn 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame.Van Briggle Memorial PotteryPottery loses its founderArtus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and warThe pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips,<br>restorations or crazing. 3 7/8" long x 2.5" tall.<br>tw122<br><br>Van Briggle Art Pottery was at the time of its demise the oldest continuously<br>operating art pottery in the United States, having been established in Colorado<br>Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant<br>impact on the Art Nouveau movement in the United States, and his pottery is<br>foundational to American Art Pottery. The Art Nouveau style favored by its<br>founders continues to influence the pottery's designs.<br><br><br>Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself<br>as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née<br>Gregory), his new wife, Artus began exploring the Art Nouveau style in their<br>pottery creations, drawing awards and accolades from the American and European<br>art communities. Although he was a talented painter who had displayed and won<br>awards in Europe, from 1899 until his death Artus devoted himself almost<br>exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs<br>and distinctive matte glazes were awarded high honors from prestigious sources,<br>including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark<br>Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.<br><br>The Van Briggle Pottery Studio closed in spring 2012<br><br>Artus Van Briggle in 1900.<br>Born to artistic parents on March 21, 1869, Artus Van Briggle had an early<br>introduction to painting using materials found about the home. The Van Briggle<br>family lived in Ohio, one of America's hotbeds of ceramic design. At the age of<br>17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold<br>Fairyland Doll Store, while attending his early art studies at the Cincinnati<br>Art School. After a stint at the Avon Pottery where he was introduced to the<br>ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at<br>hand-painting designs. His skill and talent were recognized by Rookwood founder,<br>Maria Storer, who became his benefactor, even sending him to France to study art<br>at the Académie Julian in Paris.<br><br>In Europe, he was exposed to styles of art and became infatuated with an early<br>matte glaze from the Chinese Ming Dynasty; a type that was lost to history.<br>Artus also met his future wife, fellow American student Anne Lawrence Gregory,<br>an accomplished artist in her own right. Finishing their Paris studies in 1896,<br>they returned to America. Artus resumed his work at Rookwood and also started<br>sculpting and experimented with recreating the lost Ming Dynasty glazes.<br><br>Perfecting the distinctive dull or matte glaze<br>In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood<br>and moved to the drier air of Colorado Springs, Colorado. Upon befriending the<br>Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of<br>1899, 1900, and 1901 to reduce work stress and regain strength while pursuing<br>his own styles of pottery, centered around the Art Nouveau movement. He<br>continued his research on the ancient matte glazes that fascinated him in Paris.<br>After two years of trials and experiments a matte glaze was perfected. One of<br>the matte glazes perfected by Artus was the matte blue glaze, based on an<br>ancient Chinese process that had long been lost to history.<br><br>Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who<br>took a position as a high school art teacher in Colorado Springs. In 1903, Artus<br>Van Briggle was appointed First Director of the Department of Art and Design in<br>Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva,<br>Switzerland) he met in Paris in 1895.<br><br>In 1902, Anne and Artus were married, and she devoted herself to their pottery;<br>she created designs and collaborated in all aspects of the enterprise with her<br>husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art<br>Nouveau from the prestigious Paris Salon; he was now an accepted artist. During<br>their early years, Artus and Ann established hundreds of Art Nouveau styles of<br>pottery under the Van Briggle name. The Despondency vase won Van Briggle wide<br>acclaim and first place at the Paris Salon in 1903. A display at the 1904<br>Centennial Exhibit in St. Louis won Van Briggle more awards and greater<br>international fame.<br><br><br>Van Briggle Memorial Pottery<br>Pottery loses its founder<br>Artus Van Briggle died in July 1904, at the age of 35. Anne continued the<br>pottery using the forms created by Artus as a foundation and adding more designs<br>of her own. In 1907, Anne and pottery stockholder and city-founder William<br>Jackson Palmer began construction on a new pottery on Uintah Street. The Van<br>Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend —<br>was opened in 1908 and stands today as an historic landmark noted for its<br>architecture and use of ceramics in the facade.<br><br>Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912<br>to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922<br>to J.F. and I.H. Lewis and moved to Denver the following year, where she would<br>concentrate on painting and where she remained until her death in 1929. In her<br>absence, the pottery fell under financial hardships and was sold at sheriff's<br>auction; later it was re-sold, once more becoming the property of Mr. Curtis.<br><br>Surviving disaster and war<br>The pottery was sold twice more in the ensuing decade and survived a fire in<br>1919 that gutted the interior but left the brick shell and kilns. New owners<br>I.F. and J.H. Lewis took the opportunity to modernize and expand the facility<br>beginning in 1920 and stabilized the production and financial aspects of the<br>pottery for the first time. Despite damage from the flood of 1935—the most<br>destructive flood in Colorado Springs history — that destroyed much of the<br>company's records and molds, the pottery continued to enjoy success up to World<br>War II, when they closed for approximately three years as the United States<br>focused its resources on the war effort.<br><br>With the increase of interstate travel in the United States a freeway was<br>planned in 1953 for Colorado Springs which J.H. Lewis estimated would run<br>through the Memorial Plant site. Although the freeway eventually was planned to<br>avoid destroying the historic pottery, Mr. Lewis nonetheless put into action<br>plans to relocate the pottery to a higher-traffic area of Colorado Springs. In<br>1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated<br>railroad roundhouse on Midland Road. The new facility, known as the Midland<br>Plant, had a smaller capacity but enjoyed quick success due to its location on<br>the main highway to the Garden of the Gods and other tourist locations.<br><br>In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into<br>disrepair for the ensuing 40 years, being used variously as offices and storage.

Leer Más Menos

c1915 Fulper for Prang Flambe Drip low Bowl. 6" wide x 2" deep. No cracks, chips, or restorations, a few scratches on exterior. Fulper produced vases for the Prang Company of New York from 1913 to 1929. They were used as still-life models for Artists in training, and were valued for their beautiful form and glazes. This early piece (1913 to 1916) made for Prang by the Fulper Pottery of Flemington, New Jersey, was produced in what many consider Fulper's finest years. Typical factory manufacturing artifacts (very small glaze pops skips, etc). Signed Prang on the underside, indicative of their 1913 to 1916 production (after 1916, the Vases Fulper made for Prang were marked "Fulper"

Leer Más Menos

1947 Rookwood Advertising Ashtray Boss Kerosene ranges 5.75" wide with no crack, chips, restorations, or other issues.isshelf

Leer Más Menos

1920's Van Briggle Pottery Mulberry Persian rose pot. Nice old piece of Van Briggle art pottery from the 1920's with no cracks, chips, or restorations. 5.5" wide x 3.5" tall. tw122

Leer Más Menos

Franz Kriwanek (American, 1920-1994) Mid Century Modern Texas Studio Pottery large vase. 9.75" tall x 7" with with no damage or restorations. Fresh from a local Austin TX estate, most likely made when he was teaching in TX before moving to Silverton.Franz Kriwanek (American, 1920-1994). artist, potter, professor and author renown for blending clays and glazes from soils and minerals of the San Juan Mountains near Silverton Colorado. Pottery made from these mixtures is very durable with a distinctive allure. When Germany conquered Czechoslovakia, Kriwanek was forcibly drafted into the German Army. He was then sent to North Africa desert, but one morning when he and the other forced draftees awoke, they were alone. Kriwanek was sent to the Prisoner of War Camp in Clarinda, where he, an artist by trade, began painting again, specifically illustrations of the camp. Once the war was over, he was released and returned to Europe, where he lived in the Netherlands for four years. In fact, Winegardner said a family in Shenandoah sent Kriwanek to the University of Iowa where he could obtain his teaching degree. He then taught in Shenandoah for one year, followed by Mount Pleasant, Iowa.In 1948, Franz Kriwanek settled in Sweden to study Sino-Swedish stoneware under the masters Wilhelm Koge and Stig Lindberg. While in Sweden he had 7 one man exhibits.In 1963, He arrived in Texas, taking a position on the art faculty at Texas Tech University. For months after he arrived in West Texas, he sought a clay suitable to stand 2,400 degrees. He found it in a quarry in Snyder, Texas. He believed in using local materials and developed a series of glazes which have cotton gin ashes as they main component. These glazes follow the same traditions of Chinese ash glazes.“Franz Kriwanek was born on May 1, 1920 in Worschach, Austria.Winegardner said when Germany conquered Czechoslovakia, Kriwanek was forcibly drafted into the German Army. He was then sent to North Africa desert, but one morning when he and the other forced draftees awoke, they were alone.“The Germans were gone. They had left them in the desert,” said Winegardner. “The first thing they did was surrender.”Kriwanek was sent to the Prisoner of War Camp in Clarinda, where he, an artist by trade, began painting again, specifically illustrations of the camp. Once the war was over, he was released and returned to Europe, where he lived in the Netherlands for four years.“Someone he knew in Clarinda sponsored him and his family to move back to Clarinda,” Winegardner said. “He then moved to Shenandoah and started Kriwanek Pottery and Art School. He was really promoted and supported by people in Shenandoah.”In fact, Winegardner said a family in Shenandoah sent Kriwanek to the University of Iowa where he could obtain his teaching degree. He then taught in Shenandoah for one year, followed by Mount Pleasant, Iowa.“He ended his teaching career as chair of ceramics at the University of Texas at Lubbock,” said Winegardner. “He ended up in Silverton, Colorado with Silverton Mountain Pottery. He passed away in 1994, but his pieces have recently become overly popular.”

Leer Más Menos

1920's Rosveville Imperial Large Centerpiece bowl 10.25" wide with no damage or restorations, overall crazing.isshelf

Leer Más Menos

1939/1946 Pisgah Forest Art pottery Vessels. Selling the two pieces of NC art<br>pottery with no damage or restorations, both with intentionally crazed glazes.<br>Tallest 7.25".<br>isshelf

Leer Más Menos

c1924 Roseville Imperial II Bulbous Vase no cracks, chips, restorations,<br>crazing, scratches, or detectable flaws. 7" tall x 6.5" wide. Above average<br>glaze with crisp molding.<br>isshelf

Leer Más Menos

1960's MCM Frankoma Aqua Orbit Gracetone collection. Selling the rare and<br>desirable collection shown, six pieces total counting the lid to the candy dish.<br>12 oz v8 can shown for scale. Tallest is the brandy snifter formed vase at 9"<br>tall x 5 7/8" wide. No cracks, chips, crazing, or restorations to any pieces,<br>One factory glaze pop shown in the interior of the deep compote to the right,<br>it's shown in the fifth pic. The lid to candy dish has some worn gold paint,<br>it's not covering a restorations I'm sure, I can remove the rest before shipping<br>upon request.<br><br>Gracetone Pottery was produced from 1959 to 1967. John Frank purchased a<br>Muskogee, Oklahoma company named Synar Ceramics in September, 1957, eventually<br>naming it Gracetone in December. He designed a new line of dinnerware named<br>Orbit, the name based on a circular motif. Many of the original Synar pieces<br>continued production. Unfortunately the company did not meet expectations, so<br>Frank closed it in May, 1962.<br><br>Frank's associate J.C. Taylor purchased the company, along with its assets, to<br>continue production with a reduced number of items. He eventually decided to<br>stop production entirely in February, 1967.

Leer Más Menos

1945 Rookwood MCM Chinoisiere Vase 6.25" tall. No cracks, chips, or restorations, overall crazing which seems intentional.

Leer Más Menos

Harding Black (1912-2004) Texas Studio Art pottery Tubelined Squeeze bag decorated fish bowl. Great hand decorated bowl with no crack, chips, or restorations. 8" wide x 3" deep. Larger and different than other Harding black fish decorated bowls I've seen/had, an unusual and very cool piece.Harding Black San Antonio (1912 - 2004)A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also began to teach children's ceramic classes at the Witte. Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Black's collection and archive is housed at Baylor University. Harding Black's work with clay serves an an important bridge between early Texas and mid-century pottery.anderas

Leer Más Menos

1959 Harding Black (1912-2004) Texas Studio Art pottery ginger jar with bubbly<br>cobalt blue glaze and hand incised decoration throughout. 7" tall x 6.5" tall,<br>an amazing Texas Mid century modern entirely handmade one of a kind jar made by<br>the celebrated potter Harding Black in 1959. It's amazing in so many ways, all<br>the incisions and decoration done by hand and a unique dark blue bubbly glaze.<br>It's estate fresh and has never been offered for sale anywhere until now, it's<br>mint with absolutely no damage, wear, or restorations.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br><br>anderas

Leer Más Menos

Vintage Teague North Carolina Pottery Creamer and Sugar. These were both in the same estate but other than both being great in their own rights I don't think they match. Creamer 5" wide with handle x 3.5" tall. Both with no damage or restorations. Selling both for one price.isshelf

Leer Más Menos

1930's McCoy Angelfish pitcher. Better Glaze and stronger embossing than on most. 6" tall with no cracks, chips, or restorations, tiny glaze flake on inside rim near spout.isshelf

Leer Más Menos

1940's Huge 17" Roseville Centerpiece. 16 7/8" x 8.75" x 5" deep. Good old piece from the second quarter of the 20th century with great glazing and colors and no cracks, chips, or restorations.isshelf

Leer Más Menos

c1926 Roseville Carnelian II Art deco vase. Wonderful blue/green matte glaze with no cracks, chips, restorations, crazing, scratches, or detectable flaws. 8.25" tall.

Leer Más Menos

1940's/50's Frankoma Ada Clay Large Turquoise Blue vase 10.25" tall with no cracks, chips, restorations, or detectable wear. The base of this piece looks really old, It may be Blue/gray jade color, this was part of a large collection of old blue Frankoma I purchased from the family of a lifelong collector, there were many variations in color and I'm not a world renown expert on Frankoma, it's beautiful, early and blue/green.

Leer Más Menos

1940's/50's Frankoma Ada Clay Turquoise Blue collection. Selling the three pieces shown, largest 9.25" tall vase, none with any cracks, chips, restorations, or detectable wear. The Wall pocket is a little greener than the other two pieces.

Leer Más Menos

c1940 Rumrill Art Pottery Vase and Candle holder with unusual sponged green matte glaze. Vase is 6" tall x 6.5" wide at the rim. No damage or restorations to either of the pieces, candle holders are unmarked but from the same estate and obviously match. Selling the set shown.George Rumrill, a Little Rock, Arkansas native, was a founder of the Arkansas Products Company. The Arkansas Products Company was formed to promote Arkansas made products. Two of the products that were promoted were Niloak Pottery from Benton and Camark Pottery from Camden. George Rumrill's position as a founder and promoter of the Arkansas Products Company gave him access to many of the two pottery's catalogs and products.At some point in time, the Arkansas Products Company came to pass and George Rumrill decided to create his own pottery company. Since he had no facilities in which to make pottery, he contacted existing pottery companies to create his line of pottery. RumRill's most popular designs were made by Red Wing Stoneware Company from 1933-1936 and Red Wing Potteries from 1936-1938. Shawnee produced RumRill Pottery in 1938 for a short time. Then Florence and Gonder potteries produced RumRill until his death in 1942.George Rumrill created many of his own designs. It is interesting to note, however, that there are a number of RumRill pieces that are known Camark shapes. With George Rumrill's access to the Camark catalogs and products, this should be no surprise. There are also RumRill pieces that were made from Red Wing molds. Some of RumRill's designs were produced throughout RumRill's existence by all of the contracting pottery companies.

Leer Más Menos