20 世紀のアメリカ工房とアート陶器

1970's Jugtown Pitcher Blue Decorated Salt Glazed stoneware pitcher. 7.5" tall<br>without damage or wear, dated 1978.<br>isshelf

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c1900 Trent Tile Company Art pottery tile, Trenton New Jersey. 6" x 6" tile,<br>7.25" square framed. No apparent damage, not examined outside of frame, it's<br>been framed a long time obviously as there is wear to the frame which of course<br>isn't as old as the tile. Crazing on tile as shown.<br><br>Trent Tile Company, founded in 1882, produced a wide variety of decorative<br>embossed tiles in numerous glaze colors during the last two decades of the 19th<br>century. The company's first designer was Isaac Broome, well recognized at the<br>time for his modeling of the human figure, face and profile. He was followed by<br>William Gallimore, a designer and modeler from England who also had a<br>well-established reputation. Over the years the company's success paralleled the<br>country's economy overall; the factory eventually closed in 1939. Today Trent<br>tiles are among the most collectible, especially among the lovers of Victorian<br>art tiles.

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3pc N Owens North Carolina Pottery bowls/creamer. Selling the three pieces shown in the most fantastic red glaze. No damage to either piece. Bowls 5.5" x 2.5" creamer 3 1/8" tall, two bowls and one small pitcher for one price.isshelf

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1890's American Art pottery Kensington Tile 6" square, small chip on reverse side, no other significant issues.Kensington Art TileNewport, Kentucky1885 - 1895Tile Heritage CollectionGift of Bob SmythIn 1881 the Hatt brothers, Arthur and Otto, established a tile works at Elm and Lowell Streets in Newport, Kentucky. Their company, Hatt & Hatt, was taken over by a group of investors in 1885 and renamed the Kensington Art Tile Company. During its short tenure as a manufacturer of dust-pressed art tiles, the combination of portraits and floral interpretations was most impressive due to the artistic talents of Herman Mueller and Mary Louise McLaughlin, among others.From an 1891 published report in “Illustrated Cincinnati” (courtesy of the Tile Heritage Library): “The main building is a substantial brick structure, three stories and basement in height and 40 by 200 feet in dimensions. The equipment for art tile-making purposes is of the most elaborate, complete and modern description, and includes four large kilns, which bake to the extent of 14,000 feet of tile at one filling.“The processes of preparation of the crude clay are as elaborate as they are complicated. The clay is first puddled and forced through great sieves by steam power. It is then dried and ground to a fine powder, and then moulded and pressed into the tile shapes, which are carefully baked, then removed and coated with the enamel and glazing liquids. They are then finally placed in the kilns and thoroughly glazed, when they are finally removed to the sorting and packing room, and forthwith shipped to destination.“The most extreme care is taken to have all the materials pure and accurately prepared, and the result is a perfection of quality, an elaborateness of finish, and a beauty and delicacy of colors and tints, nowhere else attempted, much less duplicated. An average force of 100 hands is employed, and ten teams are kept constantly busy.”

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1890's American Art pottery Cambridge Tile 6" square, slight glaze wear on front, no chips or cracks. Cambridge Tile Manufacturing Company was started in Covington, Kentucky by German craftsmen in 1888, and later moved across the river to Ohio. Artists include Rookwood's Clement Barnhorn, who used Cambridge tiles to sculpt King Lear , a sculpture that resides in the Smithsonian Museum. Another artist, Charles Harper, created his Wildlife Mosaic out of Cambridge tiles; Harper's mosaic is in Cincinnati's Federal Building.isshelf

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Vintage Owens Pottery Seagrove NC Vase with complex glaze. 7" tall with no cracks, chips, or restorations. One glaze flake or skip on foot, possibly from before it left the kiln.

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1978 Teagues North Carolina Pottery Bank. No damage or wear. 4.5" tall.<br>isshelf

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1920's Weller Art Nouveau woman flower frog with swan. 7" tall x 7.5" wide. No<br>cracks, chips, or restorations, no stains. Slight crazing, and tiny glaze wear<br>to woman's nose.<br>isshelf

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1922 Rookwood Art pottery vase in pink/purple matte. No cracks, chips,<br>restorations, or crazing. 6.75" tall x 3.75" wide.<br>isshelf

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1926 Rookwood Art Deco Yellow Matte Wall pocket. No cracks, chips, or crazing. 7.5" talltw147

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5 Vintage Raku Studio Pottery Napkin rings. 5 Normal sized napkin rings for<br>dinner napkins with no damage, unsure of maker. Selling all 5 for one price.<br>isshelf

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1940's Rosemeade Dakota Pottery Elephant Salt and pepper shakers. Much less<br>common in this trunk down form but I have seen this exact mold with original<br>labels, plus it's obviously Rosemeade clay, uncommon color also. 2.5" tall with<br>no damage.<br><br>Rosemeade pottery has become a popular collectible today because its creator,<br>Laura Taylor Hughes, chose subjects which continually fascinate people--animals,<br>birds, fish--and modeled authentic characterizations of their living<br>counterparts.  These innovative designs were then accurately hand painted in<br>nature's vivid coloring.<br>Laura Taylor combined education, experience and creative skill.  Educated at<br>UND, Taylor was a student and assistant to nationally known director, Margaret<br>Cable.  After a short period of making Dickota pottery at the Dickinson Clay<br>Products Company, Laura Taylor was appointed state supervisor of the North<br>Dakota Works Administration (WPA).<br>An opportunity to demonstrate pottery making at the 1939 New York World's Fair<br>changed Laura Taylor's life as she met Robert J. Hughes, zealous booster of<br>state enterprise.  Together they founded the Wahpeton Pottery Company in January<br>1940 and married three years later.<br>Many of Laura Taylor's naturalistic designs reflected the native flora and fauna<br>of her North Dakota farm childhood.  A wide range of other products included<br>place souvenirs, human forms, functional items and advertising pieces. <br>Observing trends, Taylor met the needs and wishes of the public.  The company<br>name was changed to Rosemeade Potteries in 1953 for better name recognition and<br>remained successful while many other companies of that era did not survive.<br>Distinctive lustrous glazes created by Howard Lewis, production manager, set<br>Rosemeade apart, making it easily recognizable.  Metal oxides painted under the<br>glazes fired into colorful hues.  Lewis also threw swirl pottery vases and<br>pitchers.  He learned the swirl process while working at Niloak Pottery and<br>previously produced "Dickota Badlands" swirl pottery for the Dickinson Clay<br>Products Company.<br>Joe McLaughlin succeeded Lewis as production manager.  McLaughlin introduced<br>decorative decals, including those of wildlife artist Les Kouba, and accelerated<br>advertising specialties sales.  Rosemeade Potteries closed in 1961.<br>Although some early pottery and the swirl ware were thrown on the potter's<br>wheel, the majority of Rosemeade was cast in molds.  Most Rosemeade pottery is<br>identified with an impressed mark or an ink stamp of the company name in black<br>or blue lettering on the bottom.<br>tw254

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Retro Paul Uhl Raku Studio pottery teapot form sculputure. Vintage estate fresh<br>piece from the late 20th century.<br><br>9.5" tall x 10.5" wide with no cracks, chips, restorations or other issues<br><br>Paul Has been a full time Clay artist for over 35 years, since graduating from<br>U.T. Austin. Showing and selling his work at jury art shows and galleries all<br>over the country.

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1920's Weller Apple tree bud vase. 10.5" tall with no cracks, chips, or restorations.isshelf

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1920's Weller Apple Tree vases. Selling the three shown all different sizes,<br>tallest 8.5". All with no cracks, chips, restorations, or crazing.<br>isshelf

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Rare 1950's American Hull Art Pottery Lamps Pair. Selling the pair of working<br>lamps, two lamps for the listed price. The exact lamps shown. 1950's Hull<br>pottery with no cracks, chips, restorations, or other issues. I took the<br>original felt off the bases because it got wet when cleaning. The ceramic<br>sections are 8.5" tall x 6" wide without the brass fitting. 11.5" tall with<br>brass bulb socket. I have personally seen one of these lamps bring $600 within<br>the past year, and typically a pair is worth three times a single so I feel my<br>price on these is fair.<br><br>isshelf

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3 American Art Pottery Weller/Niloak/desert sands minature vases/match/toothpick holders. Selling the three with no cracks, chips, or restorations. Crazing on the desert sands and Weller. tallest 2.25", The Niloak appears unmarked but the quality and age are guaranteed, I believe I've seen this shape marked or with a paper label.toothpickdrawer

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3 Vintage Frankoma pottery toothpick holders. Selling all three with no cracks, chips, crazing, or scratches. 2.25" tall.toothpickdrawer

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c1930 Karl Schiedig German Porcelain Scottie Dog Perfume Lamp with glass eyes 9"<br>tall with no cracks, chips, or restorations. The old cord was totally<br>deteriorated, I tried to save it but lost it before I got a chance to list this.<br>I put this new one on it, it's safe as I'm a former electrician and the switch<br>works. But I would put an led bulb in the socket as the current bulb does get<br>hot which I believe these were originally meant to do but led just makes more<br>sense these days.<br>TW5

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1940's Roseville American Art pottery bookends. Selling the pair of Ohio<br>Roseville bookends with no cracks, chips, or restorations. Very clean with a<br>little crazing. 4 7/8" tall x 5.25" x 5 3/8" each.<br>tw261

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1998 John Ransmeier North Carolina Pottery Huge Heavy Studio Pottery Platter.<br>Very heavy, strong, durable, high fired platter. This thing would take a chunk<br>out of a sidewalk if dropped on it I'm sure. It's a real monster, a real work of<br>art. Both Simple yet complex at the same time. 21" x 16" x 3.5" deep, a<br>functional work of art in mint condition with no damage or wear whatsoever. John<br>used a variety of clays I believe. This is a very strong Stoneware clay(not red<br>clay) fired at a high temperature and salt glazed, therefore very durable and<br>heavy.<br><br>John Ransmeier<br>John grew up in Asheville, North Carolina. His interest in clay began in high<br>school. After a visit to the Penland School of Crafts, a bit of research and<br>some ingenuity, he built his first kick wheel in 1970. From books, he taught<br>himself how to throw clay and make pots.<br><br>During an apprenticeship with Gene Bunker, John worked in porcelain and<br>concentrated in glaze reduction. After a year of study at the Kansas City Art<br>Institute, he established a studio in the Highwater Crafts Center in Asheville,<br>NC and co-founded Biltmore Clay Company. He went on to study with potters Seth<br>Duberstein of New Paltz, New York and Paul Chaleff of Pine Plains, New York.<br><br>After working as a studio potter in production porcelain, John studied for two<br>years at The University of North Carolina at Asheville and then received his BFA<br>from Alfred University in Alfred, New York in 1990. He spent some time doing<br>graduate work at Louisiana State University in Baton Rouge, and then moved to<br>Santa Fe, New Mexico where he established a working studio for the next four<br>years.<br><br>After returning to North Carolina in 1994, John built a wood fire kiln and<br>established a studio in Weaverville, North Carolina where he lives and works<br>today. His work has spanned a wide spectrum of processes, clay bodies, glazes<br>and style. John continues to travel across the country exhibiting in fine craft<br>shows and selling his work in galleries and museums in the southeast.<br><br>John Ransmeier Pottery, Weaverville NC<br><br>All work is assembled from slab, wheel-thrown, pressed and coil elements. Pieces<br>are then high fired in a reducing atmosphere using biofuel.<br><br>Making pots is about evolution. As long as I feel my work is progressing,I don't<br>worry. Not long ago,I tried to maintain control over surfaces and glazes.In<br>reaction to that,I have gravitated toward a looser way of making pieces using<br>glazes that I could't control even if I tried.Perhaps reduction firing, with its<br>own tendency toward variation has nudged me in this direction.I am always<br>looking for ways to allow my work to progress. There is a saying, "At the point<br>of origin, lie the most possibilities. "My goal is to keep enough freedom in my<br>work to allow those possibilities to take form.

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1930's Art Deco Roseville Laurel Vase. 6.25" tall x 7" wide. No cracks, chips,<br>restorations, or significant crazing. Crazing inside footrim.<br><br>tw147

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1930's JB Cole North Carolina Pottery Apothecary Jar with Split Handles.<br>Fantastic piece of primitive Art Deco hand thrown pottery. Large piece no<br>cracks, chips, or restorations, expected crazing as this was low fired clay.<br>9.5" tall x 10" wide, unmarked.<br>isshlf

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Vintage Van Briggle Pottery Luna Moth Rose bowl by Sara Elder 3" tall with no cracks, chips, restorations, or crazing.b70

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c1950 Gort American Art Pottery Figure Of "American Fisherman ca1870". No<br>cracks, chips, or restorations, fine overall crazing as expected with<br>earthenware. 8" tall.<br><br>Eric and Walter Gort started the Gort China Co. in 1944 in Metuchen, N.J. The<br>two brothers originally were from Hungary and emigrated to the United States in<br>the early 1940s. Eric Gort was an artist and sculpter while Walter Gort was a<br>ceramic engineer. Together they produced some of the highest quality bone china<br>figurines made in America. Their figurines covered a wide range of subjects<br>including birds, dogs, and people. Their people figurines were generally done in<br>small series with a common theme including such subjects as children, oriental<br>scenes, Americana/folk scenes, colonial scenes, etc. Gort China Co. was<br>initially very successful, but by the early 1950s it was having money problems<br>and eventually closed in the mid 1950s<br>tw243

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1920's Weller Art Pottery apple Pitcher. 7" tall x 8" handle to spout. No cracks, chips, or restorations, expected overall crazing.isshelf

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1957 Harding Black Texas Studio Art pottery footed bowl with a fantastic complex<br>glaze<br>No cracks, chips, or restorations, no loss to glaze whatsoever. 6 3/8" wide x<br>1.25" 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>b3

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7.5" tall x 8" wide with no cracks, chips, or restorations, very substantial piece.Victor Babu (Albanian-American, b. 1936 - d. 2019) This piece was acquired while Victor was teaching at the University of Texas.Victor Babu received both his BFA and MFA from the New York State College ofCeramics, Alfred University, Alfred, New York. He began his teaching career inthe ceramics department at the University of Texas, Austin. He left Texas in 1968at the invitation of his Alfred graduate student mentor Ken Ferguson to join thefaculty of the Kansas City Art Institute. Together, and with George Timock’s helpbeginning in 1973, they built the ceramics program at KCAI into one of the topundergraduate programs in the United States. Babu retired from KCAI in 2001.

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1970's Linda Genet Texas Studio Pottery vase Mid Century Modern. Great piece by Retired professional potter Linda Genet, a former student of Ishmael Soto that made a name for herself locally and this piece shows you why. 6.75" tall x 5.5" wide with no damage.tw227

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Ishmael Soto Austin Texas Studio Pottery Abstract Sculptural vase  11" tall, very substatial piece. This and a few other pieces I'll be listing are from the estate of local listed artist Jeanette Welty Chelf who was a longtime friend of Soto's going back to his years at the University of Texas. This piece has no cracks, chips, or restorations but does have a firing flaw going down half of the side which does not penetrate the interior, the interior is glazed, it holds water. Below is an excerpt from the artists eulogy. This is a good vintage piece from a local Austin estate“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.Soto 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”isshelf

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Antique Rookwood Pottery Pamphlet. Buying the pamplet shown from the first quarter of the 20th century, 4" x 6", minor wear to edge of front cover, overall clean.kitshelf

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1953 Harding Black Texas Studio Art pottery footed bowl with the best Chinese Flambe glazeNo cracks, chips, or restorations, no loss to glaze whatsoever. 6 1/8" wide x 3.25" tall.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.tw122

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No cracks, chips, or restorations, no loss to glaze whatsoever. 5.5" tall x 4 7/8" wide at rim. Selling the pair shown, wonderful glaze, varying slightly as they were handmade.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.b3

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