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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 glaze In 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 Pottery Pottery loses its founder Artus 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 war The 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.

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

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

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

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1987 Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Art Pottery Vase.<br>12" tall x 6.5" wide. An unusual piece from before he got more into mass<br>production, great piece of large art pottery.<br>B55<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.

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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

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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

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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

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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

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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, Tw17 Walt 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.

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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

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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 and cry at the absurdity of our predicaments, the humor of our foibles and the wonder of being human. Tw49

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

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

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

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

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

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

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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.

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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 example tw119 Northwestern 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.

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UND Pottery North Dakota School Of Mines Vase Mattson. 4 5/8" tall with no damage 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

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Early Pre 1913 UND Pottery North Dakota School Of Mines Toothpick/Cabinet Vase 2.75" 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

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

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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. tw122 Van 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 2012 Artus 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 glaze In 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 Pottery Pottery loses its founder Artus 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 war The 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.

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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 glaze In 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 Pottery Pottery loses its founder Artus 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 war The 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.

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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

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

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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.

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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

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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

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

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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 glaze In 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 Pottery Pottery loses its founder Artus 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 war The 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.

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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. tw122 Van 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 2012 Artus 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 glaze In 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 Pottery Pottery loses its founder Artus 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 war The 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.

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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.

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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"

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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

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

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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

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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

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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.

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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

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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

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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

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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

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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

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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.

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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.

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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.

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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.

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12" tall Harding Black (1912-2004) Texas Studio Art pottery vase with the best<br>drippy Chinese Flambe glaze. 7" wide. Very imposing piece, 12 oz v8 can shown<br>for scale. 3 really small inconsequential flakes on footrim and a few glaze<br>skips on shoulder possibly intentional. No significant chips, no cracks, no<br>restorations. Very cool space age form on this piece.<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

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Arthur Ruffin (A.R.) Cole 1892-1974 Frogskin Green North Carolina Folk Art Pottery Vase. No cracks, chips or restorations. Very tiny glaze flake on top rim. 4" tall x 5.5" wide. isshelf

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1920's Muncie American Art Pottery Chamberstick. No damage or wear 5.75" wide x<br>4.25" tall.<br>b60

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Vintage Van Briggle Centerpiece and candle holders. Circa mid 20th century.<br>Selling the set shown 4.75" tall x 7" candle holders with no damage, 5" tall x<br>6.25" bowl with no chips, restorations, or crazing but the tightest crowsfoot in<br>the base that doesn't effect it's functionality or beauty.<br>Tw1

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1970's Teagues North Carolina Pottery Jar. 2.5" tall without damage or wear. isshelf

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1947 Early Dryden Pottery jar/mini vase from Pratt Jun-Sen Banquet. 3" tall with no damage or significant wear. Dryden Pottery was founded in 1946 in Ellsworth, Kansas by Alan James Dryden aka "Jimmy", who relocated his business to Hot Springs, Arkansas in 1956. isshelf

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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 Tile Newport, Kentucky 1885 - 1895 Tile Heritage Collection Gift of Bob Smyth In 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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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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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 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<br>holders. Selling the three with no cracks, chips, or restorations. Crazing on<br>the desert sands and Weller. tallest 2.25", The Niloak appears unmarked but the<br>quality and age are guaranteed, I believe I've seen this shape marked or with a<br>paper label.<br>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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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 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<br>cracks, chips, or restorations, expected overall crazing.<br>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 of Ceramics, Alfred University, Alfred, New York. He began his teaching career in the ceramics department at the University of Texas, Austin. He left Texas in 1968 at the invitation of his Alfred graduate student mentor Ken Ferguson to join the faculty of the Kansas City Art Institute. Together, and with George Timock’s help beginning in 1973, they built the ceramics program at KCAI into one of the top undergraduate 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 glaze No 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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