Monthly Archives: April 2010

Chinese Ceramic Figurines, Shanghai Museum

Shanghai Museum

Shanghai was once known as the “Paris of the East “ due to it being the first  cosmopolitan city in China. The city  is now home to a Museum recognized as one of the best in China. It has over 120,000 items on display and I’m impressed with its collection of ceramic figurines so  I’d like to feature some of them here.
Tang-PolychromeGlazedFigurineThe Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties are noted for the high quality and large numbers of pottery figurines they produced. In 1974 the famous terracotta warriors and horses of Qin Shi Huang (the First Emperor of the Qin) were discovered just east of his mausoleum. The excavation is still going on, and Vault No.1 alone is expected to yield 6,000 of them. The life sized figures of men and horses are in neat battle formation, with the men holding real bronze weapons of the time and reflecting the formidable might of the legions of the First Emperor.
It was a common practice to place figurines in tombs, especially with the Emperors. This actually replaced the practice of burying living people ( servants , court attendants ect. }with the Emeoror. Vast numbers of figurines, dating from the Warring States Period(475-221 B.C.) down to the Ming(1368-1644), have been discovered..
They are of various designs but most are made of pottery and porcelain, next came wood and lacquer, and occasionally jade. They represented  people of different status and walk—court officials, generals, cavaliers, attendants, musicians, dancers and acrobats. As a rule, they were nicely modeled in different postures, constituting a valuable part of China’s ancient art.
With the flourishing of ceramics during the Tang, Song and Ming dynasties (10th-17th century), the tomb figurines of this long period, among which the “tricoloured glazed pottery of the Tang” are world-famous. Out of the ancient tombs of Xi’an and Luoyang has  unearthed many colour-glazed females, horses and camels. Noteworthy especially are the pottery camel drivers with their deep-set eyes, protruding noses and hairy faces, evidently Central Asians who plied the Silk Road with their caravans. The “tricoloured Tangs” represent in effect a special handcrafted art catering solely to the funerary needs of the aristocracy at the heyday of China’s feudalism.
GlazedFigurineOfWomanWithParrot painted_figure_of_an_infantryman



Statue of Heavenly Guardian

Kuan Yin Statue

Kuan YinFigurine man on horse Shanghai Museum


Eastern Han-Green Glazed Pottery Duck

Silk -road-trader

Silk Rd Trader on a camel

Tang Woman

Man with cucumber

Man with cucumber

Tang Dynasty

Tang Dynasty Horse

Green Glazed Pottery Dog

Japan pottery lineage of Hamada Tomoo

It is interesting to observe that Japan has about thirty potters that are considered National Treasures and as such their pieces can command a high price. A pottery piece in Japan can be valued as highly as a framed painting.  From a collecting perspective, any signed piece from any of the Japanese potters with a family lineage  is usually worthwhile. Pottery from the Edo period or from the famous pottery centers is also collectible.
The Japanese potter, Hamada Tomoo continues to evolve  his families techniques, using their legendary Mashiko kiln, in new directions with his original designs using traditional materials.
Hamada Tomoo  is the grandson of Hamada Shoji, a Japanese  “National Living Treasure” and the major figure of the mingei folk-art movement.
 Tawara vase – Tomoo Hamada



As stated by Japanese Art historian, Andrew Maske  :


“The world of traditional ceramics in Japan naturally places great emphasis on lineage. Lines of potters that began in the late sixteenth or early seventeenth century are now in their fourteenth or fifteenth generations.  A lineage of only three generations may seem insignificant by comparison, but  the Hamada family makes it clear that it is not the length of the line that is most important, but rather the quality of the work.“  Hamada Tomoo’s pottery utilize essentially the same materials as those of Hamada Shinsaku(his father) and Hamada Shoji (his grandfather ) – glazes like reddish brown kaki, brown tenmoku, cobalt blue, white rice straw ash, bluish-white namako, green seiji, black kurogusuri, creamy nuka, translucent namijiro, and runny-green wood ash, all used to cover a speckled tan clay dug and formulated right in Mashiko”.
“Unlike his elders, however, Tomoo has become much more daring in the use of unconventional shapes, extensive application of overglaze enameled decorations, and surface textures. In particular, his tiered flasks  are very progressive, and unlike anything seen before in a mingei genre. It is clear that Tomoo has been looking beyond the works of his forebears, examining works from the early English Arts and Crafts movement, and even from art nouveau.”



Shoji Hamada ceramic bottle
Mashiko Museum of Ceramic Art



Shoji-Hamada square bottle
 Shoji Hamada
Below are some pieces created by Hamada Tomoo reflecting quality and innovation :

Salt Glaze Bottle – Tomoo Hamada



Mashiko Plate Hamada Tomoo
 Tomoo Hamada plate



Mashiko Plates Hamada Tomoo
 Tomoo Hamada



Hamada Tomoo Ceramic Plate

Mashiko woodfired plate – Tomoo Hamada



Hamada Tomoo Mashiko Cearmic  plate with alternate green and brown concentirc circles Mashiko Plate Tomoo Hamada

( Robert Yellin Gallery )



Tomoo-Hamada---Vase japanese




 Mashiko Guinomi-Sake Cups

Mashiko Guinomi Sake Cups



tomoo-hamada-ceramic vessel

Tomoo Hamada



3 Mashiko Guinomi-Sake Cups Hamada Tomoo  Mashiko Guinomi Saki Cups



Hamada tomoo cearamic jarHamada Tomoo Mashiko Henko jar


Hamada Tomoo Chawan's

Two chawans – Tomoo Hamada




Blue bottle – Tomoo Hamada

Tomoo Hamada Vase Tomoo Hamada Vase, Black glaze with akae decoration stoneware




Tomoo Hamada Footed Bowl Tomoo Hamada Footed Bowl Salt glaze stoneware Pucker Gallery



Stoneware Vessel – Matsuzaki Ken


Tomoo Hamada



 Kaki glaze with akae decoration on large plate in brown, white and black by Tomoo HamadaLarge Plate, Kaki glaze with akae decoration – Tomoo Hamada




Tomoo Harada Japanese vase



Japanese white glazed vase with akae decoration

White glaze vase with akae decoration Tomoo Hamada



Shoji Hamada :



Faceted vase and lidded jar- Shoji Hamada





Shoji Hamada





Hamada show –  Asahi Beer Oyamazaki Villa Museum Kyoto, Japan

Saimo_mx70 flickr





Hamada Shoji–salt glaze bottle

The Horio Mikio Collection






Shoji Hamada teapot





Hamada Shoji ash glaze bowl with inlay and iron black painted decoration


The Horio Mikio Collection Asian Art




Covered Jar,-Tetsue brushwork,-1945,-Stoneware

Stoneware covered jar, Tetsue brushwork  – Shoji Hamada






Shoji Hamada




Teapot rituals: tea for Tao

 Porcelain Teapot -Melanie Brown



English Clarice Cliff Teapot in the BLue Chintz pattern
 Clarice Cliff Teapot in the Blue Chintz pattern
 Kangxi reign (1662-1722) Teapot
Boy sitting on dragon teapot –   Kangxi reign (1662-1722)



The evolution of tea drinking


The ancient Chinese Emporer, Shen Nung, is credited with discovering tea as a recreational beverage, around 2737 BC . Known as the “ Father of Chinese Medicine”,  he tested hundreds of herbs in the pursuit of natural remedies and was sometimes exposed to poisons in the process. He found that tea, in some instances, acted as a natural antidote. He also observed its mild stimulative qualities, along with its refreshing nature .
The tradition of drinking tea as a social occupation has existed in countless cultures for centuries. From the ritual of drinking mint tea in Morocco for cooling oneself, to the drinking of Masala Chai ( spice tea ) in India to the elaborate tea ceremonies in Japan.
A Geisha girl performing a tea ceremony
It wasn’t until the 16th century that this tea elixir was introduced into Europe, and was originally only affordable to the wealthy.
The ritual of “afternoon tea “ only became a widespread pastime after one of Queen Victoria’s  ladies in waiting, the 7th Duchess of Bedford, promoted the habit of having tea and cakes in the late afternoon. It became a daily event where formal attire was de rigueur. The Victorians called a tea service a tête-à-tête. This consisted of a cups and saucers, teapot, sugar bowl, cream pitcher and the finest silverware. What began as a leisurely ritual for the wealthy quickly caught on as an essential afternoon pastime with the working class, especially because supper time was around 9pm.
Being a lifelong tea drinker, I’ve always enjoyed the appearance of a teapot, possibly because of the promise of a fine brew. Sadly the teabag now dominates habits, but the noble ritual is not forgotten. My teas of choice are of the Japanese varieties. Genmai … this is a green tea combined with roasted brown rice and is an excellent tea if you have to maintain long spells of mental concentration. My other favourite is Kukicha  … a roasted twig tea  –  this yang tea is rich in calcium and grounding in nature. An occasional Earl  Gray also doesn’t go astray.



Yixing ware teapot – ca. 1900, China
Indian tea set
Indian style Tea Set – Nini Violette  – ( Flickriver )
Cream Colour Teapot Belleek Pottery, glazed porcelain, slip-cast Ireland, Co. Fermanagh 1869-82 Belleek Pottery, glazed porcelain, slip-cast
Ireland, Co. Fermanagh
( V & A Museum )
Photo Peter Jackson



 “The tea awakens the good spirit and wise thoughts. Tea refreshes my soul. If you are overwhelmed and feel despondent, tea will pacify. ” – Emperor Shen Nung (2700



Teapot  ( Qianlong_Reign_Period )
Tea caddy-(circa-1698)
Chinese porcelain teapotChinese porcelain teapot
Whimsical creamer and sugar bowl Nancy Adams
 Nancy Adams
Teapot and sup Two Koi Tea - Nancy Adams
 Two Koi Tea – Nancy Adams





Japanese Tea Ceremony



Traditional Raku ware was favored for this refined ritual. Due to the fragile nature of some of the Raku ceramics they were only used once. All ingredients used were as organic or natural as possible. The water was preferably heated on a charcoal fire, as this had the purest Yang energy, as opposed to a gas fire or in these times electric or microwave which have the lowest quality Yang energy.





British Big Ben teapot” Big Ben” teapot



teapot by John Pollex
John Pollex
Trisha Coates Green Asparagus Teapot
” Asparagus Teapot ” by Trisha Coates

Black "porcelaine noire" teapot, designed by Tapio Wirkkala for Rosenthal.

Black ” porcelain noire ” teapot with silver and wooden handle, designed by Taipo Wirkkala for Rosenthal

Natalya Sots teapot and cup
Natalya Sots teapot with cup and saucer
Green Tea Teapot by Jaques Vesery, 2008
” My Growing Passion For Green Tea “
by Jaques Vesery, 2008
Lucia Pottery green teapot
” Stripey Teapot ” Lucia Pottery



Elegant Russian Teapot made of rock crystal, trimmed with gilt filigree with emeralds and ruby
Iced teapot  made of rock crystal, trimmed with gilt filigree with emeralds and ruby – Nachalo
Samantha Henneke spotty teapotTeapot by Samantha Henneke
English Staffordshire red teapot with botanical green leaf decoration
Staffordshire – 1740-1760
African teapot from Algeria
 Algerian Teapot ( The Met Museum )


 Julie Atelier teapot
Wood Fired Scorpion King Ceramic Teapot by Julie Atelier ( etsy )



Camel teapot Moore Bros.
Moore Bros. –  1876
( V & A Museum )
French Sevres teapot
 Sevres Teapot ( French 1740 to present )



Lynn Casenerio teapot
 Dusk till Dawn 2008
Ceramic Glass,Czech Gems,Metal
by Lynn Casenerio



Shojji Hamada japanese teapot

Shojji Hamada




Jaroslav Ježek contemporary teaset

 Jaroslav Ježek – Modernist Czech Pottery tea set



Chinese enameled porcelain puzzle pot, late Qing/early Republic period, in the form of the character ‘fu’



Jeffrey Klechner abstract teapot
Jeffrey Klechner
Burgess & Leigh teapot
Burgess & Leigh – 1896
Terra Ki Teaware

Large Green Pumpkin Teapot by Laura Kolinski Schultz

( Terra Ki Teaware )



Chinese-Teapot Qing Famille Rose

 Qing Famille Rose teapot






Clay abuse or tuff love ?

Simon Leach- moisturising hardish clay tip !

This is a simple but effective way to bring back your clay into a more usable / kneadable / throwable state .


Another moisturising tip  ( for the hands ).

According to the Ayurvedic classic ” Charaka Samhita “, the cure par excellence for an excess of Vayu ( wind element ) is Til oil. Traditional Chinese Medicine claims the same  fact :  Sesame oil ( Til ) helps to pacifiy Feng ( wind element ).

So how is this related to curing dry hands developed  from making pottery? Well, any exposure to cold or local air movement or physical straining will agitate the Feng and can  lead to skin dryness. The reason sesame oil is the most effective  to alleviate dryness is because it is highly water soluble and penetrates deeply into the skin.  Sometimes it becomes absorbed within a few minutes of applying.  It also possesses  a high quality Yang Chi.  Sesame seeds as old as 3000 years have been discovered still intact, indicating a powerful life force ( Chi ) ). This gives the oil rejuvenating qualities.

So applying Sesame oil on a regular  basis will go a long way to helping  the skin stay supple. Always use oil that is warmish in temperature and preferably organic.

Another point worthy of mention is that the Feng can cause dryness of the joints, which combined with dampness can lead to arthritis. Once again, application of sesame oil naturally lubricates the joints and is effective in preventing this ailment.


Traditional Glazing: David Fry explores ancient glazes of China, Japan & Korea



David Fry-Vase with a beautiful pale chun glaze and a splash of cooper red, with combed and drawing work beneath.

 Vase  with a beautiful pale chun glaze and a splash of copper red, with combed and drawing work beneath.

David Fry


For more than 37 years David Fry, has experimented with  recipies gleaned from the ancient glazing techniques  of the East. Combining extensive research and intuition he has successfully reproduced their form and styles. He has developed  a ‘Lang-Yao’ or  Flambé, a copper red glaze, a rich blue ‘Jun’, a green Celadon, and a Black ‘Tea Dust’ Tenmoku along with  Shino and Wood Ash glazes.

Using a 40 cu.ft gas fired kiln,  which he built himself,  his prime firing technique is “Reduction” firing. ie. he reduces the amount of oxygen entering the kiln and  introduces wood to to create a smokey atmosphere at the end of the firing process. All his glazes contain some wood ash, which are utilised to introduce Phosphorous and Calcium. ( absent form standard glaze materials.) This wood ash is obtained from burning recycled wood and hedge cuttings ( Wild Rose & Hawthorne ). Each pot is overlayed with up to 5 glazes to enhance their colour depth and variety of colour mixes.  The firing takes about 24 hours, where a temperauture of 1340C is reached , followed by a cooling stage of 48 hours. During the cooling stage , changes still occur in the colour tones of the glaze as the crystals oxidise. Some of his glazes have a crackle pattern within  the glaze structure, much loved by collectors of Oriental ceramics.

David claims that “my glazes or materials do not contain any toxic materials, and the  glazes have  a high percentage of Silica and Alumina being fired at high stoneware temperatures. The principle fluxing element in my glazes is Calcium combined with smaller amounts of Potassium, Sodium and Magnesium. Therefore my work is safe for the user, the maker, and the environment .The colours of my glazes come from very small amounts of copper and iron in the glaze mix – reduced copper turns red and iron blue/green.”

David Fry is currently based in a sudio at the new Arts Centre in Newcastle, Britain.  He is continuing his quest to discover more exciting colours and textures,  drawing his inspiration from the endless variety of unique outcomes he attains from his combination of glaze mixtures and firing methods.


ancient ceramic glazes by David Fry - copper red glaze overlaid with ash and iron.

8″ dia. jar , copper red glaze overlaid with ash and iron.



David-Fry-bowl polychrome glaze bowl

 Current work – David Fry




David-Fry-pottery pressed platter, with a gold Shino and copper red glaze.

14″ sq. pressed platter, with a gold Shino and copper red glaze.

David Fry


Selection of stoneware tiles by David Fry

Stoneware tiles –David Fry




shaped vase rich mix of wood ash and iron over a copper red glaze - David Fry

 Shaped vase 9″ high, in a rich mix of wood ash and iron over a copper red glaze – David Fry




Woodfired ceramic vessel by David Fry light olive green with orange motifsWoodfired ceramic vessel with twin handles – David Fry





Rolled and pressed clay dish with a rather nice chun and iron glaze by David Fry

 Square dish rolled and pressed clay with a rather nice chun and iron




David Fry polychrome glazed vessel - green, brown, red highlights

David Fry footed bowl




David Fry red Inglewood Jar

The Inglewood Jar. on display at Hutton in the Forest



 Jar with handles, with a copper red glaze overlaid with wood ash.

Jar with handles, with a copper red glaze overlaid with wood ash to get a nice run.




lavender and green colour glaze pencil pot - David Fry

Pencil Pot – David Fry



David Fry vase gold and orange glaze

Small bottle vase – David Fry




David-Fry jar

David Fry jar



twin handled vase with overlaid glaze by David Fry

Double handled vase with overlaid drip glaze – David Fry




glazed plate by David Fry with red-purple-blue and green glaze

Polychrome plate – David Fry



Square dish with abstract design by David Fry

Square dish – David Fry



photo-Chris Madge-with David Fry

David Fry having a sitting with Chris Madge




David Fry display at Potfest 2013


prague2010 David Fry red ceramic bottle with flared rim

 Red Ceramic bottle – David Fry




David-Fry-ceramic vase

 David Fry current work




david-fry-cup white with a blue rim and green and pink motif

David Fry footed cup, blue rim



rich glazed vase in red and blue- David Fry

 David Fry footed vase, UK



See more at

Feng Shui Pottery: wind, water, clay.

Feng-shui harmony

Chinese Feng Shui Baqua



 Home and office feng shui :



 Feng Shui Harmony 


Feng shui is basically  the practice of achieving harmony with the elements and the environment through proper placement and arrangement of space and matter. The above Baqua represents the interactive nature of the 5 elements in nature.  As earth is obviously the element connected with pottery , I will only analyse this element and the elements directly influencing it.
Firstly Earth occupies the centre of the Baqua. Why?  Because all the other elements are born from this element and of all the elements, it is the most stable and capable of bringing balance.
The elements of Fire, Metal, Water and Wood  are respectively represented by the seasons Summer, Autumn, Winter, Spring  but Earth is seemingly missing. However, on the cusp of each season change for a period of one  month the element changes to Earth. At this time both the external elements and our internal elements go back to Earth for rebalancing. Interestingly, all the elements are employed in the creation of pottery:  earth clay, water, wood or gas fire, wood and metal tools and metal kiln.
According to the 5 Element interrelationships, Earth is nurtured by Fire but controlled by Wood. As all pottery and ceramics are fired in a kiln their earthiness is enhanced in the process.



Porcelain Red Dragon ErnLidded dragon jar



So in a practical Feng Shui application, if an offiice has an abundance of  Wood ( desk, bookshelves, cabinets ), as this element fuels creative/expansive energy and  feeds nervous energy, an excess can lead to  tension. The presence of Earth will help to calm this element. ie. some of the Wood energy is absorbed by the Earth by virtue of the Wood controlling it. So the presence of a stone statue or a large ceramic vase or pottery will pacify the wood and bring harmony.
The central region of a house is where the Earth element prevails, so displaying vases, ceramic figurines and sculptures in this area is also useful. Using a blend of earthy tones and yellows for color also contributes to the Earth harmony and  having this space sparse and  uncluttered is supportive.





Feng Shui in the bedroom 



Likewise, as the bedroom features wood, ( bed, wardrobes, drawers ) , the presence of the  Earth Element assists in pacifying the Wood Element and can actually assist in a more peaceful sleep. Also the use of candles or oil lamps will help to rejuvinate the Earth element which could become exhausted trying to absorb excess Wood energy. Placing a large, heavy ceramic vase or sculpture ( preferably with gentle curved lines ) on the bedside table can aid relaxation.
Dried flowers in a vase  will attract a depleted chi ( energy ) so this would not be advisable for the bedoom or central region of the home. Also, leaving stagnant water in a vase creates a negative chi. (Sha chi )
Trees and plants  with rounded leaves such as  the Oak tree ( traditionally regarded as sacred ) and the Jade plant, are recognized as having a good Feng Shui influence. This is because the round shape is seen as being all inclusive, expansive and compassionate. As opposed to a pointed leaf which creates Sha Chi due to it  being exclusive and contracting, They are ideal for the central Earth sector.
 As the bulk of pottery and ceramics are created on a pottery wheel, they posses curved lines which also  create a great Feng Shui chi and their innate symmetry also favours positive chi. Sharp, protruding corners and edges also create Sha Chi but are sometimes unavoidable so a round sided pot in close proximity can help counteract this.
The presence of water features ( fishtank, fountain ) in the Earth centre of your home is also problematic. Earth controls water ( just like a dam ) so this can weaken the Earth element. Favour features like marble coffee tables and red sculptures
Sometimes it’s difficult to determine the position of the peripheral elements but it generally easy to determine the location of the Earth in the centre. Getting the Earth element established is the first step towards creating harmony in your home.


Korean Blue Flared Vase


Yellow Porcelain Dragon Vase with flared mouth



Japanese Courtyard Garden

Porcelain Red High Relief Diety VaseRed high relief deity vase


Chinese Blue & White Vessel – Gao Zhen Hua


Four footed Chinese vaseFour Footed Pillow Vase

Théodore Deck

Feng-shui garden landscape

feng shui garden landscape

19th century Chinese porcelain

19th century Chinese porcelain jar with lid


Oriental stone pagoda

Chinese Carved Tianhuang Stone

Chinese Carved Tianhuang Stone

Martin McWilliam

Martin McWilliam

Chinese Imari Style Covered pot

Chinese Imari Style Covered pot

Huaqing Hot Springs

Huaqing Hot Springs

Chinese Famile Yellow Porcelain

Chinese Famile Yellow Porcelain

Double Happiness Teraccotta Teapot

Double Happiness Teraccotta Teapot

Late Qing Dynasty vases

A pair of Late Qing Dynasty Landscape Kwai mouth bottles

( )

Jon Anderson Turtle

Jon Anderson Turtle

Chinese Carved Kuan Yin

Chinese Carved Kuan Yin


Peng  Jingqiang  

Porcelain art of some traditional Feng Shui symbols for prosperity, luck and health by Chinese ceramicist Peng  Jingqiang who studied at the Jiangxi Jingdezhen Ceramic Institute.

Peng Jingqiang Bamboo

Peng  Jingqiang – Bamboo

Peng Jingqiang Butterfly Lotus

Peng Jingqiang  – Butterfly Lotus

Peng Jingqiang Sonfhe Figure

Peng Jingqiang  – Sonfhe Figure

Peng Jingqiang Leaves-cicada

Peng Jingqiang – Leaves cicada

Peng Jingqiang Magnolia

Peng  Jingqiang  Magnolia

Peng Jingqiang Murmer

Chinese porcelain plate by Peng  Jingqiang  – Murmer

I wish Antu vase by Peng Jingqiang

I wish Antu vase by Peng  Jingqiang

Embroided Clear

Hydrangea Embroided Clear – Peng  Jingqiang

Silver Wood River by Peng Jingqiang

Silver Wood River  by Peng  Jingqiang

Porcelain vase Monkey Figure Peng-Jingqiang

Porcelain vase Monkey Figure – Peng Jingqiang



Newark Museum – 100 Masterpieces of Art Pottery, 1880-1930

The Centennial Exhibition of 100 Masterpieces of Art Pottery ( 1890 -1930 ) drawn from the extensive collection of ceramics at the  Newark Museum ( New Jersey),  is featured below in this video.



More ceramics from the Newark Museum :

  George E. Ohr (Biloxi Art Pottery)

George E. Ohr (Biloxi Art Pottery)  1897-1900

George Ohr (1857–1918) was unquestionably the best thrower in the world in his day, and possibly even today. He was one of the first studio potters in America, working largely alone and overseeing every aspect of his work directly. Although his roots were in Southern folk pottery, Ohr was a scholar of historic ceramics, traveling to museum collections and expositions around the country.

Clément Massier (1845–1917) Vase

Earthenware planter with iridescent glaze.

Clément Massier (1845–1917) Jardinière with figure of a woman, 1900.

Clément Massier (1845–1917) established his first ceramic studio in 1872 in Vallauris in the Golfe Juan area of the French Riviera. From the start the studio was famed for its metallic luster glazes, which Massier used to great effect with the art nouveau style toward the end of the century.

Riessner, Stellmacher and Kessel, Amphora Pottery

Riessner, Stellmacher and Kessel, Amphora Pottery
Turn-Teplitz, Bohemia ( Czech republic )

Urn with multicolored glaze and gilt bronze mounts, 1899–1905
Slip-cast stoneware with applied decoration, brass
23 in. high x 12 in. diameter
Gift of Theresa Cwierzyk, MD, to museum in loving memory of her husband Sidney Gordon, 2007

Rookwood PotteryMonumental "Oriental" vase, 1883

Maria Longworth Nichols for the Rookwood Pottery
Cincinnati, Ohio
Monumental “Oriental” vase, 1883
Thrown earthenware with slip underglaze decoration.

 Mathilde Oestrich Bequest Fund
and Eva Walter Kahn Bequest Fund

Maria Longworth Nichols (1849–1932) started china painting in 1873, joining affluent women all over the country in this newly fashionable hobby. In 1880 Nichols established the Rookwood Pottery, considered America’s first official art pottery.

Makuzu Kozan studio Vessel

Makuzu Kozan studio
Ota, Japan
Vase with design of cascading blossoms, 1900–1916
Carved and painted porcelain.

John Kunsman for Fulper Pottery Company Bottle Vase

John Kunsman for Fulper Pottery Company
Flemington, New Jersey
Two-handled bottle vase with “ashes of rose” glaze, 1915

Melville P. White for Gates Potteries (TECO)
Terra Cotta, Illinois

“Chrysanthemum,” ca. 1905
Stoneware with green glaze
Gift of American Decorative Art 1900

Founded by William D. Gates in the late 1880s, Gates Potteries launched its line of Teco art pottery in 1901. . The combination of stylized organic forms with a monochromatic glaze had many parallels in both America and Europe early in the century.

Alexander Blazys for Cowan Pottery Egyptian Blue Vase

Alexander Blazys for Cowan Pottery
Rocky River, Ohio
Vase of stylized Oriental bird, 1927–30
Cast porcelain with “Egyptian blue” glaze.

 This vase, merging Art Deco design with an ongoing interest in Chinese ceramic forms, showcases Cowan’s “Egyptian Blue” glaze, which was developed in 1927.

Carl Schmidt for the Rookwood Pottery Iris Vase

Carl Schmidt for the Rookwood Pottery
Cincinnati, Ohio
Vase with decoration of irises and “black iris” glaze, 1909
Thrown white earthenware with underglaze slip decoration.

Christian Neureuther Vase

Christian Neureuther for Wächtersbacher Steingutfabrik

Vase with design of brown vines, ca. 1911
Molded earthenware, Wächtersbach, Germany

Christian Neureuther (1869–1921) produced remarkable modernist designs for an established old stoneware factory, where from 1903 until his death he maintained his Wächtersbach Ceramic Studio.

Adelaide Alsop Robineau Syracuse, New York Vase with crackled white glaze, 1924 Thrown and carved porcelain.

Maria Martinez (1887–1980) and Julian Martinez (1879–1943)
San Ildefonso Pueblo, New Mexico
Bowl with plumed serpent, ca. 1925
Coiled and burnished earthenware.

Maria Martinez (1887–1980) and Julian Martinez (1879–1943)  San Ildefonso Pueblo, New Mexico Bowl with plumed serpent, ca. 1925 Coiled and burnished earthenware Gift of Amelia Elizabeth White,1937 ( Newark Museum)

Large Fulper Pottery blue matt glaze bowl

Baluster form vase   – Pierre-Adrien Dalpayrat  ( 1895 )

Thrown stoneware with mottled red glaze.