What’s not to love about what is arguably the most versatile Roseville Pottery pattern. Roseville Futura is all about the art deco style, complete with sharp lines, dimension and extraordinary color choices. Considered a middle period line, Futura was introduced in 1928 and really put Roseville in a new light.
Remember, both Roseville Carnelian and Roseville Rosecraft were introduced just two years earlier. While both of these arts and crafts patterns have their own draw and remain popular with collectors today, they also seemed to set the stage for what was coming. Rosecraft’s primary colors were brown and green and had only 10 shapes. Meanwhile, Carnelian didn’t sell well and the majority of any unsold pieces were pulled and re-glazed as the Carnelian II pattern.
. Think of a color – any color – Futura offers it. No “one-hue color” with this line, you’re bound to find those deeper greens that are stunning under a heavy gloss, those moss greens that are ideal for detailing and it’s the same with all of the colors.
There are 78 Futura shapes and most are marked with paper labels (don’t forget, those paper labels are likely to have been lost through the years, which means many would be unmarked) with a few that offer hand written shape numbers.
Futura made impressive strides in its heyday and the potential was there for a long run, but like all things in the late 1920s, what “was before” rarely “was after” the stock market crash. Futura was dealt an unfair fate. Even after some recovery, the mindsets of people were raw with all too vivid memories of poverty, hunger and fear. The collective priority of a nation shifted. For many collectors who own any Futura pieces, there’s a certain realization. These pieces were likely made by artists who were confident in the future and purchased by consumers who weren’t yet worried about the possibility of what lied ahead. Regardless of the motivation for collectors, there’s such beauty and detailing to every piece from the Roseville Futura Line.
Here’s a list of all Roseville Futura pieces:
187-8 tan Balloons Bowl
187-8 gray Balloons Bowl
188-8 tan Aztec Bowl
188-8 gray Aztec Bowl
189-4 Sand Toy
190-3 Blue Box
191-8 Square Box
194-5 Little Flying Saucer or “Ashtray”
195-10 Flying Saucer
196-12 tan Sailboat
196 12 gray Sailboat
197-6 Half Egg
Candle Holder, pr
1072-4 Aztec Ladies
1073-4 Candlesticks with Leaves
1075-4 Flying Saucer Candlesticks
15-2.5 Little Round Frog
15-3.5 Big Round Frog
344-5 tan Little Hanging Basket
344-5 gray Little Hanging Basket
344-6 tan Big Hanging Basket
344-6 gray Big Hanging Basket
616-6 tan Jardiniere
616-6 gray Jardiniere
616-7 tan Jardiniere
616-7 gray Jardiniere
616-8 tan Jardiniere
616-8 gray Jardiniere
616-9 tan Jardiniere
616-10 tan Jardiniere
616-10 gray Jardiniere & Pedestal
81-5 Blue Sunray
82-6 Blue Fan
85-4 2 Pole Pink Pillow Vase
Roseville Pottery Futura Space Capsule Vase 432-10
Ask any Zsolnay Ceramics collector to describe this European line of art pottery in just one word, and you’ll surely hear “iridescent”. Initially, this Hungarian family set out to create stoneware that was functional and utilitarian. A decade after being founded in 1853, Vilmos Zsolnay entered the family business and learned how his father’s business worked. Over the course of another decade, Vilmos brought the company to heights his father had never dreamed possible. World fairs and international exhibitions followed and so did the awards. Eosin porcelain became the dominant material and as the company grew, so did the Zsolnay family. Julia Zsolnay, Vilmos’s sister, married and her husband soon joined the business.
Even though the family artists had their own distinctions, there’s no denying the seamless look and feel. The pottery, as mentioned, was mostly iridescent in appearance and many of their creations can still be seen in various landmarks and buildings throughout Hungary.
The iridescence is due to a process called “eosin” and it’s a hallmark for many artistic efforts during this time period (at the turn of the century). The eosin works as a glaze and gives it a certain metallic look, but the magic is found in the different colors that are anything but static. Adjust the piece slightly and what was purple becomes red. It’s a lovely presentation and as collectors can attest to, highly sought after.
The Zsolnay Hungarian art pottery centerpiece, shown above, has the eosin glaze and depicts a woman trying to capture fish. It’s a larger piece and is in mint condition. It measures an impressive 11 inches in height and measures 14 inches wide. It’s a beautiful effort that’s quite detailed. This is just one of the Zsolnay Pottery offerings that are available right now. Be sure to explore our complete inventory.
Like many companies, the various wars took their tolls on the company and the Budapest location was bombed. For a while, before being sold, the family tried to re-introduce durable and useable stoneware, but by then, there was just no turning back. The company was sold. In recent years, the family has begun to rebuild the Zsolnay Porcelain Manufacture. Two years ago, it partnered with IKEA. While it may never revert to the true European art pottery company, what we’re left with is an impressive body of work that’s highly sought after and deeply respected around the world.
Part of the draw, at least for many art pottery collectors, is the backstory most lines offer. The richer the history, the more exciting the finds. Moorcroft Pottery is no exception. In 1897, a young man, William Moorcroft, was creating beautiful pottery pieces for James McIntyre & Co. For a while, it was an ideal partnership until Moorcroft began signing his own works with either his signature or initials. The argument could be made that it was reasonable; after all, Moorcroft had won several awards, including a gold medal at the St. Louis International Exhibition. Soon, though, it wasn’t anything McIntyre wished to continue pursuing, especially because Moorcroft refused to cease signing his name to the works. The two soon had a falling out and Moorcroft and a few other employees left to create their own company in 1913.
Moorcroft Pottery’s Long History
The company itself became well respected and highly sought after, due to the incredible talent of the company’s founder. The company itself remained in the family until the mid-1980s and while the future may not be certain, there’s no denying the incredible artistry found in Moorcroft art pottery. What we’re left with today are striking artistic masterpieces that are elegant, vivid and intricate in detail.
Just Art Pottery maintains a varied selection from this esteemed European pottery company, including a 1902 Florian Tulips and Hearts Handled vase. Its magnificent presence is part whimsical, part romantic and completely beautiful. The vase is 12” high, which easily allows it to command. The golds and blues and contrasted with the subtle white tracing of the floral effects and leaves.
The Moorcroft Hibiscus Compote brings together two of my favorite things: the hibiscus flower and the pedestal that’s often part of many art pottery designs. The rich high gloss glaze is an added bonus. In this 1949 design, you’ll notice the rich emerald green that covers the bowl with a multi-toned Hibiscus placed squarely in the bottom of the vessel. For contrast, the pedestal is a rich, glossy black that adds a more contemporary look and feel. This mint condition compote stands 4” tall and is 6 ½” wide. It’s classic Moorcroft.
Moorcroft Pottery Availability
If it’s subtle color elements and distinction you’re looking for, you really should consider Moorcroft Pottery. Many of the earlier, higher quality pieces are in museums, which means limited offerings available for collectors. In fact, the Victoria & Albert museum holds some of the most significant pieces (Moorcroft was appointed the Queen’s official pottery in 1928) and other prestigious museums also have permanent collections. We’re fortunate in that Just Art Pottery offers several pieces from this refined collection and invite you to browse our Moorcroft Pottery.
A 12″ Teco arts and crafts vase recently sold at live auction for $12,600 including the buyer’s premium. The price may well be a record for this Teco shape. The vase was reported to be in excellent condition with no damage or repair. The vase is shape 287 and was originally designed by W. B. Mundie. This classic arts and crafts Teco shape was produced in the two sizes a smaller 7″ vase and a harder to find 12″ version. For comparison purposes, JustArtPottery.com sold the 7″ version of this shape with a slight hairline for $1,600 in 2010.
Few companies are able to make a comeback, and certainly within its first two decades of existence, after recreating its image. Doing it in the public eye is even more challenging. Yet, for McCoy Pottery, it not only successfully pulled it off, but when it did re-emerge, it found an even greater stage.
McCoy in Zanesville
Like many American art pottery companies, McCoy got its start in the heart of art pottery paradise: Zanesville, Ohio. Founded in 1910 by Nelson McCoy and his father, J.W. McCoy, the company first set its sights on more utilitarian designs. They found success, but it made what can only be described as rookie mistakes. It seemed as though it had a bit of an identity crisis in those earlier days.
Along with creating functional stoneware, it also was in the clay mining business. It partnered with close to a dozen other stoneware companies to define the American Clay Products Company. These designs were functional, just like McCoy’s own pottery designs, though there was nothing to really set the company apart and certainly there were no markings that revealed its collective origin. There was a bit of confusion: was McCoy Pottery now a part of ACPC or were they still two separate entities?
The public wouldn’t get the opportunity to figure it out as ACPC fell apart in the late 1920s.
Three years later, smarter for the experience, Nelson and his father began rethinking and redefining the initial business model. Those first few years were challenging and by the mid 1930s, the writing on the wall was clear: interest in pottery as foodware was waning. The father/son duo had to rethink things yet again. Enter the Nelson McCoy Pottery Company.
The designs shifted and a new artist, Sydney Cope, played a significant role in defining the look and feel for the artistic efforts. The winds of change were still blowing, though and by the 1940s, and in response to the war, the company found itself making clay landmines.
It was also during this time that McCoy brought its technology up to par.
The war ended and before long, McCoy had finally found its identity. That identity included a maker of a more whimsical presentation. McCoy Pottery became synonymous with the cookie jars collectors still look for today. They’re highly collectible and it’s been suggested that McCoy designs are as prone as Roseville Pottery designs when it comes to counterfeiters looking to make fast money on fake pieces.