Rookwood Pottery is generally divided into two categories or divisions.  Anita J. Ellis does a superb job in Rookwood Pottery – The Glaze Lines.  It’s an authoritative take on all things Rookwood and anyone wishing to learn more about this incredible line of American art pottery would be well served investing in a copy.  Ellis also provides a clear distinction between the pottery maker’s decorated wares and commercial wares.

Decorated wares include those pieces that were decorated by an artist after the pottery piece was formed.  It doesn’t, however, include those pieces where the artist designed what’s referred to as a “relief”, or a three dimensional decoration created while still in its mold.  This ensured each decoration remained unique, even when it was a variation on one theme or another. 

Rookwood Pottery commercial wares, on the other hand, did not have an artist’s decorative effects following the object’s formation. This means they lacked unique characteristics and were mass produced instead.  These, of course, included those decorative elements created in the mold.

For those who collect and appreciate Rookwood Pottery, these distinctions rarely matter.  It’s the finished look that draws so many.  Since 1880, when Rookwood Pottery was officially founded in an old school house, the company had more than its share of financial struggles.  Still, it remained a formidable art pottery maker and as a result, has endured to become second only to Roseville Pottery in terms of its popularity. 

Collectors still search for that elusive ginger jar from 1881 as well as the spectacular vase with raised doves that’s dated in 1900.  The Vellum glaze line that wowed everyone in attendance at the 1904 Louisiana Purchase Exposition in St. Louis, Missouri is still spoke of with great awe. The transparency is as appreciated  in contemporary day as it was then.  There’s no denying the vivid detail, the varying glaze lines and the attention to detail the artists were so well known for.

Rookwood Pottery has certainly stood the test of time and one need only examine a single Rookwood piece to appreciate the beauty of the line in its entirety.  Just Art Pottery is proud to offer an extensive line of Rookwood Pottery.

In a recent blog, we discussed Rookwood art pottery and the differences in commercial wares and decorated wares.  As a follow up, we thought it would be beneficial to discuss what goes into valuing Rookwood commercial pottery.  We'll consider, in this order, the condition, size, visual appeal, rarity and the age of the art pottery piece.

Because there are generally fewer variables that go into pricing Rookwood commercial pottery, it's often easier to understand than those factors that affect Rookwood decorated ware.  The variables are more straight forward, in a sense.  Let's start with the condition:

At best, the condition can be subjective.  Sure, if a vase is damaged or repaired, that affects the value; however, the location of the damage plays a role, too.  For instance, a chip along the rim of a vase can affect the price more adversely than say, a chip on the foot.  Further, normal crazing doesn't affect the value as much as one might think and in fact, often doesn't lower it at all. 

The size of the pieces also affects the price for Rookwood pottery.  The larger the piece, odds are, the more valuable it becomes.  Again, generally speaking, smaller pieces that measure between 3 and 5 inches with all other factors being equal will be priced lower than similar, larger examples.  Much of Rookwood's production pottery was between 5 to 8 inches, so common pieces in that size range will typically bring average prices.  Collectors should expect to pay a premium for larger pieces of Rookwood.  Pieces in the 9 to 12 inch range are hard to find and production pieces larger than 13" are rare.

Visual appeal is another important factor.  I've said it before: if it speaks to you and you're convinced the vase is exactly what's missing in your home, then within reason, its worth what you're willing to pay; however, other factors that go into the visual appeal include the sharpness or crispness of the mold and detail, its color and glaze as well as the basic form of the vase.  Obviously the absence of visible damage will greatly affect the visual appeal of any piece of Rookwood pottery.

Is it rare?  This is the fourth factor that plays into the value game.  Its abundance or rarity will surely play a role in its value.  Again, it's difficult to accurately quantify the availability or lack of any Rookwood piece.  The fact is, no one ever knows if or when examples of rarely seen shape numbers will surface.  However, if you have collected Rookwood for an extended period of time and a particular shape is one you haven't seen much of you are likely safe to assume you can pay more to add it to your collection. 

Finally, the age of the Rookwood piece is factored in.  Naturally, the older the piece, the more valuable it becomes.  For instance, those pieces made in the first two decades of the 1900s are considered premium, especially when measured against those made during the 1920s.  Those made in the 1950s and most of the 1960s, although rarer due to lower production numbers, they're also considered lower quality and that brings the value down.

Although it seems contradictory at times, there really is a method that's used; it's fickle at times, but the process itself is solid.  Have a Rookwood commercial piece that you're having trouble valuing?  Drop us a line and let us hear about it and if you'd like to read more about Rookwood art pottery history, visit our Rookwood page.

Rookwood Pottery collectors will definitely want to check out the March/April 2008 edition of the Journal of the American Art Pottery Association.  The issue contains over 30 photos of Rookwood painted matte vases and a very interesting article by Kathryn Scott on how she got started collecting Rookwood pottery.

Ms. Scott’s article discusses how she ultimately found a focal point for her pottery buying by collecting works decorated by Edward Timothy Hurley.  By developing a comprehensive collection of Hurley decorated Rookwood, she was able to parallel much of the history of Rookwood pottery itself.

There is also a discussion on why she choose to collect Rookwood pottery decorated by E.T. Hurley and how she has attempted to acquire examples from each year as well as vases that were representative of Rookwood many glaze lines. At this time, she is only missing examples from three years in the 1930s.  The article also includes over photos of over 50 Rookwood exampled decorated by Hurley.

Noted author Mark Bassett also provides a book review on Rookwood and the American Indian: Masterpieces of American Art Pottery from the James J. Gardner Collection.  Mark concludes that the book is recommended reading for anyone interested in American history, cultural diversity and for all art pottery lovers.

Just Art Pottery

We receive a lot of emails asking for information on American art pottery.  Rather than just responding to collector’s emails I am going to try answer more of these questions in blog posts. 

This morning a new Rookwood pottery collector emailed asking for an explanation of the various marks on the bottom of his vase.  The following summarizes the basic marks seen on Rookwood Pottery. 

The most recognized logo in Rookwood history is the backwards R and P.  This logo was used on virtually every piece of Rookwood produced from 1886 until the end of production in 1967.  Between 1886 and 1900 one additional flame was impressed around the logo for each year; such that in 1900 fourteen flames surrounded the Rookwood trademark.  For example the photo to the right shows the Rookwood trademark with 8 flames indicating this vase was produced in 1894.  Beginning in 1901, the company stopped adding flames to the logo and started using roman numerals below the fourteen flame trademark to date the pottery.  The use of Roman numerals to date Rookwood continued until the end of production in 1967.

In addition to the Rookwood flame trademark, the company marked its pottery with a corresponding shape number.  Rookwood can be found with shape numbers running from 1 to 7301 impressed on the bottom of the pottery.  Each shape design could be produced in multiple sizes.  Rookwood sizes were defined with the letters A, B, C, D, E and F with A representing the largest size in a particular shape and F the smallest.  Rookwood size letters were impressed and typically found right after the shape number.  An example of the shape number and size notation can be seen in the photo of the bottom of the 1906 Rookwood vase to the right. 

Decorated Rookwood pottery will have similar markings with the addition of the artist’s initials or cipher and often glaze notations such as V for vellum glazes, W for iris glazes, SG for sea green, etc.   

Greg Myroth – Shop for Rookwood Pottery

Our weekly top 10 list continues with Rookwood Pottery artists.  These are my favorite decorators of Rookwood.

1.  Carl Schmidt

Carl Schmidt was born in 1875 and began decorating vases at Rookwood in 1896.  He worked at Rookwood Pottery until 1927.  Mr. Schmidt’s Venice harbor scenic vases and iris glaze vases are exceptional and have a lifelike presence that is unparalleled in American art pottery history. Typical motifs for Rookwood Iris glaze vases by Carl Schmidt include wisteria, iris, and tulip flowers.

2.  Kataro Shirayamadani

Probably the most recognized name in Rookwood Pottery history is Kataro (Sherry) Shirayamadani who was born in 1865.  He started decorating pottery at Rookwood in 1887 and except for a couple of short periods of time, worked at the pottery until near his death in 1948.  While all of Kataro’s work is highly sought after by collectors, several of his black iris vases are on the top 10 list for prices realized for Rookwood Pottery.

3.  Sara Sax

Ms. Sax joined the decorating staff at Rookwood Pottery in 1896 and worked there until 1931.  Peacocks and peacock feathers were common decorating motifs for Rookwood vases decorated by Sara Sax.  Ms. Sax’s French Red vases are absolutely exceptional and rank as my favorite glaze line.   For some unknown reason, Rookwood’s French Red was used almost exclusively by Sara Sax.  However, Ms. Sax is recognized as having mastered many of the Rookwood glaze lines.  Ms. Sax also has the distinction of being at the forefront of the Art Nouveau, Art Deco, and Arts and Crafts Movements at Rookwood Pottery.

4.  William Hentschel

Mr. Hentschel worked at Rookwood between 1907-1939.  If you like matte glazed and carved arts and crafts vases, William Hentschel’s work is as good as it gets.  Equally impressive are Hentschel’s Ombroso glaze vases.  William Hentschel is also considered to be one of the best Art Deco designers at Rookwood as evidenced by his matte moderne vases. 

5.  Arthur Conant 

Arthur Conant was born in 1889 and died in 1966.  He worked at Rookwood pottery between 1915 and 1939.  My favorite Arthur Conant Rookwood vases are his colorful decorated porcelain scenic vases with plants, flowers and animals.  Conant’s use of color and composition is unlike most other Rookwood decorators and is not what most would consider typical Rookwood. 

6.  Artus Van Briggle

Artus Van Briggle worked at Rookwood between 1887 and 1893.  After studying in Paris for 3 years, Artus returned to Rookwood where he stayed until sometime in 1900 or 1901 when he moved to Colorado Springs and formed Van Briggle Pottery.  During his time at Rookwood, Artus specialized in Dull Finish, Standard Glaze, Sea Green, Relief Iris and my personal favorite hand-carved, almost three-dimensional relief Modeled Mat vases. 

7.  Albert Valentien

Albert Valentien was born in Cincinnati, Ohio in 1862.  He became a decorator at Rookwood Pottery in 1881.  Mr. Valentien worked at Rookwood until 1905. Albert Valentien excelled in a variety of Rookwood glaze lines including Dull Finish, Standard glaze and the Iris Glaze line.   It has been reported that in 1905, Albert Valentien became the first decorator to paint a scenic landscape on a Rookwood vase. 

8.  Grace Young

Rookwood Pottery decorator Grace Young is noted for her exceptional, life-like Native American portrait vases and plaques.  Ms. Young currently holds several spots on the list of top prices realized for Rookwood Pottery sales at auction.  It seems every time I see one of her Native American portrait vases at auction I can’t help but stand and stare.

9.  Harriet Wilcox

Harriet Wilcox was one of the few Rookwood decorators who became proficient in the rare painted matte glaze line.  Ms. Wilcox is also one of few Rookwood decorators other than Sara Sax to work with the French Red glaze line.  Harriet Wilcox worked at Rookwood Pottery between 1886 and 1907. 

10.  Charles Todd

I have to admit I really struggled with number 10 on this list.  There certainly are a lot of other Rookwood decorators that could and probably should be on this list but I love arts and crafts Rookwood and on a good day Charles Todd put out some impressive carved matte vases.  Mr. Todd is also known for his work with the Ombroso glaze line.  His Rookwood Ombroso vases often have a strong arts and crafts presence.

Greg Myroth – Shop for Rookwood Pottery 

The list of "C" level Rookwood pottery decorators in Anita Ellis’ Rookwood Pottery – The Glaze Lines reference book is as noted below.  "C" level Rookwood decorators usually have average collector interest. Ellis ranks the following Rookwood pottery artists as "C" level.

• Ed Abel
• Louise Abel
• William Auckland
• Irene Bishop
• Caroline Bonsall
• Anna Bookprinter
• Alice Craven
• Patti Conant
• Daniel Cook
• Catherine Crabtree
• Bertha Cranch
• Edward Cranch
• Mary Grace Denzler
• Charles Dibowski
• Cecil Duell
• Rose Fechheimer
• Loretta Holtkamp
• Albert Humphreys
• Katherine Jones
• Katherine Lay
• Sadie Markland
• Elizabeth McDermott
• Margaret McDonald
• Charles McLaughlin
• Mary Louise McLaughlin
• Ruben Menzel
• Albert Munson
• Clara Newton
• Edith Noonan
• Mary Perkins
• Agnes Pitman
• Albert Pons
• Wesley Pullman
• Marie Rauchfuss
• Wilhelimine Rehm
• Martin Rettig
• Adeliza Sehon
• Carolyn Stegner
• Carrie Steinle
• Harriette Strafer
• Vera Tischler
• Anna Valentien
• Leona Van Briggle
• Katherine Van Horne

Again, the list is fairly representative of today’s collector interest although the following Rookwood decorators seem to have a wider collector interest levels that I would consider at the high end of the "C" level and closer to the above average or "B" classification.

Greg Myroth - Shop for Rookwood Pottery

We had have a couple of questions about other Rookwood pottery decorators listed in Anita Ellis’ Rookwood Pottery – The Glaze Lines reference book so I thought I would provide the list for "B" level Rookwood artists.  "B" level Rookwood decorators usually have good collector interest. Ellis ranks the following Rookwood pottery artists as "B" level.

• Lenore Asbury
• Fannie Auckland
• Constance Baker
• Elizabeth Barrett
• Arthur Conant
• Sallie Coyne
• Edward Diers
• Lorinda Epply
• Laura Fry
• William Hentschel
• Katherine Hickman
• Bruce Horsfall
• Edward Hurley
• Jens Jensen
• Sturgis Laurence
• Elizabeth Lincoln
• William McDonald
• Mary Nourse
• Olga Geneva Reed
• Fred Rothenbusch
• Amelia Sprague
• Charles Todd
• Sallie Toohey
• John Wareham

Overall I believe Ms. Ellis’ rankings provide a relatively accurate representation of current collector interest and popularity of various Rookwood pottery decorators.  However, I would add that from the "B" list the following decorators could be considered at or very near the "A" level:

• Arthur Conant
• William Hentschel
• Bruce Horsfall
• Jens Jensen
• Sturgis Laurence
• Elizabeth Lincoln
• Olga Geneva Reed
• Fred Rothenbusch
• Charles Todd

Next time we will look at "C" level Rookwood pottery decorators. 

Looking for more information on Rookwood pottery:

• Rookwood pottery history
• Shop for Rookwood Pottery

Greg Myroth – Buying and Selling Rookwood Pottery

Many beginning Rookwood Pottery collectors ask who are the most popular or desirable artists and how much of a price premium is placed on vases decorated by "sought-after" decorators versus "average" artists.  While collector and market opinions will always vary, Anita Ellis’ Rookwood Pottery – The Glaze Lines book provides a useful starting point for Rookwood pottery collectors. 

Ellis’ book provides a ranked Rookwood pottery decorator’s list.  The list divides Rookwood decorators into four catagories (A through D).  Category A is Rookwood artists with the greatest collector interest.  Ellis estimates that with other considerations such as condition, size, and quality being equal, a Rookwood vase decorated by an "A" level decorator may be valued 100 to 200% higher than a vase decorated by a "C" level artist.    Rookwood pottery artists who Ellis ranks as "A" level include:

• Matthew Daly
• Henry Farny
• Maria Nichols
• Elizabeth Nourse
• Sara Sax
• Carl Schmidt
• Kataro Shirayamadani
• Maria Storer
• Albert Valentein
• Artus Van Briggle

Greg Myroth – Shop For Rookwood Pottery