New Additions of Roseville Patterns Available at Just Art Pottery

It’s always exciting when we add a new arrival from a Roseville Pottery pattern and we’ve recently added several pieces of Roseville in different patterns on our New Arrivals page.

Roseville Baneda bowl

The Roseville Baneda pattern is a favorite among many collectors. It’s the color hues that are remarkable. Even those who prefer the traditional single-color matte finishes often remark on the vivid and bright presentation these color choices bring to this pattern. We have a couple of new Baneda pieces we’ve just added. The Roseville Baneda green vase offers those low resting handles that are always popular. Remember, this pattern was often marked with the foil labels – and this vase has its intact. It’s a lovely piece in mint condition- definitely worth a look.

Our second Baneda new arrival is the classic green jardinière. It’s in excellent condition with no chips, cracks, damage or repairs of any kind. This piece is marked with a red crayon, which is also another popular way of marking these patterns. It’s a nice size, coming in it 4 ¼ inches in height and at its widest, it measures 5 ¾ inches.

And speaking of those vivid color schemes, we also just added a Roseville Wisteria tan bowl as well as a Wisteria tan vase. The greens, purples and yellows in varying hues really define this pattern. Of course, the purple is shown on the grapes and both are perfect for placing in your kitchen.

Both are in mint condition and the bowl measures 4 ¼ inches tall and 6 inches wide while the vase measures 8 ¼ inches in height and is 7 inches wide.

This is just a few of our new arrivals and as always, check in often – you never know what you’ll find.

If you haven’t checked into our new referral program, now is a great time to do so. We’ve partnered with Referral Candy to offer our customers a 5% discount when they refer their friends and those friends make a purchase.

Not only that, but their first purchase also means a nice $10 savings for them, too. It’s a win-win! Learn more here.

What Sets Roseville Earlam Apart

For avid Roseville Pottery collectors, it’s near impossible to discuss the logistics behind the beauty in the Earlam line without mentioning Frank Ferrell. He was, after all, the creative force behind many Roseville lines – including Earlam. Part of our ongoing appreciation for this particular line isn’t so much what it offers, but rather, what it doesn’t offer.

Unlike many – if not most – of Roseville’s patterns, Ferrell opted to not include florals or the geometric shapes that were trendy at the time. Instead, you’ll find softer lines, plenty of curves and bulbous centers. Many of the pots and vases also had tell-tale handles on either side that collectors are always searching for, even today.  The Earlam shapes are limited, especially when compared to some of the other Roseville pottery lines. It has just 22 shapes and most are vases, bowls and pots. While there are none with floral decorative elements, there are a few strawberry and crocus pots, which add further distinction.

For those who appreciate the more muted glazes, Earlam is for you. The efforts made to ensure each piece was unlike any other, in sort of an “imperfectly perfect” way, were subtle. The rims also offer an interesting dimension as most are ridged with a slightly darker tan or brown. There’s something really special about this important Roseville pattern.

The green shading, with its matte finish, coupled with the soft yellow that transitions to deeper yellow-gold colors play off of the other for a truly visual appeal that brings artistry to new levels. Keep in mind -though these were the two primary hues, you can find Roseville Earlam with shades of blue and brown.  Ferrell knew he was on to something and fortunately for us, there remains a decent amount of Earlam pieces that can be found today – though it’s unlikely anyone who has any part of this collection would ever dream of parting ways with it.

Aside from occasional bevel, or “ridging” efforts, this collection is beautiful because of the simplicity. It’s allowed to be appreciated for those two primary colors – green and yellow – and, of course, the abundance of space in the bowls and vases. Why Ferrell opted to forego the “tried and true” decorative path is not known, but the Roseville Earlam line stands on its own and remains in big demand.

Southern Influences on American Art Pottery

Most people equate American art pottery with those names from Ohio – Roseville Pottery, Rookwood Pottery, Weller, Owens, Zanesville Stoneware and even McCoy. When you think of southern influences, it’s likely the first, and perhaps only, pottery maker that comes to mind is Newcomb Pottery, created at Newcomb College in New Orleans. But there’s far more to be loved and appreciated from artists of the south. Some say you can smell the salt air in each piece as much of it was made along the Gulf Coast, including both Newcomb Pottery and, of course, those incredible, though eclectic, creations that bore George Ohr’s mark.

Nashville Art Pottery created an avenue or stage for students in the Nashville School of Art. Headed by Bettie J. Scovel, who’d

Newcomb Pottery (courtesy of Getty Images)

Newcomb Pottery (courtesy of Getty Images)

been trained by some of the best of the best Rookwood artists, she returned to her Nashville roots in order to share her love of clay and the magic that comes when an artist’s hands shape the clay into something spectacular. It was the late 1880s and upon her return, she quickly secured what was then known as the McGavock building and set out to bring the artists alive inside her students. Before the decade was up, there would be two lines of Nashville Art Pottery released, including Goldstone and Pomegranate. Both were high fired wares, though Goldstone was notably darker with rich browns and deep red hues while its counterpart, Pomegranate, included lighter colors, including a typical white base with pink and blue elements. Unfortunately, Nashville Pottery didn’t become as well-known as those in Ohio, but the fruits of hers and her students’ hard work can be found in Trumbull Prime Collection of The Art Museum at Princeton University.

Around this same time, George Ohr, the famous Biloxi, Mississippi artist, and Joseph Meyer (yes, that Joseph Meyer) decided to fill a void left by the bankrupt Louisiana Porcelain Works in New Orleans. They created New Orleans Art Pottery. The building they chose was an impressive three stories. Soon, the two artists secured the necessary kiln and began producing, for a very brief time, their version of porcelain ware. Unfortunately, there wasn’t room enough for New Orleans Pottery and the exciting new Newcomb Pottery, so its contribution was quite limited. Before long, Meyer would find his way to Newcomb Pottery, where he left his life’s work for many future generations to admire.

From Ohr to Meyer to Scovel – and many more, the south was the birthplace for beautiful American art pottery designs.

Hungarian Zsolnay Ceramics

Ask any Zsolnay Ceramics collector to describe this European line of art pottery in just one word, and you’ll surely hear capture-20140405-061117“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.

The Distinction of Moorcroft Pottery

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 Moorcroft51703company 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.

The Inspiration for Roseville Olympic

The brick reds, glossy black and pale yellows found in the Roseville Olympic line suggests a Greek approach from the artist. It’s a striking line, most of which have those deep glosses that really allow them to stand out. But if indeed believe the early 1900 line is simply a Greek influence, you might want to rethink that.

In fact, John Flaxman, another well known artist of his time, mostly for his Neo-Classical designs, was the true inspiration. Some say the images are absolute efforts of reproductions.  And going even further back before Flaxman, the argument’s been made that Homer’s The Iliad and The Odyssey – both tragedies – was the foundation of the inspiration.

The pieces themselves are modeled after the Roseville Creamware; the red pigments were applied over the bodies, careful to camouflage any similarity to the Creamware line. From there, decorators were tasked with transferring the reproduced lines to the bodies, and from there, the artists completed the final look.

And here’s another interesting element: Olympic wasn’t the only line that drew its inspiration from Flaxman. Both Della Robbia and Old Ivory have remarkable similarities, even if they’re not as obvious as those in the Olympic line.

Most of the Olympic pieces were marked with “Rozane Pottery” and were the last of these striking Roseville Pottery designs that defined Rozane.

This particular line is also one of the more expensive lines. The color combinations are rich and generous as they drape the various vessels. There’s a lot of detailing in this line, too. Often, you’ll discover intricate pattern décor along the baselines, necks or even right inside the design. It really is a beautiful line to collect.

As mentioned, this line was introduced in the early 1900s and was instantly popular in those early days. Even by today’s standards, this line presents as quite contemporary and is as popular today as it was then.

Roseville Candlesticks

Candlesticks are some of the most collected items in American art pottery and Roseville has some of the most remarkable design elements and glazes. Many Roseville Pottery collectors say their collection began with just one pair of candlesticks. Most were hooked and knew they had to continue building their collection. Take a look at a few of the most popular patterns. Eclectic or traditional, glossy or matte finishes – there’s a Roseville pattern for everyone.

And speaking of eclectic, the Roseville Futura includes a candlestick design and it’s unlike anything else most have seen. First, the mouth is square and narrows the closer to the base you get. These designs have two complementing glazes – a bluish/green and more of an eggshell glaze really set these apart. But what draws the eye are the bulb shapes that grace the bottom of the candlesticks. It’s an acquired taste for many, but for the hardcore Futura collectors, this is a must have.

Apple Blossom remains one of the more popular Roseville patterns. Candlesticks are part of this line and they boast the traditional apple tree branch in the handles. The green glaze was smart and it works well with the brown and white that are part of the Apple Blossom charm. It’s little wonder that this was one of those strongest sellers when it was unveiled all those years ago.

Ah – but it’s the Roseville Dahlrose that will catch your attention and hold it. This line has a few bud vases, complete with plenty of decorative elements. Interestingly, these elements don’t overwhelm the presentation and because the bud vases are small, they easily double as candlesticks. That’s just part of the versatility a few of the Roseville patterns bring to the table. Browns and usually a few shades of green define the glazes and the abundance of the white Dahlrose against a textured body just works beautifully.

Many – if not most – of the Roseville patterns have at least one candlestick design. For those who are just beginning their collections, starting with candlesticks or even wall pockets will allow for a great start and will surely drive your passion for adding to your collection. There’s nothing better than coming across a pair of these beauties that you never knew existed. It’s an exhilarating feeling, especially if you’re able to add them to your own collection.

What Art Pottery Consumers Should Expect

There are so many American art pottery lovers who are leery about purchases they make. It’s understandable; there are plenty of unethical dealers who are less interested in maintaining the authenticity of the sector and more interested in taking the money and running. There exists a code of ethics and reputable sellers adhere to these rules and are committed to running honest, above the board businesses. Here is the foundation in which Just Art Pottery operates.

The American Art Pottery Association is responsible for defining what those business practices and ethics are. One of the most important guidelines is that sellers must adhere to any contract, either verbal or written. Those art pottery dealers who are dedicated to the industry will not rescind a contractual offer, but instead, will honor it.

Not only that, but today’s art pottery is often bought and sold online. This presents unique challenges for businesses that are seeking to build trust in the community. It’s challenging because as consumers, we’re all leery of what we purchase online. We’re worried about our financial information floating around and we’re worried that we’ll receive something and discover it’s nothing like it was advertised. All it takes is one person who doesn’t respect good business habits to make things hard for all others. That’s why it’s even more important that a seller accurately demonstrate any damage. Ideally, he will provide clear photos so that consumers can make informed decisions. Further, ensuring the prices are prominently displayed is also important; it’s all about transparency.

Despite a seller’s best efforts, sometimes damage isn’t pointed out until after the piece has been bought and shipped to its new owner. A reputable company will make it right. More importantly, a company must provide definitive policies so that its customers will make their selections with fewer worries about what his options are should the product not live up to his expectations.

The dynamics associated with art pottery dealers are poles apart from those who sell new merchandise or other retailers. We’re buying and selling pieces that have been owned by others and that have been around for decades – that’s the whole purpose, right? That doesn’t mean quality isn’t an important element.

For the vast majority of sellers, these rules are no-brainers and for Just Art Pottery, we take great pride in putting these practices in place every day. If you haven’t browsed our inventory lately, now’s a great time – we have many outstanding new arrivals that we’re excited about. Have comments or feedback? Drop us a line or join the conversation on Facebook.

 

Brouwer Pottery

While it’s not one of the most well known lines of American art pottery, Brouwer Pottery has an important place in history. If you’re familiar with George Ohr pottery, you know his pieces are often quite intense, which, according to everything known about the Mississippi artist, isn’t surprising considering it mirrored his personality.

Brouwer Pottery is most often compared to that same intensity. In fact, some art pottery experts say Brouwer Pottery is an “acquired taste”. Maybe so, but for those who can appreciate the eclectic presentation, it truly is magnificent.

Theophilus Brouwer invented the open kiln glazing method. If you’re not familiar with this particular process, it includes metal tongs that were placed in the pieces as they were being fired. It became known as “fire painting” and the results are stunning. There are so many hues and color variations that come to life during this process that these artistic efforts are easy to recognize even today. Not only that but Brouwer made his own molds and did all of the casting.

Unlike other lines of American art pottery, damage isn’t necessarily a deal breaker for collectors and often isn’t a factor when it comes to the value. The stunning glaze more than makes up for small nicks, which is a good thing since the firing process didn’t bode well for hardening the pieces. That said, some believe the lighter colors consistently lacked vibrancy and as a result, were under appreciated – both then and now.

This is interesting considering some of those pieces are valued upwards of $10,000. Of course, pieces can still be found for less than $1000. The ease in which damage can be done to these pieces means those with no nicks or damage at all will likely continue to increase in the coming years.

There are plenty of stories about the eccentricities of the talent behind the pottery line and, like Ohr’s pottery, those who do know the backstory are that much more drawn to this pottery collection.

The Blues and Greens of Rookwood Pottery

For Rookwood Potterylovers, there are as many reasons to cherish this line of American art pottery as there are fans. Many cite the exquisite glazes the artists incorporated while others appreciate the versatility. For many of us though, it’s the extraordinary color combinations. The blues and greens provide the perfect example of the creativity and in some cases, the risks taken that paid off in spades.

While many of us can cite the lovely hues and combinations, it’s difficult to explain past that. It’s just the total package that makes this such a wonderful line to collect and display in our homes.

Take the Rookwood Pottery 1920 Cherub Pedestal Bowl. This bowl, though not a deep one, rests easily atop a pedestal of cherubs. The base has the typical beveling and straight line/curving combination we often see in this line and the two blue glazes are simply perfect together. The lighter blue/green defines the bowl and is complemented with the darker blue base and bowl bottom. It’s detailed and timeless. It stands at 10 1/2 inches in height and nearly as wide at 9 1/2 inches.

And the greens! Those lovely, mellow greens. What’s really nice about Rookwood is it’s easily found in a high gloss finish as well as a more matted appearance. Two perfect examples are found in the Rookwood Colonial Figurine and the 1925 McDonald Vase. The former has a glossy finish, which is a nice touch considering the way it appears in the creases of the gown as slightly darker. Note that darker “hemline” along the bottom of her gown as well. The artist provided a really unique portrayal as the woman is slightly bent, arms arced back and her head drawn down – it surely adds to the dramatic presentation.

In contrast, we get a look at the matte finish via the Rookwood 1925 vase. Not as high as you might usually find in a vase, the wider vase opening flares down to the base and the inside of the vase is varied slightly, likely for contrasting purposes. Pretty artwork draws the eye down and the absence of gloss allows the eye to hone in on the artistic detailing. Both are beautiful pieces though neither have anything in common other than the Rookwood Pottery name.

And therein lies the true fascination of this company – it maintained its ability to provide beautiful American art pottery to a wide range of folks who might have been drawn to it for any number of reasons.