It’s important to keep in mind that there was a lot going on with Rookwood Pottery during this time. It had already been considering, and indeed experimenting, with the Cameo ware with the goal of creating lighter design colors to pair with those thick, glossy and translucent glazes. In the middle of all this, the facilities – the entire company – relocated to a better area. So, between the ongoing new product development and the physical move, it could have been the Aerial Blue line got lost in the process.

Other factors included the introduction of the Sea Green Iris glaze lines, simultaneously offered with the Aerial Blue. Also, because the Aerial Blue was at least partially inspired by another company’s line, Royal Copenhagen, the two could have been in an informal competition with the competitor’s offering winning customer loyalty. Either way, this simply wasn’t a popular line. Perhaps it was just ahead of its time because it’s one of the most sought after Rookwood Pottery glazes today.

If you’re looking for markings, you should know most of the pieces include those exclusive to Joseph Bailey, the company’s long time ceramics engineer. They’re described as “an impressed number – usually three digits – bracketed by incised crescent moons, found usually on the bottom of these pieces”.

If you’re a Rookwood Pottery fan, this is truly one line that is indicative of what the company was always about: beauty, elegance and attention to detail.

In the mid-1930s, during the height of its popularity, it was referred to as a “solid color line that is a real achievement in ceramic art…inspired directly or indirectly by the Chinese vases of the Ming period”. It was also noted for the unique contours and glaze combinations. It’s interesting, too, that while trying to grasp the right adjectives for this post, I ran across an apt description related to the designs: “shapes are lovely but in no way extreme”. That’s true, too – they’re unique and and certainly creative, but we’re not talking on the level, of say, the aggressive designs George Ohr was known for. The result is a fun presentation of narrow handles, wider vases and pedestal bases – lots of pedestal bases.

It’s believed there were sixteen shapes with this Roseville pattern – and they’re all beautiful choices. If you run across them, and if you’re an art deco fan, odds are, it’s going to be difficult to pass up. There are several vases in a wide range of heights, widths and glaze colors, along with bowls, candlesticks, wall pockets and even a lovely rose bowl.

You’ll recognize the Roseville Orian. Look for the glossy finish, smart color combinations (one favorite is the yellow and green that really makes the vases stand out). Also, those narrow and usually low resting dual handles are generally a giveaway along with the classic “pedestal base”. While there are several tan pieces, they’re not likely to sell for as much as their more colorful counterparts. Also, note that in the bowls, the interior of the actual bowl is usually white, which is a nice contrast with the reds, greens and yellows on the outside of the pieces.

We thought we’d explore two of the more recognized Roseville Pottery lines: the Roseville Water Lily and Roseville Sunflower. There are a few similar features, but for the most part, each is quite distinctive in its own way. For instance, the Roseville Sunflower patter is considered middle period collection, as it was introduced 1930. The Water Lily pattern was unveiled in 1943.

Roseville Sunflower

Easily distinguished by the golds in the sunflowers and often with a green foundation, the Roseville Sunflower pattern is really quite sought after – from the time it was introduced until modern day, it’s often which serves as a striking complement to those vivid oranges and gold in the raised sunflowers.

It enjoyed a surge of popularity in the 1990s, and as a result, its value increased, too. If you’re looking for markings, because paper labels were sometimes used, it might be you come across a Roseville bowl or vase with no marking. There were some that had hand written shape numbers, which can help with identification. Many of the pieces had dual handles, which certainly adds to the overall presentation. A few of the examples of Sunflower pottery include umbrella stands, wall pockets, and of course, bowls and vases.

Roseville Water Lily

As mentioned, Water Lily is one of the newer lines and was introduced in 1943. Its standard colors are brown, blue, and pink, which blend in a beautiful manner. Like Roseville Sunflower, the Water Lilly also has several vases with two handles. Part of the draw to this particular pattern are the unique textures. The florals are raised and the smooth matte finish works to really accentuate the design elements. This Roseville Pottery pattern includes vases, bowls, bookends, ewers, jardinières and others.

Times were difficult, but Erni found an interesting way to create a potter’s wheel for his wife: he repurposed a washing machine. When they weren’t working in a munitions plant during World War II, the couple were busy with developing Rose’s talent.

She soon found her “niche” and what emerged was her trademark “feelie” vases. It truly set the pace for mid-century ceramic offerings. The one common denominator amongst those who know work and attempt to explain it is that it was incredibly personal for her. It was more than a talent or passion, it was, in many ways an extension of who she is as an artist.

The gorgeous oversized vases are the epitome of the emerging styles from the forties, fifties and sixties. It’s the bold, though matted color combinations such as green and blue or orange and brown. The dramatic center expansions and the way they contrast with the very narrow vase necks – so narrow, you might be able to easy a single flower into it; and her trademark trimmed foot rings all come together to define these gorgeous and dramatic vases. She also created bowls, though it was those “onion” vases she is best known for.

Her husband was then, and always remained, her biggest fan until his death. Rose, now older than 95, is the oldest practicing pottery artist in the United States.

Fast forward to 1899 when the company was incorporated. William Hill Fulper II, Abram’s grandson, transitioned into the role of secretary and treasurer of the company. His Princeton University education served him well, especially as the company continued to grow. It wasn’t until 1909 that the now-Fulper Pottery Company released its first line, known as Vasecraft. It was more of a minimalist line; quite casual, yet lovely.

Within a year of Vasecraft’s release, another prominent employee, Martin Stangl, found himself in the role of ceramics engineer and soon was developing many of the glazes Fulper Pottery is so well known for. Another prominent name associated with this art pottery company is John Kunsman. He too preferred the simple glaze colors. His work found its way to the Louisiana Purchase Exposition where it earned an honorable mention. There were approximately 100 glazes used during the course of the company’s production. It wasn’t until 1929 that Stangl bought out the Fulper family, and unfortunately, he opted to compromise both quantity and quality. Within five years, the company was producing most dinnerware.

What we’re left with is some of the most striking art pottery to be found anywhere. If you’re already a collector, you know the glazes are often what sets this line apart from all others and if you’re new to the Fulper Pottery collections, you’re in for a treat as you explore those many glaze lines.

Be sure to explore the Just Art Pottery Fulper Pottery page. We have several pieces available, including the Fishing Man Statue, which is a favorite among collectors.

The dates for this year’s convention are April 19 through April 22.

A Note About the Hotel

The host hotel this year is Holiday Inn Cleveland South – Independence. It’s recently underwent a major renovation and now offers 364 stunning guestrooms and is one of the largest in the area. It’s located just 15 minutes from the Cleveland Hopkins International Airport. It’s not too late to make your reservations, either. You can do so by visiting the website at hiindependence.com or by calling 216-524-8050

Schedule of Events

On Thursday, April 19th, from 8 a.m. until 5 p.m., there’s a tour of the Museum of Ceramics and Homer Laughlin Fiesta and China. If you’ve never visited the museum, it’s an absolute must. Even those who have spent a considerable amount of time in the art pottery family know the value of this tour. It’s sure to inspire.

The registration tables will also be open at 9 a.m.

At 6:30 p.m., a welcome reception and cocktail party is being hosted. (Note there will be a cash bar available). There’ll be prize drawings and giveaways and of course, plenty of networking opportunities.

On Friday, there’s plenty to do. There will be two seminars, with the first one beginning at 9 a.m. Understanding and Collecting Pillin Pottery by Jerry Kline runs until 10:15 and then, at 10:30, you can attend The Many Phases of Van Briggle. This seminar is hosted by Kathy Honea. It runs from 10:30 am. until 11:45 a.m.

The preview for the art pottery auction runs for two hours beginning at 2:30. There will also be a book signing and a “Meet the Authors” event between 3 p.m. and 4 p.m.

The art pottery auction begins at 4:30 and your auctioneer is Peter Gehres.

Saturday provides one more seminar, Richard D. Mohr’s “Tiles I’ve Known and Loved”, which is slated for 9:15 a.m. and expected to run until 10:45 a.m.

For registered members of the convention, you’re afforded the opportunity to preview the AAPA Show and Sale beginning at 11 a.m. This runs until noon, at which time, the public is allowed to preview the sale.

On Sunday, the annual business meeting begins at 9:30 and runs until approximately 10:45. At 11 a.m., the AAPA Art Pottery Show and Sale runs until approximately 4 p.m.

If you have any questions regarding the convention, you can visit the American Art Pottery Association’s convention page at http://www.aapa.info/Convention/Convention2012/tabid/70/Default.aspx

Founded by R. Guy Cowan, an Ohio native, Cowan Pottery began as a tiny studio with only a few kilns and with Cowan serving as the owner, artist, designer, bookkeeper and so on. Despite what was surely an exhausting effort, Cowan produced many art pottery pieces and tile designs. By 1917, Cowan was enjoying the fruits of his hard work with many awards for his art pottery collections.

As was the case with many art pottery companies during this time period, World War I meant a closing of his business so that he could serve in the Chemical Warfare Service. The war ended and Cowan found himself following his passions once again, this time in a new location in Ohio. He upped the equipment, created a studio and before long, he was filling orders for department stores, individuals and other national chains. That was soon followed with commercial pottery efforts. He was able to hire a staff of artists and his output neared 175,000 pieces each year. Some of those Cowan Pottery pieces included bowls, vases, lamps and candlesticks.

Despite his impressive successes, in the late 1920s, Cowan found his business struggling financially. The demand was slowly dropping for pottery, as would-be customers found themselves struggling from a financial aspect, too. Indeed, times were incredibly difficult and by 1930, the writing was on the proverbial wall. The Depression hit fast and hard and Cowan Pottery closed its doors in December, 1931.

The legacy left behind is priceless. The glazes and artistic abilities are nothing short of genius; partly due to Cowan’s familiarity with the chemicals used in the American art pottery sector.

Cowan knew he could never walk away from art pottery and became a well respected judge and trustee for the National Ceramic Exhibitions until his death in 1957.

Drawn to the more whimsical side of American art pottery? Then the Abingdon Pottery cookie jar is probably just what you’re looking for. This sweet Miss Muffet, who’s resting on her tuffet, dates back to 1949-1950 and is mint condition. The bottom is marked and this cookie jar measures 9 1/2″ tall and 8 1/4″ wide.

The Coors Pottery blue handled vase is a perfect example of how less is sometimes more in art pottery. The blue glaze on this double-handled vase contrasts nicely against the white glaze on the inside of the vase. It’s in excellent condition and measures 6 1/2″ tall and 7 1/4″ wide.

The unique presentation is what sets this Haegar Pottery Marigold Agate Earth Wrap Vase apart. The rich sunflower gold and yellow hues are a powerful base against the contrasting red and brown that present as abstract designs. It’s modern look and one many collectors are drawn to.

Hull Pottery remains one of the most recognized names in the industry. The Hull Pottery bow knot blue wall pocket is just one reason why. This design has a beveled handle, two side pockets and pink flowers with soft green leafing efforts. It’s a little vintage, a little traditional Hull and a lot of style. This is one that can be difficult to locate, so if you’re contemplating adding this to your Hull Pottery collection, now’s the time.

Speaking of vintage, there’s also a Rorstrand 1960s Swedish Titus art deco vase. This vivid vase offers a glossy finish against a rich blue and hues of brown. The lighter base color works well with both the colors and general design. It’s handpainted and is 6 1/4″ tall and at its widest point, measures 6″ wide.

These are just a few of the many gems you’ll find in the Just Art Pottery bargain bin.

The truth is, some of the fake Roseville pieces have a sense of authenticity that makes it difficult to tell apart from true Roseville Pottery. Aside from getting your collection appraised (which we always strongly encourage), you may never know for sure. Then again, there are those who see the beauty and would still purchase it, even if it were a fake, so that

Collection of Roseville Baneda

they could display it in their home. There’s nothing wrong with that, of course, except you probably paid Roseville Pottery prices for fake Roseville pieces.

For those who find it difficult to tell apart, there are a few tell-tale signs that might clue you in. Keep in mind – this is all very subjective in that what one’s idea of a “dull glaze” might be different than another’s – again, this only reiterates the importance of a professional appraisal.

Take a look at the glaze on your piece; fakes lack a certain depth and without a “clear” look; it can even look dull and flat. Also, the glaze shouldn’t hinder the nuances of clay underneath it.

Take a look at the handles (if applicable). Fake pieces usually have bigger handles in terms of their dimensions. Again, this is subjective, but for those familiar with this line of art pottery, the differences are obvious.

How about the detailing? Authentic Roseville Pottery offers a lot of detail – the vines, florals, etc. The Roseville artists always took pride in their detailing efforts.

There were many Roseville marks through the years; so many that sometimes even collectors question a Roseville marking. There are those with Roseville U.S.A. or wafer marks or ink stamps – the marking often dates your Roseville piece; however, fraudsters will do their best to replicate the markings in order to fool buyers.

So what should you do to keep from being taken? We always tell customers to study their Roseville pieces they know are authentic. Usually, once you know what truly is real, the fakes become easier to identify. It’s also a great way to learn more about the history of this dynamic line of American art pottery.

If you’re looking to have your Roseville Pottery collection (or any other collection) appraised, give us a call. All of our appraisals are done in accordance with the Uniform Standards of Professional Appraisal Practice (USPA). Greg Myroth is a member of the Association of Online Appraisers and abides by the AOA Code of Ethics. For more information, visit our Just Art Pottery appraisal page.

This week, we take a look at some of the best talent that at one time or another called Grueby Pottery their employer. We start with none other than William Henry Grueby.

Grueby hadn’t shown much of an infinity for tiles or other art pottery in his youth; instead, he had to find a job – any job – when he left school in 1882. That job would be a CA Wellington an Co., which specialized in decorative arts. Eight years later in 1890, Grueby and a friend he met while working at CA Wellington left to form their own company. That friend, of course, was Eugene Atwood and the company was aptly named Atwood and Grueby.

Eugene Atwood

Atwood remained with Atwood and Grueby until 1894. It was then he decided to strike out on his own. His company produced architectural faience and enameled bricks. Six years later, Atwood Faience found itself in reorganization and eventually new management took over. When that happened, it was renamed Hartford Faience.

There was also a third partner, though his name was never on the letterhead. William Hagerman Graves had graduated college more than a few times and continued to rack up degrees when he was approached to serve as treasure to Atwood & Grueby. As far as most historians believe, Graves had created a single piece of Grueby Art Pottery – a blue bowl that was inspired by Japanese influences. Eventually, he left the company and went to work for a tile company.

Karl Langenbeck

Langenbeck was a brilliant man who had received significant training in chemistry, which he put to use when he was approached in 1908 by Grueby Faience to work out “technical problems”. Langenbeck is one of those talents mentioned above – those who come and go. He’d already worked for Rookwood Pottery of Cincinnati in the role of a glaze expert in the late 1800s.

Finally, we take a look at one of those creative minds behind the Grueby name. Ruth Erickson created a beautiful fern handled vase. So unique was it that it was exhibited at the Newark Museum and then a year later, in 1911, the museum purchased it to have on permanent display. Erickson also was the talent behind several of the Grueby tobacco jars. If you have any, you might notice a marking of 1/21/01 – one not familiar with art pottery might wrongly assume the marking is indicative of 2001, which, of course, is not so. Most of those tobacco jars were made in 1901.

The talent and business minds who defined this art pottery company were many. Some were around for the long haul, while others made contributions and then moved on. Regardless, what we’re left with today is a versatile and beautiful line of American art pottery.