Fluted stoneware vase with temmoku glaze, 14½ inches in height, by Bernard Leach. Produced in 1959, this thrown form was exhibited at the Victoria and Albert Museum, London, as part of an extensive retrospective of the potter’s work, which is featured beginning on page 47.
“Ceramic Sculpture 2,” glazed low-fire clay, 3½ inches in height, by Roy Lichtenstein. The object is one of a group of the artist’s ceramic works which were presented in an exhibition at the Art Galleries of California University, Long Beach. More of Lichtenstein’s work is featured in an article beginning on page 40.
Salt-glazed stoneware spice grinder (matcahete) with cobalt blue decoration, and pestle, circa 1887, by Ernst Richter, Bexar County, Texas. This pressed form is one of a number of unusual historic and modern American works shown in “Texas Pottery, Caddo Indian to Contemporary,” at the Star of the Republic Museum, Washington, Texas. Additional objects from the exhibition are featured beginning on page 28.
Stoneware vase with incised decoration, 14 inches in height, by Marguerite Wildenhain. Photographed in the corner of the artist’s barn studio at Pond Farm, the work reflects its environment in a style reminiscent of this master potter’s Bauhaus training. A profile of Marguerite Wildenhain begins on page 21.
“I knew a guy who set on the cellar door ’cause he didn’t want to go down there nobody cared I just noticed it,” handbuilt porcelain, approximately 8 inches in height, by Jack Earl, Charles City, Virginia. The object appeared in “Contemporary Clay: Ten Approaches,” an exhibition at Dartmouth College, which is featured beginning on page 26.
Two vases, by Eileen Lewenstein. Left, glazed porcelain with incising; right, glazed stoneware. Both forms (approximately 5½ inches in height) were displayed as part of the exhibition “Twenty-Four British Potters” presented on page 26 of this issue.
Salt-glazed stoneware pitcher, 7½ x 9½ inches, by Wally Smith, Gatlinburg, Tennessee. The piece is part of the Bicentennial Collection of the Southern Highland Handicraft Guild, an exhibition of work characteristic of Southern Highlands craftsmen, past and present.
Porcelain flask with neckband of silver, blue-and-white Persian ware, late 17th century; presented as part of an exhibition titled, “Food for Thought,” shown through September 19 at the Museum of Fine Arts, Boston. Selected from the museum’s collections, and funded by a grant from the Pillsbury Company, the show depicted food as an inspiration for work in a variety of media.
Single-fired jar, 10 inches in height, by Phyllis Ihrman. The surface effects were achieved by unevenly brushing white porcelain with a barium glaze containing copper oxide, then firing to Cone 10 (reduction). CM’s article, Single-Fire Glazes, the first of a 2-part series, begins on page 43.
Michael Cardew inspects the profile of a pitcher during his Canadian workshop. “If a thrower can make pitchers, well, he will be able to make any other shape. A good pitcher is the most lively and athletic of all pots, realizing the conjunction of grace with strength, ready and apt for action yet and majestic in repose.” Britain’s renowned studio potter throws and discusses pots, beginning on page 25.