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.
Untitled form, thrown and altered, five inches in height, by Toshiko Takaezu, Clinton, New Jersey. The work was featured in an exhibition at the Academy of Art Museum, Cranbrook Educational Community. Objects from the show are featured in the CM portfolio beginning on page 47.
“Plate with Map of Japan,” porcelain Imari ware with underglaze blue decoration, mark and period of Tempō (1830-1843), Late Edo Period. The plate shows a combination of real and imaginary places, as was common on map plates, popular during the early 19th century. The work is currently part of an exhibition of Japanese art objects at the Webster Street Bridge Extension of the Asian Art Museum of San Francisco.
The logo of The Ceramic Monthly, an art pottery and china painters’ magazine popular at the turn of the century. Although unrelated to CERAMICS MONTHLY, this forerunner was first published in 1893, and contained articles by noteworthy ceramists of the day such as Charles Binns. He and others were among those who sought to teach and uplift the quality of ceramic art through the publication. Comments in The Ceramic Monthly reflected a variety of themes, but one in particular has a strangely modern flair: “Taste at present day (1897) seems to be for the grotesque in all things. Funny and queer objects are preferred to those which are merely pretty.”
Phil Baranowski lives the daily life of “Asa Baker,” American folk potter of the early 1800s. Shown throwing on a kick wheel, this craftsman is one of the participants in Conner Prairie Pioneer settlement, Noblesville, Indiana, a reconstructed “living museum” which seeks to interpret the lifestyles of pioneer craftsmen. Ruth Chin’s article on Conner Prairie Potters begins on page 29.
Pitchers and other functional ware in the showroom window of Michael Casson’s studio, Prestwood, England. Considered the mentor of many of his nation’s potters, Casson is discussed together with other representative studio potters in England, beginning on page 21 of this issue.