Black and white vases in the “Hennen” pattern are ceramic designs created for Rosenthal by Tapio Wirkkala, one of Finland’s most gifted and versatile designers. His designs have set the fashion for much of the graphic art and handicrafts in Finland’s industry and schools. Works by Wirkkala, both individual and production pieces, are in the permanent collection of such museums as the Museum of Modern Art, The Metropolitan Museum of Art, and The Victoria and Albert Museum. Nearly 300 pieces selected by the artist are being circulated on a nationwide tour by the Smithsonian Institution Traveling Exhibition Service. It may be seen from February 6 to March 7 at the American-Swedish Institute in Minneapolis.
The footed plate pictured here and on the Cover is Persian, from the 12th or 13th century. Its decoration is of the type called “minai,” referring to enamel overglaze painted over a once-fired glaze. The colored design of a horseback Hder against foliage scrolls is placed on a white background with a Kufic script on the rim. The plate is from the Mahboubian Collection recently exhibited at the University of Texas at Austin. Other examples of Persian pottery after Islam are pictured in the Show Time feature starting on page 20.
Charles Bartley Jeffery’s silver cloisonne plaque with ecclesiastical symbols was made to be set in the center of an ebony cross. The plaque, which is 2 1/2 inches in diameter, makes use of transparent red, blue, turquoise, lilac, and olive green enamels separated by fine silver wire frames to achieve an effect inspired by stained glass windows. The intricacy of the design and the religious subject matter add to the resemblance. Mr. Jeffery’s technique for creating this jewel-like cloisonne is described and pictured in Roger Bonham’s feature article starting on page 14 of this issue.
Glass sculpture by Eric Hilton was a part of the show recently on view at the Coming Museum of Glass, Corning, New York. Mr. Hilton is one of the handful of artist-craftsmen responsible for introducing to Great Britain the studio movement in glass. According to Paul N. Perrot, Director of the Coming Museum, the artist uses readymade materials and transforms these by sagging, laminating, sandblasting, cutting, engraving or remelting broken glass into molds to create new forms. In this piece, strips of window glass have been laminated and sagged to create their own curvaceous forms. Average height of each glass section is 23 inches.
Salt Glaze Bottle by Bill Sage, Cheney, Washington, was a prize-wlnning entry in the exhibition, “Ceramics/Northwest,” held at the C.M. Russell Gallery in Great Falls, Montana. Craftsmen from 11 states competed in the show, which was juried by F. Carlton Ball. Mr. Sage’s bottle is 18 inches high. Other ceramic pieces from the show are pictured in the Show Time feature on pages 24-25.
Covered Jars by Thomas Collins, were part of the 150 lidded containers the potter made for his Pottery Lottery. Mr. Collins writes, “I sold tickets for a uniform price that was considerably less than the retail value of the pots. My wife drew the numbers on the night of the Lottery, and the first choice got his pick of the jars, etc. I am using the number “8” as my signature for these pots.” Mr. Collins was a prize winner in the Collegiate Ceramics Show at Cypress College, one of the exhibitions featured in this month’s Show Time on page 25.
Old time Georgia potters often signed their names on the outside of their ware, as William Gordy has done on the unfired butter churn pictured on this month’s cover. W. A. Reedy’s portfolio feature, “Georgia Art Potter,” shows Mr. Gordy wedging his clay and throwing a vase on his treadle-type wheel,
shaping a candleholder, and helping a customer in the showroom connected with his pottery. All photos are by the author.
Lava Chalice by William Harper, Parma Heights, Ohio, was an award winner in the National Enamels Exhibition. The show was organized and presented by the Craft Alliance Gallery in St. Louis, and is on view at the Nelson Gallery in Kansas City from May 7-31. Mr. Harper’s welded and electroformed chalice is 8 inches high and 61/2 inches in diameter at the top. The deep bowl shape is welded to an irregular cylinder base. The interior is transparent green and gold, and the exterior is enameled with transparent yellow and brown. The electroformed areas are gold. Illustrations of other award winners and a report on the show will be found on pages 21-23 of this issue.
A detail of an enameled plate by Fred Ball shows the craters and blisters that result from the use of copper foil for inlay. Mr. Ball’s experiments with inlays of thick metal foil have resulted in dramatic contemporary effects with the ancient materials of enameling. His article, “Metal Inlays in Enameling,” starts on page 14 of this issue.
The Seattle Art Museum will honor the 65th National Audubon Society Convention in mid May with “Birds in Art,” an exhibition drawn from the Museum collections. Included among the ceramics pieces inspired by birds is the ornately-decorated Pyxis pictured on this month’s cover. This example of earthenware from Corinth, Greece, is decorated with figures of birds and animals in black. Made in the sixth century B.C., the piece was used as a container to store salves and toiletries. From the Norman Davis Collection, Seattle Art Museum. Author Jack Troy also salutes our feathered friends with his article, “Bird Feeding Stations,” starting on page 13 of this issue.