North American Ceramics
Color: Orange
Place of Origin: North American
Shallow Pink Pierced Ceramic Tabletop Bowl, in Stock
By Lynne Meade Ceramics
Located in Oakland, CA
Inspired by Mid-Century Modern design, this bowl is wheel thrown and hand pierced stoneware. The satin glaze varies subtly from rhubarb to pale pink to eggshell to white. Controlled,...
Category
Early 2000s Mid-Century Modern North American Ceramics
Materials
Ceramic, Clay
Early Modernist Ceramic Bowl, Saturday Evening Girls, 1916
By Saturday Evening Girls
Located in Brooklyn, NY
Arts and Crafts movement, petite ceramic bowl by Fannie Levine for Saturday Evening Girls. This early modernist design was created using the cuerda se...
Category
Early 20th Century Modern North American Ceramics
Materials
Ceramic
Orange Textured Hand Made Earthenware Vase, Contemporary, USA
Located in New York, NY
Contemporary textured round ceramic earthenware vase.
Classical shape textural design vase inspired by the landscape.
Bright bottle orange in spiral bands with a shot of green.
T...
Category
21st Century and Contemporary North American Ceramics
Materials
Earthenware
"Mustard Cacti" Glazed Ceramic Cactus Sculpture
By Keith Simpson
Located in Brooklyn, NY
Keith Simpson rather instinctively made ceramic cacti for the show. They were a last minute thought that evolved out of a daydream. Keith was musing about the possibility of moving t...
Category
2010s Modern North American Ceramics
Materials
Ceramic, Stoneware
Pair of Midcentury Ceramic Candlestick Holders by Bennington Potters
By Bennington Potters
Located in San Diego, CA
Beautiful and rare pair of ceramic candleholders by Bennington Potters, in beautiful condition nice color and design. In mustard and black design.
Category
20th Century Mid-Century Modern North American Ceramics
Materials
Ceramic
Modernist Collage Studio Pottery Bowls
Located in Brooklyn, NY
Impressive modernist studio pottery bowls, signed by Jill Peterson. Hand built with great skill from delicate porcelain, these large bowls feature an abstract decor in a bold and bri...
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Late 20th Century North American Ceramics
Materials
Porcelain
Studio Stoneware "Pigeon" Sculpture Attributed to Polk
Located in Brooklyn, NY
1970s stoneware sculpture representing a pigeon. Surrealist in style, with humanistic characteristics / physical features.
Minor loss to the brown glaze "straps" in the back.
Like...
Category
1970s Mid-Century Modern Vintage North American Ceramics
Materials
Stoneware
Monumental Clyde Burt Ceramic Lamp
Located in St.Petersburg, FL
A monumental and heavy Clyde Burt ceramic lamp, signed on the inside, circa 1960s.
Category
1960s Mid-Century Modern Vintage North American Ceramics
Materials
Ceramic
1960s Large Ceramic Mug by Bennington Potters
By Bennington Potters
Located in Sagaponack, NY
A substantial coffee or cocoa mug with golden matte glaze.
Category
1960s Mid-Century Modern Vintage North American Ceramics
Materials
Ceramic
"Galloping Horse" Art Deco Plaque by Waylande Gregory, 1940s
By Waylande Gregory
Located in Philadelphia, PA
Glazed in brilliant white, deep red, gold and black, this striking round plaque was made by Waylande Gregory, the renowned WPA sculptor and innovative ceramicist. Prodigious and inde...
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1940s Art Deco Vintage North American Ceramics
Materials
Ceramic
Mexican Burnished Clay Folk Art Ancient Pre-Hispanic Handmade Vase with Handles
By Silvia Martínez Díaz
Located in Queretaro, Queretaro
In the heart of the Sierra Norte Mountains in the state of Oaxaca, Mexico, the settlers found that this "cold place" gave them a very special gift, clay, with which they could use to...
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21st Century and Contemporary Rustic North American Ceramics
Materials
Ceramic, Clay
Earthenware John Bennett Plaque with Pink and Blue Phlox
By John Bennett
Located in New York, NY
FAPG 20247D
John Bennett (1840-1907), New York
Plaque with pink and blue phlox, circa 1881-1882
Earthenware, painted and glazed
Measures: 14 7/8 in. diameter, 1 13/16 in. high
Signed and inscribed (on the back): J B[monogram] ENNETT /
E 24 NY. / MC [or] CM
If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics.
A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally.
Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background.
Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years.
Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...
Category
1880s Aesthetic Movement Antique North American Ceramics
Materials
Earthenware
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