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CONTRIBUTORS

MRS, MAUDE CRIGLER ANDERSON -
MR. EDWIN ATLEE BARBER
MISS CAROLINE BONSAL
MRS. DANTE C. BABBITT
MR. MARSHAL FRY # # s
MISS E. LOUISE JENKINS 4
MRS. ANNA B, LEONARD » 2
MISS EDITH H. LOUCKS *
MISS KATHERIN LIVERMORE
MISS F, E. LINGERFELTER +
MISS MARY ALTA MORRIS ey
MRS. WORTH OSGOOD # #
‘MISS MARGARET OVERBECK |
MRS. HENRIETTA BARCLAY PAIST
MISS EMILY F. PEACOCK# uw
‘MISS JANET D. PULSIFER # ut
MRS. ADELAIDE ALSOP-ROBINEAU

_ MRS. FANNY ROWELL # #
| MISS CATHERINE SINCLAIR +
MRS, CARRIE STOW WAIT # #

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DES jae: pOrTER DECORATOR: Fier

AY | Coprrignte 1809, Bye e Ker amie ‘Studio o Pebliehing Co., s Sr racuse and New Werk. Entered at the Post Office wt tac acus eN, Y., as Second Clace Matter, Aug 2, 1899.

-{ The entire coments a this Magazine are cobered by the general copyright, and the articles must not be coer without special peranesin, ]

CONTENTS FOR MAY, 1901

oe heen
Editorial 1-2
Study of Milkweed (Supplement), Marshal Fry, 2
Blue and White Plate Design, Anna B. Leonard, 3
Sales of Greek and Chinese Pottery, 4
Milkweed, Henrietta Barclay Paist, 4-5
League Notes, Mrs. Worth Osgood, | 6
Club News—In the Studios—In the Shops, | 6
Steins of the Salmagundi Club, 7
Persian Plate (Second Prize, Historic Ornament), Edith H. Loucks, 8
Persian Plate (Second Prize, Historic Ornament), Margaret Overbeck, mG
Royal Copenhagen Porcelain, | 10-11
China Decoration on Furniture, Fanny Rowell,
Milkweed (Second Prize, Naturalistic Study), Mary Alta Morris, 12-13
Plate—First Prize, Modern Design, Catherine Sinclair, 14
-Roses—First Prize, Naturalistic Study, E. Louise Jenkins, 15-17-18
Pond Lily Design for Plate, Adelaide Alsop-Robineau, 16
Oyster Bowl and Plate—First Prize, Historic Ornament, Mrs, Dante C, Babbitt, 18
_ The Collector—Liverpool Plates, Bh ier am veh
Wedgwood or Wedgewood, Carrie Stow-Wait, "19-22
Some Scatce Anglo-American ee Edwin Atlee Barber, 22
Design for Plate, Caroline Bonsal, 22
Bouillon Cup and Saucer (Second Prize, Modern Doe), Emily F. Peacock, 22
Pyrography— Tiger and Game Cocks, - Katherin Livermore, 23
Bo-Peep Design, Janet D. Pulsifer, ee ip.
Belt, Purse and Card Casein Burnt Leather, _ Maude Crigler Anderson, 23, 25
Tulip Cup and Saucer, _F. E. Lingerfelter, here
Answers to Correspondents, ae sa 26

WE began with the January Number to issue a Galarer Supple-_

ment each month, instead of alternating with monotones as before.

The full retail price of these Color Studies for one year is as follows :

| Twelve Color Studies at 35c., $4.20. |
OA Subscription t {0 * Keramic see oe including these twelve Studies, $3. 50.

Vol. Ill, No. 1

NEW YORK AND SYRACUSE

May 1901

Hereafter the main office of the Keramic Studio Publishing Company will
be at Syracuse. All communications should be addressed to

KERAMIC STUDIO PUBLISHING COMPANY, SYRACUSE, N. Y.

Mrs. Alsop-Robineau’s address will be 180 Holland street, Syracuse, N, Y.

Mrs. Anna B. Leonard will represent the Keramic Studio in New York at
her old address, 28 East 23d street.

ITH this number we begin the third year of
our magazine and
made, it will plainly be seen that with each
year there has been a great improvement ;
we have given much more than we prom-

if comparisons are

_ CKD
ised, both in number and quality of designs, and we are
now issuing twelve colored studies a year instead of six, as
we proposed. Our subscription list is growing, and we take
this opportunity to thank our patrons for their interest and
encouragement in helping with the good work that we have
begun.. This has been a great delight to the originators,
and we feel that there is reason for congratulation, when the
artistic success (as well as financial) of the KERAMIC STUDIO
is so universally acknowledged, and has been attained without
the slightest hitch in harmony with those with whom we
have had to deal.

When we started, an editor of one of the art journals
made the remark: ‘ You will have your hearts broken in
dealing with the many difficulties that beset an editor.”
So far there has been no editorial hair pulling, but only a dis-
position on the part of every one to give us encouragement.
This has greatly added to success.

For the coming year we hope to have articles from Mr.
Arthur Dow, Mr. Marshall, Mrs. Carrie Wait, Miss K. C.
Budd, Mrs. Rhoda Holmes Nichols, Mr. Barber, and others of
distinction.

The publishing of the plate design in the April number
under Mrs. A. A. Frazee’s name wasa mistake, which we gladly
mention, giving all due credit to Beulah L. Frazer, who de-
signed it. The design is most charming and will be very
useful not only for a plate, but for other things as well, the
top of a bon bon box for instance.

)

We have received many letters expressing admiration
for our April colored study, (Miss Dibble’s pitcher) and we
delight in calling attention to the beauty of line, the fine pro-
portion of the bands, and the distribution of color. Of course
no colored study can do full justice to the beauty of trans-
parent colors on porcelain, and while the blue in the broad
band is not absolutely perfect, yet upon the whole it is one of
the best colored studies we have seen and it is good enough
to frame. Perhaps those who do not understand conven-
tional design may pass it over as being difficult, but the
artist has facilitated the problem by showing the proper
spacing and the proportions. The design may be utilized in

various ways—for instance, use the broad decorated space for
the rim of a plate, with the narrow decorated blue band on
the inside. Then the idea of the medalions may be carried
out in other forms. The original of all our colored studies

may be seen at our office.
@

Again the KERAMIC STUDIO extends its thanks and con-
gratulations to the kind friends who have helped to bring it
safely through its second year. The outlook is brighter than
ever. Everywhere an improvement is shown in decorative
china painting. The growth of feeling for the artistic in
Keramic work is attested not only by the rising interest in
underglaze work, but by the more decorative treatment found
in the overglaze.

Especially is the KERAMIC STUDIO delighted to note the
wholly unexpected number of original designs submitted for
its anniversary prize competition. There were nearly one
hundred and sixty submitted, hardly one of which but had
some merit of originality or technique.

Mr. Arthur Dow of Boston, now of Brooklyn, was asked
to act as judge, Mr. Dow being a recognized authority on
design, author of treatises on design and composition and
himself a landscape painter of note. He kindly consented
and the awards were made as follows:

For the best modern design adapted to some Keramic
shape, $10, Miss Katherine Sinclair, New York; second prize,
$6, Miss Emily Peacock, Brooklyn; third prize, $5, Miss
Katherin Livermore, New York; fourth prize, year’s subscrip-
tion to KERAMIC STUDIO, Mrs. Earle Sloan, Charleston,
S.C. Mentions—Miss Edith Loucks, Oak Park, Ill.; Miss
Alice Sharrard, Louisville, Ky.; Mr. Frank Browne, Tom’s
River, N. J.; Mr. Charles Babcock, Seneca Falls, N. Y.; Miss
Marie Crilley, Irvington, N. J.

For the best design adapted from Historic ornament $6,
Mrs. Dante C. Babbitt, Larned, Kan.; second prizes, $5 each,
Miss Edith Loucks, Oak Park, Ill., and Miss Margaret Over-
beck, De Pauw University, Greencastle, Ind.; third prize
year’s subscription to KERAMIC STUDIO, Miss Katherin Liver-
more, New York.

For best naturalistic study in black and white, first prize
$5, Miss Louise M. Jenkins, Columbus, O.; second prize,
$4, Miss Alta Morris, Columbus, O.; third prize, year’s sub-
scription to KERAMIC STUDIO, Miss Mariam Candler, De-
troit, Mich. Mentions—Mr. Julius Brauer, Chicago, Hl; Miss
Jennie Smith, Bridgeport, Conn.

We were so rash as to say in announcing the competition
that we would purchase all meritorious designs not eligible to
prizes. The KERAMIC STUDIO does not like to retract, but
there were so many meritorious designs that we were obliged
to limit ourselves to the purchase of about fifty of the most
meritorious. Weare pleased to note the liberal and broad-
minded manner in which most of the unsuccessful competi-
tors have received the awards. This fact-alone demonstrates
more than anything else the stride toward the real artist’s
standpoint, and another year we have no doubt these unsuc-

2 AERAMIC

cessful ones will have learned from this year’s awards and our
next twelve months’ instruction to do so well that their names
will stand as high as any, and if not they have shown that
they have the sense and spirit to “ try again.”

There was some doubt at first as to the awarding of the
prizes for naturalistic designs, as many of the best were not
adapted to keramic forms, but on referring to the KERAMIC
STUDIO we found it was not stated that they should be.
Two plate designs from Historic ornament were so equally
good that we were obliged to give two second prizes instead
of one. We give the first and second prizes in this number,
the third and fourth in the next, and the mentions in the suc-
ceeding numbers. Altogether we feel that we have cause to
congratulate ourselves and our readers on the goodly array of
designs which we have secured for the coming year, and it is
also cause for congratulation that the work refused was so
good that it promises well for the continuance of the work.

Doubtless many may wonder at the decision in regard to
prizes, as many of the second, third and fourth prizes are
much more elaborately executed than the first. In the first
place it is much more difficult to make a simple design than
an elaborateone. This sounds parodoxical, but is nevertheless
true. To make just the right form to fill the space without
having to add a little here and a little there is a difficult
problem. It takes art education of the right kind to bring
one to a realizing sense of the good taste of simple things as
compared to the elaborate. We have all realized this more or
less in regard to dress and other matters, but in art the very
affection we have for it misleads into adding one loving touch
after another until we have, so to speak, killed with kindness.
A design is perfect only when it would be spoiled by adding
to it or taking from it in the slightest particular. The
simplest things are always the best, but the commonplace
things, however simple, are worthless. Let your designs be
simple, but an expression of your own thought, not a slavish
imitation of some one’s else nor a thought common to every-
body. You can be original by making a design from a flower
as you see it, not as you remember that some one else drew
it. Be original, be simple.

We call the attention of subscribers to the change in club
rates. Hereafter the maximum discount will be 5oc. per sub-
scription on clubs of ten or more yearly subscriptions,

Many contributors send us designs in tubes, wrapped in
paper and closed at both ends. The result is that the P. O.
charges us letter rate. If your designs are not secure enough
in the tube, run a string through it and tie the string around,
but leave both ends open. Write on the address the mention
“ Artist's copy” and your designs will go at circular rates,
that is for 2 or 3 cents, instead of 12 or 15 cents, the greater
part of which we have to pay.

We have received the new catalogue of the Osgood School
with much new matter, especially instructions for use of paste
and enamel

Word has just come to us that the chief contributor to
our Collector department, Mr. Edwin Atlee Barber, has been
appointed to be the Curator for the Pennsylvania Museum
and School of Industrial Art, the post left vacant by the death

STUDIO

of Dalton Dorr. Mr. Barber is well fitted for his new duties,
and we bespeak for him great success in his new undertaking.

vr
TREATMENT FOR MILK WEED (Supplement.)
Marshal Fry

SE Black, with a small touch of Yellow Brown mixed
U with it for the grey of the down, and Yellow Brown and
Albert Yellow in the warmer shadows.
Shading Brown, Black and Yellow Brown.

Before painting the fluffy edges of the down get a bit of
the background started with Yellow Brown, Brown Green,
Royal Purple, Shading Brown and the new Auburn Brown.
Then with a large, flat, moist brush, wipe out the edges, also
the down on the flying seeds by planting the brush at the seed
and making a quick stroke outward. The blue at the top is
Aztec Blue with a bit of Black added.

Before firing and when color is quite dry after standing a
day or two, a beautiful quality of white can be obtained by
dusting Royal Copenhagen Grey and also a very little Copen-
hagen Blue over the edges of the down. Do not dust all
over the down, but on the. edges, as it is necessary to lower
the key of the white only where it nears the dark background,
For dusting use sterilized lamb’s wool (Surgeon’s Wool), and
the painted color should be dry enough to admit of bearing
on quite heavily when rubbing in the color. Over the back-
ground dust Yellow Brown, Brown Green, Meissen Brown,
Auburn Brown, Royal Copenhagen Grey and Copenhagen
Blue.

The second and third painting are similar to the first, and
the last time the article is dusted use a great deal of Copen-
hagen Blue over the browns in the background. It will
qualify them and make a good tone.

For the seeds use

aes
OUTLINING

BEGINNER needs much practice in making proper out-
A lines which are used in conventional decoration or
rather for flat designs. Any powder color (or even paste)
when mixed with sugar and water will make a beautiful out-
line with a fine pen, and there can be as much feeling in a pen
outline as a brush outline and it can be done in half the time.
If one will take Ivory Black in powder form, and add to it
one-fourth Dark Blue in powder form, then add either a little
sugar, (or else a syrup of sugar and water) thinning with
water, a perfectly fine and even line may be obtained. A pen
may be used also with colors ground in turpentine and
medium and for gold outlining. As the design is flat, the
whole character of the flower or form depends upon the out-
line; it should be firm and even, and show a certain snappy
crispness that only practice and familiarity with your subject
will give. A hesitating, thin, weak outline will ruin the best
of designs and give the work a very amateurish appearance.
It is absurd to call this part of the work mechanical, for one’s
individuality is plainly shown in every stroke, and a design
well outlined has no resemblance to the stamped work from
which many judge. There is a great wave of interest now in
everything done by hand which is encouraging to decorators,
who above all others like to feel that their work is appreci-
ated, and it is the avzzs¢t whose touch is never disguised.

¥ ¥*

Fat Gold. Gold to be used by the gilders which has been
fattened by the addition of fat oil.

ARERAMIC STUDIO 3

mag h
©)

BLUE AND WHITE PLATE DESIGN—ANNA B, LEONARD

HIS design is intended to be carried out in pale grey
blues, rather suggesting the tones of the pale blues and
gieys of the Royal-Copenhagen. Use Dark Blue (Lacroix),
alittle Ruby Purple, and a touch of black with one-sixth flux.
Mix enough of this combination for the whole design and use
it quite pale. Instead of having a darker rim around each
blossom as the pen and ink drawing indicates, an equally
effective treatment is to leave the space white with only a
blue outline.

This design may be carried out in red and gold, making
the blossoms with Capucine Red and a little Pompadour Red
(German) after outlining the whole design in a darker shade of
red (by using black). The dark space around the blossoms
may be filled in with gold. This treatment without a back-
ground will look too glaring, so soften the background by a
fine gold dotting or else use a fine all over pattern of gold.
Any color may be used or the design may be carried out in
copper lustre and gold.

4 ARERAMIC STUDIO

SALES OF GREEK AND CHINESE POTTERY

HERE was an important sale of Greek and Chinese pottery
i} a short time ago at the American Art Galleries in New
York.

The collection of Greek pottery and glass was imported
by Mr. Henry de Morgan and contained some extremely rare
and valuable specimens.
twenty-five to thirty terra cotta statuettes, some of the most
remarkable being the Leda from the Lecuyer collection, dat-
ing from the third century B. C., the group of Niobe and her
daughters from the same collection, and an Aphrodite of the
fourth century from the Castellani collection. There were a
large numbé& of decorated vases, including very early speci-
mens, such as an Jonian amphora and a kylix of the seventh
century B. C., most of them, however, dating from the sixth,
fifth, fourth and third centuries. Not less remarkable was
the collection of old glass, Roman and Greek, dating mostly
from the fourth century B. C., to the second century A. D.,

Among interesting pieces were

and including some marvelous iridescent pieces. We doubt
if the sale was much of a financial success, as prices were gen-
erally low.

The collection of Chinese potteries and porcelains was
partly formed from the collection of Yang Lin Sang, late
treasurer of the Pekin government, partly of specimens chosen
by Takee, the Shanghai connoisseur, others being from the
stock of T. B. Clarke, the New York dealer. As is always the
case there were together with a number of very fine genuine
old pieces, many modern imitations, the latter being from an
artistic standpoint as interesting as the real old pieces, but
not so to the collector. There are in New York to-day some
of the finest collections of old Chinese porcelains in the world,
and it must be said that New York collectors as a rule are far
from being inexperienced novices and know old Chinese as
well as some of the best experts.

But where is the expert on old china who does not make
mistakes sometimes, especially in the case of old Chinese por-
celains so cleverly imitated by the Chinese themselves. The
writer knows of a beautiful blue and white vase with the
mark of the Kang-he period which was pronounced by all ex-
perts as a genuine old piece. The inspection of the base of
the vase showed that it was the real old paste without any
doubt, and nobody would have suspected the piece of being
an imitation, if by mere chance the owner had not discovered
that the base could be unscrewed. This base was the bottom

of a genuine old vase, but the vase was an imitation, and the
work had been so cleverly done that it might have remained
undetected forever if the owner in handling his vase had not
accidentally felt that the bottom moved.

In all sales of this kind it is certain that a number of
counterfeits are sold for genuine pieces, but also that many
genuine pieces which are suspected of being counterfeits sell
at bargain prices. Prices were generally low in the Clarke
sale. The top figure $1,700 was paid for a soft paste enamel
vase 16 inches (Yung-Ching). We noticed also a peach blow
bottle 8% inches (Kang-he) at $1,400, a blue and white temple
jar 14% inches (Kang-he) $1,250, a sang de bceuf vase 16%
inches $1,125.

Among the most interesting and unusual pieces of the
collection were about a dozen vases of the Han period (220
B. C. to 200 A. D.), glazed pottery of a greenish color, the
glaze having almost disappeared under silvery incrustations.
It seems difficult to imagine that these pieces were not really
of the greatest antiquity. Has the art of counterfeiting been
carried so far by the Chinese that modern vases may seem to
be 1,000 years old? Itis doubtful. However all these Han
vases sold at comparatively low figures, the highest price paid
being $625, most of them selling for only $200 or $300. It is
worthy of notice that they were all bought by a dealer.

Among other pieces which sold at low figures we noticed
some splashed red vases, especially a tall gallipot vase, crimson
and deep purple, a wonderful piece from the potter’s stand-
point, but for some mysterious reason of little interest to col-
lectors, which sold at the ridiculously low price of $55.
Another, a beautiful amphora, of large crackle grey ground,
with remarkable splashes of deep red on both sides and near
the handles, too symmetrical to be kiln accidents, brought
$30. Anybody who is familiar with the difficulty of produc-
ing these deep red glazes (in fact the secret is entirely lost to
modern potters), will wonder at these absurdly low figures.

It will be interesting to collectors of Chinese porcelains to
know that one of the finest collections in England has been sold
to Duveen Bros. to be imported to this country. The day is
not far off when the student of old pottery, instead of going
to China or to the European museums, will have to come to
New York to find the finest specimens of the old Chinese art.

€

TREATMENT FOR STUDY OF MILK WEED
Flenrietta Barclay Patst

HE coloring of this plant is most restful and harmonious,
if a combination of greens and browns. It would be well
to model the green of outside of the pods with Copenhagen
for the first fire and wash with Moss Green, modeling with
Brown Green and Dark Green for the second. The inside of
the pods should have adelicate wash of Yellow Brown, mixed
with Yellow, and the little inner pod the same color, stronger,
and shaded with a Dark Brown, the stems are Green touched
with Brown, the older ones entirely Brown. For the seeds
use a rich Dark Brown, and the silk of the plant may be wiped
out of the fresh background with a sponge or pad. By treat-
ing the background with the same shades as used in the plant,
viz., Brown Green, Yellow Brown and White Rose (in place
of Moss Green), a soft harmonious effect is the result.

Etching. The process of eating away the glaze, or a part
of it, which is afterward covered with gold and gives a relief
effect.

MILK WEED—HENRIETTA BARCLAY PAIST

6 AERAMIC STUDIO

The present month marks the close of the
League’s third triennial, and we take this
occasion to glance over the work of the past
three years—work which has not always been inspiriting, but
which, taken as a whole, has certainly counted for progress.
The first year of the present triennial was devoted chiefly to
learning who our members were and where they were. At
its close, however, we had come to understand that in order
to make the League widely known and to establish it soundly
aS a representative organization the same vigorous, deter-
mined efforts for improvement must be made as would be de-
manded in attempts at individual self-improvement.

At the beginning of the second year the KERAMIC STUDIO
cordially invited us to use its columns for keeping League
members and other interested readers informed of the pro-
gress of our work from month to month. To be able to com-
municate thus directly with our members has proved a signal
privilege. The editors of the STUDIO renewed their generous
offer for the present year, and the reports and circulars with
which we have filled their columns, while they may not have
materially enhanced the value of the magazine, surely testify
to our appreciation of the editors’ courtesy.

During the past year and a half we have been seeking to
advance the interests of the League and its members by tak-
ing advantage of the opportunities offered to exhibit work in
different cities in this country and at Paris.

By invitation of the Chicago Ceramic Association the
League held its annual exhibition for May, 1899, at the Art
Institute in Chicago.

From Chicago this exhibit was sent to Omaha at the
solicitation of Mr. John R. Key, and there installed in the
Fine Arts Building.

In February, 1900, the League shipped to Paris an ex-
hibit of 256 pieces.

A small exhibit was made in June at the Milwaukee
Biennial Conference of the G. F. W. C.

Notwithstanding the delays and the disappointments
connected with the return of our exhibit from Paris, not-
withstanding the great expense attending the exhibition at
Buffalo, there is a good outlook for a strong exhibit at the
Pan-American Exposition. In face of all the discourage-
ments connected with these efforts the results seem fully to
justify our persistence.

Through various periodicals and newspapers the aims of
the League have become known and through the press we
have secured the hearty support of men and women desirous
of recognizing what is good and of encouraging all that is
worthy in the American arts.

The annual meeting and the triennial election of officers
will be held the last week in May at Buffalo. A programme of
unusual interest has been arranged, which will be issued later.
Men of influence in ceramic arts, potters, collectors, and con-
noisseurs, will speak, and it is hoped that a large number of
League members may have the pleasure of listening to them.
Mrs. WORTH OSGOOD, President.

LEAGUE
NOTES

The regular monthly meeting of the B. S. M. P. was held
at Mrs. William Main’s. Mrs. Worth Osgood, the newly
elected president, occupied the chair. The social programme
was most interesting. The subject, “The Value of Water
Colors in Ceramic Art,” was treated by Miss Josephine Cul-
bertson, who gave a short talk. At the March meeting plates
had been received from the Denver Club to compete with
those from the B.S. M. P., the given design being poppies.
It was the request of the Denver Club that they receive
criticism of their work. Mr. Paddock was invited to visit the

April meeting of the B. S. M. P. to criticise. It was not only
an interesting but valuable criticism that our society listened
to. Miss Drake gave a sketch, “ Fannie Barlow ;’ Mr. Solon,
illustrations. Mrs. Ralph’s young daughter, Miss Alice
Ralph, favored the club with two vocal selections.
MARY LOUISE CLARKE,
Recording Secretary.

e@
CLUB The Mineral Art League of Denver held
NEWS its twelfth annual exhibition in April at the

Brown Palace Hotel. This is next to the
oldest keramic club in the country (the first being the Cincin-
nati Pottery Club) and was founded in 1889 by Mrs. Anna B.
Leonard, and has since continued its club work, taking an
active part in the League and all exhibitions. Last year
their exhibition included a collection of rare and costly
antique porcelains, and this year there will be an exhibit of
modern keramics.

The Paris exhibit of the Atlan Club of Chicago has been
placed at Tiffany’s for exhibition.

The New York Society of Keramic Arts enjoyed its
fortnightly lecture by Mr. Arthur Dow April Ist at the studio
of Mrs. Robineau, the members continuing their course until
May Ist.

The Jersey City Club was fortunate in securing Marshal
Fry at their last meeting, who gave a practical demonstration
in designing and painting a vase.

.o)
JN THE Mrs. Tromm has been carving and etching
STUDIOS panels for a home in Shelter Island. This has

kept her closely confined to her studio, but
the order is about completed and she is now receiving pupils.
We understand that this is a thousand dollar order, and con-
gratulate Mrs. Tromm upon her success in bringing her work
to such a fine standard that it commands attention from
architects and artists.

Mr. Caulkins of Detroit, and Miss Mary Chase Perry are
in New York, making experiments on pottery and underglaze
firing with the new Revelation kiln specially constructed for
high temperatures. The experiments are made at the New
York School of Pottery, directed by Mrs. Poillon. Everybody
is watching with the keenest interest, and we will give an
account of the result inournext number. A successful under-
glaze studio kiln will cause a revolution in pottery decoration
by amateurs.

The headquarters of Miss Montfort’s School of China
Decoration will be in Buffalo for the summer, but the New
York studios will remain open under the direction of Miss
Pierce until June ist. We haveno doubt that many students
while visiting the Fair will be glad of this opportunity to
study with a New York teacher.

e
JN THE A delightful quality of white undecorated
SHOPS Japanese ware may be obtained. It comes in

the shapes of beautiful bowls and vases, and
has a small, even crackle, enhancing the beauty of the surface.
This is especially attractive for the flat enamel.

The new color effects from Rookwood are now on exhibi-
tion at Collamore’s, and we hope students may have the ad-
vantage of seeing them.

The undecorated china is becoming more plain and the
shapes better and there is a tendency to work on smaller
things, having a piece that shows quality rather than quantity.

EB. L. HENRY.

A. G. PLUMB.

CHARLES WARREN EATON.

CHARLES VOLKMAR.

STEINS OF THE SALMAGUNDI
CLUB

UR readers will remember our arti-
C) cle in May 1900 number on the
steins of the Salmagundi Club. Every
year twenty-four steins are decorated
by the members of the club and sold
at auction, the proceeds to be devoted
to the Club’s library. These steins are
turned and fired by Mr. Charles Volk-
mar, decorated on the clay and left
neatly unglazed, being only finished
with a slight smear glaze. Besides their
artistic merit, these steins will, un-
doubtedly, be some day very valuable
to collectors.

This is the third year the sale of
steins has taken place, the twenty-four
steins bringing $525. We are pleased
to illustrate some of them on this
page.

POTTERY AND PORCELAIN

The distinction between
pottery and porcelain is evi-
dent to every person with
the least bit of observation.
Pottery is made from baked
clay, and though frequently
glazed, is always opaque.
Porcelain, though its chief
ingredient is the same sub-
stance, is mixed with a fusi-
ble material which, combin-
ing with the infusible clay,
results in making a semi-
translucent substance which
is afterwards glazed or other-
wise decorated.

L, F. HURD.

CHARLES J. SINDELAR.

F. L. MORA,

8 AERAMIC STUDIO

SECOND PRIZE, HISTORIC ORNAMENT—PERSIAN PLATE—EDITH H. LOUCKS

HIs design is treated in flat enamels of a dull Persian
i color scheme. The background is of a dull blue tint,
the fine dotted portions are an olive green tint, the dark por-
tions a dark blue enamel. The white parts of figures and
border a light green or yellow enamel. The background of
the conventional flower is a soft light yellow tint. The orna-
ment is bordered with green enamel. Use yellow, blue, white

and green, with touches of red in flower forms. All in
enamel.

The small flowers and scroll in the background may be
simply outlined in black or in enamels. The jewels are white
Outline all of this design in black. The dark part

of the border may be of green in the dark portion of the outer

enamel.

edge for variety.

HRERAMIC STUDIO

SECOND PRIZE, HISTORIC ORNAMENT—PERSIAN PLATE—MARGARET OVERBECK

HIS design is to be carried out in flat enamels, color and
iii gold, scroll forms in orange outlined in black and dark
blue. The darkest part of designs in background gold or
bronze, also the band at edge.
enamels, dark blue for flowers at either side of large sec-
tion, deep red brown, and a little deep purple for flowers

Flower and leaf forms in

in middle of large and small sections, all edged with a
narrow band of turquoise blue enamel, with two shades of
green enamel for leaf forms, all outlined in deep red brown
and a little deep purple. The small flower turquoise blue.
Rest of background greenish blue, lighter and darker as indi-
cated in design.

1 Mr. C. FB. Lussere.

8 Mr. C, MORTENSEN.

2
4

Mr. G. RODE.
Miss M. Hogst.

RERAMIC STUDIO

Miss J. MEYER Muss A. SMIDTH Miss T. MEYER Mr. G. HEILMANN Miss A. SMIpTH

ROYAL COPENHAGEN PORCELAIN

. Y courtesy of Mr. Dalgas of the Royal Copenhagen Manufac-
tory, we have the great pleasure of offering to our readers
some selected illustrations of the latest work done by the
Danish artists. Many more photographs were sent to us.
Lack of room prevents us from reproducing them all in this
number, but our readers may be sure that we will give them
later on, as every piece is interesting and suggestive, a lesson
to the decorator. So much has been said in regard to Copenhagen porcelain,
its beauty of texture, the charm, refinement and infinite variety of its decora-
tion, that it is unnecessary to repeat that this manufactory occupies to-day
the foremost rank among the artistic potteries of the world. At the Paris
Exposition, it was honored with two grand prix and two gold medals, and
in the jury’s classification of the relative value of different factories, was
placed before all others, Sevres alone excepted.

For the history of the manufactory and the processes of fabrication and
decoration, we refer to our article in issue of May, 1900. Nothing is appar-
ently simpler than these porcelains. A little grey, blue and green, and some-
times traces of a soft faded red; that is all, but these few colors are used with
such a thorough understanding of decoration, such a wonderful technique,
that any one familiar with the difficulties of handling underglaze colors fired
at very high temperatures, wonders at the perfection of the work and minute
precision of details.

From an artistic point of view, it is probably an advantage that so few
colors will stand the high firing of porcelain, as it gives the pieces and the
decoration the mark of a very refined art. The principle which has always
guided the Danish artists and explains their phenomenal success is that the
artist must conform the decoration to the material which he uses, so that the
decoration and material must make one. As Mr. Dalgas expresses it in his
letter to us, porcelain is the refined, beautiful female keramic body, which
suffers no raw or violent treatment, as its peculiarities are grace and distinc-
tion, and it is certain that the use of these few shades adds greatly to the
refined charm of the whole.

Quite different are the other keramic products, and if we should follow
the suggestion of the Copenhagen artists to classify them by sexes, we would
have as the extreme opposite of porcelain, the keramic stoneware (grés
of the French), so much used now by European potters, the body of robust
shapes, powerful modeling and intense coloring, the true ma/e keramic body,
whether it is used in the making of vases or in architectural decoration.
Between porcelain and grés stand the sexless faience, the bodies of soft clays
and lighter firing, with their unlimited possibilities of decoration. We find
them as delicate and refined as porcelain in Rookwood, sober and dignified in
shape and color in Grueby, a magnificent display of colors in the single color
pieces of the old Chinese, a charming combination of artistic design and color
in the old European faiences, Delft, Rouen, Nevers and others,

ARERAMIC STUDIO

Miss J. MEYER Miss M. HorrRsT Mr. N. M. FISCHER Mr. G. RoDE B., NATHANIEDSEN

It is to be noticed that if artistic faiences have attained a rare degree of
excellence in this country, especially at Rookwood and Grueby, g7vés remains
very little used, and porcelain manufacture has been confined to the making
of ordinary tableware. Europeans have thus far the monopoly of artistic por-
celain, but there is no reason why it should be so, as we have in this country
large deposits of kaolin and all materials necessary for the manufacture of the
best porcelain. We hear so much about the founding of schools of pottery,
and there is among our decorators such a strong feeling that the time has
come to give up the old styles of decoration and to turn to more serious and
thorough work, that undoubtedly the next generation will see the birth of
artistic porcelain manufactories on this side of the Atlantic. To the artists
who will undertake this work, the Copenhagen ware will be a constant source
of inspiration, not that it will be necessary or desirable to imitate them. The
Copenhagen style of decoration is essentially Danish, and should be left to the
Danes. The possibilities in decoration are unlimited, but the principles which
underlie true decorative art areimmutable. Two of these principles as applied
to keramics are, first that decoration should be adapted to the body in use,
second that it should be fired at the same temperature, thus forming with it
a complete and harmonious whole, and these two principles have been the
constant guide of the Danish artists. There is a third principle quite as
important as the others, which they seem at times to forget, it
is that the decoration must remain conventional, that a too faithful copy
of nature is not true decorative art. This has been the great mistake of over-
glaze decorators, and it seemed that underglaze decorators, with their limited
use and control of colors, the impossibility of retouching and refiring, would
be forever saved from the great temptation of copying nature, of making
painting and miniature instead of decoration. But the Copenhagen artists
have acquired such a skill in the control of their colors that they more and
more incline to naturalistic effects. This will be apparent to our readers, if they
compare the reproductions of Copenhagen pieces which we gave last year and
our illustrations in this number. The color effects remain necessarily con-
ventional, but the decoration becomes more and more true to life. The effects
are exquisite and the skill marvelous, but it is a dangerous tendency and we
would like to see these clever artists remain within the broad lines of conven-
tionalism.

Among the pieces which we will illustrate later on, are interesting pieces
of modeling, especially animals, lions, seals, tigers, &c., exquisitely modeled
in the beautiful porcelain paste of Copenhagen, also vases with crystalline
glazes. The beauty of these glazes, which have been made by different pot-
teries, Copenhagen, Rookwood, Sevres and many others, is, unfortunately,
entirely lost in the photographs. Another kind of glaze, quite special to
Copenhagen, is what they call their catseye glaze, a chatoyant brown glaze,
having very much the appearance of the stone known as ‘‘catseye.” This is
very difficult to make, and although the Copenhagen chemist, Mr. Engelhardt,
has known for six years how to make it, only six pieces have come out of the
fire successfully, and are unique and priceless specimens.

5 Mr. G, Rovg,
7 Mr. G. RODE,

6
8

Mr. St. USSING.
Mr, G. HEILMAN.

CHINA DECORATIONS ON FURNITURE
Fanny Rowell

OMBINING china decorations with the Verni
Martin style of furniture in really tasteful
ways, requires a knowledge of the way
Verni Martin employed the Watteau
style of painting in his decorations. Also
innate taste must guide in reproducing the
ideas. The tone given to the gilded furni-

ture is of the greatest importance. The furniture should be
of the French, Louis XIV. style, if possible, with carved legs,
and as dainty as can be found. Pieces could be made
especially by a cabinet maker, or by home talent, and left un-
varnished for the decoration, and new furnitures may be
bought that are made in excellent shape, well put together,
but not finished as we would enjoy using them; of ugly color,
that we can change by our decorations, but even if they are
not of lovely shape, china closets, small desks, and quaint
tables may be changed into beautiful pieces of furniture. If
they have something of the daintiness of French shapes, it is
astonishing to find how exquisite they are when they lose the
glare of their factory freshness, and are toned and painted
with artistic skill. Curved and mirrored pieces of furniture,
bought for a small price, may be so treated that they become
art treasures.

You may possibly find suitable pieces in your garret, or
in the garrets of your friends, discarded because they are ugly.
Many old pieces of furniture were made of quite ordinary
wood and stained with time, never having been worth the
polish of mahogany, but being in good shapes they are excel-
lent for decorating in the Verni Martin style. Leave the fine
old wood in stately elegance, but to the poorer wood that has
found its way into good shapes apply a coating of gold paint,
rub down with emery paper, apply a second coating of gold
paint, and rub again to get quite smooth. Then tone by
rubbing into the surface terre verte in oil colors in some
places, and in other parts, burnt sienna. The greenish
tone should predominate on the gold. The landscapes usually
take ona sienna tone. Decorate with palette of oil colors,
The decoration almost makes over a shape. The result does
not seem to depend so much upon the shapes as upon the
decoration, for an ugly shape skilfully treated may become
graceful. Ignore angles. Get away from them as you would
from everything unlovely. Change angles in the shapes by
curving the decorations. Scrolls forming panels, borders, and
holding festoons, beautify a shape immediately. Varnished
furniture should be sandpapered before the gold is applied.

What kind of gold or lacquer?

Just ordinary gold paint and liquid, not the precious ma-
terial, the real metal, we use on china. Not having to go
through the fire, the quality is not so important. It becomes
mellowed by time, and more beautiful in tone. The object is
not to get a brightly gilded piece of furniture, but one having
lovely tone of gold with old faded decorations. The art stores
and paint shops sell the gold and medium. Buy both in quan-
tity. The work may look crudely bright at first, the toning
with terre verte and sienna in places will bring it into harmony.

Tiny roses and forget-me-nots in sprays are used abun-
dantly on the furniture, in panels, on borders, in bouquets, in
horns of plenty, and in festoons. Tone the painted flowers
with terre verte, slightly rub over with sienna, if too clear
and bright. When dry, varnish and oil. If the varnish
should crack, it gives an excellent effect. Wax to a fine

LS
pan. GF )

i2 RERAMIC STUDIO

polish. Verni Martin gave to the wood work a very high
polish, which may be imitated by using white varnish over the
gilded and painted wood and afterward polishing with wax.

This style of rich furniture brightens a room. It is so
decorative and bright, so dainty and altogether charming that
it is well worth the work of decorating. The china panels
that may be inserted are highly ornamental. French china
panels come in oval shapes, of many sizes, and when finished
should be inserted in the wood, and kept secure with borders
of brass. The brass comes by the yard, and may be bent
around any shape. Brass binding may be used lavishly on
the furniture, and should also be toned with terre verte and
sienna.

Large china panels or tiny ones may be placed in the
furniture, as centre pieces of panels, under handles, or at regu-
lar intervals on borders.

Cabinets made after shapes of Sedan chairs may appro-
Paint French landscapes
on the china as if seen through arbors with the foliage of the
arbor in the foreground, and paint figures, if you are profi-
cient, of love lorn swains and maidens, or grand ladies with
powdered hair, and the attendant courtiers that go to make up
that Boucher and Watteau period of romance.

Have the china tone in well with the color of the decor-
Fire

priately have these panels inserted.

ation about it. Tone it down to sienna and browns.
for a high glaze.

Table tops have been beautifully painted, but often
foolishly mounted. They should be considered as only large
panels and placed in furniture accordingly. With one large
circular table top, or with tiles a useful table may be made.
Set into a wooded table with plaster of Paris and water.
Firmly set the china becomes a useful table—a chafing dish
table perhaps, not merely a pretty stumbling block for orna-
ment only. Such a table with tiled top is excellent for wood
carving or wood burning.

Tiles set firmly on furniture with brass finishings can
scarcely be broken. Even the small panels are permanent, for
they are against a solid background, and protected by an
edge.

The finest of gold work, paste and enamel may be put
The more exquisite the better for combin-
Panels of china to combine

upon the panels.
ing with Verni Martin furniture.
with burnt wood may be treated in a heavier and darker way
if the wood is to be kept dark. The style of the design of
furniture and carving must guide the work on the china that
ornaments it. Very elaborate work and picturesque treat-
ment suits the gilded French furniture.

me
TREATMENT FOR MILKWEED DESIGN
Mary Alta Morrts

OR the most prominent pods use Yellow Brown, Brown

Green, Finishing Brown, light. Air Blue in high lights.

For seeds use Meissen and Finishing Brown. Ivory Yellow

for silk like down, shade with Grey for flowers, taking out

high lights white. Paint some of the less ripe pods with Yel-

low Green, Yellow Brown, Brown Green, adding a touch of
Black to green for grey tones.

In retouching strengthen above colors making them
warmer or cooler in tone as required. Avoid getting
them too brown, or green, keeping more in the grey tones.

Lay in background with Ivory Yellow, Air Blue and
Pompadour, shading in browns and greens at base.

STMAOW VLTV—daeMNTIM—ACALS DLLSITVUN.LVN ‘AZIad GNOOAS

14 KRERAMIC STUDIO

FIRST PRIZE, MODERN DESIGN—CATHARINE SINCLAIR

HE treatment of this plate is very simple. Divide plate ruby purple and deep blue green, not forgetting flux. Paint
lle into six parts and trace in design. Then wash in color, in without shading making the flowers . a little lighter in color.

a light grey blue being desired. If a darker tone is desired use same color and fire ae
For color, mix dark blue (Lacroix) with a little black, time.

=_—s" 7 a

RERAMIC STUDIO 15

FIRST PRIZE, NATURALISTIC STUDY—E, LOUISE JENKINS

16 RERAMIC STUDIO

POND LILY DESIGN FOR PLATE—ADELAIDE ALSOP-ROBINEAU

HIS design is suitable for a salad plate or could be adapted
| to entire service for country house.
effective in Copenhagen Blue.

For treatment in color make border Copenhagen Grey,
lily white with flat shading of Copenhagen Grey and touch

It is particularly

of Royal Green and Copenhagen Blue; center Albert or
Orange Yellow; leaves and stems, Royal Green and Copen-
hagen blue mixed to make a bluish green If color comes out
too brilliant tone with Grey for flowers. outline in Shading
Green or Dark Green.

Rey

KERAMIC STUDIO PUBLISHING CO. MAY SUPPLEMENT

HERAMIC STUDIO 17

TREATMENT FOR ROSES

LE. Louise Fenkins

A FEW GENERALITIES.
NE of the many things needful in china, as

Hf OE
SOE

PEG Wy well as other painting, is to centralize the
LN es design, Recognize the “feature” and
‘oo a ~S 4 “ s 4
= never again lose sight of it. By finish-

ing up in this piece the individual roses
to equal value the design at once takes ona flatness that rivals
the surface of the plane. In naturalistic painting strong con-
trasts spotted here and there and all about, destroy the depth
of the mass and take away all the atmosphere at one blow.

The two roses in the centre of this piece are the “ feature’
and all else must subserve to them. This, however, does not
mean that the ‘all else’’ may be less thoughtfully painted—
quite the contrary—for things suggested are even more diffi-
cult to do than the ones that define themselves. Their sec-
ondary position must not be an excuse for their being ‘half
done” or neglected, but the effect must bear evidence of
being thought out and wholly intentional.

Avoid always—in a background—a “‘coat of many colors.”
A background must as the name implies, be kept strictly
back. It will be an advantage in working out this design to
put in the background first, which of course necessitates an
open oil, and sufficient fzme to complete the piece for first
firing in one sitting. By this plan dividing lines will be soft
and harmonious that are otherwise often as sharp as glazed
paper edges. A double advantage is gained by allowing the
ground color to slightly infringe upon the outlines of the
drawing, as by painting into it the lines are softened and the
objects partake of the colors surrounding. The harmony is
then better. The background on light side of oval may shade
from brown green at the top, into soft grey by the roses, made
of Copenhagen with a little rose and lemon yellow in it to
keep it from being blue; thence into lemon yellow toned
down with yellow ochre and brown green with just the slight-
est flushing of Pompadour. On dark side use brown green
with yellow ochre and shade into dark brown (Bischoff’s) and
ruby at the top of oval.

It is better always in painting a design on china to begin
with the flowers and leaves that are wzdev and in shadow and
This insures better

keep working up to the prominent ones.
edges and proper places. Therefore, begin with the red roses
at the top, and paint them for the first firing with ruby in the
lights, and Roman purple and dark brown in the shadows,
allowing them to be quite lost in the brown and ruby ground.
The rose between the red and white ones, will serve as a half
tone and should be painted with rose on the light side and
ruby and brown in the darks, blending, as do the others into
the colors above. Retouch with tuby, Roman purple and
dark brown. The two white roses are the central feature.
For the shadows use Copenhagen with a touch of Roman
purple and lemon yellow, intensified for retouching with a
trifle black and Russian green. The centres are yellow, toned
down in second and third painting with yellow brown and
brown green, and in the finish a nice little touch of brown red.

The open rose by the white one, is a delicate creamy
pink, ivory yellow on the upper, and rose on the lower edge
with yellow rose and brown green for the centre. A little
brown red on the stamens and pollen will tone it up to the
white roses. The two indistinct roses on left edge and the
half blown one are of delicate rose and ivory. They must be
softly painted and blended into the gray ground, a light pow-

dering of Russian green will make them quite unobtrusive,
prettily transparent, and produce an atmospheric effect. The
painting must be dry enough to take but little of the Russian
green or the effect will be gaudy. The two roses on the lower
edge of the oval, being separated from the rest of the design,
may be in yellow that scarcely defines itself from the yellow-
ish background. Retouching with warm gray, yellow ochre
and a very little Pompadour—and gold gray for stamens—
will keep them quietly in their place.

The leaves should be rather flat and simple, The soft
gray ones are made of deep blue green, with a little brown
green, the delicate ones near the roses of Copenhagen and
rose and lemon yellow. For the green leaves use moss green,
retouch with brown green and deep blue green. Paint the
stronger ones with brown green, retouch with brown green
and dark green, but let the leaves generally, especially on the
dark side of the oval, be almost lost in the background. In
no instance must one feature of the painting be independent
of the others, a// must partake of some of the coloring of the
surroundings. The leaves by the red roses must have some
purple reflecting on them, and so it is with the white roses,
and indeed with everything. Herein lies the charm or discord
of the finished piece.

Powder the red roses with Roman purple and dark brown,
the dark brown green portion of the background and the roses
cutting into it with brown green, dark green and a little
Roman purple, and near the yellow roses at the lower edge a
light dusting of yellow ochre will be effective. And remem-
ber, always keep the edges soft.

WATER COLOR.

Have the paper well soaked, so it will lie flat on the
drawing board, but blot the superfluous water off the surface.
Locate the main feature; study the coloring for the design,
and make first your mental picture. Beware of detail, the
stumbling block that lies in all roads that lead to pictures.
But on the other hand, do not clear it too broadly lest you
may be accused of never having known it.
in masses of light and shade.

Paint simply, and
A careful) drawing is the first
sure step in the right direction, the next is never forgetting
fora moment that every leaf, rose and color must feel and
show the influence of its nearest and often mex? nearest neigh-
bor. Keep the values even throughout the working by quickly
suppressing the slightest indication on the part of any rose
leaf or bud to become discordantly prominent.

Begin with the white roses, keep the lights clear and the
edges true. It is, you know, in this medium, easier to em-
phasize than to obliterate. For the shadows in white flowers
use cobalt, rose madder and lemon yellow, with a little black
to intensify, in the positive shadows.
painted with rose madder, a little carmine to strengthen,
and sometimes purple lake to keep them from being too
The grays on pink roses should be put in after the
body color has set, or the transparency may be destroyed.
For the red roses use carmine for the first wash, to give what
brilliancy they require, retouch with purple lake, and purple
lake and olive green for the darks. If they are still too bright
a flat wash of cobalt with a touch of purple and black will
subdue them. The yellow roses at the lower edge of the oval
are painted with lemon yellow and the shadows are gray
rather than golden or brown.

Keep the background in gray and soft gray greens in the
light portions near the pink and white roses, warm it up a bit
with yellow ochre near the lower edge and the yellow roses,

The pink flowers are

strong.

18 RERAMIC STUDIO

at the top olive green with purple lake, add a little indigo and
burnt sienna in the deepest tones.

For the tender green leaves use emerald green with lemon
yellow, but as a rule, keep the leaves simple and flat and
rather more gray than green. The addition of a little purple
lake, or sometimes carmine, will tone down the brilliancy and
crudeness of green. In this design pink (La France) roses
would make a pretty substitute for the white ones.

Harmony is progressive construction. It is constructing
by proper progressive stages, and there are two kinds of har-

mony, the harmony of contrast which we note in the dress of
the Oriental woman of coppery skin, and blue and green and
yellow in her raiment, and ¢he harmony of analogy, which
means the harmony of related parts, colors blending inco
shades and hues and tints as clouds blend as the sunset forms
its colorings.

The harmony of analogy can be very easily undertaken.
Ihe its. ai blending of the reds, and from the reds to the oranges,
and from the oranges to the yellows, and so on; from blacks
to the grays and from the grays on to subtle hues. It is
toning.

FIRST PRIZE, HISTORIC ORNAMENT—OYSTER BOWL AND PLATE—MRS. DANTE C. BABBITT

UTLINE entire design finely with paste. Make dark part
() green bronze, scrolls green gold, and bands plain gold,
and gold handles on the bowl. Either leave the center of
plate and lower part of bowl plain or tint a delicate green,
for which use apple green. Finish inside of bowl with a plain

gold line the same distance from the top as the first line on
the outer part. Or the design may be outlined in paste, dark
part gold, scrolls Empire green, excepting the central figure
or part of scroll which should be plain china, also the two
bands may be plain.

RERAMIC STUDIO 19

THE COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE BY SUBSCRIBERS
(When pieces are sent by express, expressage is paid by buyer.)

For further particulars, address Keramic Studio Publishing Co.
Syracuse, N. Y.

p. ¢.—perfect condition.
g. c—good condition.
f. c.—fair condition.
. 2.— perfect glaze or color.
g. g.— good glaze or color.

rep.—repaired.

cr.—cracked,.

ch —chipped (state number of chips).

sm. ch.—small chips (use only for very
small chips which do not
spoil the piece).

br. x.—broken, piece missing.

br. o.—broken, can be repaired.

a
£ g.—fair glaze or color.
b, g.—bad glaze or color.
er.—scratched.

STAFFORDSHIRE
Erie Canal, Dewitt Clinton, plate, 834-inch, fine specimen, -

$32.00
Another, 83¢-inch, slight crack on edge, - - - 20.00
Anti-Slavery plate, 94-inch, p.c. and g., - 2 2 25.00
Union Line Steamboat, dark blue plate, 9-inch, p. c., - 20.00

City of Albany, dark blue plate, 10-inch, crack on one side. = 18.00
Landing of Lafayette, dark blue plate, to-inch, p.c. andg., -

States plate, to-inch, fine color and glaze, rep., - - -
Escape of the Mouse (Wilkie), dark blue plate, ro-inch, rep., fine color, 12.00
Commodore McDonough’s Victory, dark blue plate, 7%-inch, p. c.

and g., > = = r - - - 10.00
Hudson River, black platter (Clews), Io x 11, g.¢., - - 5.00
Lake George, pink platter, 10 x 11, 2 chips, - 2 - 2.50
Caledonian deep plate, ro inch, pink, p. c., and g., : 2.00
5 Pastimes plates, as illustrated, lot, - = - - 5.00

LUSTRES
Silver lustre sugar bowl and creamer, g. c¢, - 5 $10.00
Silver lustre bowl, 6%4-inch diameter, g. c., fine lustre, = 8.00

Copper lustre pitcher, 5 inches high, 1!4-pint, flowers on white band at
COP; Se. C5 - - - - - - -
Copper lustre creamer, 3%-inch, polychrome dec. on white band, g.c., 2.50

Cup and saucer, flower dec. in lustres, - - - 1.00
MISCELLANEOUS
Swansea porcelain tea set (date 1800 to 1820), tea pot, sugar, creamer,

6 cups and saucers, pink lustre border, black medallions, g. c., 18.00
Lowestoft cup and saucer, - - - ‘ - - 2.50
Another, - = - =f ; - - : 2.25
Lowestoft 9-inch plate, scalloped edge, gold and red dec., p. c., 3.00
Lowestoft sugar bowl and cover, slight cr. on edge. - ; 5.50
Another, cr., and one small chip, f - 3.50
Lowestoft helmet creamer, perfect, 4-inch, = z 6.50
Old Worcester plate, Chinese mark, birds in center, cobalt blue border

perfect, = - - : 7 3 c 10.00
Delft polychrome placque, very good specimen, = - 2 8.00
Delft blue and white plate, 9 inch, = - 2 2.00
Delft polychrome plate, 9 inch, - 3 : - - 2.50
Another chipped, = 2 - - = - - 1.50

Our exchange column is open free of charge to subscribers. From subscribers
only we will also be pleased to receive orders for special specimens, and will try to
fill the orders in New York shops, at or inside of limits given, charging only 10 per
cent. commission on purchases.

We advise subscribers who list old china for sale to consign the pteces to
us, when possible, as it will make sale easier, they paying express charges.

000
LIVERPOOL PLATES

N our December number Mr. Edwin A. Barber wrote an
| illustrated article on Liverpool plates and platters. These
are of great interest to collectors because of their rarity, most
of the black prints on Liverpool ware being found on pitchers
and bowls. By courtesy of one of our subscribers, Mrs. Chas.
Keeler, we give here the photograph of another remarkable
plate, Washington's Tomb. This subject had been found be-
fore on pitchers, but we think it is the first time that it is
mentioned on a plate. In the background is the tomb with
the plainly legible inscription, ‘‘Sacred to the memory of
Washington.” In the middle of the plate the figure of Fame
is seen running, carrying in one hand an olive branch, in the
other the escutcheon of the United States with the fifteen
stars. In the foreground the American eagle raises its head.

In front of the eagle is another escutcheon with the fifteen
stars and a ribbon scroll bearing the motto, “ E pluribus
unum.”

The history of this plate is that it was found in a wreck
off Cape Ann, Mass., at the beginning of this century, and
As

was one of the very few pieces found in good condition,

will be seen

on the photograph,
scratches and chips, it is well preserved, the black print in
the center being remarkably clear and good. On the back of

notwithstanding slight

the plate is the impressed mark “Herculaneum.” Most of
these Liverpool pieces bearing American subjects were sent to

this country in 1804 and following years.

000
WEDGWOOD OR WEDGEWOOD?

HE name of Josiah Wedgwood is inseparable from the
history of pottery, but to the average mind is always
associated with the variously colored specimens, usually blue,
bearing white figures in relief. In the history of the potter’s
art no man is better known nor has the life of any other potter
been more thoroughly written. As a worker, thinker and
artist he has a pre-eminent place, and there is little in his life
that is not worthy of study and imitation. He has always
been an inspiration to the artist and an encouragement to the
man who works at the potter’s wheel. There is no progress
without failure and no success without experiment, but to the
observer it looks as though Josiah Wedgwood attempted
little that did not bring forth fruitful results. This is easily ac-
counted for by the fact that he mixed his clay with brains,
and was not contented until he had achieved the best. In
his very earliest experiments no piece was allowed to pass
from his hands unless the modeling was perfect. In observ-
ing the work of other men of his times and later we can but
admire a spirit that tolerated only the best, and allowed no
faulty pieces to pass from his works. During the life of this
man no seconds passed out of the pottery. The great variety
in his work came from the restless mind of the thinker which
always reaches forward to new results. His scientific inquiry
is brought out in correspondence and his friends soon learned
that his comparatively narrow field of art was broadened bya
philosophical mind. He gained his results by personal effort.
The Wedgwood collector soon learns that the most familiar

20 HRERAMIC STUDIO

PASTIME PLATES

relief work associated with his name was but one of many
styles produced by this potter, and soon comes to regard the
beautiful cream paste of Queen Caroline’s period as un-
rivaled now in this age of progressive art. Frederick Harrison
in a recent lecture speaks of all art of the present day as lack-
ing in originality and takes a pessimistic view of present art
conditions. If it is true that art is entirely imitative then let
us follow the best, and we can find nothing better than the
spirit of Wedgwood to bring out of imitation, originality. It
would be an advance step to-day if instead of much of the
cheap and gaudy table furnishings we could find a substitute
in the soft cream undecorated paste of Queen Caroline's day.
I have often emphasized the fact that good decoration upon
poor body is a waste of time and poor art.

There has just come into my possession two hand
modeled cream white hot water dishes of early Wedgwood.
One of these dishes has a tiny brown band to emphasize its
perfect lines. They are eight and ten inches in diameter ;
are in one piece but hollow, and with a hole in the center into
which hot water may be put, having a slight incision from
which the water can be poured. Two simple but shapely
handles adorn these pieces and their chief attraction is not in
any decorative quality (which is entirely wanting,) but in the
beauty of the paste and the perfection of form.

In studying J. Wedgwood’s life we are somewhat sorry
to find that deserving as he is of our respect and admiration
the human weakness shown in his persecution of Richard

Champion casts a shadow over his career. In recalling the
valuable work begun by Wm. Cookworthy and carried on by
Champion in adopting and first using native clay, the student
of art can but feel that a certain right and privilege for ex-
tended patent belonged to Richard Champion. This Wedg-
wood steadily opposed and with success; and without doubt
brought on the overthrow and bankruptcy of the famous
Bristol potter. It is but just to record that Wedgwood
claimed that the progress of the potter's art would be ham-
pered by any special grant to any worker, but even the most
loyal of Wedgwood’s admirers is obliged to regret his un-
generous position in this matter. Inquiry often comes as to
the marks upon the Burslem output and questions as to the
spelling of the name of Wedgwood are as frequent as those of
the literary student concerning the orthography of Shakes-
peare’s name. While “a rose by any other name may smell
as sweet,” the name of Wedgwood in any other spelling
should be avoided by the collector.

It is not strange that such a success as Wedgwood’s
should find many imitators, and since the world is never
wanting in a commercial spirit, that many efforts should be
made to pass off other work under the name of the Etrurian
pottery. Inthe early part of the nineteenth century some
ambitious potters at Stockton-on-Tees, in the county of Dur-
ham, began to make porcelain after the style of that made by
Wedgwood. In 1833 the firm was W. Smith & Co. North
Shore Pottery was perhaps another firm working in Stockton
at about the same time. In 1848 the firm at Etruria applied
for an injunction against W. Smith and others of Stockton
for using their name stamped or printed on pottery made to
imitate their productions. The stamp used at these eastern
potteries was W. S. & Co., Wedgewood. Wealso find W. S.
& Co., Queens Ware, Stockton. While it is easy to identify
these pieces after attention has been called to them they are
certainly misleading. I have a copy of this injunction which
sets forth the case of the claimants and acknowledges the po-
sition of the defendants. The document closes with these
words:

““On the gth day of November, being the Second seal in
Michaelmas Term, 1848, Mr. E. Yonnge as counsel for the
above named plaintiffs moved for and obtained a perpetual
injunction against the defendants in the terms of Mr. Bethell’s
motion substituting for the words, the month of December,
1846, the words the month of July, 1847; the defendant con-
senting to pay to the plaintiffs their costs, &c., &c.”

I have not quoted in detail from this document, the main
thing of importance being the fact that pieces bearing the
name spelled with an ¢ must have been made before 1847.
A set of cream plates with many colored prints in center are
here represented. They are commonly known and stamped
as the Pastimes. They also bear the mispelled name of the
Burslem potter and the letters W. S. & Co. The landscape
with figures in old-fashioned costume also emphasize the pe-
riod of manufacture. They variously represent youth in rural
sports or occupations, as hunting, reading, sketching or lunch-
ing al fresco. One quaintly represents the maiden at the
water trough with the broken pitcher. These are all espe-
cially interesting because so intimately connected with the
history of the Wedgwood pottery. One also needs to beware
of imitations marked Wedgwood & Co. The earliest speci-
mens of genuine character seem to have usually borne the
impressed word Wedgwood in capital letters of various sizes.
This stamp is upon the two hot water dishes previously

mentioned. CARRIE STOW Walt.

RERAMIC STUDIO 21

SOME SCARCE ANGLO-AMERICAN DESIGNS

N the collection of Dr. Joseph Bauer, of New Orleans, La.,
| is an interesting plate, produced probably between the
years 1836 and 1840, showing a view of the old Cathedral in
that city. The plate is of nine-inch size and medium blue in

OLD CATHEDRAL, NEW ORLEANS.

color, with a border of passion flowers and small star-shaped
blossoms, arranged in alternate groups. Beneath the design
is inscribed ‘“‘ Municipality No. One.” The city was divided
into municipalities in the year 1836 and the front part of the
Cathedral was demolished in 1849. On the right of the Ca-
thedral is shown the old ‘*‘ Cabildo”’ or police station, still in
use for that purpose, the upper floor being occupied by the
Supreme Court, while on the left may be seen a similar build-
ing which was erected a little later, now used by the several
district courts and also the Sheriff. Taking it all in all, the
view represents the most interesting historical spot in Louis-
iana. So far as is known, but two other examples of this de-
sign are known among collections.

VIEW OF MOUNT VERNON.

Not less interesting, although of less rarity, is the dark
blue sugar bowl shown in the second illustration, which bears
on its side the view of Mount Vernon, with Washington
standing on the lawn in front, watching a groom leading a
prancing horse. In the background we obtain a glimpse of
water with a ship at full sail. Beneath the design is engraved,
“Mount Vernon, the Seat of the late Gen’l Washington.”
This of course was produced after Washington’s death, prob-
ably about 1815, or possibly a little earlier.

Among the rarer southern United States views is one of

the Baltimore Masonic Hall, which is found on asmall pitcher
owned by Dr. and Mrs. G. L. Hurd, of Lakeville, Conn. The
title is printed on the side beneath the design, but on neither
of the views is the name of the maker given.

It is strange how long some of these old china designs
remain concealed from sight, and suddenly appear in different
parts of the country, simultaneously. It often happens that
when a view that has never been seen before by collectors
turns up, one or more additional examples are likely to come
from their hiding places of nearly a century soon afterwards.
A few months ago a design entirely new to collectors, in the
shape of a dark blue platter with view of the city of Baltimore,
was reported, and recently another example has turned up at

MASONIC HALL, BALTIMORE,

another point 150 miles distant. The view belongs to the
very interesting no-name series which has been interesting
collectors so much of late, with a border design of flowers in
two groups, arranged alternately. In this series are views of
many of the older towns and cities in the United States such
as Albany, Columbus, Philadelphia, Washington, Louisville,
Richmond, Sandusky, Indianapolis, Chillicothe and Detroit,
and now comes Baltimore to swell the list. In the distance
across the river may be seen the village as it appeared in the
early days, with its regular lines of buildings, among which
we can recognize the Baltimore Exchange with its dome like
roof, a little to the left of the centre, which structure was
made the subject of another dark blue design which appears
on plates. In the foreground are two flag-poles rising from

VIEW OF CITY OF BALTIMORE,

22 RERAMIC

an enclosed space, one bearing a naval emblem and the other
the initial of the city. So many of these city views have
lately turned up that we may expect to hear of others. Thus
far they have been found exclusively on large platters, and
they form some of the most attractive of the early designs in

dark blue. EDWIN A. BARBER.
oO © ©

Mr. Edwin A. Barber has promised us an article on
Lowestoft china with some new and interesting information
on the subject. We expected to publish this article in our
May number, but as the illustrations were not ready in time,
we will give it in one of the next issues, probably June.

One of the earliest arts attained by mankind, and of
which we have any knowledge, was that of pottery-making.
The Egyptians had, in the time of Herodotus, who lived and
wrote nearly five hundred years before Christ, so lost the
knowledge of when they first became acquainted with this art,
that they, as is usual with a semi-civilized people, ascribed its
origin to the teaching of some divinity. In Egypt the
Hebrews were kept at brick-making, and in their escape from
the land of bondage they unquestionably carried with them
the knowledge of this art and its allied manufacture of pottery.
The frequent use in the Old Testament of the terms taken
from this industry show that the manufacture was well estab-
lished among the Jews.

TOOT EVDO NOOONS
Dona immed

SECOND PRIZE, MODERN DESIGN
BOUILLON CUP AND SAUCER
Emily F. Peacock

OR enamels, use green in leaves,
F shading them, in flower, yellow,
pink or violet, tinting the back-
ground to harmonize. Use gold in
bands and on the handles, making
them plain if preferred, or leaving
the white figure as in illustration.

For lustres, use for first fire,
light green in leaves and ruby in
flower. The bands and handles can
be gold with the figure in ruby, or
light green lustre with figure in gold.

For second fire, shade leaves
with light green, and put orange
over ruby in flower, outline in black
or flat gold.

STUDIO

DESIGN FOR PLATE
Caroline Bonsal

INT the entire plate with a mixture of two parts yel-
it low green and one part Marsching’s Gouwache Min-
ton Green. After firing burnish the surface, which will
take the appearance of a light golden green bronze.
Transfer the design and fill in the panels between the
leaves with green /ustre. The result after firing will be
a delicate iridescent violet. Paint the flowers with yellow
gold and the leaves and stems with green gold. If the
plate is intended for decorative use, the design may be
carried out in raised gold.

Another treatment would be to transfer the design
to the white china, tint the panels between the leaves
with a light green lustre and the rest of the plate with a
light yellow lustre and then paint in the design with
metals. Treated in this way, the plate could be decor-
ated in one firing.

RERAMIC STUDIO 23

PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Liv-
ermore, 207 Hallock Avenue, New Haven, Ct., who will have
charge of this department and ‘will answer inquiries in the

Magazine.

BO PEEP DESIGN

HIS design may be carried out in outline, and the back.
T ground of the panels at the sides and base burned lightly
with the flat side of the point. Or if desired, the figure and
landscape may be colored. In that case tint the sun and sky
around it yellow, and the upper part of the sky a warm gray.
The trees and ground should be shades of green, the tree
trunks a grayish brown, as well as the shepherd’s crook. Tint
the cape and hood a dull blue and the gown a dull greenish
blue. The hands and face may be left the natural color of
the wood. Be very careful that the colors are not made too
bright. Wax thoroughly, and when quite dry polish with
scrubbing brush. See design on page 24.

BELT, PURSE AND CARD CASE IN BURNT LEATHER

Maude Crigler Anderson
KETCH upon leather or transfer with carbon paper, which
S is less apt to mar than transfer paper. Outline clearly
with fine point, the kind similar in shape to sharpened pencil
being best adapted to fine lines on leather. Shade design
with flat point, adding a few crisp lines and dots. This design
is charming upon white leather, using stains after burning.
Leaves, pale green; lily, from pale green at base to yellow,
lines and dots of gold. Leather stains can be procured of any
firm handling pyrography supplies, and require water to dilute
to any desired shade. Gold and silver powder with liquid for

mixing. See design on page 25.

WasISTNd ‘d LANV(—NOISHG daad OF "€7 aed vas juauT}eary 404

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HRERAMIC STUDIO

BELT, PURSE AND CARD CASE IN BURNT LEATHER—MAUDE CRIGLER ANDERSON

For Treatment

see page 23

26 ARERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

M. C. A.—We have’ given many charming borders for dinner plates.
For a dinner plate such as you wish, the plain straight edge is the best, or
the festoon edge. The vegetable dishes and platters should match the plates,
with the same border. We would suggest keeping the painting of your roses
all on the rims, with only warm bands of color and gold on the extreme edge.
You will then have something that will be in good style.

C. E. R.—There is nothing that will remove well fired paint from china
but Hydro fluoric acid. Heat the piece of china—pour wax over it and when
cold remove wax from paint to be taken off. Dip the end of a pointed stick
into acid and then rub on color until loosened from china; then rinse off in
running water and remove wax last of all. To remove gold or lustre, Aqua
Regia can be used. It is not necessary to cover with wax as this acid does
not remove glaze. Care must be taken, however, not to inhale the fumes of
either acid as they are said to injure the lungs, All makes of colors can be
used alike and together. Powder colors, of course, being first mixed with
medium prepared for them—usually-a mixture of copaiba and clove oil. Six
parts of the first to one of the latter. To get an even deep color, the first
coat of dusted color must be fired and then dusted again. It is not possible
to put a second coat before firing.

Mrs. V. S. F.—As soon as you become a yearly subscriber we will be
glad to furnish all possible information and instruction.

Mrs. E. A. K.—See answer to C. E, R.

A. FP. C.—Copenhagen and Copenhagen Blue are the same colors.
There is also a Copenhagen Grey, which is a soft grey, a little darker than
Pearl Grey. There are no corresponding colors in La Croix. Delft or old
blue would be the nearest in tone, perhaps adding a little black.

Mrs. C. de S.—We would advise putting your monogram or coat of arms
in flat gold or color if used in the center of a plate, as otherwise it would be
scratched by knife and fork. Never put lustre over color before firing the
latter. It is not advisable to use lustre over dusted color or deep color of any
kind.

B. S. M.—Cement for mending china should stand as many fires as the
china itself. You can put lustre over color which has been already fired if the
color is not heavy, but when paint is put on as thick as black outlining usu-

ally is, the color will chip off if lustre is fired over it. It would be best to
make your outline first with a mixture of syrup and black (sugar and water
boiled to a thin syrup) then put your outlining on very thin and grey looking,
only dark enough to keep the designs. Then when your lustre is sufficiently
deep in color, go over your outlining the last fire and everthing will come out
right. The first outlining can be put on before anything else and the lustre
or color washed over it as turpentine or other mediums will not disturb the
sugar and water mixture. If you will read carefully our directions for raised
paste, we think you will find out the cause of your trouble. Use only thick
oil of turpentine and lavender anda great deal of breath. A very little oil to
mix paste and breathe on it before putting in lavender and afterward too, till
it curls up with the palette knife and stays put; if it gets too stiff, use a little
more lavender and breath until just right.

For background of Fleur de lis painted naturalistically, we would suggest
Copenhagen Blue, Yellow Brown, Pompadour, and if a dark effect is desired,
Finishing Brown. India Ink is the best outlining for figure work. We do
notunderstand how a little turpentine on a rag could wash it off. Trv Higgins
water proof India Ink. We will not forget your monogram if you will let us
know what it is. We suppose it is not B. S. M., with which you signed
your inquiries. Your letter was signed simply Mrs. —-——. A monogram
is best on the rim of a plate. Yes, we think it is in good taste used in the
right place and not too large.

Mrs. L. F. S.—Not knowing the exact shade of your scarlet flower it is
difficult to suggest colors for painting in watercolor. The color depends a good
deal on the surroundings and vice versa, the surrounding background depends
on the color of the flower. The only way to do is to paint what you see in
the way of color. Notice that a scarlet flower is not all scarlet. You will probably
see that the high lights are bluish and the shadows purplish. Use cobalt
with your reds, where vou see it bluish, and yon will get more luminosity. We
would suggest rose madder as having a bluish tone for high lights and crim-
son lake in deep tones with cobalt Alizarin crimson is also a good color.
Where the tone is a clear scarlet use a little vermilion or scarlet lake or yellow
to get the tone with the madder or crimson. For yellows use lemon, gam-
boge or Indian yellow, according to the desired tone. For background use
rose madder and cobalt to make violet tones, adding yellow to get greenish or
brownish tones. Never paint “‘ out of your head,” but try to paint just what
you see without too much detail, try to see color and shade in masses first
and then add the finer touches.

G. S. P.—Write to Marsching or Favor & Ruhl for glass colors. Their
advertisement is in this number. Use ground glass if you wish, itis not
necessary, but use a good quality of glass. You will have to make tests with

broken bits of glass to find out just how hard to fire, as each kiln differs.
Usually glass is fired as soon as the kiln shows red; there is no regular time
to fire, it depends on the color of kiln; one firing might be enough. You
can fire glass again, but added fires just make added risks.

TULIP CUP
FL E. Linger felter

HE background on this cup
I is a light greenish gray
(mix Apple Green and Pearl

Gray).

The flowers are a delicate
Rose Pompadour, and _ the
leaves Ivory Yellow. Outlines

of gold.

. Fi a

JUNE NCH

Price 35¢. Yearly Subscription $3.50

- CONTRIBUTORS

MR. EDWIN ATLEE BARBER #
MR. FRANK S. BROWNE # vt
MISS MARIAM L. CANDLER »
MR. GEORGE T. COLLINS# #
MISS KATHERINE B. FOCKE is
MRS. ANNA B, LEONARD # & ot
MISS KATHERIN LIVERMORE a
MRS. WORTH OSGOOD # #
_ MISS GRACE OSBORNE ee
MRS. S. EVANNAH PRICEX 2
MRS. ADELAIDE ALSOP-ROBINEAU
MRS. ALICE WITTE SLOAN »
t MRS. MARY TROMM » et Pe
_ MR. FREDERICK G. WILSON # #—

‘MoMTELY:

recuse amd New Yerk.

edie at the Post Ces at 2 ie N, ¥,

as Sepang Clase Matter, Ang 2; 1899,

[ The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted Without special permission. |

CONTENTS FOR JUNE, 190!

SSS ™ awe

PAGE
Editorial | : . tient . 27
Mermaid Fish-Plate (Supplement), F. G. Wilson, | 28
Making Designs for Reproduction, | 28
Honeysuckle Cup and Plate, Grace Osborne, | 28-29
The Tiffany Glass at the Pan-American, Mrs. A. B. Leonard, 30-31
Design for Ferns, Geo. T. Collins, 32
Game Plate, — Adelaide Alsop-Robineau, et oN 33
League Notes, Mrs. Worth-Osgood, 34
In the Studios—Club News, | . 35-36
Daffodil Cup and Saucer, | Katherine B. Focke, 36
Third Prize, Historic Ornament (Persian Plate), Katherin Livermore, 37
Third Prize, Modern Design (Batcheler Buttons), Katherin Livermore, 38
Fourth Prize, Modern Design, Alice Witte Sloan, 309
Third Prize, Flowers (Nut Bowl), Mariam L. Candler, 40
Exhibition at National Arts Club, ) Al
Plate Design, | Anna B. Leonard, ° : Al

“Mushroom Design, S, Evannah Price, 42
The Collector—Adams’ Jasper Ware, Edwin Atlee Barber, 43-44
Pyrography—Desien for Stein, Katherin Livermore, 45-46

Folio Cover, | Mary Tromm, AT
Vase, | Frank S, Browne,
Answer to Correspondents, } 48.

WE began with the January Number to issue a Colored Supple-
ment each month, instead of alternating with monotones as before.
The full retail price of these Color Studies for one year is as follows:
Twelve Color Studies at 35c., $4.20.
A Subscription to “Keramic Studio,” including these twelve Studies, $3.50.

NEW YORK AND SYRACUSE

Vol. Ill, No. 2

June 1901

Hereafter the main office of the Keramic Studio Publishing Company will

be at Syracuse. All communications should be addressed to

KERAMIC STUDIO PUBLISHING COMPANY, SYRACUSE, N. Y.
Mrs. Alsop-Robineau's address will be 180 Holland street, Syracuse, N, Y.

Mrs. Anna B. Leonard will represent the Keramic Studio in New York at
her old address, 28 East 23d street.

UMMER is at hand—the time for storing honey
for the winter’s use. Stop being the busy
ant, drudging away at your china painting,
which by June becomes as stale, unprofitable
and wearisome as rolling grains of sand up
an ant hill,and become, instead, the busy bee,
flitting from flower to flower and, seeming to

idle away the sunny hours, yet spending the most profitable

time of the year, gaining strength and inspiration and success
for the future. Even to lie in a hammock and listen to the
twittering of the birds and the rustle of the leaves and all the
sounds of growing life about you, and to dream,—to dream
and wake with that feeling of refreshment and belief in one’s
own possibilities, is invaluable to your winter's work. Often
the best inspirations for designing come to one in this half-
dreaming state, when the objective mind, loaded with its bur-

den of heavy facts, is resting and the subjective mind has a

chance to run riot and display all the unconsciously gathered

honey of former hours.

Plan for this summer to take your portfolio into the
country with you. Take your water colors, pencil or pen and
ink, whichever medium is easiest for you to use, and make
careful drawings of every animate or inanimate object which
interests you. And when you spend your days looking for
interesting things, you will be surprised to find how many
things are interesting which you have never noticed before.

On sunny days then—make your careful drawing of
flower or insect or whatever you choose from Nature’s gener-
ous abundance. Make also a careful note of coloring, not
only in the object itself, but in its surroundings, and note how
each reacts on the other. For instance, sketch your flower in
the open air, then in the house against different colored
grounds, painting not what you £xow but what you see. For-
get all you have been told and open your eyes wide to see for
yourself, and if a flower you have been told is pink or blue
looks purple or any other color, paint it what it /ooks, not
what you have been brought up to believe. And, doubtless,
when your sketch is made, your friends will say: ‘What a
beautiful fz or blue flower that is;” whereas, if you had
painted according to your preconceived notion, your sketch
would have been a failure. And the special joy of having
discovered something for yourself will be yours. This for
sunny days.

On rainy days, take your careful drawings—we hope you
have made drawings of separate leaves and petals, stamens
and pistels, calyx and corolla of the flower; or, if an insect,
head, antenne, legs, body, etc., etc..— decide on the size and

shape of your design, or if a border, the width and spacing,
and take your summer’s pleasure in arranging and re-arranging
motifs until you have found a combination that seems to you
perfect, z. e., which would be spoiled by adding to or taking
from it one line or form. Then put everything away in your
portfolio, and do not look at the design for a week or two,
when the lazy summer weather may have toned and tuned
your mind so you will see at a glance where you can make the
last perfecting touch. Then leave it alone till winter. Do
not overdo, be careful, and try the simplest way of making an
effect. That will be the truest art.

If you spend your vacation thus, and stop making money,
only just enough for daily needs, you will find when you go
to work in the early fall that you have such a mind and port-
folio full of ideas that you hardly know where to begin, and
it only remains to transform yourself into the busy ant again
to make your winter hours not only profitable but a joy for-
ever.

As the expenses of exhibitors at the Buffalo Exposition
are just twice what they were in Paris, many of the League
members feel unable to contribute their work. We feel that
this isa great opportunity for the Clubs to unite together,
and that the difficulty mws¢ de surmounted. If each Club
would contribute something towards the general fund, the
expense would then be very little for each. The New York
Society of Keramic Arts last year raised $400 for the League’s
exhibition in Paris, and there were contributions from Brook-
lyn and Jersey City. Now why would not each Club in the
League endeavor to raise a sum, if only $25? There isa move-
ment now on foot tostart ‘‘ Keramic teas” and “ musicals” for
the benefit of the Exhibition fund, which is required outside of
the mere cost of space. The New York Society is getting up
a musical, and will have tea cups for sale also. Let each Club
feel the necessity for doing something to “keep the fire
alive!’ This year there will be an innovation, and the ex-
periment is worth the trial. There will be some one in con-
stant attendance to give information, to sell the work, and to
look after the League's interest. This will all be done in a
thorough, business-like method, and we urge every decorator
to do his or her utmost to make this exhibition a success,
The League has one of the best locations, with the arts and
crafts, and not with the hodge-podge of a mercantile exhibi-
It is in the Court, the entire control and decoration of
Not to
have the same experience as he had in Paris, where his artistic
products seemed in the wrong setting, the Buffalo authorities
have given Mr. Tiffany the entire control of this Court. In
this area will be the Rookwood, the Grueby, the National
Arts Club, and the Gorham and Tiffany companies. There
will be uniform decoration and lettering. It really seems as if
this were the greatest opportunity the members of the League
have ever had to bring forward the work. We hope to see
an exbibition worthy of them.

tion.
which is under the supervision of Mr. Louis Tiffany.

28 AERAMIC STUDIO

BUREAU OF INFORMATION AT PAN-AMERICAN

EALIZING that it may be difficult for members of the League
R to obtain suitable accommodations, the Buffalo Society
will establish a Bureau of Information at the studio of Miss
Grace Milsom, Room 13 Anderson Building, Huron and Main
Sts., where for the nominal sum of 25 cents any one applying
may receive information and be furnished with reliable and
pleasant accommodations during their stay in Buffalo either
during the time of the League’s meeting or at any time during
the Pan-American. Here also will be found a registration book
where visitors will be welcome and where they are requested
to register and make themselves known to the Buffalo Society.
Please send mail to Mrs. Frank J. Schuler, at the address
given above.

SUPPLEMENT TREATMENT

OR the mermaid, use the flesh coloring as given in former
F numbers of KERAMIC STUDIO, shading tail with Deep
Blue Green, Shading Green or Green 7 and Yellow Brown.
Same for hair, adding Finishing Brown. In background, Deep
Blue Green, Shading Green, Albert Yellow and Carmine 2.
For roses in border, Carmine 2, Albert Yellow, Yellow Brown,
and Shading Green for centre. For fish, Carmine 2, Deep
Blue Green, Yellow Brown and Pompadour. After padding
background, wipe out wave lines with a little cotton wool on
a stick.

This can also be treated in a posteresque style in flat
colors or lustres, outlined in black. The border could be
made very effective, treated in bronze and gold with black
outlines, For lustre treatment of center, use brown for flesh,
light and dark green, orange or yellow brown, simplifying the
border as much as possible.

on ee

THE ARKWRIGHT CHINA SOLD

NE of the most renowned collections of Oriental china in
England, begun by Arkwright, the inventor of cotton
spinning, has been purchased by Duveen Brothers, dealers in
antiques, fora large sum. The collection includes specimens
of the rarest Chinese porcelain, including the largest peach-
blow vase in the world. ‘This vase is eighteen inches high and
nearly twice the size of the famous vase from the Stephens
collection, now in the Walters collection in Baltimore. The
vendor of the collection is a grandson of the original owner,
Arkwright. The entire collection is to be brought to the
United States.

With regard to the collection, H. J. Duveen said: “The
collection is not great in size. It numbers in all between 150
and 175 pieces. It was really started 78 years ago, and is
remarkable for a number of individually magnificent specimens
that it contains. There are some minor pieces, naturally,
which are of less importance. I do not know if the purchase
will be transferred entire to this country, but I hope so.”

‘‘T inspected the collection while in England last summer.
It has been kept at the country home of the Arkwrights near
Northampton. It has never been shown in London or in
public exhibition, the estate of Sir James Arkwright being in
the heart of the country, about fifteen miles drive from the
railway. I went there for the purpose of placing a valuation
on the whole collection. What was the price? Ah, that is a
matter of business. I prefer to say only that some objects in
the collection are valued very highly indeed.—E xchange.

MAKING DESIGNS FOR REPRODUCTION

HERE are two ways of making designs for reproduction,
df z. é.. pen and ink drawings and wash drawings in black
and white. Asa general thing a pen and ink drawing is pref-
erable, though naturalistic studies show more of the finer
details in wash drawing. To make a good pen and ink study
for reproduction, it is necessary to have a good smooth Bristol
board or paper, India ink (the bottle ink preferred), Higgin’s
or Carter’s, fine India ink pens for fine work, any ordinary pen,
not stub, for heavy lines, and a brush for filling in black
spaces. Then, to facilitate your work, a compass pen and
pencil for circles, kneaded rubber to take out pencil marks, a
ruler for measurements, and for circular designs a plate divider
(KERAMIC STUDIO, Jan. 1900). Make your trial circles and
designs first with pencil, so that if changed before finishing,
you can erase all unnecessary marks. Make a good firm line,
not so slowly as to look jerky nor so fast as to look hasty and
thin at the end. In repeated designs make a careful tracing
and make both sides of a symmetrical form as nearly alike as
possible. To indicate various depths of color, cover the
spaces with fine dots, closer together where you wish the color
effect darker. Wash in black with brush for the darkest parts.

For a wash drawing, use a smooth water color paper,
Whatman’s “not” is good. Make your contrasts of dark
and light good and strong, sometimes using Chinese white if
necessary.

Send designs in tubes open at both ends, passing a string
through and tieing on the outside. This will prevent loss in
the mail and make the cost of sending much less. Attention
to these few details will make much more desirable-looking
designs for reproduction than are usually sent in.

In connection with this subject, we should like to call
attention to the beautiful execution of the fourth prize,
modern design, by Mrs. Earle Sloan. This was done with
very black ink on parchment paper and is a delightful piece of
work in the original, there is so much beauty of line and ex-
ecution.

When necessary to show color scheme ofa repeated design
by washes of different depths, carry out only a section or two
in wash, making balance of design in line, as you will see in
Mrs. Robineau’s plate design in this number.
double purpose of showing the color scheme, and saving in
cost of reproduction.

This serves a

seen
HONEYSUCKLE CUP AND PLATE

Grace Osborne

LOWER pale Pompadour shading into pale Albert yellow.
Leaves a dull light green. Dotted ground a green blue
or brown, black portions and outlines in red, brown or gold.

RLY Osborne

KERAMIC STUDIO

Stow

erat
se tee

HONEYSUCKLE PLATE—GRACE OSBORNE

x se

fant & “a
Sora CS ea

30 RERAMIC STUDIO

FOUNTAIN FOR THE MANUFACTURES AND LIBERAL ARTS BUILDING,
PAN-AMERICAN EXPOSITION, DESIGNED BY,LOUIS C, TIFFANY.

THE TIFFANY GLASS AT THE PAN AMERICAN

O judge from the glass displayed at the Tiffany
Studios previous to its departure for the
Buffalo exhibition, we are of the opinion
that the pieces are even more beautiful than
those exhibited at Paris, and, of course, the
number is greater. The newest artistic

creations in mosaics have appeared since the Paris Exhibition

and they are, in the form of panels, a wonderful combination

OIL LAMP WITH METAL BASE AND FAVRILE GLASS SHADB.

of iridescent glass, and glass in flat tones, which gives a most
interesting and artistic effect. For instance, a panel in fruit,
the foliage being iridescent tones of green and yellow, and
the oranges in flat colors. Then another panel with two doves

in the dull effect with the foliage iridescent. We can imagine
the delightful effects when these gems have the appropriate
setting.

The Glass Fountain, of which, as yet, only very indiffer-
ent photographs have been taken, attracted crowds of people.
It was shown in a dark room where the play of lights under-
neath revealed the richness and harmony of its colors, princi-

ELECTRIC FLOWER CLUSTER LAMP WITH FPAVRILE GLASS SHADES,

pally blues and greens, the effect being more of a cascade. It
is Just as indescribable as any one small bit of the Favrile
glass, just as beautiful and just as elusive.

In the smaller pieces, the vases and jars, there seems to
be the suggestion of applied gold, bringing out more forcibly
the design which the color has assumed; but upon the author-
ity of Mr. Belknap we would like to state to the doubting
ones that this is posttzvely and absolutely denied. In their

WINDOW IN FAYRILE GLASS—‘* THE FOUR SEASONS '—DESIGNED
BY LOUIS C. TIFFANY,

AERAMIC STUDIO

cameo glass only has there ever been any approach to a design
applied afterward, and that was merely when the cutter took
advantage of a certain spot of color to carve out a design.

There is an interesting collection of the Tiffany iridescent
enamels on metal, in the form of small boxes and vases. We
believe this is the first time the iridescent enamels have been
used upon metals. In one or two instances the enamel has
been fired over repoussé silver, which has given an interesting
and most artistic effect.

In their electric fixtures there is no end to the variety of
designs and color effects, which would turn the most common-
place interior into fairy land.

One of the most unique shades for lights over a large
reading table was an inspiration from an Alaskan Indian
basket, the shade being similar in shape to the inverted basket,
with a mosaic of color in the Greek fret, a most charming bit
of color, yet exceedingly restful in its form and general tone.

The beauty of the table lamps is carried out in appropriate
metal settings, so that there is complete harmony in the use

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OIL LAMP OF REPOUSSE METAL
WITH FAVRILE GLASS GLOBE.

ELECTROLIER WITH FAVRILE
GLASS PENDANTS.

The Tiffany Glass at the Pan-American,
From the Tiffany Studios, New York.

of the two materials (not an easy proposition). There are
single table lamps for reading which resemble the Egyptian
scarabea in a setting like the old seals; these are quiet in
tones of green, and the whole lamp is restful to the eye and
a thing of beauty besides its usefulness. There is originality
in all ideas where the glass is utilized in combination with
other materials for the ‘‘ house beautiful,” which makes one
long for the time when the experiments of the Tiffany pottery
will be shown to the public.

At present there is a choice exhibition at the Tiffany
studios of artistic pottery from the famous French potters,
Delaherche, Dalpayrat, Jeanneney, Hoentschel, Chaplet and
Doat, an account of which we will give later, but we urgently
advise every one to see this collection, for these potters have
never exhibited in this country before (excepting Delaherche),
and we cannot say too much in favor of the liberality of Mr.
Tiffany in affording the public such a great opportunity.
Every student should see the work at these studios when it is
possible, not only to study form and glazes from the pottery,
but the wonderful color effects in the glass.
many a proposition in composition and design.

It will solve

ELECTRIC LAMP WITH REPOUSSE
METAL BASE AND FAYVRILE
GLASS GLOBE.

32 HERAMIC STUDIO

DESIGN FOR FERNS--GEORGE G. COLLINS

HIS design could be applied equally well to a vase or flat
T surface. Great care should be taken in the drawing,
being especially careful to avoid all stiffness and to preserve
the ragged outlines which are its chief charm. It is necessary
to paint the ferns very softly, as much of their beauty
depends upon the handling. It is best to wash in the back-
ground first, then paint the ferns into the moist color. by so
doing there will be no hard lines, and the crispness can be

preserved, Of course this requires a very practiced hand, and
also extremely rapid work. Wash in the background with
Apple Green, Russian Green, Lemon Yellow and Air Blue.
Do not mix these three colors, but put them on separately and
blend very delicately with a silk pad. For the ferns use
Apple Green, Yellow Green, Olive and Dark Green, Lemon
Yellow, Air Blue, Copenhagen Blue, Russian Green, Yellow,

Brown, Clove Brown, Blood Red, Black Rose and a little

HERAMIC STUDIO 33

Ruby, mixed with Blood Red and a touch of Black for the
dark touches.

IN WATER COLORS.

Ferns have lines which peculiarly lend themselves to
decoration.
that it will be impossible to give a scheme for all shades.
Begin by drawing in outline the principle ferns, carefully
locating their stems,

The colors required are Lemon Yellow, Emerald Green,
Cobalt Blue, Rose Madder, Hooker’s Green, Indigo, Cadmunn
Yellow, Light and Burnt Vienna.

There is such a variety in the lines of green,

TREATMENT OF GAME PLATE
Adelaide Alsop-Robineau

ARRY this design out in Copenhagen Blue or in different
Ge shades of gold and bronze, making sky silver, distance
green gold, water a greener gold with lines of silver, ducks
green gold bronze with gold beaks and legs, or make ducks a
brown bronze, in any case adding a large proportion of gold
to the bronze, outline in black. An interesting treatment
would be to make the ducks grey brown or white with pale
yellow brown bills and legs, the sky grey blue, the distance
srey green, the water a deeper grey blue, wiping out the

water lines white. Outline all in grey brown or green.

GAME PLATE—ADELAIDE ALSOP-ROBINEAU

34 RERAMIC STUDIO

LEAGUE MEDAL

NATIONAL LEAGUE OF MINERAL PAINTERS

BROOKLYN, N. Y., April 28, 1901.
The annual meeting of the National League of Mineral
Painters will be held in the Women’s Administration Build-
ing, Exposition Grounds Buffalo, N. Y.., May 31, tg01. The
meeting will be called to order at 10 A. M.
ORDER OF BUSINESS.
I. Triennial Report of Officers.
I Reports of Committees.
(a) Educational.
(6) Exhibition.
(c) Transportation.
(d) Finance.
(e) Printing and Press.
II. Election of Officers for the next Triennial.

III. While the Tellers and Auditors are counting the
ballots, opportunity will be given for presenting
messages from the enrolled clubs.

IV. Propositions for Membership.

V. Propositions for the League to affiliate with other
art associations.
VI. Miscellaneous Business.
The officers, members and friends of all clubs are urgently
invited to be present.
Mrs. WorTH OsGoop,

President.
LEAGUE The winner of the League medal design
NOTEs 5 Miss Louise J. C. Hanford, of the Bridge-

port League of Mineral Painters. The designs
were examined by jury April 18th. Nine were sent in all.

To the Editors:

While busy jotting down the items supposedly of interest
to readers of League Notes, a subscriber of your magazine
called, and among other things said that the League news for
this month ought to be unusually good. I tried to explain
that the “stuff” would be as usual, simple statements of work
completed, and work in progress. But she would have it that
a small pyrotechnic display at least would be expected.

The explosion of this little bomb has been disastrous to
the progress of the League Notes; for the things which a
moment ago seemed worth while to tell about, now seem too
inconsequential to publish.

How gratifying it would be to announce a series of bril-
liant achievements! To leave behind usa three years’ record
written in gold upon glorified clay. Fascinating thought. If
we could stop the steady stream of League work for an hour
or two we might be able to write up some interesting under-
takings which, if not glittering, at least possess color, and we
might show that although the plastic material on which these
undertakings are written may not be glorified clay, it has the

merit of being a true American product that has stood the
test of fire. You realize that these years have been filled
with serious determined labor, that in every undertaking
we have had a definite purpose in view.

Take for instance the ceramic display at the Pan-Ameri-
can Exposition. The plan was about like this: To have a
Keramic Section either in the Fine Arts Building orin a build-
ing annexed to the Art Gallery. In this the Committee of
Fine Arts would collect exhibits from every maker of art
pottery and porcelain in America. Besides this, it was pro-
posed to have all the prominent mineral painters and
decorators, whose offerings were accepted by the Selection
Committee, grouped under this roof, this feature to be in
charge of the National League. This was the proposition in
brief that was presented to the president of the Exposition
Company, the Director General and the Committee of Fine
Arts, by one of the committee whose interest in ceramics is
purely a recreative one.

I am told that this proposition was well received by these
gentlemen and that considerable correspondence was had
before the League knew of the wide scope of its proposed
annex. The League spent its best efforts to bring about the
realization of this project.

All went swimmingly until the actual work of the Fine
Arts Committee began. With one sweep the keramic feature
of the Exposition, so far as its having any direct connection
with the Department of Fine Arts, was thrown aside, on the
ground that it had no business in the Art Section, and even if
it could properly go there the necessary room was lacking,
etc. That threw pottery and our work into the Department
of Manufactures, together with the thousand and one other
things that are there, and destroyed our courage to work for
a good exhibition on the old lines.

By intelligent persistence we have, we believe, collected
a better exhibit of mineral painting than has been shown in
any previous exhibition, but very far from being what we
should have. Why did we do it? Because we believe that
this National League of Mineral Painters exhibition is the
entering wedge to the placing of mineral paintings on a higher
artistic place at future expositions. When we can enter an
exposition as a part of the Art Section the expense of exhib-
iting will then come within the reach of all our artists.

By doing our best at Buffalo we hope to show to those in
charge of the next exhibition at St. Louis that our request
for the concession of a Keramic Section at their exposition is
worthy of acknowledgement. As the widow in scripture was
heard for her much asking, so do we hope to be heard. Here
is the gist of it all. We have no time to attempt a good
showing in print. Every ounce of strength and fraction of
time is required to get our present exhibition creditably
installed. ‘

The daily letters from Miss Montfort are interesting.
Major Wheeler in a letter this morning pays a fine compli-
ment to her for the progress on our booth.

Faithfully yours,
LAURA HOWE OsGoop.

The exhibition programme is as follows:

‘Women’s Administration Building, Exposition Grounds
Buffalo, Friday, May 31, at to, annual meeting and triennial
election of officers.

Saturday, June 1, at 1o—The Poetry of Pottery, Mr. Wm.
A, King.

_ Saturday, June 1,

at 11—The American Artist Potter,
Prof. C, F. Binns. :

RERAMIC STUDIO 35

Monday, June 3, at 1o—Mrs. S. S. Frackelton.

Monday, June 3, at 11—W. J. Holland, LL.D., Director
of Carnegie Museum.

Tuesday, June 4, at 11—The Value of Exhibitions, Mar-
shal Fry, jr.

Tuesday, June 4, at 21—Delegates meeting.

The Chicago Ceramic Art Association held its annual
election May 4th, at the Art Institute, and those elected to
hold office for the year Ig01 and 1902 are: Mrs. W. A. Cross,
President; Mrs. Evelyn Beachey, Ist Vice President; Mr. F.
B. Aulich, 2d Vice President; Mrs. R. M. McCreary, Record-
ing Secretary; Mrs. Cora A. Randall, Corresponding Secre-
tary; Miss May Armstrong, Treasurer; Miss May Alden,
Historian.

The close of this club’s year shows the best work this club
has ever done, proof of which was seen in the display of work
shown in Burley & Co.’s window for ten days prior to its
being shipped to Buffalo, where it will be in exhibition with
the National League work. Thirty of the most active mem-
bers are represented by their work, and many pieces show the
result of the study course held early this year at the Art In-
stitution. Every one is now turning attention toward pre-
paring for the regular fall exhibit and sale.

The Buffalo Society of Mineral Painters was formed in
January, 1901, and its object as outlined in the recently
adopted constitution is “ the promotion of friendly intercourse
among mineral painters and the encouragement of an Ameri.
can School of Mineral Painting.” The membership is to con-
sist of active, associate and non-resident members, and several
applications from the latter have already been received. The
officers are: President, Miss Emma D. Dakin; vice-president,
Miss Grace Milsom; secretary, Mrs. Frank J. Shuler; treas-
urer, Miss Frances E. Williams. A committee of member-
ship, consisting of Mrs. C. F. Richert, Mrs. Randolph Barnes
and Mrs. J, P. Perkins, will receive and pass upon the work
presented by applicants for admission.
one must be original.

Out of three pieces
Although we do not féel either numer-
ically or financially strong enough yet to join the National
League, still we hope to do so in the near future, and are look-
ing forward in pleasant anticipation to next month when the
League will hold its annual meeting in Buffalo. At the regu-
lar meeting of the Buffalo Society held April 8th, an invita-
tion was extended through our President to the League to be
our guests at an informal reception to be held during its stay
in our city, the time and place to be named later.

Mrs. F. J. SHULER.

@
JN THE The New York School of Pottery gave its
STUDIOS first reception on Thursday, April 25th.

Mrs. Rhoda Holmes Nichols gave a recep-
tion at her studio in April. Her exhibition of paintings was
held at the Claussen Galleries, and was one of the important
ones of the season.

Mrs. Anna B. Leonard gave a studio reception, where
were shown some interesting bits of pottery that she had col.
lected in her travels abroad last year, as well as work from
several members of the New York Society of Keramic Arts,
and some interesting models in plaster by Miss Enid Yandell,
In the collection of pottery was a vase, beauti-
ful in form and color, by Delaherche, the great French potter ;
a placque in underglaze blue and copper enamel, and a tile in
ruby lustres by de Morgan, the English potter, celebrated for
his charming effects in lustre, quite different in treatment from
Clement Massier, the great master of lustres in France, whose

the sculptor.

work was also represented by a tile in peacock feather decora-
tion. There was a tall green vase by Rathbone, the English
potter, celebrated for his Della Robbia decorations, and one
or two pieces by his pupils. There were the charming Chel-
sea plates from the Dedham pottery, some very old Sunder-
land with the pink lustre that looked as if rain had dropped
upon it leaving spots of white irregularly spattered over the
surface, making a charming study of dark and light. There
was a piece of Wemys pottery from Scotland, the body being
white with soft naturalistic treatment of fleur-de-lis. One of
the most interesting features was a display of four or five
pieces from the Brush Guild, causing much comment and
many inquiries (a description of this Guild appears elsewhere
in thisnumber). From the overglaze decorators, there was
one piece from Marshal Fry in his low-key decorations of
swans, with grey backgrounds full of color feeling and sugges-
tions. Mrs. Safford sent a coffee set in Persian design, simple,
clean and good. Miss Mason sent a glowing vase in jonquils,
very simple and soft in treatment and full of good drawing.
Miss Bessie Mason sent fine samples of her treatment of
enamels; so also did Miss Allen, whose plate in the design of
blues and greens seems the perfection of harmony. Mrs.
Phillips was represented by a framed figure piece, which has
been so much admired for its exquisite color scheme, both of
the figure and background. Mrs. Robineau sent her pond lily
vase (given in the KERAMIC STUDIO), with the mermaids so
decoratively treated in low tones of greens and blues; and
also a few bits of her lustre effects on small vases, some on the
porcelain body and others on pottery. Miss Marquard and
Miss Pierce each sent a plate, with simple and good floral
designs.
iature.

Miss Strafer sent a dainty and exquisite ivory min-
This collective exhibit was so greatly appreciated
that Mrs. Leonard will repeat the experience next season.

Mr. C. F. Ingerson, so well known in Chicago for his
colored pyrography work, and one of our contributors for
pyrography designs, will conduct classes in Buffalo during the
month of July. This will afford an opportunity to eastern
wood burners and those visiting Buffalo to become acquainted
with his work.

structions once a week.

Miss Bessie Mason has been the instructor for the Bridge-
port Club this winter.

At the Cincinnati Museum of Art, there was an exhibi-
tion of drawings and posters by B. Ostertay.

The New York Society of Keramic Arts enjoyed its last
lecture and lesson for the season from Mr. Arthur Dow. The
members are so enthusiastic over his instructions that they
will continue their lessons with him next season if he remains
in this country.

The Brooklyn Society of Mineral Painters gave an exhi-
bition on Thursday, April 25th, of work that is to be shown
at the Pan-American exhibition. ;

The Jersey City Keramic Art Club gave an exhibition
May 7th at the residence of Mrs. C. E. Browne.

The exhibition of Arts and Crafts which was given under
the auspices of the Providence Art Club, in the galleries of the
club house, from March 19th to April 9th, and prolonged, on
account of the general interest shown, until the 13th, proved
to be the most interesting exhibit ever held in Providence,
and attracted much attention from the general public. It was
the first exhibit of the kind yet held there and it is expected it

36 HERAMIC STUDIO

will have done much to arouse an interest in the Arts and
Crafts movement, which it is hoped will take substantial shape
in the near future. One of the chief merits of the exhibit was
its condensed form and the artistic manner in which the ex-
hibits were arranged. In bookbinding, pottery, stained glass,
wood-carving, embroidery, leather and metal work, and in
other forms of applied art, there was much to appeal to per-
sons of refinement. The exhibit included examples of the
work of artistic craftsmen from all parts of the United States
and a number of pieces from Europe. Among the latter was
one of the famous ‘“ Golfe Juan” vases of iridescent coloring,
designed and executed by Clement-Massier, Paris, which was,
undoubtedly the finest piece of pottery in the gallery. This
was one of the three pieces from the Mediterranean Pottery,
chosen for the Paris Salon, and is now the property of B.
Wilson Tripp of Providence. There was also a beautiful and
interesting Dutch interior scene on tiles, by Aetz, made by
Rosenberg Pottery, Hague. The exhibit comprised ex-
amples of the Grueby Pottery, Boston, the Newcomb Pot.
tery, New Orleans, the Rookwood Potteries of Cincinnati,
Ohio, the Crown Point Pottery, designed by Charles Volkmar
of New York; rare book-bindings and books from the Roy-
croft presses, New York, and the Kelmscott Press of William
Morris, England; bindings from Otto Zahn of Memphis,
Tenn.; posters and calendars designed by Mucha, one of the
foremost illustrators of Europe; pieces of the famous Tiffany
Favrile glass and stained glass windows from Tiffany, New
York; metal work from Charles H. Barr of East Greenwich,
R. I., and a wrought iron grille by Frederick Krasser of Bos-
ton, the finest piece of metal work in the exhibit; laces and

bead work from the Indian Reservation; textiles from Berea
Coilege, Kentucky; carved chests and cabinets, unique and
beautiful designs in brass and copper, and jewelry. The most
attractive feature of the entire exhibit was the pottery, which
was artistically arranged on improvised stands at the end of
the gallery. There were pieces of the Rookwood pottery in
golden brown tones with highly polished surfaces, and speci-
mens of the Grueby Pottery in mellow greens, the Merrimac
Pottery also in greens, and the Newcomb Pottery, made by
the girls of Newcomb College, New Orleans, in velvety blues
in unique and beautiful designs, no two pieces being alike.
The upper tier in the centre of the display was occupied by
the exhibit of Tiffany Favrile glass, the Peacock vase with all
the iridescent colors of the feathers repeated in the tones of
the vase, being the finest piece in the collection. Four large
lamps with transparent Favrile glass globes occupied the cor-
ners of the exhibit. The most attractive example of the
Grueby ware exhibited was a graceful vase embodying an
adaptation of the calla lily, both leaves and flower reproduced
in natural colors. Of the Crown Point Pottery, a flower-
shaped pitcher was especially lovely.

Included in the keramic exhibit was a small but choice
collection of decorated china, designed and executed by the
following: Plate, conventional cyclamen, designed by Miss
Emily Crouch; vase, conventional butterfly design in blue,
black and gold, by Miss Louise M. Angell; cup and saucer, tur-
quoise blue with jewels, by Miss Laura Washburn; plate in
lustres, by Mrs. Fannie Rowell, and a punch bowl, conventional
poppy design, by Percy J. Callowhill.

GRACE L SLOCUM.

DAFFODIL CUP AND SAUCER
EK. B. Focke

HIS design is intended for a tall,
a slender cup, and may be treated
as follows; the dotted portion of de-
sign tinted dark green, and lower part
of cup, and entire center of saucer, sil-
ver yellow. Leaves a delicate green
outlined with flat gold.
yellow, accented with enamel,
shaded and outlined with gold.

The straight band within the sau-
cer is intended for the decoration on
the cup.

Flower, pale
and

KRERAMIC STUDIO 37

THIRD PRIZE, HISTORIC ORNAMENT—KATHERIN LIVERMORE

HIS design is carried out in flat color, using blues, greens
at and gold as the color scheme. For the green, use
Apple Green and Night Green with a touch of Emerald Stone
Green in the shading. Dark blue, with a touch of ruby pur-
ple and black and 4% enamel to give body to the color, is the
blue used.

First outline the design in black; use green in the stems
and leaf forms.
study.

Use gold wherever black is given in the

For the large flower form paint the outer petals dark
blue, the second row green, with gold touches in centres, the
white spaces in this form are light blue (use deep blue green),
with a band of green between them.

The smaller conventional form has dark blue as a_ back-
ground, introducing green in the little, radiating leaf forms
and in the centers. The small flowers in the center of plate
have green outer petals, the center form dark blue, the rest in
gold. Use deep blue green for the Forget-me-not.

38 RERAMIC STUDIO

THIRD PRIZE, MODERN DESIGN—PLATE, BATCHELOR BUTTONS—KATHERIN LIVERMORE

The color This is used for the flowers also, introducing more purple

and black in the centres.
Use Apple Green with Mixing Yellow for the leaves,

with Emerald Stone Green for the shading.
Paint the inner band green, the outer one blue. The

dotted spaces are gold with blue or green dots.

UTLINE either in black or raised paste.
O scheme is in blues, greens and gold. Use Emerald
Stone Green for the background in the panel—making the
conventionalized petals in blue, dark blue (or blue 29), a touch
of ruby purple and just a bit of black, with 4% Aufsetzweis.

Paint on very thinly.

MERMAID PLATE—FRED’K G. WILSON

KERAMIC STUDIO PUBLISHING CO,

OSGOOD ART COLORTYPE CO., N. ¥

RERAMIC STUDIO 39

FOURTH PRIZE, MODERN DESIGN—ALICE WITTE SLOAN

HE flowers pink, not shaded. Leaves, a light yellowish parts, a deeper tone of same. The black portions, blue (but
T_T green that will harmonize with the flowers. Stems neither a dark nor a baby blue.) The whole outlined with
brown, not too dark. The background around the seven black. The border space could be gold or a darker tone of
large clusters and the smaller open spaces,cream. The dotted the blue used.

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THIRD PRIZE, FLOWERS, INTERIOR AND EXTERIOR DESIGN FOR NUT BOWL—MARIAM L. CANDLER

RERAMIC STUDIO Al

EXHIBITION AT NATIONAL ARTS CLUB

N exhibition of artistic glass has just been closed at the
A galleries of the National Arts Club. It consisted of
antique and modern glass, Chinese and European pieces,
and a large showing of modern American ware. Among
those who exhibited stained or leaded glass in windows were
John La Farge, Mrs. Henry Whitman of Boston; Miss Oakley
of Philadelphia, and E. D. Sperry of this city.

From the La Farge workshops comes a large memorial
window for Harvard.

Mrs. Whitman showed flower pieces, among which was a
water lily design. The Tiffany Favrile glass was well repre-
sented by three large cases full of “‘ peacock” pieces, as well
as the lighter toned jars, vases and bowls. A large selection
from the glass collection of A. W. Drake of the Century Mag-
azine, comprised many pieces—glass tankards, with holes in
the sides for the fingers; Dutch bottles, with sea fights of the
seventeenth century, and flasks in animal forms.

Another case was full of the old Greek and Roman
glass, together with dark blue old Chinese vases of thick glass
and cameo snuff bottles of glass imitating porcelain, pottery
and jade.

The slender plant forms that Professor Képping, of Ber-
lin, used to evolve before he stopped his experiments in small

glass were present ina few examples lent by Cottier & Co,
There were specimens of Venetian and English glass, as well
as modern French.

er
HAZELNUT STUDY FOR NUT BOWL
Mariam L. Candler

HE nuts are laid in with yellow brown, shaded with dark
brown and finishing brown, leaving the yellow brown for
the high light.

The nuts are enveloped ina soft green husk, which may
be laid in with moss green or yellow green, modeling them
with brown green and shading green.

Keep the foliage clear and crisp, using a touch of Russian
Green, Moss Green and Brown Green. Suggest shadowy
foliage with lighter shades of Gold Gray, softening into the
background.

Keep the background in harmony with the design, using
Ivory Yellow, in the center a dash of Lavender Glaze, then
Yellow Brown, Deep Red Brown and Dark Brown. When
sufficiently dry, powder over the background with the same
colors used in flushing. In retouching, glaze with same colors,
accenting here and there with touches of deeper color. Model
and refire until the desired effect is obtained.

OER

PLATE DESIGN—ANNA B. LEONARD

HIS design may be carried out in raised gold, or color.

A treatment in blue and green enamel would be very

simple and attractive for a salad plate orbreakfast plate. The

five leaf blossom may be in turquoise effect, or in dark blue.

obtained by using the Lacroix Dark Blue, a touch of German

Ruby Purple and a little Black, using one-eighth Aufsetweis
with this color. The center to be in yellow and gold.

The narrow lines outlining the band of

to be in dark blue. The design

scales are

is outlined in black

(with a touch of blue), and the outer row of scales is to be
filled: in with the dark blue and the inner row to be filled in
with a rich green. There is then a space of white (or gold),
and the extreme edge is to be dark blue. This is very effec-
tive carried out in Capucine Red, Gold and Black.

For the green use a mixture of equal parts Apple Green
and Mixing Yellow, adding Chrome Green 3B, Brown Green,
and a touch of Black.

To this add one-fourth Aufsetweis.

TREATMENT FOR VASE
frank S. Browne
B. of vase pale blue, made of Blue Green and Copen-
hagen Blue, design in Gold, outlined in Red Brown,
darker spots in ornaments Persian Red and green made of
Royal Green with a touch of Blue Green. Dark band at top

RERAMIC STUDIO

dark Copenhagen Blue, design in Gold outlined in black; red,
green and yellow enamel in ornaments. Or ground of vase
Yellow Ochre with a touch of Persian Red, design in Pale
Blue or Pale Green, darker ornaments in Red or darker Blue
or Green, band at top, ground Black, design Gold, red and
green ornaments. See design on page 48.

MUSHROOM DESIGN—S. EVANNAH PRICE

HESE are very delicate in color. and must be painted
F very carefully that they may not look too solid. In
fact, the whole design must be kept very light for the first
fire. After sketching the design with ink, wash in the back-
ground with Lemon Yellow for the lightest part, merging into
Yellow Brown, then Russian Green and Copenhagen Blue in
the darker parts. While this is moist, paint the moss and
weeds with Lemon Yellow, Apple, Moss, Brown and Shading
Greens. For the shadow at the opposite edge of plate, and
some of the weeds, use Gold Grey and Copenhagen. Wipe

out the mushrooms and lay them in while all is moist, to
avoid hard edges.

For the caps use a thin wash of Ivory Yellow shaded
with Pompadour. For the gills of the large one use Violet
No. 1 shaded with Ruby and Blood Red (equal parts), for the
small ones Silver Grey shaded with Violet No. 1. The stems
of all are Ivory Yellow shaded with Violet No.1. The draw-
ing touches and all dark lines on the small cluster at the side
of the plate are in gold. For second fire strengthen where
needed with same colors used in first painting.

RERAMIC STUDIO 43

THE COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE BY SUBSCRIBERS

(When pieces are sent by express, expressage is paid by buyer.)
for further particulars, address Keramic Studio Publishing Co,
Swracuse, N. Y.

rep.—repaired.

er.—cracked,

ch —chipped (state number of chips).

sm. ch.—small chips (use only for very
small chips which do not
spoil the piece),

br. x.—broken, piece missing.

br. o.—broken, can he repaired.

p. e.—perfect condition.

2. c—good condition,

f, e.—fair condition.

p. &.—pertfect glaze or color.
g. g.— good glaze or color.
Y. g.—fair glaze or color.

b, g.—had glaze or color.
ser.—scratched.

STAFFORDSHIRE

Landing of Lafayette platter, 19-inch, very dark blue, fine piece, $40.00
U. S. Bank of Philadelphia, dark blue, to-inch, plate, Stubb eagle

border, - + - - ; = E 30.00
Erie Canal, Dewitt Clinton, 8%-inch, plate, - 2 - 20.00
City Hail, dark blue, 6%4-inch, plate, Stubb eagle border, p.c., - 20.00
Boston Hospital, dark blue, 9-inch, plate, p. c., E - - 20.00
Union Line Steamboat, dark blue, 1o-inch, plate, p. c., S 18.00
Anuther, 9-inch, = - - ; - - 415.00
Pine Orchard House, dark blue, 9-inch, soup plate, p. c., z 16 00
City of Albany, dark blue, 10-inch, plate, crack on one side, rare, 16,00
Boston State House, dark blue, to in., chaise in foreground (Rogers), 15.00
States plate, dark blue, 1o-inch, soup plate, p. c., = - : 15.09
Another, to-inch, dinner plate, rep., fine color, - - : 8.50
City Hall, dark blue, ro-inch, plate (Ridgway), p.c., e : 14.00
East View of Lagrange, dark blue, 9-inch, plate, p.c., - = 13.00
Philadelphia Library, dark blue, 8-inch, plate, - ; = 12.00
Another repaired, = - - - = z : 7.50
Trenton Falls, dark blue, 8-ihch, plate, g. c., : - : 11.00
McDonough’s Victory, dark blue, 7% inch, plate, p. c., : - 10.00
Another, 614 inch, = = - - - - 5.00
Escape of the Mouse, dark blue, to-inch, plate, rep., fine color, = 10.00
Caledonian pink, to-inch, soup plate, p. c., o = = 2.00

Clementson’s flow blue, 9-inch, plate, good specimen, - - 75

Flow blue, plate, to-inch, perfect, - - ci - 1.50
Dark blue, willow pattern octogon, 7% inch, plate, - - 2.00
King’s College, Cambridge, medium blue, 9% inch, plate, . 5.00
3 Robinson Crusoe plates, very curious, marked Robinson Crusoe,
First Crop and Milking Goats, set $2.50, each, - - 1.00
States pattern, oval dish and cover, 12-inch, cr. but fine blue, - 25.00
Large soup tureen and cover, no ladle, dark blue, floral dec., p. c., 15.00
Dark blue sauce boat, cover and ladle, floral dec., p. c., : - 5.00
Dark blue bowl, 8-inch diam., floral dec., cracked, 5 - 2.00
Old Staffordshire ink well, design bearded head, - = - 75
Old Staffordshire bird, cracked, ~ - - - - 275
LUSTRES
Copper lustre pitcher, 3% inches high, blue center, stag in rellef, 3.50
Another, 514 inch (1 quart), band of spotted purple lustre, - 5.00
Copper lustre pitcher, 5 %-inch, band with flowers, p. c., = 5.00
Another, 7-inch, colonial shape, pink lustre band, fine piece, = 10.00
Copper lustre mug, 3-inch, all copper, flowers in relief, rare, 3 3.50
Another, 4-inch, blue band, 2 - - 2 - 3.00
Silver lustre creamer, 54-inch, odd shape, perfect specimen, ° 6.00
Pink lustre cup and saucer, perfect, - - - - 3.00
MISCELLANEOUS
Tortoise shell pitcher (2 quarts), hound for handle, animals in relief,
fine glaze, : 2 - a : - : 10.00
Salt glaze tea pot, fine specimen, 2 - . - - 7.00
Old English cream tea pot and 2 cups and saucers to match, bunches of
colored flowers, one saucer cracked, = - = - 5.00
Square cream vegetable dish (Spode & Varnett), green and brown floral ,
border, - = - = = - - e+ 2.50
Old Worcester plate, Chinese mark, birds in center, cobalt blue border 8.00
Lowestoft cup and saucer, - - - = - - 2.50
Another, - = - = 2 - - 2.25
Lowestoft g-inch plate, scalloped edge, p. c., : : = 3.50
Lowestoft sugar bowl and cover, slight crack on edge, - = 5.50
Another, cracked and one small chip, - c = - 3,50
Lowestoft helmet creamer, perfect, - > = - 6.50
Delft polychrome placque, very good specimen, a - cs 8.00
Delft blue and white plate, 9 inch, 2 - = 2.50
Delft polychrome plate, 9 inch, chipped, : - - 1.50

Our exchange column is open free of charge to subscribers.
We advise subscribers who list old china for sale to consign the pieces to
us, when possible, as it will make sale easter, they paying express charges.

JASPER WARE

MADE BY WILLIAM ADAMS OF TUNSTALL, ENGLAND.

T is not generally known by collectors that Josiah Wedg-
wood, the great English potter, had many active competi-
tors in the manufacture of his celebrated jasper ware, which
he first brought out in 1773 or 1774. Such, however, was the
case, and some of the imitations of this fabric were fully equal,
if not indeed superior, to the original. Among the more
prominent potters to engage in the manufacture of jasper
ware were Messrs. John and William Turner of Lane End,
whose artistic creations in this body were scarcely inferior to

No. 1—ADAMS JASPER WARE FROM THE COLE COLLECTION,

Wedgwood’s best productions, and the origin of many pieces
which are now found in collections can only be determined by
the names which are stamped on them.

William Adams of Tunstall, England, probably carried the
imitation of the Wedgwood jasper to the greatest perfection.
As stated by Chaffers in his “Marks and Monograms,” ‘ He
was a favorite pupil of Wedgwood, and while with him ex-
He sub-
sequently went into business on his own account, and produced
much of this beautiful ware, modeled with great care, and
SUCCESS lV CatneCeoOm aeencatetrade, = 9 em wh Take Gh
“In 1786 the firm was ‘William Adams & Co., manufac-

ecuted some of his finest pieces in the jasper ware.

No. 2—COLLECTION GIVEN BY SAMUEL MEYER TO LIVERPOOL MUSEUM

turers of cream-coloured ware and china-glazed ware painted.’
‘This jasper,’ says Shaw, ‘would have been more highly
esteemed had it been alone before the public, but in this, as
well as most other instances, the imitation very rarely equals
the original. There are, however, some examples quite equal,
if not superior, to anything produced at Etruria, notably a
blue and white jasper placque with Diana reclining after the
chase, holding up her bow, a greyhound in front; signed W.
Adams & Co.; in Mr. John J. Bagshawe’s collection.”

Mr. Frederick Litchfield, in his “ Pottery and Porcelain,”
says “It was, perhaps, not until after Wedgwood’s death that
Adams commenced making jasper ware, in connection with
which his name is best known. Some of his productions are
quite equal to Wedgwood’s, particularly the drum-shaped
pieces for the bases of candelabra, which Adams made a
specialty. These are, however, seldom marked, and therefore
are generally classed as Wedgwood’s jasper ware, which they
so closely resemble.”

This William Adams, who was born in 1745 and died in
1805, was a cousin of the William Adams of Stoke-upon-
Trent and Greenfield, Tunstall. Examples of his jasper ware
which survive are distinguished by great delicacy of modeling
and beauty of form and design. They are quite scarce and
consequently command as high prices as original Wedgwood
pieces. Several groups and pieces of the Adams ware are here
reproduced.

NO. 3—ADAMS JASPER VASE REPRESENTING THE FOUR SEASONS.

Illustration No. 1 shows some fine pieces from the Cole
collection,—a group of white ware with designs in relief, con-
sisting of sugar bowls, tea pots, jugs and candlesticks. The
sugar bowls are four-sided or lozenge shaped, the forms being
suggestive of some of the old Bristol and Leeds shapes, in-
cluding the modeled swans which form the knobs to the lids.

Illustration No. 2 shows a collection of this ware which
was presented to the Liverpool Museum by Mr. Samuel Mayer.
The pieces include a candelabrum, vases and a portion of a
tea service, decorated with white reliefs on a blue ground.

No. 3 represents a large blue Jasper vase with raised

RERAMIC STUDIO

figures in white, representing the Four Seasons. In the Mu-
seum of Practical Geology, London, is a similar example,—a
large jug,—decorated with the same figures.

No. 4 shows a fine vase, over sixteen inches in height.

In the Tunstall Museum there are a few of the Adams
pieces, and the Hulme collection at Burslem includes about six.
Six specimens are owned by the Pennsylvania Museum,
Philadelphia,—three candelabrum bases, a teapot, sugar bowl
and creamer,—beautiful specimens, all marked “Adams.”
There is probably only one museum in England that has a
greater number of pieces. All of these were produced be-
tween the years 1787 and 1820.

A careful study of the accompanying illustrations will
reveal the marked similarity of the Adams and Wedgwood

No, 4—ADAMS JASPER VASE 1614 INCHES HIGH,

productions. It is not safe, therefore, to assume the origin of
jasper ware until the marks have been thoroughly examined,
for it is said that the Adams products were shipped to Amer-
ica in considerable quantities about one hundred years ago.
True Wedgwood ware is comparatively abundant in this
country, but for some unknown reason marked pieces of the
Adams jasper ware seldom turn up. The collector who secures
an undoubted piece may feel certain that he possesses a most
desirable rarity. It is probable that a close inspection of
supposed Wedgwood pieces, however, will show some of them
to be the productions of Adams.
EDWIN ATLEE BARBER.
a)
ANSWERS TO INQUIRERS

Mrs. K.—Your two sketches show your plate and dish to be Stafford-
shire. The plate is what is called the flow blue ware. The mark Clementson
is very often found on these flow blue plates. They are not specially valu-
able, although interesting specimens of this odd decoration, and are worth
from 50 cents to $1.50. The dish is light blue Staffordshire, landscape decora-
tion, worth about 50 cents, We have had a few inquiries lately in regard to
the value of these late Staffordshire pieces in light colors, blue, mulberry,
pink, brown, &c, Unless they have an historical subject for decoration they
are of very little value. In fact most collectors would not have them if given
to them. They are only from 4o to 6o years old and for this reason are neg-
lected, unless historical. They may acquire more value some day.

HERAMIC STUDIO 45

PYROGRAPHY

All designs for Pyrography should be sent to Miss K, Livermore, 207 Hallock
Avenue, New Haven, Ct., who will have charge of this department and will
answer inquiries in the Magazine. i

DESIGN TREATMENT FOR STEIN
Katherin Livermore

UTLINE carefully and carry out the dragons in the burnt
() tones; stain the background a dark green; make the
helmet and field of the shield silver; the chevron may be blue
or red; use red and silver in the helmet trimmings.

When thoroughly dry, tone the silver with a little Payne’s
grey and black (oil colors) to give a dull effect. Keep the
band of dragons at the top entirely in browns.

When finished, shellac (using the light shellac) and dry for
twenty-four hours, then wax and polish. See design on page 46.

TREATMENT FOR FOLIO COVER
M. Tromm

aay

a) igs cover is of smooth calf. Outline the design with the
point and shade very slightly. Introduce just a sug-

gestion of color in the flowers, staining a yellowish red and
toning with the yellow. See design on page 47.

ANSWERS TO INQUIRERS

M. C. A.—To stain a deep color and gradually grow lighter
in tone, begin with the clear stain and graduate the same by
dipping the brush in water. The lighter you wish the tint, the
more water must be used.

>
c

Wl
Milley,

Za
WY yp
= fall 44 wy ley,

CZ,
Ze
g

ARERAMIC STUDIO

x
x

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ZS 7/1

AO Ay

DESIGN FOR STEIN—KATHERIN LIVERMORE

48 RERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our ist.
do not send stamped envelopes for reply.
in this column.

Please
The editors can answer questions only

J. A. C.—We have never used paste for raised gold mixed with sugar
and water instead of other medium, but if you find that it goes on nicely with
a brush or pen, and dries matt or dull, it will fire all right. Gold can safely
be put over any mixture of paste for gold before firing, if the paste is thor-
oughly dry and dull. Deep blue green with a touch of apple green makes the
nearest approach to Sevres blue. Coalport or Dresden yellow green are very
near the Sevres green. If you mean the decorative head in batchelor’s but:
tons of the January Supplement, we should advise for the blue Banding Blue
and atouch of Ruby Purple. Royal Green is very like Moss Green, only
slightly greener.

M. F. M.—Your cup tinted in Royal Green powder color on which the
gold “rolled up,’’ can be remedied by going over the design with raised paste
and then cover with gold, or follow out the design with white enamel, using
aufsetzweis and one-eighth flux. Your gold was not hard enough to go
over a deep tint of green. You should have used the unfluxed gold, having
fired your color hard first.

The best brushes for china painting are the camel’s hair brushes in quills,

The square shaders in different sizes are very valuable, and for fine work the
pointed shaders ; for miniature work, miniature brushes and slanting stipplers ;
for general use, square shaders 2, 4, 6, 8, pointed shaders 1 and 2.

F. VY. G.—Glass colors should glaze unless especially prepared to be matt.
They will not have quite as high a glaze as the glass itself, except what are
called “‘stains,’’ which, if fired just right, will have almost the same appear-
ance as the glass. They should be at least translucent, if not transparent.

A monogram should be put on a rim in such a way as not to interfere
with the border, being placed either just below the border or in one panel, in
which case it takes the place of the ornamentation filling the other panels,
but the main border should not be disturbed.

Royal Worcester finish on china is a perfectly matt surface,
finish has a semi-matt or ivory surface.
light.

E. A. S.—The tulip design for stained glass will appear in the July
number.

Doulton
The colors can be either dark or

Margaret—Mineral colors for painting on china are no more poisonous or
injurious than any other kind of paint Some persons are very sensitive to
turpentine or oil paints, and possibly to china colors, but it is because their
own constitution is out of gear. Of course if one put his brush in his mouth
or eats paint for recreation he might find his stomach rebels, but not otherwise.

For Treatment see page 42

JByrowae

4900

VASE—FRANK 5S. BROWNE

2 JULY MCI Price 35c. Yearly Subscription $3.50 (

CONTRIBUTORS

MR. E. AULICH® 2 ot
_ MR. EDWIN ATLEE BARBER & «
MR. CHARLES BABCOCK #

_ MISS MARIAM L. CANDLER
MISS ALICE B. HOLBROOK oe
MR. W. J. HOLLAND #2 &
MR. JAMES JAMES 2 2
MRS. ANNA B, LEONARD & vf ¢

_ -‘MISS KATHERIN LIVERMORE
MRS. WORTH OSGOOD # & &
MRS, S, EVANNAH PRICE* st —

_ MISS EMILY F. PEACOCK |
MRS. ADELAIDE ALSOP-ROBINEAU 3
MISS 8 SMITH # # &

Phe se cee eG
ee Se& & RSE & & EE S

el el ee le ee eee

~ FP 14 ‘MONTHLY:
Yg MEGHZINE:

> _ Copsrianited is08 cA the Keramie © Bite Pabieh'eg € Ce., Syracuse gan New York.

Entered at the Post Office at co iapa a N. Y., aa Seeoud Class Matter, Aug: 2, 1899.

[The entire contents of this Magazine are cobered by the general copyright, and the articles must not be reprinted Without special permission. |

CONTENTS FOR JULY, 1901

Pe mn gn

PAGE

Editorial 49
Primitive Pottery (Part 1), W. J. Holland, P.H.D-L.L.D., 49-51
Ice Bowl, Emily F. Penceel, | , ail
Tulips, Adelaide Alsop-Robineau, ok
Grapes, E, Aulich, 58-59
Grapes—Colored Supplement, _ E, Aulich,
Mushroom Design No 2, S, Evannah Price, 59
Copenhagen Porcelains ae & Grondahl), | 60-61
Tankard Design, Anna B, Leonard, 62-63 _
Cracker Jar, Chas. Babcock, 63
Mountain Laurel, Jennie Smith, 64.
Cake Plate (Roses), ie Seer et L. Candler, ee 65
League Notes, Mrs, Worth Osgood, 66
In the Studios—Club News, D 67
_ The Collector—Rartities from various China collections, £. A. Barber, 67-68

Pyrography—Eidelweiss and Nasturtitums, K. Livermore,

—Dogwood Design, Alice B. Holbrook, 70

—Modern Design for Box, James James, 71
Answer to Correspondents, | Y |

WE began with the January Number to issue a Colored Supple-

ment each month, instead of alternating with monotones as before.

The ay retail price of these Color Studies for one year is as follows :

Twelve Color Studies at S5t., $4.20. | |
A Subscription to “Keramic Studio,” meualns | these EwaWve Studies, oS 50.

Vol. Ill, No. 3

NEW YORK AND SYRACUSE

July 1901

0 those who are desirous of coming to New
York to study during the summer, we would
suggest making inquiries first of the teachers,
as each year a fewer number of studios re-
main open, The season practically closes the
first of June and reopens the first or middle

of September. We have seen so many disappointed students

coming from a great distance that we offer this timely sug-
gestion, “to find out who will be there.” The KERAMIC

Srupio has the names of the leading artists in the Teachers’

Directory.

But if those who come would avail themselves of our
fine libraries and the keramics at the Metropolitan Mu-
seum, their visits would be fruitful in acquiring a foundation
for good designing. To those who have not studied in
this way we would say that there is much profit as well as
pleasure in dipping into this wealth of reproductions in color
of the best designs of many centuries and peoples. In the
Publisher’s Notes we give a long list of useful books which
Take tracing paper and water
Keep them for future

may be found at our libraries.
colors, and copy some of the designs.
use in your classes or for your own work. Looking at them
later on will give you many suggestions and will facilitate
building your own designs.

Then there are the Parks and Botanical Gardens where
one can make sketches from nature, which will be an immense
Study the growth of the plants, the
Use your water

help in floral designs.
formation of leaf, stem, bud and flower.
colors to obtain any color scheme that may please you, either
in leaf or flower. This suggestion may lead you into another
museum—that of Natural History. The color there in the
wings of butterflies will be a study in itself. We had the
pleasure of seeing some designs recently made for silk, the
color scheme was obtained in this way. Students do not
begin to appreciate the vast opportunities in the large cities,
it seems so much easier to go to a studio and have some one
else do the work. Happily, however, a few are beginning to
study in the right way, and as the pleasure of it is so great,
contagion is sure to follow.
©

We just received an interesting letter from Miss M.
Louise McLaughlin of Cincinnati, one of the pioneer amateur
clay workers in this country. We expect to give later on an
illustrated account of her work. Meanwhile our readers will
be interested in the following extracts from her letter:

“Tn the KERAMIC STUDIO sent me, in the article on the
Copenhagen Ware, the statement is made that no attempt
has been made in America to produce anything in the way of
porcelain except table ware. This is no longer true, because
I have been producing porcelain of a purely decorative charac-
ter for some time. It is now three years since I began a
series of experiments in porcelain. The work is carried on at
my home in a small kiln erected in my garden. The experi-
ments have been carried on entirely by myself and, naturally,

with many drawbacks resulting from inexperience, lack of
proper facilities, etc. At last, however, I have settled upon
bodies and glazes which will suit my purpose. The ware isa
true porcelain, hard and very translucent. It has been com-
pared to soft porcelain, and probably does resemble the old
Chinese soft paste more than anything else, although both the
ware and glaze are hard, being fired at a temperature of about
2,300 F. I have now an exhibit of twenty-seven pieces at
Buffalo.” Yours very truly,
M. Louis—k MCLAUGHLIN.
@

PRIMITIVE POTTERY

[Address before the National League of Mineral Painters, at the Pan-Ameri-
can, by W. J. Holland, Ph. D., LL.D., Director of the Carnegie Museum, Pitts-
burgh, Pa.]

HO was the first potter? This is a question which will

be forever veiled by the clouds of oblivion. Wander-

ing along the banks of a stream, picking up a rounded
mass of water-worn clay, crushing and molding it in his
fingers, the first potter may have pleased himself by see-
ing how the plastic mass yielded to his touch. Then, noting
how the clay, when it had been touched by the passing
hoof of some quadruped, held in its cavity the water, he
may have fashioned out of the mass which he had flat-
tened in his. hand a rude primeval cup and with it lifted
from the brook the waters of the stream by which he sat.
The first experiment was repeated. The mass of clay fash-
ioned by his fingers was left to dry in the sun. It was found
to be a receptacle having in it something of durability and
something of use. Again the experiment was repeated
Each repetition led to a further development of the thought.
With increase of variety in form came increase in adaptability
The act of the first potter, a savage man of the
Then
later, perhaps by accident, the fact that sun-dried clay becomes
hardened in fire may have been discovered. The rude hut in
which the savage had stored his vessels of sun-baked clay, in
which he kept his stock of seeds and edible grain, caught fire.
The first potter's kiln may have been started as Charles Lamb
has humorously informed us that the first oven for roasting
pork was started, by a conflagration in a dwelling. From
among the ashes and still glowing embers of the fire the
earthen vessel was brought forth harder and more useful than
ever. Henceforth the savage resolved to fire his vessels of
clay, and for this purpose constructed a kiln in which he
baked the pots and shallow dishes which he had fashioned
with his fingers. Ages no doubt elapsed, and the arts of
savage life had progressed far, before the potter's wheel was

to use.
wilderness, was repeated by other savages about him.

invented.

In attempting to trace the beginning of keramic art we
naturally refer to the old world of Egypt and Assyria, in
which are preserved to-day the memorials of the most ancient
civilizations of which we have knowledge. Here everywhere
the work of the potter is in evidence. As you are aware, the
making of sun-dried bricks, followed by bricks covered with

50 RERAMIC STUDIO

enamel or with glaze, was one of the earliest of arts. Re-
cently, through the Egypt Exploration Society, the burial
place of the kings of the first Egyptian dynasty has been
discovered to the surprise of students of Egyptology. But
underlying this most ancient of burial places were found
ruins, and in them were discovered stores of prehistoric pot-
tery, some of which, I am happy to say, find a resting place
in the Carnegie Museum, and examples of which are on the
table before me. So, before history in its modern acceptation
was begun, before men had attempted to chronicle the birth
and death of kings, or the founding of dynasties, the potter
was at work fashioning rudely, and yet effectively, the plastic
clay which he found at hand on the banks of lakes and rivers,
or deposited in great beds in the earth. The ancient Egyp-
tian pottery, which is unmistakably prehistoric in its origin,
is rude compared with the products of subsequent times. It
is mostly unglazed, and consists of soft, porous terra-cotta.
Some of it gives evidence that it was fashioned by the hand
alone, without the agency of the wheel. Much, however,
which has been discovered shows that already the use of the
horizontal revolving wheel was known. It is not in Egypt or
in Assyria that to-day we find preserved the best examples of
what may strictly be called primitive pottery. The art of
the primitive potter is being plied at this very hour, as no
doubt it was plied thousands of years ago in the haunts of an
elder civilization, by the savage or semi-savage tribes of Africa,
Malaysia and America. The Stone Age, as it has been called,
has been in all historic times up to the present in a measure
coéval with the Age of Bronze, of Iron, and even of Steel.
Contemporary with the civilization which gave us the Parthe-
non, the Arch of Trajan, St. Peter's in Rome and St. Paul’s
in London, were savage tribes in distant parts of the earth
who fashioned their flint arrow-heads, as flints had been fash-
ioned by the lake-dwellers in Switzerland; and whose pottery
was even more crude and primitive in the methods of its
manufacture than much of the pottery fashioned by men who
lived long before the Pharaohs, before the age of Homer,
Czsar, Michael Angelo, or Christopher Wren. The study of
primitive pottery is not, strictly speaking, an archzxological
pursuit, though it may be this in part. It is rather the study
of the potter’s art in its infancy as practiced by tribes of men
with whom all art is in its infancy. Without therefore
attempting in the brief time that is before me to more than
refer to the primitive pottery of the ancient Egyptians, Assy-
rians, Greeks and Romans, of which fragments are treasured
up in the museums of the world, let me rather call your atten-
tion to the development of the art in primitive form as it has
been in comparatively recent times, and is to-day practiced
among the aboriginal races of the two Americas.

In various localities upon the eastern sea-board of the
United States, among the ruins of the flimsy structures in
which the red men lived, sometimes associated with the rude
stone implements of the chase and warfare, are found the
remains of earthen vessels, These give evidence of having
been fashioned out of the clay directly by the fingers of the
potter, who molded the vessel into shapes of use. The com-
mon method of fashioning vessels for use which was and is
still employed by the Indian tribes in the southwest, is to
build up the vessel out of ropes of clay fashioned in the hand
and carried around coil after coil until the vessel has been
built up to the desired size and shape. Much of the ancient
Zuni pottery preserves upon its exterior the evidence of
having been thus constructed. The interior was deftly
smoothed and molded by the hand of the primitive potter,

while the roughness of the exterior, showing the method of
structure, appears in some cases to have been valued as having
a sort of rude decorative effect heightened frequently by the
touch of simple implements by which the coils were made to
assume indented or waved outlines. A sample of such ware
I have brought with me, and it is on the desk before me.
Almost all Zuni pottery is made in this way at the present
day. The ropes of clay, of varying thickness according to the
size and capacity of the vessel, are coiled one upon the other;
then both interior and exterior are carefully shaped and fash-
ioned by the hand. The vessel is allowed to dry, and then
with a piece of stone it is ground down and polished, when
it is at last ready for the kiln.

So far as my observation and my studies extend there is
no evidence that any of the genuinely antique pottery which
has been exhumed from mound and burial places in either
of the Americas shows that the use of the potter’s wheel
was known to the worker in clay. He relied solely upon
his fingers and rude implements of wood, bone, or stone
which were improvised by him, and while exceedingly
symmetrical forms were produced and highly artistic shapes
were evolved, it was almost entirely in reliance upon manipu-
lative skill, The greatest difference exists in the degree of
skill in workmanship shown by various tribes. The keramic
products of the Indian races and mound-builders of the At-
lantic seaboard and the Mississippi valley of North America
represent perhaps the lowest stages of proficiency in the art
of the potter. While many curious and interesting vessels
have been discovered, few of them compare in beauty of form
and perfection of finish with those which are found in the
southwestern portion of the United States and notably of
Tusayan origin. The work of the ancient potters whose
labors antedated those of the modern Zuni does not compare
unfavorably with the most refined keramic wares of Mexico
and Central America in which the art of the potter seems to
have reached its highest development. When we pass into
the northern portion of South America we find, as we proceed
further and further from the influence of the Mexican and
Central American civilization, cruder and less artistic results.
Nevertheless the skill displayed in the production of fictile
wares by the ancient races which inhabited the northwestern
portion of the South American continent was not small. I
have within recent days with much interest been engaged in
unpacking a considerable collection of pottery gathered in the ©
province of Santa Marta, Colombia. This collection was
mainly taken from ancient graves in the remoter and wilder
parts of the country. Among the more remarkable objects
which were obtained by those collecting for our Museum were
the funeral urns, or coffins, in which the remains of the dead
were placed. These are huge earthen-ware pots from two to
two and a half feet in depth and about two feet in diameter
at their equator, opening at the mouth, which is about
eighteen inches across, sufficiently wide to admit of deposit-
ing in them the body of a man in sitting posture, with the
knees brought up to the chin. These receptacles are un-
doubtedly the largest pieces of pottery-ware known to have
been made by the aboriginal tribes of America, and served
the purpose of the barrel into which the Japanese at the
present day put their dead in the same sitting attitude.
None of these vessels give evidence, so far as I can discover,
that they were fabricated upon the wheel, though when
broken all parts seem to be perfectly homogeneous in struc-
ture, and there is no evidence, so far as I have been able to
see, of the use of the method of coiling clay, as I have already

HERAMIC STUDIO | 51

described it. The composition of these vessels is of a coarse
clay mixed with particles of sand and finely powdered shells.
They have been carefully smoothed externally and internally
and all traces of the use of mechanical appliances, if such
appliances were employed, have been obliterated, except that
here and there upon their surface are slight depressions or
markings which might have been made by the smooth surface
of a pebble employed for polishing.

Passing from these huge earthen-ware vessels, each one
of which has required a large box for its shipment, we find
vessels of various shapes and sizes, made for the most part of
the same material, light red in color, and displaying a very
high regard for symmetry of form. In addition to the hol-
low ware of which I have spoken we find other implements
made of clay,—ladles, bird-calls, flutes, figurines, small heads
of animals and of men, probably made for purposes of orna-
ment. Similar figures, as you are perhaps aware through ob-
servation and reading, are not uncommon in Mexico, Peru,
and parts of Brazil.

Thus far what I have said has related principally to the
technique of the methods by which the fictile products of the
aboriginal tribes of America were fashioned in outline. I
have said little in reference to the art of finishing and of
ornamenting the objects which were formed by their skilful
fingers. The ornamentation of fictile ware may consist either
in the modification of the form or in the application of pic-
torial design to the surface. While the vessel was still soft
the fabricator sometimes pleased his fancy by adorning the
surface with lines and markings traced upon it, or by attach-
ing to it in the form of legs or handles devices of a more or
less artistic character. Sometimes the result of ornament
was achieved by giving the vessel a grotesque form, such as

that of a quadruped, or of a bird. Such early efforts at the
production of something more than forms of simple use are
not uncommon in the vessels found in the mounds of the
Mississippi valley, and droll objects suggesting the imagin-
ation of childhood, or of a people in which art is in its infancy,
are frequently discovered. Those of you who have studied
the collections in the great museums will recall the gro-
tesqueries of the potter’s art which have come down to us
from the burial places of Tennessee, Missouri, and Ar-
kansas.

When we pass to the southwest and examine the products
of the ancient burial places of the southwestern tribes among
whom the art flourished, we find the same tendencies, but
touched and animated by a much higher regard for accuracy
in form, symmetry in outline, and fidelity to nature so far as
animal forms are represented. While conventionality pre-
vails, it is in evidence that the ancient potter of the Pueblos
had an eye for the things of the material world about him,
and his efforts at the representation of these forms are far
more successful than those which were produced by the tribes
of the North and Northeast. This artistic sense reaches its
highest development in Arizona, Mexico, Central America and

Peru.
[TO BE CONTINUED J

me
NOTE

‘In the treatment of plate design by Miss Caroline Bon-
sall in the May KERAMIC STUDIO, the mistake was made of
“Two parts Yellow Greex to one part Marshings Gouache
Minton Green.”” It should read “Two parts Yellow Go/d,”

etc:, ete.

MENTION, HISTORIC ORNAMENT—ICE BOWL—EMILY F, PEACOCK

ARRY out the design in Copenhagen Blue, leaving the
C small figures in the bands white. Or put light green

lustre in the dotted background, yellow lustre padded in the
lower part of bowl and carry out the design in flat gold.

52 HRERAMIC STUDIO

TULIPS
Adelaide Alsop-Robineau

NE of the most pleasing flowers for simple
designs is the tulip; at the same time it
is easily adaptable to almost any shape
and almost every style of ornament. It
can be used to ornament a vase in a Jap-
anesque style, growing stiffly up from the
base, a few flowers on one side and a leaf
or two on the other, or it can be arranged
symmetrically around the base, say three
flowers at regular intervals and leaves
between. Treat the flowers always sim-
ply, and when conventionally arranged, in

flat tones. The tulip is especially adapted to stained glass

effects for windows. The panels, oblong, square and round
can be used for this purpose, enlarging them from two to
three times according to size desired. Take the panel at the
head of this article, for instance. An interesting window can
be made of it, allowing a plain border from one to three inches
wide, according to size of panel. Outside of this, if necessary
or desired, one of the border designs can be arranged. Or if
the window is longer than wide, use this panel for the upper
third, filling the space below with small diamond-shaped or
square panes, plain, colored or ornamented with a simple
design similar to that on the square tile. To have the /aded
effect of stained glass, make your heavy black outlines on one

side of the glass, filling in the color on the other. Ifa mosaic
glass effect is desired, divide up these heavy outlines with
cross and oblique lines not quite so heavy, leaving no very
large plain spaces. To make these lines black enough, rub
the powder black into the painted lines. The other oblong
and the round panel can be used alone or having one of the
borders outside of a plain band.

We would suggest for a color scheme:
shades of bluish green; sky and cloud, two shades of purplish
blue; moon, orange; and tulips, white or scarlet. A ground
glass makes a very good surface, or a thick glass with
an irregular surface. Plate glass can be used but the effect
is better on a rough glass, just as a water color has more
decorative texture on a rough paper.

This panel with the moon could also be adapted to a vase,
in which case the stems and leaves should be longer and the
whole design adjusted to the shape, being careful not to crowd
the vase. Leave some plain spaces, The tile design should
be treated very simply, either in monochrome or a simple
color scheme of three or four tones only, and those not too
bright. If the round panel is used in a square window, the
corners should be left plain if there is a border either around
the circle or the square. If no border is used, a corner orna-
ment would be appropriate—not too conspicuous. The wavy
lines can be white or pale yellow or green, suggesting wreaths
of mist or loose grasses. This design is suitable also for a
placque.

The column of borders illustrates the adaptability of the

Leaves, two

tulip to a stiff, upright design or a graceful
flowing one. These designs can be used as
borders, or enlarged. The various motifs
can be fitted to vases, tankards, steins or
other forms.

No. 1. Ground, two shades of green
bronze, use green bronze 10 with 14 gold for
darker shade, adding % gold Be lighter
tone; Tulips in Roman gold; leaves and
stems in green gold. Outline in black.

No. 2. Paint in one color on white, or
in two shades of gold on white ground, out-
lined in red brown or black, or make ground
Copenhagen blue or grey, bands, leaves and
- stems a grey green, and Tulips white. Out-
line in Dark Green 7.

No. 3. Leaves, two shades of grey
sreen; Tulips, scarlet or yellow; outlines,
black or gold. Or carry out in lustre on a
black lustre ground, or make Tulips blue
grey, with leaves two shades of grey green,
or pale brown, background white or gold,
outlines on white, Green 7, on gold, red
brown or black. This could be used for
stein or pitcher, by using three each of the
alternating forms enlarged so as to meet
around the form. This design would also
look well in white on a Copenhagen blue or
grey ground, or on pale brown or green,
outlines to correspond—not too dark.

No. 4. Black portion gold, design in
pale browns or grey greens, outlined in gold;
or dark portion tinted and design in gold
and color.

No. 5 is for gold etched border, or to be
drawn in gold or one color with pen, or
carried out in flat enamel with gold outline.

No. 6. Flower scarlet, yellow or pink,
stem and leaf pale brown, outline brown
red brown, gold or black.

No. 7. Border at base drawn with pen
in capucine red, flowers in capucine, and
leaves in pale brown. Outline in gold or
brown.

No. 8. Dark portion; brown bronze
with design in gold; light background, gold
with dots of brown; Tulips in green gold
outlined in red brown; pistil, Roman gold ;
and stamens, black.

Flat enamels can be used to advantage
in any of these designs.

TO ADAPT STRAIGHT BORDERS TO A
CIRCLE. CUP AND SAUCER, PAGE 56.

First draw a circle a trifle smaller than
the saucer or plate you wish to design. Cut
this out and place upon the plate divider
(KERAMIC STUDIO, January, 1900), adjust-
ing the center of circle to center of divider
with a pin. Mark on edge of circle all the
divisions marked 10. See circle x-x in cut (a).
Then turn circle so that first mark Io cor-
responds with 12, and mark all 12 divisions
on circle. Then adjust first mark to 14 and

RERAMIC STUDIO

Vey

ae ULE aN GLU YE

“1

"7 YY UY

54 NHERAMIC STUDIO

to 16, marking these divisions also. Now mark on saucer the
distance k—-n between the edge and top of Tulip in cup design
(6), and draw circle on saucer to indicate this distance (dotted
line w—w (a). Draw also circle to indicate space occupied
by cup in center of saucer, y-y (a). Now place circle x—x on
saucer as in cut (@); z-z represents saucer.

As a rule an odd number is preferable to an even one, so
we first try the 14 division, drawing to rim of saucer from
mark on edge of circle. Removing circle, carry these lines
down to center of saucer. Then apply a tracing of tulip to
two divisions, as in cut (2). We find the distance between
tulips too great, so we take the next smaller division 16. We
find that if we make a still smaller division the stems will be
too crowded on inner rim y—y, so we mark off the saucer into
16 divisions. Apply the tulip to each division and draw the
headless stem between. This is an application of the simplest
form of design. On the plate we try something a little more
elaborate.

Using border No. 2, draw first the bands. Then divide
your plate or saucer so that the space bounded by bands and
dotted divisions is just about size of space on straight border
containing the ornament. Make a tracing of ornament, and
as this is not a symmetrical one, place in space so that stem
comes on each division line. These designs are drawn larger
than border, in order to show how they can be made larger
to suit article decorated, though a saucer border should be
as nearly as possible the same size as on cup.

Of course it will be understood that any straight lines in
border will have to be indicated by circles on saucer or plate.
In No. 2 we have a symmetrical form, although the stems are
all turned one way. Indicate the base of border by a circle
drawn on the plate. Make separate tracings of your main
and subordinate motifs, without the stems. Always try first
for an odd number of divisions, as they are always more inter-
esting as being less common: 3, 5 and 7 are more interesting
than 4 or 8, and 5 and 7 are more interesting than 3. We find
that the 7 or 14 division leaves only room for the main motif,
so we have to use the 12 division again. Place the center of
the main ornament on the division line, the smaller ornament
on the next division. Then draw the stem along the circle to
complete the design. Sometimes, in order to make a design

HRERAMIC STUDIO 55

sTanyens
PtEL

AUN

Flowea Cente

fit nicely, it is advisable to change slightly the lower part of design, as sug-

gested in the dotted line at base of large ornament. In border No. 4 we

have a still different problem. We find that by applying the tracing exactly,

the wavy line at the base is lost, so we have to shorten the stem of the center

tulip and draw the base line by hand. There being no alternate ornament

the stems have to be bent so as to give the same appearance as in the straight

border, leaving all difference in the triangular space above. As a last

problem, we have a continuous border where there is no conspicuous place

for division. Make separate tracings of the main flowers and leaves. After

dividing your plate or saucer, you will have to divide your border arbitrarily
as in the cut. Now having found the proper space, trace your flowers (a-a)

and by hand finish the drawing of your stems and leaves to look as nearly /
as possible like straight border (b—b).

Leaves

56 RERAMIC STUDIO

HERAMIC STUDIO 57

Almost any design can be adapted to a circle by using
this method. When fitting a rounding surface, apply the
ornament to perpendicular and horizontal lines, letting the
design draw nearer together in the slender parts and spread
where the form swells, sometimes making slight altera-
tions in the form to fit the space, as shown in plate border

No. 3, or even adding a little or taking from it where neces-
sary.

There are numberless other arrangements of this delight-
fully decorative flower, which you can work out for your-
selves, and doubtless you will find the greatest pleasure in
doing so.

58 HERAMIC

STUDIO

COLOR SUPPLEMENT—GRAPES—E, AULICH |

FTER making the sketch carefully, blend in the background
first, using Ivory Yellow for lightest part, a mixture of

Blue Green dark and Purple for the cloud effects. For prom-
inent bunch of grapes in centre to the left, use Air Blue for
high light, Pompadour and Gold Gray for the red and brown
parts, for greenish parts blend in some Yellow Green, Olive
Green and Yellow Brown, also a little Egg Yellow for the

transparent tones. For bunch in left hand corner, use Flesh
Red and Egg Yellow, for the whole a little Air Blue and
Pompadour for high lights. For the blue bunch of grapes
use Carmine Blue. For shadows, mix in some Deep Purple
and Black. The green leaves are a mixture of Blue Green
dark and Egg Yellow. For darkest parts use Shading Green,
Olive Green and Brown Red. Chestnut Brown for stems.

KERAMIC STUDIO 59

For second fire or third, touch up with about same colors.
For ground use Yellow Brown and Egg Yellow, Yellow Green
and Brown Red for darker parts.

To use the black and white sketch for china, paint the big
bunch to the right red and brownish, breaking in some Banding
Blue and Black in the darkest parts, but the bunch to the left

paint light green, using Air Blue for high light, Lemon Yellow

and Yellow Green for general tones. Shading green for
second fire to touch up.
WATER COLORS
When the group is sketched carefully, wash in the back-
ground with Naples Yellow. Indigo with a little of Rose

Madder mixed, for the grayish tones. For bunch in the
centre to the left, use Cobalt Blue for high lights, Light Red,
Burnt Sienna and Carmine for the reds, for the greenish tones
blend in some Chrome Yellow and Hooker’s Green, and
Brown Madder for darker parts. For bunch on left side, use
Chrome Yellow and Rose Madder, and a little Cobalt Blue.
The blue bunch wash in with Ultramarine Blue, Crimson
Lake and Black. The green leaves paint in with Viridian,
Chrome Yellow and Hooker's Green. For darkest shades use
Brown Madder, Burnt Sienna, Sepia Brown. For ground
work use Yellow, Raw Sienna, and a little Hooker’s Green in
some parts.

MUSHROOM DESIGN (No. 2)—S. EVANNAH PRICE.

ROCEED as with design No. 1 (see June number) with
background and ferns, the same colors being used. For

the mushrooms, use for the caps, Lemon Yellow shaded with
Yellow Red, the gills Lemon Yellow with markings of Yellow

Brown and the very darkest Brown Green. The stems and
ring on the large one are Lemon Yellow shaded with Violet
No. 2 and Lemon Yellow mixed. The volva at the base is
whitish ( Silver Grey ).

60 RERAMIC STUDIO

ST. GEORGE AND THE DRAGON—MR. REESEN-STENSTRUP

COPENHAGEN PORCELAINS—BING & GRONDAHL

HE name of Copenhagen evokes at first a recol-
lection of the well known and charmingly dec-
orated porcelains of the Royal Manufactory,
which are familiar to our readers, as we have
in two numbers given illustrations of these
remarkable wares. However, it would be a
great mistake to believe that the Royal Man-

ufactory has the monopoly of the beautiful Danish porcelain

or that the work done outside by private concerns is not worth
mentioning. Among the keramics which at the last Paris

Exposition have attracted the most attention, are the porce-

lains of a group of Danish artists, known by the name of the

old firm, Bing & Grondahl, founded in 1853.

At that time the Royal Manufactory was in existence,
but was not making very artistic wares, nor was it financially
successful, and it occurred to a young potter named Grondahl
that there was room for pottery work by private concerns.
He secured the financial support of two brothers, M. H. &
J. H. Bing and founded the firm of Bing & Grondahl. The
first years were disappointing, but later under the direction
of A. Jumel, the factory commenced the reproduction in bis-
cuit of the famous sculptures of Thorwaldsen. An exhibition
of these porcelain figures at the London Exposition of 1862

PLAYING CHILDREN—MISS HAHN JENSEN

met with an extraordinary success, and from that time dates
the reputation of Bing & Grondahl.

With Heine Hansen as Director, some very fine table sets
with decorative motives of the Dutch Renaissance were pro-
duced, one of the original sets being to-day in the collection
of the King of Denmark. The Thorwaldsen reproductions
were also continued, and in 1871 the statue of Hebe, in biscuit
and life size, was bought by the South Kensington Museum.

In 1886 and the following years, Prof. Krohn, now Direc-
tor of the Copenhagen Museum of Decorative Arts, com-
menced the decoration of porcelain with high fire colors, which
considerably increased the reputation of the firm. Finally in
the last few years the works have been placed under the
direction of F. F. Willumsen, an architect by profession, who
has shown marvelous gifts as a decorator and a potter, and has
in a short time stamped the Bing & Grondahl wares as among
the most original and artistic modern keramics.

It will be noticed at a glance that far from being influ-
enced by the works of their famous neighbors of the Royal
Manufactory, the Bing & Grondahl artists are trying to escape
that influence as much as possible. Although they occasion-
ally use the high fire colors, the light blues and greys which
resist the highest kiln temperatures, in most of their latest

ORNAMENTS—MR. H. KOPFOED

pieces the light shades are replaced by a metallic brown, an
original and robust red, also a very fine black (oxide of iron is
the basis of these brown and black glazes.) But it is not only
in the colors used that the two productsdiffer. The artists of
the Royal Manufactory are painters, Bing & Grondahl are
modelers and sculptors. Here the paste is everywhere incised,
broken by open work decoration, thrown in powerful and
striking shapes, and the color is only used to complete the
decoration, while in the Royal Manufactory works the color
is the whole decoration. The latter’s wares give the impres-
sion of charm and refinement, the Bing & Grondahl wares that
of strength. Another difference is that artists of the Royal
Manufactory are more and more tending to naturalistic paint-
ing, while Bing & Grondahl remain highly conventional. No
bolder and more striking conventionalization could be imag-
ined than the wings on the cinerary urn in our illustration.

CINERARY URN

Perhaps at times one will find that
the pieces are overloaded, almost’ too
much incised, too heavy. When porce-
lain is used, this constant open, or high
and low relief work makes necessary a
thickness of the walls of the vase and a
heaviness of the whole piece, which is not
exactly satisfying, as lightness and thin-
ness have always been the great charm of
porcelain. Faience, or better yet, stone-
ware seem to be the most appropriate
bodies for monumental and powerful
shapes, and we are not surprised to see that
occasionally Bing & Grondahl have re-
course to stoneware, for instance in those
cinerary urns which are one of the most
original creations of Mr. Willumsen.
However this constant effort to create
brings always interesting and sometimes
strikingly artistic results.

Although the hand of the Director,
Mr, Willumsen, is felt everywhere, the
execution is entirely left to the artists
under his direction, the Misses Heger-
mann-Lindencrone, J. Garde, E. Drewes,

RERAMIC STUDIO

J. Plockross, Hahn Jensen, and Messrs.
Reesen-Stenstrup, Hammershoi, Loch-
er, Wagner, Kofoed and Petersen.
Miss Plockross is the author of the
vase, “The Growth,” illustrated here
and of a symbolic meaning, like ‘““The
Danaides,” and many of the large
pieces of Bing & Grondahl. On the
upper band a woman’s and a man’s
head, surrounded by naked babies; at
the bottom a brown band of soil con-
taining the seeds of plants from which
germinate the flowers in the middle
band.

GROWTH—MISS PLOCK ROSS

Another interesting product of
Bing & Grondahl is their modeled
animals, very similar to those of the
Royal Manufactory and executed with
the same perfection. Illustrations of
these little gems of sculptured porcelain
will be given in one of our later num-
bers.

THE DANAIDES—MISS HAHN JENSEN

ENAMELS—MR. ELIAS PETERSEN

VASES—MISS BE. HEGERMANN-LINDENCRONE AND MISS FANNY GARDE

TANKARD DESIGN
WITH INSTRUCTIONS ON FLAT ENAMELS
Anna B. Leonard

UTLINE the design in German Black
OC) with Pompadour Red mixed with it
(both these colors can be obtained in pow-
der) to give ita warm brown tone. Use a
strong fine outline for the whole, then put
in the first washes of the gold, bronze, green
and dark blue for the first fire, without
touching the grapes or leaves. For the
second fire, go over these broad washes of
gold, bronze and color in the same manner,
using enamel in the color for the second fire
(directions follow). To prepare the colors
for the grapes, take out upon the palette
Dark Violet of Gold (Lacroix), Carmine No.
3 (Lacroix), Deep Blue Green (Lacroix),
Brunswick Black and Ruby Purple (Ger-
man), and mix the tones desired. For the
leaves, Apple Green, Mixing Yellow, Brown
Green, Silver Yellow, Chrome Green 3B, all
Lacroix colors, or the colors that correspond
in other makes. Prepare a body enamel for
the very light enamel colors, by using two-
thirds aufsetzweis, one-third Hancock’s hard
enamel, and to this add one-eighth flux.
For the paler tones of the grapes put the
color into the enamel, the enamel greatly
predominating. For the very dark tones
put the ezame/ into the color, using only
aufsetzweis and then usually only about one-
eighth. Try to keep this difference in mind.
When the colors or shades have the proper
amount of enamel, they can be used and
blended like ordinary colors, but they must
be kept very thin and used only avery little
heavier than the color ordinarily is used.
Those who are not sure of their enamels
should test the colors on something else until
the right tone is obtained, as colors in this
mixture fire stronger than when used in the
usual way. In connection with an outline,
the flat enamels have more body and look
much richer than a flat wash of color. For
the pale tones of Green use Apple Green,
Mixing Yellow and a little touch of Black to
take off the intense green which this mixture
with enamel would otherwise fire. After
mixing these three colors, add a little of it
to the body enamel, remembering always
that it will come out stronger in color than
it appears upon the palette. To this mix-
ture add, in order to make a deeper and
different tone, Chrome Green 3B and alittle
Silver Yellow (remember that Silver Yellow
fires much stronger than Mixing Yellow),
and then add Brown Green and Black to
tone. Ifa very dark shade of green is used,
mix your colors to the desired tone and then
add one-eighth aufsetzweis, using no other
enamel—a little flux may be used if the fire
is to bea light one, If the enamels should

RERAMIC STUDIO

fire too pale, go over them again with any color you like, just
as in painting, and refire. Be careful to keep the enamels flat
like the color. By using them very wet, they will flow prop-
erly on the design and smooth themselves so that there will
be no unevenness in texture, If the tone of color varies, that
detracts nothing, in fact the surface looks better with a color
that vibrates. If the gold or bronze runs over the outline,
touch up the outline in the next fire, otherwise the gold will
come forward and your design sink back.

There are four panels of this design, one on each side,
one in front and one under the handle. The body of the
tankard may be tinted cream or painted in yellow lustre.
(This same design may be carried out in different tones of
blue.)

For the dark blue bands use Dark Blue (Lacroix), a little
Brunswick Black and a little Ruby Purple, with one-eighth
Aufsetzweis.

Put on a light wash each time the piece is
fired.

MENTION, MODERN DESIGN—CRACKER JAR—BABCOCK

EAVE white china for white portions of this design. The
le flowers make blue in flat enamels, using Dark Blue and
a touch of Ruby Purple. The leaves and stems should be
Brown Green and Moss Green, the darkest portion of design

and the outlines gold, and the gray portions of background
pale brown or green. This design would be very effective

carried out in different shades of gold and bronze with black
outlines.

Lz
Tp _*
TOOr. i bgp 7 ,
Ee y Wezsre

iff
EWC:

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== Sor

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LKYeoss

MOUNTAIN LAUREL
[ MENTION, NATURALISTIC STUDY |

Sennte Smith

RAW the design in carefully, and paint
delicately for the first fire. Set the
palette with the following colors: La-
croix Pearl Grey, Sky Blue, Deep Blue,
Green, Moss Green J, Olive Green, Brown
Green, Dark Green 7, Violet of Iron,
Chestnut Brown, Brown 4, Carmine and
Black.

The open blossoms are white, tinged
with pink; buds pink; pistil and stamens
pale greenish white; anthers Violet of
Iron; stems green; branches brown.

Wash in the flowers with a delicate
grey, leaving the white of the china for
the high lights. Shade delicately with
the Carmine; paint the center with a cool
green, the little markings and the anthers
with Violet of Iron; pistils and stamens
delicate green; buds Carmine, shaded
with grey and carmine.

The leaves are a rich deep green—
paint these in the foreground with Moss
Green, shaded with the darker greens,
The leaves in the background make a
greyer green. Use Pearl Grey shaded with
Brown 4 for the older branches; Pearl
Grey and Olive Green for the younger
growth.

Lay in the background with large
brushes, beginning at the upper left hand,
with Sky Blue, running into deeper blue
green, carmine, then Moss Green, Olive
and Brown Green, and as it reaches the
lower right side wash in Chestnut Brown
and Brown 4.

For the second fire use same colors
as for the first fire, strengthening and
deepening them.

AERAMIC STUDIO

a
ee

7
BOS

onc
Ce
C7

CAKE PLATE (ROSES)—MARIAM L. CANDLER

AREFULLY sketch in the design with India ink, then dust
(CS the edge with Royal Green and wipe out the color
where the paste design is to be modeled in for the second fire.
The roses are laid in with Roman Purple, leaves of Moss
Green, Brown Green, Russian Green and Shading Green. The
shadow-leaves are washed in with Gold Gray very delicately.
Then fire.

Second fire.—Retouch the roses and foliage with same
colors used in the first fire. For the background use Ivory

Yellow, Yellow Brown, Lavender Glaze and Copenhagen Blue.
Just before firing, dust on Ivory Glaze over the background.
Model the paste design around the border of the plate, then
fire.

For the third firing, retouch the roses with Roman Purple.
On the high lights give a wash of Yellow Brown, and a touch
of Finishing Brown in the heart of the rose. Accent the
foliage, washing some into the background. Cover the paste
with gold and refire.

66 RERAMIC STUDIO

[_FASUE
NOTES

It is to be expected that the notes for
this month will containa full account of the
annual meeting and election. Instead of
telling you of the business transacted I would much prefer to
use this space to tell you of the Buffalo Society of Mineral
Painters and the charming courtesies and hospitalities ex-
tended to the few that were gathered together in the name of
the League. To begin at the beginning, May 30th we
undertook to locate the Manufacturers’ Building, but not
having a boat at our command we made slow headway. At
last we floated in to what we were told was the Central Court,
and we believe the statement. It certainly was the center of
activity. All around were scores of workmen sawing, ham-
mering and filing. We seated ourselves upon boxes and
boards and surveyed the confusion. By degrees we evolved
out of it all the case of china belonging to the Chicago
Ceramic Association, another of the New York Society of
Keramic Art, and one belonging to Marshal Fry, also Miss
Montfort, in a moist, uncomfortable background of china,

cases, denim, boards and things, and as we listened to the

queries of the Fair's bedraggled visitors and to Miss M.'s
patient explanations of who, which and what we were, we
registered vows and impressions which we believed no sun,
however beautiful, nor Exposition, however dry, could cause
us to alter.

The morning of the 31st we were ushered into the
Woman’s Administration Building. Enough cannot be said
of the beauty and great, good taste displayed in all the ap-
pointments of this delightful building. It was here our little
party of delegates were met by the Buffalo Society of Mineral
Painters, and from that hour on we were cared for and assisted
in the happiest possible manner. They caused us to forget
our disappointments over the mass of telegrams and letters of
regret from absent delegates. They listened to the Triennial
Reports and withdrew, as we afterward learned, to plan for
the success of our programme. The handful of delegates
were somewhat depressed with the responsibility of carrying
forward the election of officers. Time was needed to fully
ascertain the exact amount of power vested in the delegates
present and to arrange for a stronger list of nominations, as
many of the nominees had declined to run for office. Ac
cordingly the meeting was adjourned to assemble at a date
not later than June 5th, to cast the ballots for the next
triennial executive.

Saturday, June tst, in the chambers of the Buffalo His-
torical Society Mr. W. A. King addressed the League visitors
and the Buffalo Society of Mineral Painters. His paper,
which was full of choice selections from classical writers and
out of the way verses by modern authors, would make a
charming, illustrated book for lovers of pottery and porcelain.
While Mr. King claims only a collector’s interest in ceramic
art, his efforts to bring to the front the ceramic art products
of this country and to place them on a better footing in the
Pan-American Exposition than they have hitherto occupied
are well known to those who follow movements in the pot-
tery world.

Professor C. F. Binns gave a practical talk upon clays,
kilns and glazes. He prefaced his analytical lecture with
forceful remarks, tending to help the student to decide which
he would go in for, money or reputation. Inshowing us how
few the chances were for acquiring both, he drew stirring
pictures from the life of his father which made us feel that
the splendid record which this grand man has left was the
result of deliberate choice between money and reputation.

A delightful luncheon had been arranged for by the Buffalo
ladies in one of the many pleasant rooms of the Library
Building, and here we exchanged glimpses of sympathetic
pursuits and thoughts and mentally calculated the chances for
New York's falling off the map and leaving us free to become
loyal Buffalonians.

June 3d W. J. Holland, LL. D., Director of Carnegie
Institute, came to us. His paper on “Primitive Pottery”
will, I think, be found in another column of this number of the
STUDIO. He brought with him valuable specimens of his-
toric and pre-historic vessels and objects which served to
illustrate his lecture. Dr. Holland was followed by Mrs. S. S.
Frackelton, who pictured in a bright and entertaining manner
the evolution of the American woman china painter. Her
paper was brought to a good climax by a serious consideration
of the value of organized effort for accomplishing truer and
stronger things in mineral painting. At noon Mrs. Filkins
made up a party of eight to meet Dr, Holland at luncheon.
Best of all the memories of that pleasant hour is the brief
outline which Dr. Holland gave of the prospects for future
ceramic education in the Carnegie Institute, and the encour-
agement and hope which he held out to us. i

In the evening we were entertained in the chambers of
the Historical Society. At this reception, Reginald Cox, R.A.,
president of the Society of Buffalo artists talked in a fascinat-
ing manner for about thirty minutes. I could tell you what
he said, but it would convey no idea of the effect upon his
hearers. His attitude and intonation told us more than his
words, of the broad fellowship and ready sympathy which he
wished to extend to the mineral painters. In a fantastic
fashion he showed to us that he was “one of us,” and
described with fine humor his first painting,—a plaque. It
was his first order and with the proceeds he said he bought
his first box of oil colors. He talked with feeling of John
La Farge and gave us the history of the glorious stained glass
windows by La Farge, which are in Trinity Church, on Dela-
ware avenue. We accepted his advice to see them and were
amply repaid. The future possibilities for the mineral paint-
ers of Buffalo assumed envious proportions as we listened to
Mr. Cox’s rare invitation to them to join his fraternity, the
Buffalo Society of Artists.

But this was only one feature of the evening’s programme.
Mr. Day carried the audience out of all remembrance of the
weeks of rain and discomfort, by his perfect rendering of J,
Whitcomb Riley’s “ Day in June.” It could not have had a
better interpreter. From that hour Buffalo skies commenced
to smile, and June lived up to the reputation Mr. Day so con-
vincingly fastened upon her. Then there was “ Little Albert,”
another of Mr. Day’s impersonations. Before you close up
this column I want to tell you about the violin solo and the
sweet voiced singers, and the “something more” which we
enjoyed after the program closed.

June 4th we obtained special service for our mail but did
not receive Mr. Barber's paper in time for the morning pro-
gram. Miss Montfort spoke to the assembly on preparation
for exhibiting in expositions and gave many practical hints
and helps for co-operative work.

Mr. Fry’s paper read by Mrs. Filkins was listened to with
appreciation, and at the conclusion of the program we met at
a delightful luncheon given by Mrs. Reichert at her studio
home.

At 4 o'clock the delegates met in the Wisconsin Building
on the Exposition Grounds. A fresh inspection of the mail
gave no new instructions from the Rolls of Clubs. Learning

HERAMIC STUDIO 67

that on the following morning we should lose three votes we
called the adjourned meeting to order, Mrs. Osgood in the
_chair and Mrs. Frackelton secretary, for the meeting. The
Roll of Clubs was called and the list of proxies and letters of
instructions were recorded. The list of nominations as pre-
sented by Mrs. L. Vance Phillips, chairman of nominations,
read. From the floor two nominations were made.
Twelve votes were cast for president and twelve for vice-
president. The other officers were elected by acclamation.
Mrs. Baiseley and Mrs, Gove served as tellers, and Mrs. Culp
as auditor. Ballots cast gave for new Triennial Executive
President, Mrs. L. Vance Phillips; Vice-President, Miss
Sophie G. Kernan; Recording Secretary, Mrs. E. DeWitt ;
Corresponding Secretary, Miss Myra Boyd; Assistant Secre-
tary, Mrs. Carolyn Doremus; Treasurer, Miss M. Helen E.
Montfort.

Mr. Edwin Atlee Barber's paper was read and a vote of
thanks tendered to him for his excellent pleas for artistic
tableware. The STUDIO will receive the paper.

In the evening Mr. King invited us to see his collection,
which is large, valuable and full of interest. Give me a
chance and some day I will tell you about his collection.
And now dear editors and readers, until such time as the new
executive has gathered up the threads of league work I am
yours to command. Mrs. WORTH OSGOOD.

The honor of having held the first convention in the
Woman’s Administration Building, belongs to the National
League of Mineral Painters.

Was

The Colonna Art Society of Bridgeport, Conn., held its
annual meeting and election of officers for the ensuing year,
on Friday, May 17th. The following members were unani-
mously re-elected: For President, Miss J. Frances Lewis; for
Vice-President, Mrs. S. E. Routh; for Corresponding Secre-
tary, Miss S. M. Leverich; for Recording Secretary, Mrs. C.
P. Van. Alstyne; for Treasurer, Mrs. William Richardson;
for Sub-Treasurer, Miss Bertha Scott; Department of Draw-
ing and Painting, Mrs. A. A. Calhoun; Department of Ker-
amics, Mrs. W. A. Langhua; Department of Embroidery,
Mrs. Elmore J. Hawley, and for the Miscellaneous Depart-
ment, Mrs. Edward Taft.

CLUB The annual meeting of the Mineral Art
F :

NOTES League of Boston was held at the studio of

Mrs. Manns Beebe, Saturday, May 18th. The
report of the recording secretary (Mrs. C. L. Swift) was most
interesting. After mentioning the lectures, lessons and criti-
cisms with which the league had been favored she said: “In
no previous year has the club done so much earnest work in
the right direction as in the year just closed.’ The report of
the treasurer (Miss Johnson) showed the finances of the
league to be in a good condition. The report of the corre-
sponding secretary (Mrs. Bakeman) was followed by an
address by Mrs. Beebe, the retiring president. It was full of
energy and impressed her hearers with the need of tudividual
interest and activity for the prosperity of the league. The
report of the nominating committee was then made and the
following officers elected: President, Miss Ella A. Fairbanks;
First Vice-President, Mrs. Grace E. Beebe; Second Vice-Presi-
dent, Mrs. Gertrude C. Davis; Recording Secretary, Mrs. Car-
oline L. Swift; Corresponding Secretary, Mrs. M. M. Bake-
man; Treasurer, Miss Augusta I. Johnson.

The Nebraska Keramic Club has closed its year’s work
and has elected the following officers for the new year: Mrs.

J.C. Comfort, President ; Mrs. W. H, Berguer, Vice-President ;
Mrs. Fred. Schneider, Secretary; Mrs.C. A. Wagner, Treasurer;
Miss Edith Landberg, Custodian. The club has endeavored
the past year to encourage more original work and the annual
exhibition resulted in showing nearly three hundred pieces
which were executed entirely by the members without
assistance.

The eighth annual exhibition of American Art at the
Cincinnati Art Museum, began May 18th and will last until
July 8th. There will be also photogravures of one hundred
important paintings in the Prado, Madrid, by Velasques,
Titian, Murillo, Raphael, Rubens, Ribera and others, sent by
the Berlin Photographic Company.

er
THE COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE BY SUBSCRIBERS
(When pieces are sent by express, expressage is paid by buyer.)
For further particulars, address Keramic Studio Pu blishing Co.
Syracuse, N. Y.

p. c.—perfect condition,

g. c—good condition.

f. c,—fair condition.

Dp. &.— perfect glaze or color.
g. g.— good glaze or color.
f, g.—fair glaze or color.

b. g.—bad glaze or color,
ser.,—scratched.

rep.,—repaired.

er,—cracked,

ch —chipped (state number of chips).

sm, ch.—small chips (use only for very
small chips which do not
spoil the piece).

br, x.—broken, piece missing.

br. o.—broken, can be repaired.

STAFFORDSHIRE

Baltimore Court House, dark blue plate, 84-inch, p. c., very rare, $30.00
U. S. Bank of Philadelphia, dark blue plate, to-inch, - 30.00
Erie Canal, Dewitt Clinton, dark blue plate, 84-inch, - 26.00
Boston Hospital, dark blue plate, 9-inch, p. c., - - > 20.00
Anti-Slavery plate, medium blue plate, 91-inch, : - 20 00
Union Line Steamboat, dark blue plate, 9-inch, —- - = 15.00
Wilkie design, Valentine, dark blue plate, 10-inch, p. ¢ wl 4 T5.00
City Hall (Ridgway), dark blue plate, 10-inch, p. Gu : 14.00
Philadelphia Library, dark blue plate, 8-inch, - 12,00
Another repaired, = - - - = - F 7.00
Landing of Lafayette, dark blue plate, ro-inch, slight scr., - 12.00
Trenton Falls, dark blue plate, 8-inch, - - = - 11.00
Escape of the Mouse (Wilkie), dark blue plate, 1o-inch, rep., fine color, 10.00
McDonough’s Victory, dark blue plate, 7% inch, p. c., . - 9.00
States pattern, dark blue plate, ro-inch, rep., fine color, - = 8,00
Caledonian pink soup plate, to inch, p. c., c 2 ¢ 2.00

2 Flow blue plates, 9-inch, good specimens, 5 lot, $1.25; each, .75

Very large soup tureen and cover, dark blue, floral dec., very fine, 15-00
LUSTRES
Silver lustre set, teapot, creamer, sugar, fine condition and shape, 30.00
Silver lustre teapot, odd shape with four feet, p. c. but slight scr., 10.00
Silver lustre pitcher, 734-inch high, p. c. but slight scr., rare - 10.00
Teapot, white pottery, raised dec. of strawberries in blue color and silver
lustre, odd piece, - - - = = 6.00
Copperdustre pitcher, 53-inch, spotted purple lustre band, - 5.00
Another, 54-inch, raised dec. on yellow band, “ = - 5.00
Another, 5-inch, octogon shape, Neptune head spout, old and rare, 5.00
Another, 4%-inch, floral dec. in bright enamel colors, 2 - 4.50
Another, 5-inch, pink lustre band, slight cr. on edge, : = 4.50
Another, 4-inch, pink lustre band, : - 4.00

Another, 4-inch, odd shape, raised dec. on blue band, : - 3.5
Another, 6-inch, blue band, slight cr. in center, - - - 3.50
Another, 5-inch, raised dec. on blue band, handle rep., - = 30
Another, 4%4-inch, blue band, cr., - - -

- 1.50
Copper lustre mug, 3-inch, floral dec. on white band, fine piece, = 4.00
Another, raised dec. on blue band, slight cr. on edge, - Ss 3.00
MISCELLANEOUS
Tortoise shell pitcher, 534 quarts, hound handle, animals in relief, 15.00
Old Worcester plate, Chinese mark, birds in center, cobalt blue border 8.00
Lowestoft cup and saucer, - - - : - - 2.50
Another, - : - = : - - : 2.25
Lowestoft 9-inch plate, scalloped edge, - : = : 3.50
Lowestoft sugar bowl and creamer, crack and chip, - : 3.50
Lowestoft teapot, floral dec., large size, fine piece, - 10.00

Our exchange column is open free of charge to subscribers.
We advise subscribers who list old china for sale to consign the pteces to
us, when possible, as it will make sale easier, they paying express charges.

OC)" {Or Ae)

The article on Lowestoft by Mr. Barber will appear in
September issue. The article on lustres on old English por-
celain, which we had announced in some of our circulars for
July issue, has been postponed for lack of room.

68 ARERAMIC STUDIO

RARITIES FROM VARIOUS CHINA COLLECTIONS

HE creamware jugs made in Staffordshire soon after the
Anglo-American war of 1812, occupy a place by them-
selves among historical china, and are eagerly sought after by
those interested in early wares. They form a connecting link
between the earlier black-printed Liverpool pitchers and the
later dark blue china bearing American views. Many of these
jugs, with portraits of naval heroes, printed in black, were
produced by Enoch Wood, the Burslem potter, though they
are seldom, if ever, marked with his name. Plates and other
pieces, however, decorated with the same engravings, have
been discovered with the Wood mark impressed in them.
There were among these alleged likenesses busts of Perry,
Bainbridge, Hull, Pike and Jones. A jug decorated with

STAFFORDSHIRE CREAMWARE JUGS

heads of the two officers last named is owned by Dr. and Mrs.
G. L. Hurd, of Lakeville, Connecticut. The portraits are
surrounded by a framework composed of flags, war emblems
and sailing vessels. The forms of these pieces are usually
more squatty than the Colonial or Liverpool pitchers which
preceded them.

In the May number of the KERAMIC STUDIO, reference
was made to a ‘‘no-name” series of dark blue prints of prom-
inent places in the United States, and a platter was figured
showing a view of the city of Baltimore in its earlier days,

To the same series belongs the plate which is decorated with
a view of Philadelphia from the Delaware front, copied from
an earlier print. It presents in the foreground a glimpse of
the wharf at Kensington, beneath the celebrated elm tree,
under which William Penn effected his treaty with the Indians.

VIEW OF PHILADELPHIA—DARK BLUE PLATE

The illustration is made from an example owned by Mrs. J. B.
Neal, of Easton, Pa.

The earliest marked and dated salt-glazed stoneware of
American manufacture that has been discovered, was produced
by Paul Cushman, near Albany, New York, in the first decade
of the nineteenth century. One of the most recent finds in
this line is a large jar with ear-shaped handles and the incised
name of the maker at the top. In the centre of the body is
a rude floral ornament painted in cobalt blue. Such pieces
are in great demand among collectors. They seem to be con-
fined to New York State, being usually found in the vicinity

OLD STONEWARE JAR, MADE BY PAUL CUSHMAN,
ALBANY, N, Y¥., 1809.

of Albarryy. They show an attempt at decorative treatment,
more or less elaborate, and frequently bear the date 1809.
The ware itself is of a brownish gray color, very similar to the
old German stoneware, and the glazing was accomplished in
the same manner, by throwing salt into the kiln just when the

fire had reached its greatest heat.
EDWIN A. BARBER.

AERAMIC STUDIO

PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Livermore, 207 Hallock Avenue, New Haven, Ct., who will have charge of this
department and will answer inquiries in the Magazine.

EIDELWEIS AND NASTURTIUMS
K. Livermore

HEN a very delicate decoration is required,

nothing could be prettier than the eidelweis, if

properly treated. Shade in very fine lines, and keep

the effect of pen work as much as possible. Either

leave the background white, or give just a suggestion
of burning.

Where a bright bit of color is required, the nas-
turtiums are most attractive and can be arranged in a
variety of ways. Where several blossoms are used,
leave some in the natural wood, stain others a very
delicate yellow, and vary from this to deep orange.

TREATMENT FOR DOGWOOD DESIGN
Alice B. Holbrook
HIS design is to be left uncolored. Outline, and
a Burn the back-
ground a medium shade of brown with medium strokes,

rim leaves and petals lightly.

and the dark portion around opening much heavier,
with beaded edge. See page 7o.
e
DESIGN ON MODERN STYLE FOR BOX

James James

URN outlines deep, very deep (don’t be afraid to

burn through the wood). Stain the background.

The color according to your own taste; dark green

or brown would be pretty. It is not necessary to burn
the lines around the design. See pages 70, 71.

DO RERAMIC STUDIO

For Treatment see page 69 DOGWOOD DESIGN—ALICE B, HOLBROOK

SIDE OF BOX

For Treatment see page 69 DESIGN ON MODERN STYLE FOR BOX—JAMES JAMES

AERAMIC STUDIO 71

TOP OF

END OF BOX

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

A. S.—It very often happens that on the second or third fire a Belleek
piece comes out without glaze or with very little glaze, especially if the firing
has been too hard. You might try ivory glaze. It sometimes brings the
glaze back, not always. If you cannot improve your vase that way, the only
thing to do is to finish it with mat effect.

C. D. E.—The best way to set a price on order work is to charge so
much an hour if the work is simply a repetition of what you have done
before ; if the design is original charge something extra for the design. A
fair price per hour is fifty cents to a dollar, according to the kind of work. A
fair price for a shirt waist set, gold and enamel and little roses, is $2.50 to
$3.00 for three studs, collar and cuff buttons. The belt buckle is usually extra.

E. A. R.—To mix powder enamels take just enough fat oil to hold the
powder together and then thin with lavender to the right consistency, i. e.,
so the enamel will adhere to china without spreading. If too soft, breathe on
it and it will thicken up when turned over with the palette knife. We have

BOX

DESIGN ON MODERN STYLE FOR BOX
JAMES JAMES

For Treatment see page 69

repeatedly given directions for mixing paste for gold and the same rule holds
good for all makes, fat oil enough to make the powder adhere, breathe on it
several times, mixing with palette knife, thin with oil of lavender to the con-
sistency of mustard, breathing on it till it stays “‘ put.’? We can not say
who is best in Chicago for jewel work, but refer you to our teacher’s cards.

B. E. S—There is not as much raised paste and jewelling used just now.
Flat enamels and flat treatments of color, gold and lustre prevail.

C. A.—Cement for mending china is sold by every dealer, Aufsetzweis
can also be used. After putting the piece together with cement or enamel,
tie it carefully with asbestos string. You can conceal the break by making a
little enamel or raised paste design over it, repeating the line of the crack at
intervals to make it part of the design.

G. O.—We have still some of the La Croix color charts offered last year
to subscribers. You Will find them useful to refer to when colors are men-
tioned with which you are not familiar, as almost every color is given in its
right shade.

M. K.—Soak your water color paper thoroughly before using, lay your
wet blotter, the size of your paper on your board and the paper on top, being
careful that no bubbles are left under it, as that would cause it to dry.

Miss Emily C. Adams

... Miniatures

Portraits and Figures on Porcelain and Ivory.
Decorative Work in both Mineral Painting and Water Color

Studios, 745 Third Ave., Lansingburgh, N. Y.,
and at the Emma Willard Art School, Troy, N. Y.

Mrs. Adelaide Alsop-Robineau
MINIATURES
Decorative Work of All Kinds. Figure Painting on Ivory
and Porcelain.

ORIGINAL DESIGNS.

180 Holland Street, ‘“‘Keramic Studio,’”’ Syracuse, N. Y.

EK. Aulich
China Decoration and Flower Painting
in Water Colors.
Portraits on China and Ivory a Specialty
GLASS GLOBE PAINTING TAUGHT.
Lessons given in all branches, under the personal

supervision of MR. AULICH.
152 West Twenty-third Street, - - NEW YORK.

Mr. Sidney T. Callowhill

Announces his retnrn from Europe with new designs,

and the re-opening of his studio, September 23d.

Instruction in China Decorating & Water Colors

COLORS AND HARD-FIRED JEWELS FOR SALE.

FIRING DAILY.
Studio: Colonial Bldg, 100 Boylston St., Boston, Mass.
: Room 929,

Mrs. K. E. Cherry
Studio, 213 Vista Block, Grand and Franklin Ave.,
St. Louis, Mo.

Lessons in China Painting.

Summer Classes at Alfred, N. Y.

Miss Mabel C. Dibble

Classes tn China Painting and Water Colors.
TUESDAYS, THURSDAYS, SATURDAYS.
Conventional Work a Specialty. Original Designs in Water
Colors for sale. Special attention given to all order work,
INSTRUCTIONS BY MAIL.

Studio: 806 Marshall Field Building, Chicago.

Marshal Fry
Classes in Decorative Painting on Porcelain.

Summer Classes at *‘Summer School of Keramic Art,”’
Alfred University, Alfred, N. Y.

Circulars upon application.

Studio: 36 West Twenty-Fourth Street,

New York.

Miss Jennie Manson
Studio: 38 Prince Street, NEW HAVEN, CONN.
All Branches of China Painting Taught.

Original Water Color Studies to Rent.
PYRCGRAPHY.

Mrs. A. H. Heaslip
... Pyrography or Fire Etching...

ON WOOD AND LEATHER,
Large assortment of Supplies and Designs,
Anderson Bldg, 534 Main St., cor. Huron, Buffalo, N. Y.

Will be in Buffalo July and August, and return to New York
in September.

Mrs. H. E. Hersam
STUDIOS:
372 Boylston Street, Boston, Mass.,
20 Hersam Street, Stoneham, Mass.
INSTRUCTION IN
Flower Painting and Conventional Design.
FIRING EVERY DAY.

Miss E. Louise Jenkins

—CLaSssES IN—
China and Water Color Painting ..

STUDIO; 1377 Forsythe Ave. COLUMBUS, OHIO.

Original Studies for Sale or Rent.

RERAMIC STUDIO

Teachers’ Directory.

Coiorado.
DENVER.
Miss Ida C. Failing,
Fifteenth Street.
CRIPPLE CREEK,

Mrs. C. W. Searles, 509 Colorado
Avenue.

1041 South

Connecticut.
NEW HAVEN.
Miss Tennie Hanson, 58 Prince St.

Katherin Livermore, 207 Hallock
Street. Box 584.

NORWICH.
Mrs. FP. A. Roath, 37 Otis Street.

District of Columbia.

WASHINGTON.
Prof. Sherratt, 608 13th St., N. W.

Ilinois.
CHICAGO.
Mr. F. B. Aulich, 1104 Auditorium.
Miss Mahel C. Dibble, 806 Marshall
Field Bldg.

Anna Armstrong Green, 1101 Audi-
torium Tower.

Mrs. Teana MclLennan-Hinman,
1100 Atiditoriuim Bldg.

H.O.Punsch, 100 Auditorium Bldg.
Miss Jeanne M. Stewart, 845 Mar-
shall Field Bldg.
OAK PARK.
Miss Edith H. Loucks, 421 N. Hum-
phrey Avenue.

Indiana.

INDIANAPOLIS.
Mrs. W. S. Day, 316 N, California
Street.
Massachusetts.
HINGHAM.
Mrs. Eva Macomber.
BOSTON.
Mr. Sidney T. Callowhill, 100 Boyls-
ton St., Colonial Bldg, Room 929.

Miss E. A. Fairbanks, 15 Welling-
ton Street.

Mrs. H. E. Hersam, 372 Boylston
St., 20 Hersam St., Stoneham,
Mass.

Miss Joy’s Studio, 3 Park Street.

Miss E. E. Page, 2 Park Square.
CAMBRIDGE.

Alice B. Holbrook, 116 Chestnut St.
WESTFIELD.

Miss B. Maie Weaver, Highlands.

Michigan.

DETROIT.

Miss Mariam L. Candler,

Adams Avenue,

Missouri.

6 West

ST. LOUIS.
Mrs. K. E. Cherry, 213 Vista Block.
Miss Emma Moreau, 3561 Olive St.

Minnesota.
MINNEAPOLIS.

Mrs. Henrietta Barclay Paist, 207
E. Grant Street.

New York.
ALBANY.
Lavinia H. Haswell, Kenwood.
BROOKLYN.
Mrs. Worth Osgood, 402 Madison
Street.
Miss Emily F. Peacock, 58 S. 9th St
BUFFALO.
Mrs. Filkins, 609 Main Street.
Mrs. A. H. Heaslip, 534 Main St.
Miss Grace Milsom, 13 Anderson
Bldg, 534-536 Main, cor. Huron.
LANSINGBURGH.
Miss Emilie C. Adams, 745 3d Ave.
NEW YORK.

Mr. E. Aulich, Hartford Bldg., 152
West 23d Street.

Mr. Marshal Fry,
24th Street.

Mr. James James, 1151 Broadway.
Mrs, Anna B. Leonard, 28 E.23d St.
Miss M.M.Mason,48 BH, 26th St.
Miss E. Mason, 48 E. 26th St,
Osgood Art School, Miss A. H. Os-
good, Principal, 12 E.17th St.
S. Evannah Price, 159 W. 23d St.
Mrs. Fanny Rowell, 96 Fifth Ave.
Mrs. Sara Wood Safford, 115 East
23d Street.
Miss Pannie M. Scammell, 118
Waverly Place, near Sixth Ave.
Mary Tromm, Rooms 13, 14, 15,
1112 Broadway.

Jr., 36 West

Mrs. Thomas A. Johnson
Classes tn China Painting and Water Colors.

58 Boston Block, - - ‘ SEATTLE, Wash.

Miss Joy’s Studio
3 PARK STREET, BOSTON MASS.

China Teacher and Decorator ..

PRIVATE AND CLASS LESSONS.
. . Water Color Studies to Rent.

Mrs. Anna B. Leonard
Soe VCSIRVAGHAE SSINCIDITGL «4

Classes: Tuesdays, Wednesdays, Fridays.
INSTRUCTION BY THE MONTH OR BY THE TERM.

*, Exclusive Designs for Table Services
Special attention given to Design and Enamels.
POWDER GOLD.

28 East Twenty-third Street, New York.

Katherin Livermore

“. China Decoration and Pyrography

Special rates to those who desire to form out-of-town

classes after May 1st.

Box 584. 207 Hallock Avenue, New Haven, Ct.

Miss Grace Milsom
KERAMIC STUDIO:

Room 13, Anderson Bldg, 534:536 Main, cor. Huron Street,
BUFFALO, N. Y.

Specialty “ Roses.”

Original Designs in All Branches of Decorative Work.

Summer Classes.

Miss Emma Moreau
Pupil of School of Fine Arts, Paris
Instruction tn China Painting ..

Figure and Miniature Painting on China and Ivory
a specialty.
CONVENTIONAL WORK—WATER COLORS.

Studio: 356r Olive Street, - ST. LOUIS, Mo.

Miss Mary Alta Morris

—CLASSES IN—
China Painting and Water Color.
Studio, No. 30, Art School, Y. M. C. A. Bldg.,

Send for Catalogue. COLUMBUS, O.

Mrs. Worth Osgood
Studio at 402 Madison Street, Brooklyn,

Between Tompkins and Throop Aves,
China Patnting—overglaze and underglaze.

Studio Receptions Wednesdays.

Miss Laura B. Overly
Studio: 323 Penn Ave., PITTSBURG, PA.
SUMMER CLASSES AT BUFFALO, N. Y.
Lessons tn Water Colors and China Painting.
Agent for Revelation Kiln.

Henrietta Barclay Wright Paist
207 E. Grant Street, Minneapolis, Minn.

Special attention given to orders for DESIGNS in
WATER COLORS.

Studies for sale and for rent.

Miss E. E. Page
-. China Decorator and Teacher
MINIATURES on Ivory and Porcelain.
.... BOSTON, MASS

Studio: No. 2 Park Square,

When writing to Advertisers, please mention this Magazine.

AUG. MCMI Price 35c. Yearly Subscription $3.50

CONTRIBUTORS

MR. EDWIN ATLEE BARBER ¥
MISS MARIE C. CRILLEY
MR. MARSHAL FRY &

_ MISS EDNA GAMBLE « &
MISS ALICE B, HOLBROOK

- MR. W.J, HOLLAND » &
MRS. ANNA B, LEONARD »
MISS KATHERIN LIVERMORE |
MISS M, HELEN E. MONTFORT
MISS FLORENCE MURPHY # *
MRS. L. VANCE PHILLIPS# 2
MRS. S. EVANNAH PRICE* oo
MRS. HENRIETTA BARCLAY-PAIST

_ MRS. ADELAIDE ALSOP-ROBINEAU + —
Miss CORA WRIGHT # we tt

a
oe
al
&
a
&
&
&

aan *&&& & & & & &

RBECORATOR:FIRER:

‘eran Stadio Pubjishing c co. _ Syracuine and New York. Entered ¢ at ‘the Post Office at ‘Syracuse, N.Y. as Second Claes Matter, Aug 2, 1899. ta

[ The entire contents of this Magazine are cobered by the general copyright, and the articles must not be reprinted ‘without spectal permission. |

CONTENTS FOR AUGUST, 1901

Sw =
PAGE
Editorial : ; 73
The Value of Exhibitions Marshal Fry 73-74
Sweet Pea Plate Alice B, Holbrook 74
A Class in Design, Mr. Arthur Dow, Instructor 75-80
League Notes Mrs. L. Vance Phillips 80

The League at the Pan-American Exposition . M. Helen E. Montfort Sr
Club Notes—In the Shops 3 81
Widow’s Tears Cora Wright 81
Exhibition of French Pottery at the Tiffany Studios Anna B. Leonard . 82-83
Fruit Saucer Adelaide Alsop-Robineau 83
Primitive Pottery, continued W. J. Holland, Ph. D., LL.D. 83-86
Orange Cup Design Anna B. Leonard 86
Designs for Porcelain Buttons, Belt Pins, etc. Anna B. Leonard 87
Stein ; Marie C. Crilley 88
Mediums 88
Treatment for Indian Placque (Supplement) Henrietta Barclay Paist 89
Mushroom Design No. 3 S. Evannah Price 89
The Collector—Lustres on Old English Porcelain 90
—Salt Glaze Ware | Edwin A. Barber ol
—A Rare View of New York 92
Pyrography—Design for Box, California Live Oak Edna Gamble 93
—Designs for Borders K. Livermore O4
Violet Cup and Saucer Florence Murphy 95
Answers to Correspondents 96

¢¢ a4 AN EXTRAORDINARY OFFER!
(()LD CHINA A ee enemnsy pres
“WILL BE THE TITLE OF... Twelve Colored Studies and a Portfolio

OUR SPECIAL MONTHLY ISSUE FOR COLLECTORS, S SENT FREE &

BEGINNING OCTOBER Ist, 1901.
TO THE ONE WHO WILL SEND US

ae Special Mee aclne will be a be re of pane pelectoey in Kgramic StTupio, ;

anid will be a nicely bound 6x9 pamphlet, with a neat and appropriate cover.

We will give every month illustrated articles'on all wares or historical pieces FIVE NEW NAMES ACCOMPANIED BY THE OF $3. 15 EACH.

which may be ofinterest to our readers. We will also have a list of china for sale, 2 CLUB RATE

which we hope to make more and more varied and attractive. Conditions of pur-

chase and sale will be given in full in'the Magazine. ;
Subscription price will be only $1 a year; single copies 10 cts,

To dealers, repairers, étc., who wish to advertise in ‘‘OLD, CHINA,” we will
offer advertising spaces at the very low rates o

The Color Studies may be selected from our Catalogues

sent free on application.

Spare 1 ye Hace 2 ey Ade, metas $1.00 RGR PARE. corer sevasae renee sesh aecks Uskaseke tas $4.50 THE PORTFOLIO is neat and attractively bound in cloth, stamped: on side
ul 4 1.50 Page...... Pas irenrsennag ties neveste tees bays ieee 8.00 “KeRAMIC STUDIO,” and large enough to hold the entire volume of 12 numbers,

VY PALE. seascleccesccced secnpsncacecectercestuas 2,50 10% discount on vearly contracts.

pacha ey ope ae of all people whom ee Ose to De daira ce in old china, FOR TWO NEW NAMES accompanied by the full subscription price of $3.50
and we will sen em a sample copy 0 é first number, October, as soon as 2 H
issued, ‘This number will contain an interesting article on “ Lowestoft Ware,” by each, we will send either the Portfolio or the Twelve Color Studies.
our well known contributor, Mr. Edwin A. Barber, Curator of the Pennsylvania ' EB GPS ta. 3 On hacen OER

54 ames we mean thos

Museum in Philadelphia.

KERAMIC STUDIO PUBLISHING CO., Syracuse, N. Y. before subscribed for the KERAMIC STUDIO - - - -

Vol. Ill, No. 4

NEW YORK AND SYRACUSE

August 1901

OMING in contact all the time with students,
one is astonished to find such a lack of
interest in anything outside of the mere
piece or pieces of porcelain they are work-

No wonder there is so little
originality, so little that is remarkably
good in the overglaze decorations. The one idea seems to
be to have a showy piece for a studio or home, with no
thought of the fundamental principles that underly decorative
art. Besides drawing inspiration from other artistic pursuits
or departments, one, worn out with work in a particular
channel, finds rest and diversion. Mr. Dow says designers
should know more of picture making and picture makers,
should be more conversant with designing. One helps the
other.

One meets hundreds of students in New York each win_
ter who say they are here for the purpose of studying keramic
We know them to be faithful, steady ‘‘plodders,” but
They will sit in a

ing upon.

art.
with no interest in the arts in general.
studio and copy some worn-out study of roses or rococo
design, when the city is full of fine exhibitions and most
important collections of keramics within a stone’s throw of
the same studio,—collections that are teeming with beautiful
color schemes and brilliantly executed designs, that might
afford material for thought and design for many months to
come. But these gems are usually passed by unnoticed by
the average keramic student.

Even keramic clubs keep to themselves too much. They
should be foremost in every art movement, keeping in touch
with artists, interior decorators and designers. All this has
an indirect bearing upon keramics, and broadens one’s point
of view. Those who go out into the artistic world and use
their eyes and brains are the ones usually that have the clever
ideas and the courage to carry them out.

While one is imbibing, in a sense, these thoughts and
suggestions from others, one may at the same time be giving
something to someoneelse. It is the interchange of thoughts
and impressions that counts. Therefore it may seem to one’s
credit to have pupils and friends say, ‘“‘ Poor thing, she works
so hard, is never away from her studio,” but ten to one, in the
long run, she will be worked out in a few years, behind the
times in ambitions and thoughts, and altogether a back
number.

If decorators would go into the world more, and see and
know the things that are demanded, there would not be so
much useless stuff on the market. Aside from the enjoyment
of seeing and knowing about artistic things and people, this
advice is a simple business proposition.

HE members of the Brush Guild, an association of young
AL women who studied sculpture under Messrs. Daniel
French and Augustus St. Gaudens, are now producing art
potteries under the supervision of Mr. George de Forest Brush.
Many of the potteries are capital in design and color, Indian,

Etruscan and Greek designs, all simple and good. The work
is purely handwork without the use of mould or wheel, and
the finish is such as to give many of the pieces the effect of
Japanese’ bronze. Vases, flower-pots, water-bottles, candle-
sticks, incense boxes, etc., look as if they might have been
used in Etruria two thousand years ago. Some large pots of
white terra cotta are copies or adaptations of the gigantic
flower pots with figures in relief found in Roman gardens.
One aim of the Guild is to interest architects in hand-made
terra cotta work, both for buildings and gardens. Meantime
it is doing its best with smaller ware, even bronze buckles
modeled after antique designs and set with colored marbles,
agates, coral, etc.
me

THE VALUE OF EXHIBITIONS

[Paper readat the meeting at Buffalo of the National League of Mineral Painters. ]

RT exhibitions are of value to all classes of people. To
A the public they are factors in cultivating a taste for the
beautiful, and to artists and students are indispensable—the
educational benefits and inspiration to be derived from them
being unlimited. The exhibitor himself is one of the chief
beneficiaries, as he enjoys the advantage of seeing the results
of his own efforts side by side with the best that is being
done, and perhaps at no other time is he able to place sucha
just valuation upon his own doings.

One of the first exhibitions,
brought to bear upon American Keramics, was the Columbian
Exposition of 1892, which did much to kindle enthusiasm
over this art craft and enable us to become more familiar
with the fine ware of other countries. A great impetus of
artistic effort always succeeds a great exposition, and, with

whose influences were

more experience and greater powers of appreciation, we were
able to profit even more by the recent Universal Exposition
at Paris; and in my personal experience this great concentra-
tion of the world’s art has proved one of the turning points
in my life.

We, American Keramists, have been wholly absorbed in
decoration, and little attention has been paid to the potter's
craft. In the estimation of an artist-potter one is not a
keramist who has no knowledge of clay bodies and glazes,
and who cannot design, mould and fire his ware as well as
decorate it. As the jury at Paris considered the exhibits
from this standpoint, overglaze work on ware not made by
the decorator did not rank high, but the disappointment we
felt at not receiving greater recognition in the matter of
awards, has created within us a new and fine ambition to
raise the standard of our work to a plane which will enable us
to achieve recognition and a placing in the art world. The
desire for greater knowledge in the different phases of the
art-craft of pottery is being met by increasing opportunities
and facilities for the study of clay-working and underglaze,
and we shall soon expect interesting results.

Considering the keramics at Paris from a designer's point
of view, we were afforded an excellent opportunity for com-

paring our own decoration, as shown in the National League
exhibits, with that of other displays, with the result that we
are now taking up the study of design in a more serious and
practical way than heretofore. The New York Society of
Keramic Arts commenced a course of instruction under Mr.
Arthur Dow, whose original and delightful method of teach-
ing the fundamental principles of design and composition has
stirred up such enthusiasm that other clubs have made prepa-
rations for similar study.

Although these changes in our ambition, and in our
attitude toward our work, have been brought about, in a
measure, by the great expositions, we must not forget the

very helpful and necessary local exhibitions. The former

RERAMIC STUDIO

affects our keramic world in a general way, but it is the
annual or semi-annual exhibition of our own club in our own
town which influences the greater number of us more directly.
Where there are a few workers artistically capable and suffici-
ently interested to contribute to a great continental affair,
like the Pan-American Exposition, there are hundreds, per-
haps, who are young in the art and who feel that their work
is of insufficient interest to be so prominently placed before
the public. I feel that we all should avail ourselves of the
advantages of our exhibition privileges, whether local or
otherwise, not with commercial motives, or to win prizes, but
for the broadening and educational influence of comparison.
MARSHAL Fry.

SWEET PEA PLATE—ALICE B. HOLBROOK

HE two principal flowers at the right of the main group
ili are white, the others in delicate pink, and white with
pink upper petals. The uppermost flower is pink, with the
large outer petals deep crimson. The keel, or lower part of
the flower, is greenish white. Leaves and tendrils in soft

light greens, with touches of darker green and brown in the
deepest parts. The background shades from Ivory and Pale
Green into Yellow Brown. Russian Green and Copenhagen
Blue directly under the main group, with a touch of Ruby
under the stems.

RERAMIC STUDIO

MARSHAL FRY.

A CLASS IN DESIGN
Mr. Arthur Dow, Instructor.

HE experiment of the New York Society in
having a series of lessons or lectures with
problems worked out by the members of the
class under the instruction of Mr. Arthur
Dow has proved an undisputed success. Be-

: yond a doubt the fall exhibition of the New

Yous Sees will show a marked advance in artistic decora-

tion of porcelain and pottery as a result. Not that the

lessons bore directly upon Keramics, but the general prin-
ciples of art were demonstrated so clearly that few can fail to
profit by them in designing and executing their fall work.

The most gratifying point, however, of the whole series of

lectures is the fact that those decorators whose reputations

have been made in naturalistic painting are those whose work
in conventional designing has proved most superior. With
these to lead, the whole mass of Keramic decorators will,
before long, be showing a higher, more artistic grade of
decoration to which will be added the greater satisfaction of
having done most of the work themselves, instead of having
it all done by the teacher; so much of the conventional work
can be done by the pupil.

At the first lecture Mr. Dow spoke of the three funda-
mental principles of decoration, beauty of line, of color, of

MARSHAL FRY

dark and light—illustrating by a number of examples taken
from the Japanese and other sources, showing that the beauty
of a decoration depends not so much on the subject as on the
arrangement of spots, first of dark and light, then of color, and
as a secondary consideration, the beauty of outline, and of the
line itself with which the design
is drawn. As an experiment
the members of the class were
asked to take ten minutes to
draw a design of tulips in a rec-
tangular or circular space. The
results demonstrated the neces-
sity of learning to fill a space
properly, so the same problem
was given for the next class.
The two panels in tulips by
Mr. Fry are from this class and
illustrate the problem exceed-
ingly well. Mr. Dow said of
them that they were good in
spacing and beautiful in tone,
the white flowers outlined in
grey against a grey ground
with black leaves veined with
grey, making a very harmoni-
ous dark and light scheme. In
the line drawing of the aster,
the interest lies in the cutting
of the space by the floral forms.

The problem for the third
class was to construct a repeat-
ing border for a ten-inch plate,
taking the Chelsea or Dedham
plate for a model, the original
having a border one and a half
inches from edge, then a one-
half inch smaller border anda
line within that. The results of
this problem were extremely
interesting, a plate by Mrs. Rollins of Lakewood, N. J., having
a peculiarly interesting arrangement of light and dark. Since
Mrs. Rollins had never done any conventional work before,

MARSHAL FRY,

MARSHAL PRY.

76 RERAMIC STUDIO

MRS, ROLLINS. MRS. ROBINEAU,

MAUD MASON,

MARSHAL FRY.

MAUD MASON.

O8GOOD AKT COLORTYPE (10,, 5. ¥.

INDIAN HEAD—H. BARCLAY PAIST

AUGUST, 1901.

CoprriauT, 1901, BY

SUPPLEMENT TO ' , KERAMIOC STUDIO PUBLISHING co,,

SYRACUSE, N. ¥.
KHRAMIC STUDIO,

KRERAMIC

we feel that no decorator who aspires to something better,
need feel discouraged in making the attempt at convention-
alization of designs, as hers was in many respects the most
satisfactory plate shown. Mr. Dow spoke also of the fine
feeling in the drawing and the nice distribution of dark and
light in the borders of Miss Maud Mason. It will be
remarked that there were two styles of repeating borders
shown, one in which an irregular motif was repeated and
another in which the motif was a regular symmetrical one,
one side being the reverse of the other. Fora beginner the
irregular repeating border will be the easiest and most satis-
factory and more likely to be interesting. It takes a prac-
ticed hand to make a good and interesting symmetrical
border. However, it must be kept in mind that too much
motion in a border must be avoided as it is not restful. It
would prove irritating after awhile to try and digest one’s

MARSHAL FRY.

dinner from a plate where things were revolving about the
edge. An irregular border necessarily gives somewhat more
motion than a symmetrical one, so any forms which have the
effect of slanting too much from left to right or vice versa,
must be avoided, especially bands. Where birds or animals
are used, especial care must be taken to avoid this “‘ too much”
appearance of motion. A good way to do is to draw your
design roughly, fill in with flat color and hold at a distance to
get the effect of the spots. If this general effect is restful,
the design will most likely be a success.

For the fourth class the problem was to fill a rectangular
form with a center and border which would illustrate the
principle of subordination, the border to be subordinate to
center or vice versa, according to which was designed to be the
most important. We illustrate here three different solutions

STUDIO 77

LAURA T. PAGE.

of this problem. Inthe design by Miss Page of Hartwell, O.,
which is unusually successfulin tone and drawing, the border
is the principal thing, the center subordinate. This suggests
rather a rug design. We understand that Miss Page also is new
to conventional work and must congratulate her on her success.

In the design by Miss Mason the center is the principal
object. The border was of leaves but neither the artist nor
Mr. Dow considered it so successful as the center, so we have

MAUD MASON.

omitted it in order not to detract from the panel of Primroses
which Mr. Dow considered very successful and well placed in
the space, illustrating at the same time subordination of
areas, there being large forms of dark and light and small

subordinate forms to balance and the back ground being cut
into areas agreeable in variety and form. The design by Mr,
Fry also illustrates the center as principal and border as sub-
ordinate but in an entirely different style. This design would
be especially suitable to a book cover. It is very clever,
original and pleasing, somewhat on the order of what is called
l'art nouveau or modern art.

The fifth lesson was an innovation to china decorators, but
it was not long before its application to Keramics became

MRS. ROBINEAU.

clearly understood and almost more interest was taken in this
than in any other problem.

Mr. Dow drew a landscape in outline, the elements being
foreground, middle distance and sky, a principal and subordin-
ate groups of trees. These elements the class combined in
various ways using two or three tones, the object being to
obtain subordination of masses and dark and light, also
beauty of outline.

We illustrate here six landscapes, two each by Mr. Fry,

MAUD MASON.

Miss Mason and Mrs. Robineau, which Mr. Dow himself se-
lected as best illustrating the point. Mr. Dow called atten-
tion particularly to the outline of the trees against the sky,
there being a great difference between a common place out-
line and one full of suggestion of individuality. The use of
Japanese paper gives a rather shaded effect in the reproduc-
tion but the tones were flat in the originals.

The sixth and last problem was the making of repeating
borders in three tones and in color, some to have a naturalistic

RERAMIC STUDIO

motif and some abstract. No especially good designs were
shown with abstract motif, but we reproduce four of the
best designs from naturalistic motifs. The border of orange
buds and leaves by Mr. Fry was in purplish brown on acream
ground but the tones would not reproduce, so the design is
shown in black and white, which does not do it justice. Mr.
Dow considered this interesting and good in dark and light,
and the well spaced border in fine proportion to the larger area.
The border of Roses in which the naturalistic fower is used
in a conventional way shows a good feeling for spacing.

It is interesting to contrast the different ways of seeing
the same subject, as shown in the two rose borders of Miss
Mason and Mr. Fry, and to reflect that if a dozen more artists

MAUD MASON.

used the same motif there would be still a dozen more ways
of seeing the same subject. Mr. Dow considered both borders
by Miss Mason to be beautiful in drawing and in the arrange-
ment of tones. In the last lecture, Mr. Dow dwelt at length
upon some pieces of Corean pottery by Kenzan, the Japanese
designer, all roughly modeled irregular little bits, sometimes

MRS. ROBINEAU.

HERAMIC STUDIO 79

MAUD MASON,

with the mark of the potter’s thumb, but while the lines were
not painfully exact, their beauty was never destroyed. He
considered that the charm of these little jars lay in their
irregularity and uniqueness, the personality and freedom of
the artist who fashioned them showing in every line and
feature. Mr. Dow also spoke of the making beautiful of the
ordinary utensils of
daily life, referring es-
pecially to the charm
of the old iron kettles —
of the Japanese, and
by contrast pointing
to the commonplace
tea kettles of to-day,
turned out by the
thousands without a
touch of individu-
ality.

Referring to the studying of Oriental methods of decora-
tion, he remarked on the desirability of studying from the
objects themselves, as even the best colored reproductions in
books are imperfect and inexact and lose their individuality
inthe reproduction. Mr. Dow wishes to bring every one intoa
mental attitude wherein one picks out only the beautiful and
ignores the bad. He thinks in this way we will grow to see
only the beautiful. There is a great moral sermon
in this as well. Why not? Is not true Art and
Religion one? And why “true Art?” All Art is
true: anything else is not Art. To gain the ability
to discriminate between the true and the false in
art, to feel and know beauty, to recognize and ap-
preciate fine art, in fact, is the end and aim of all
our work and study. Each has this instinct within,
unless perverted, and it can be brought back like
the prodigal son. This knowledge is power, not
only in our own work, but in helping others to an
appreciation of the genuinely artistic. Especially
in the crafts, such as pottery, weaving, etc., is this
knowledge needed, and the public generally should
be educated to know what makes a thing good or
bad, artistically considered.

The great thing to learn is the beauty of sim-
plicity, and the avoidance of the common-place, and
what Mr. Dow terms the wicked, by which we con-
ceive him to mean all violent colors, all Zying exag-

MARSHAL FRY-

gerations, both of color and form, but the
weckedest of all is the common-place. To
sum up: we are to look and work for beauty
of line, of color, of dark and light, and all
else will be added unto us.

[Quoted from a letter of Miss Elizabeth Mason,
New York.]

I had the pleasure once last winter of
hearing a talk given by Mr. Fellosa, the
Curator of the Boston Museum, who, by
several years residence in Japan, has famil-
iarized himself to a wonderful extent with
the methods and principles of Japanese Art.
With these asa basis he has been able to
formulate rules or methods for the teaching
and criticising of art.

It is this new method that Mr. Dow,
who was for some time his assistant, and
who became imbued with Mr. Fellosa’s ideas, is applying in
all his classes. Since this method originated really with the
study of Japanese art, it is often designated as the Japanese
method. This is quite erroneous, for as Mr. Fellosa explained,
while he deduced his principles from Japanese works of art
and often referred to these same works in demonstrating certain
points, it was because
in these Japanese
things we have the
simplest and clearest
exposition of these
rules. However,the
value of them lies in
the fact that they are
universal and that
they are quite as
applicable to the art
of any period or
people as to the Japanese. He thinks that while the
Italian Masters most probably did not study Japanese
prints, etc., they were governed by exactly the same rules,
the only difference being that they presented in a complex
way what the Japanese did in a simple way.

ELIZABETH MASON.

We would add that Mr. Dow in becoming an exponent

MARSHAL FRY,

of this method, has absorbed it into his own individuality,
simplifying instruction so that he who runs may read, his own
experience while studying abroad having taught him how

RERAMIC STUDIO

little pupils are allowed to learn of the why and how and the
necessity of more explicit information in composition and
design.—|[ EDITOR.

MAUD MASON.

[_EAGUE The constitution of the National League

NOTES ? of Mineral Painters directs that officers shall

e elected for three years and that no officer

shall be noche This iron clad provision has just deprived

the League of an able president, who has with rare ability

expended time and energy most prodigally in advancing the

interests of this federation of Keramic Clubs. There were
many regrets that the presiding officer must be changed.

The election was a surprise to most, if not all the mem-
bers upon whom honors were conferred and duties intrusted.
The loyalty of these members has resulted in a general
acceptance. When the summer vacation is passed the new
board will be elected from the various clubs and that body,
together with the executive, will endeavor to keep what has
been gained and to accomplish all possible for the fraternal
and artistic growth of the federation.

Those who have been in close touch with the work of the
outgoing administration realize that much has been accom-
plished in bringing The League before the public and in gain-
ing in many instances recognition that painting on porcelain
with mineral colors has a right to be placed and judged in
the same manner as are paintings done in oils or water colors.
It only remains for Keramic painters to make their art entirely
worthy. The full recognition is sure to come. Nothing
could be more helpful to this end than the establishment of a
Keramic school where all that relates to the technical part of
the art may be mastered with little outlay beyond expendi-
ture of time. It has been one of the plans of the founders
of the League that we have an American school of Keramics,
This vision now seems to be assuming a tangible form. It

has long lived in thought and now may bea reality. The
plans have, to a degree, been formed by the out-going admin-
istration and the incoming shares its hopes.

Our out-going President, Mrs. Worth Osgood, has placed
in the hands of the new executive valuable papers, forms and
letters to facilitate the work of organization and has volun-
teered to answer important letters through the summer until
the new officers can meet and organize,
greatly appreciated.

The KERAMIC STUDIO has offered its columns with the
same freedom as in the past. The new administration is de-
lighted to accept the courtesy and feels it is a most generous
offer and of great value to the League.

Mrs. VANCE-PHILLIPS,
President.

which courtesy is

PAN-AMERICAN EXPOSITION,

At last, after many weeks of weary waiting and much
very hard work, the exhibition of the National League of
Mineral Painters is installed. I have neither time nor space
now to enter into the merits of the exhibition or to give any
detailed account but would be very glad to do so later. Ten
clubs, The New York Keramic Art Society, Brooklyn League
of Mineral Painters, Bridgeport League of Keramic Art,
Jersey City Keramic Art Club, Mineral Art League of Boston,
California Art Club, Mineral Art Club of Denver, Chicago
Ceramic Association, Duquesne Ceramic Club, Detroit Keramic
Art Club, are represented with eighteen individual members,
making about 122 exhibitors in all. Eleven glass show cases
hold the china. The wall covering and background used for

RERAMIC STUDIO SI

the china is a light, cool green Denim. The floor is painted
to match and the center covered with grass green matting.
Each piece of china is marked by a card bearing the name of
the artist, so that interested visitors can find information they
desire very easily.

As a whole, this exhibition of decorated china is much
the best ever shown by the League. The interest in the
work seems very great, as visitors come again and again to
look over the work. To my surprise quite a number of the
pieces have been sold and I feel quite confident that when
the crowds begin to come many more of the choice pieces
will be taken by admiring visitors.
it scarcely seems that we can really be in place, it has all
taken so long to do, owing to the unfinished building and
strikes, etc., but they are a thing of the past.

Strangers are now here and we hope that the Pan-
American will gain for us many new friends, members and
patrons.

I say surprise, because

M. HELEN E. MONTFORT,

BUFFALO, July 8. Chairman.

e y, Wore, At

CLUB
NOTES

The Porcelain League of Cincinnati gave
its annual luncheon at the residence of Mrs.
Robert Burton, where the members exchanged
cups and saucers. These cups and saucers were given out
several months previous, all alike, to be decorated at the
members’ fancy; then at the luncheon a drawing took place,
so that each one had a delightful souvenir of the occasion.

IN THE
SHOPS

The old saying—“ There is no great loss
without some small gain,” is again proved true
in the case of Miss E. M. Gubsch, judging
from the new goods and up-to-date designs that are filling the
store on 23d street, since the fire early in the season. Among
the many pretty things (we saw some finished, others in the
hands of the artists), was a desk designed in poppies in the
“new art style;’’ a charming, little, three-cornered tabourette
(a most artistic thing); some graceful foot rests for a dollar,
new chairs, music cabinets, chests, etc., etc.
‘under fire”

An enormous
and will be a
Evidently a

‘

carved and burned picture was

marvelous piece of workmanship when finished.
master hand is wielding the point.

WIDOW’S TEARS
Cora Wright
UST top of vase with dark blue
|) (Banding Blue and Black),
leaves and base shaded green, rather
yellowish toward top, and dusted in
dark at bottom.
reddish violet.
desired.

Flowers to be in
Outline or not as

85 é KERAMIC STUDIO

DOAT

EXHIBITION

HOENTSCHEL JEANENRY
OF FRENCH POTTERY AT THE
TIFFANY STUDIOS

Anna Bb, Leonard
NE of the choicest exhibitions of modern
pottery that has ever been in this country
is now to be seen at the Tiffany Studios,
which all students should visit. In no
place in the city does one meet greater
cordiality and kindness than at these studios, and from an
educational standpoint, a visit to them is invaluable, there being
always something new and charming to see. It is an experi-
ment having these choice bits of pottery there, but it is quite
in keeping with the broad policy of not only Mr. Tiffany, but
the entire staff.

The work by Hoentschel is perhaps the greatest there,
although the honors seem to be rather equally divided as the
exhibitors are all great potters; what will sometimes appeal to
one does not appeal to another in just the same way. Hoen-
tschel’s work, of which he shows a variety, is all beautiful in
form and delicious in color. The body is usually of restful
tones and dull glaze, not by any means matt or dead, but the
softness of ivory, which is the finish that all potters are now
trying to get. It is the blending of the clay, the enamel and
the glaze, that great unity so dear to the
potter's heart, and not merely the layers of
one over another. He hasalso some placques
upon which he uses a hard enamel or clay,
then fills in with a flowing enamel or color,
which gives an outline to the design, yet
the colors flow in such a way that there are
no hard lines (we have seen some charming
tiles of late made in this method by the
Grueby people and also by Mr. Volkmar.) It
is impossible to describe the beauty of this
exhibition of pottery when the charm is all
in the form, color and. texture. Even pho-
tographs can give nothing but the idea of

form.

Then there are the big, powerful tiles
by Bigot for heavy architectural purposes,
one being from the ‘‘ Porte Monumentale,”
the gateway of the Paris Exposition. The
tile is three feet long and of immense thick-
ness; the design, representing a lion, is
deeply incised in the strongest of lines,

DALPAYRAT

leaving the animal in relief with a border or band that sur-
rounds it. Bigot’s architectural work at the Paris Exposition
was great; his tiles, stairways and great columns supporting
balconies showed tremendous skill and artistic merit in an
avenue in which potters may follow him profitably. Besides
this heavy work he shows charming bits in the form of jars,
placques and vases, all quiet colors and dull glaze.

The work of Dalpayrat is quite individual and by many
he also is considered the greatest potter. To the writer his
work lacks the repose of Delaherche or of Hoentschel, but it
is glowing in rich color effects. He has succeeded in obtain-
ing beautiful reds flaked with other colors. One little piece
is particularly attractive and reminds one ofa charming bit
of fine enameling on metal, with its rich reds, green, a touch
of yellow and even a dull blue, all mingling in perfect harmony
with no outline, yet each separate and in its place. All this
is the effect of the fire, this bringing to the surface of these
many colors, and shows his mastery of chemistry and his
understanding of his kiln. He has a little gem of a vase with
a suggestion of ruby toning into purple and dull blue, with —
the dull body and finish that is so much desired.

Chaplet’s work seems more ordinary, and the texture
from a potter's standpoint not so beautiful, and perhaps the
forms are not so attractive either, but he has succeeded in
obtaining wonderful reds, to which he seems turning his
attention, Some of them are flaked with beautiful greys, and
one is a little gem in the delightful red of the Orientals.

Jeaneney, another great potter, has a few very choice
things showing an individuality in his modeling. One leaf-
like piece, flat and low, is very beautiful and rare in color,
being dull light blue, running into dull greens and greys of
the same value. ;

Delaherche, of whom we have written in. the KERAMIC
STUDIO, has some charming little bits and one glowing vase
running from the peach blow into the ruby. This small ex-
hibit of his does not begin to show the wide range of this
wonderful man. A tiny bit of a vase in very dull blue of light
tone with silver grey, is rare in color and effect, the texture is
something charming and one feels an inclination to touch it, but
the tall vase would naturally attract more notice not only for
its size, but for its delightful color, which should be studied

earnestly by every student. There is an exquisite tone of

BIGOT

DELAHERCHE

RERAMIC STUDIO

POTTERY BY DELAHERCHE

dull pink or peach blow at the top, with bands admirably
proportioned and incised with a simple design upon which
the color has developed into a deeper tone; below that isa
broad band showing a dull green and green grey blue, with
the rose color flowing into it here and there, then another
band of rose, still a deeper tone, then a wide band of dull
blue, the colors all deepening towards the base, but the body
of the vase is in the most superb tone of ruby imaginable,
one section of which has developed into a tone almost black ;

83
the whole is very unusual in color and treatment and again
shows the wonderful control this man has of his colors, glazes
and fire.

The Royal Berlin factory has sent samples of underglaze
but these colors are on a porcelain body. Reds and blues
predominate, but they have no individual touch, and are not
otherwise attractive except in beauty of form.

Doat, from the Sevres factory, has some fine things in
greys, but the body is also porcelain. The greys and dull
greens are the same as were seen at the Sevres exhibit in Paris.

With this collection of fine pottery there are a few inter-
esting bits of peasant work and a remarkable collection of
work done by Thomas Inglis, an American, not known and
He

made these artistic bits for his own amusement and delight
and would never sell any of them. Then there being a
necessity for it, his son brought the collection to Mr. Tiffany,
to whom he sold it, Mr. Tiffany considering it quite a remark-
able discovery. There is some attempt at modeling and the
motif is well carried out. Some of the vases have a little top
fitting on of carved ivory. His work seems to be made with-
out wheeling and it certainly is stamped with a human touch.
He shows a wide range both in form and color, and there are
two tiles quite original with suggestive landscapes in a very
low key, one of which would certainly delight the followers of
Mr. Arthur Dow. The purchaser of this will have a joy for-
ever. There seems something wonderfully pathetic in the
story of this old man, whose work at this late day has so
jouddently: come to light.

now a man between eighty and ninety years of age.

FRUIT SAUCER
Adelaide Alsop-Robineau

HIS design can be carried out
LE in gold outlined in black or
red brown or in flat enamels.
For flat enamel treatment use a
blue made of aufsetzweis with %
flux colored with banding blue
and black. Use sufficient color
to obtain a medium grey blue,
remembering always that the
aufsetzweis fires darker. Use
this on the two outer bands and
the inner band, also on occasional
leaves. For the remaining leaves
use the aufsetzweis colored with
royal green, banding blue and
black to give a cool grey green
effect. For stems use brown 4 or
17, not too dark, and for the
cherries carmine with 4
aufsetzweis and ruby purple to

use

Put enamels on
thin and let them flow with a
shading effect in the bands as
well as in the rest of design. If
desired the design can be outlined
in dark blue, dark green, with
ruby purple forcherries. Do not
make cherries very dark.

make two tones.

PRIMITIVE POTTERY
[CONTINUED.]

[Address before the National League of Mineral Painters, at the Pan-Ameri-
can, by W. J. Holland, Ph. D., LL.D., Director of the Carnegie Museum, Pitts-
burgh, Pa.]

DDED to the attempt to ornament by modifications of
A form and outline, and an advance upon this, is the em-
ployment of pigment applied for decorative purposes to the
surface of the pottery. The primitive potters of America had
not at their command the resources which are within easy
reach of the merest tyro in more civilized communities.
Their pigments were obtained from the earth about them and
were exceedingly simple. For producing a yellow color they
used various ochres ; for producing the reds they used earth
impregnated with sesquioxide of iron. Their blacks and dark
purples were produced by earth containing manganese; their
greens by using an impure carbonate of copper. The white
was produced by applying a slip composed of more or less
impure kaolin. When the object was simply sun-dried, as was
much of the pottery that has been found in the mounds of
the Mississippi valley, the pigments were applied to the
surface, to which they adhered by the mere process of absorp-
tion and mechanical adhesion. From such vessels the pig-
ment is easily rubbed, or washed off, and in many examples
now contained in the museums only faint traces of the pig-
ment originally applied to them remain. When the vessels
were baked the pigment became in the process of baking
more or less incorporated with the clay and has remained
more durably attached to the surface. The result in some
cases has been the formation of a coating upon the ware par-
taking of the nature of a glaze. This has, in the best
specimens which I have examined, evidently been produced
by the use of very silicious clay containing more or less
alkaline matter. While examples of this glazed or semi-
glazed ware are in certain localities not uncommon, never-
theless the process of glazing and enameling as commonly
understood by us appears to have been exceptional. In
many cases where it does appear it is probable that the in-
fluence of Spanish artificers is reflected. The pottery taken
from the most ancient graves gives very little evidence that
those who made it understood the art of glazing. Enameled
ware is wholly wanting among the products of the potter's art
as practiced in America.

And now I pass on to speak of the artistic effects achieved
by the simple means at the disposal of these primitive potters.
We err when we think that artistic taste is the product of the
highest civilization. It is a gift innate in man and is the
prerogative of races often lower in the social scale than those
whose philosophy and science have made them leaders in the
affairs of nations. ‘ Poeta nascitur, non fit.” Poetic genius
is a gift, which no amount of mere scholastic training can
impart. And what is true of poetry is true also of the other
arts. While a certain amount of ability to delineate forms
and produce pleasing effects in color may be conveyed by
processes of tuition to the average mind, the artistic sense
which attains to the highest reaches of achievement is a gift,
and its possession, while characteristic of the individual, may
to a certain extent be also characteristic of a race in other
respects highly developed. The truth of these observations
has been impressed upon my mind as I have studied from time
to time the ancient pottery of the aboriginal races of America.
Leaving out of sight the cruder work of the more barbarous
tribes and confining our attention to what was done and is
even to-day being done by the semi-civilized peoples of the
southwestern plateaus and the races which inhabit Mexico, the

RERAMIC STUDIO

Isthmus, and northwestern South America, we find evidences
among them of the possession of a very large degree of artistic
ability. This is revealed not merely in the gracefulness of
outline which characterizes their pottery, but also in the de-
coration of the ware. While many specimens of their art are
crude, the student is delighted often by finding specimens
which for purity and grace of form vie with the choicest ex-
amples of ancient Etruscan art, which reflected, as you are
aware, the genius of the Greek. The potters of the unwooded
mesas, as well as those of the forests of Yucatan, Chiriqui
and of Peru, were profundly alive to the value of a graceful
curve, to symmetry of form and to the possibilities of variety
in unity. And when we come to study the art of decoration
as practised by them we cannot fail to be impressed with the
versatility in the combination of geometrical figures which
they have shown and the pleasing effect which they have
achieved by devices of a comparatively simple character.
Even where there has been a great attempt at elaboration
they appear to have been guided intuitively by the canons of
refined art. This is especially true in the decorations of the
margins and exterior of vessels by lines and bands composed
of lines, in which all manner of conceivable modifications in
decorative effect are produced by means of triangles, rectan-
gles, closed, open, and broken frets, spurs, crooks, and con-
ventional forms representing feathers. The modern decorator
of fictile ware might derive valuable hints and suggestions
from the art of these primitive peoples, which in their sense
of beauty of form were as much advanced beyond the crudi-
ties of contemporary English and American Colonial pottery
as the art of Japan was advanced beyond the art of the
roughly utilitarian Anglo Saxon three or four generations ago.
In this connection permit me to refer to the elaborate paper
of Mr. J. W. Fewkes upon the results of the archeological
expedition to Arizona in 1895, contained in the second part
of the Seventeenth Annual Report of the Bureau of Ameri-
can Ethnology which has recently appeared. If you will take
the trouble to examine the wealth of illustrations contained
in that article I think you will confirm the entire justice of
the observations which I have made. What is there given
by Mr. Fewkes, founded upon his investigations made among
the ruins of the ancient pueblos, finds confirmation in what
we know of the ancient pottery that has been exhumed at
various localities in Mexico and on the Isthmus. These
ancient potters, crude as was their art in many respects, hada
fine sense of the beautiful in form, and their works, though
the works of a race comparatively low down in the scale, are
to be classed among the products of genuine art, possessing a
spirit and an originality from which we may draw a measure
of inspiration.

In classifying the pottery ware of the primitive American
races we may adopt various methods. A classification based
upon the uses to which the articles were put is of course
admissible, and such a classification will tend to throw light
upon manners and customs. Another method of classifica-
tion may be based upon the method of manufacture, and such
a system would be useful in showing the various stages of pro-
duction and of manipulative skill which have been reached by
various tribes and at different periods of the development of
the art. Still another method of classification, and one that
is commonly followed in museums, is based upon the locality
and the tribe whence the specimens have been derived.

If we examine the ancient pottery that remains to us
from the hands of the primitive peoples of America we find
that there is a great difference in the character of the products

HERAMIC STUDIO 85

which have come to us from the various localities, tested in
the light of possible use. The shallow, saucer-shaped recep-
tacle, used probably to contain liquid or semi-liquid food, is
almost universally distributed. So also are vessels of some
depth such as deep bowls and pots. Most of the pots which
have been recovered from the ancient tumuli of the Missis-
sippi Valley are more or less blackened by fire and give evi-
dence that they were used for culinary purposes. When we
pass into the South and thence into South America we find
that these vessels are frequently provided with handles on
either side which permitted their being suspended over the
fire after the manner of the camp kettles of to-day. A not
unusual form of earthenware receptacle which is found in the
southwestern part of the country is shaped like a moccasin or
cornucopia. It was elongated, having a comparatively small
opening at one extremity, and was no doubt thrust into the
fire, or glowing coals were gathered about it while its contents
were being cooked, the principle of the common Dutch oven
being applied. This form of earthenware cooking utensil is
not uncommon among the ruins and graves of the Indians of
the Pueblos. Drinking vessels, such as mugs and cups with
handles, were comparatively rare, except among the Tusayan
people, whose descendents inhabit Arizona and New Mexico.
Here they appear to have been common. Pitchers provided
with lips and handles also appear among these people, but are
rarely elsewhere in evidence as products of the potter's art.
Vases, deep or shallow, with wide mouths or with tall necks
are not unfrequently found in Central American countries and
in the country of the Zunis. Of the great burial urns I have
already spoken. The use of these urns appears to have been
extended from the northern coasts of South America east-
wardly as far as points near the mouth of the Amazons, a
fact which indicates to my mind a common racial descent
from the tribes which inhabited Columbia and Venezuela and
those which inhabited prior-to the coming of Columbus the
country of the Orinoco and the vicinity of Para. A great
deal of the pottery that has been exhumed from graves was
no doubt domestic. It was customary to bury with the de-
parted a supply of food, that the spirit might have sustenance
upon the long journey to the happy hunting grounds, and for
this purpose the common utensils which had been used by the
deceased during lifetime were placed with offerings of food in
proximity to the remains of the dead. Much that has been
thus recovered by the opening of tombs serves to cast light
upon household economies. A certain portion of the pottery
that has been recovered from graves is unmistakably of a votive
character, and had a ceremonial rather than a domestic sig-
nificance. In some places there have been taken from the
burial places of the ancient tribes articles fashioned of clay
which were undoubtedly toys deposited by the hand of child-
hood, or mere roughly formed symbols outlining in miniature
the larger and more useful articles, which were not interred,
either because of the poverty of those concerned in burying
the dead, or because the substitution of the symbol for the
reality was regarded as admissible. Pots, drinking cups,
vessels of various kinds, not larger than a walnut, but delineat-
ing in miniature similar utensils in common use among the
tribes, are sometimes recovered from the graves of the peoples
of whom I have been speaking.
and hastily made.

There are frequently found graves, it may be said in
passing, in which no earthenware is found at all. On the
other hand, there are graves in which great numbers of ves-
sels and ornaments have been recovered, these having been

These are generally rudely

undoubtedly the graves of the wealthy and influential.

If we adopt the second principle of classification, which
is based upon the methods of manufacture, we may divide the
work of the primitive potter, as it is known to us, into wares
which have been shaped by the hand without the method of
employing coils, which I have already explained, and which
may be subdivided into vessels which have been sun-dried or
which have been baked. We may classify by itself the
coiled ware, known plainly to be such because of its external
markings. We may classify also as unglazed or as semi-
glazed ware. None of these subdivisions, however, furnish
satisfactory results in classification, and a classification based
upon mere use is likewise unsatisfactory.

The preferable method of classification is the one which
is of almost universal adoption and which assigns the
products of the potter's art as far as possible to the peoples
who made them and to the age and time in which they
were produced.

The great collections of primitive American pottery which
contain most for the instruction and guidance of the student
are those which exist in the National Museum at Washington,
the Peabody Museum at Cambridge, Mass., the Field Colum-
bian Museum at Chicago, and the Mexican National Museum
in the City of Mexico. In the British Museum in London
there is also a very large accumulation of material of this
sort. In the Carnegie Museum at Pittsburgh a creditable
beginning, laying the foundations for a large colletion, has
already been made. But this institution, although established
upon broad foundations, has not yet been able to do more
than make a beginning.

Who was and who is the primitive potter? The primitive
potter in America at least was and is to-day a woman. As
neatly as we can ascertain, the art of the potter was almost
exclusively practised among the primitive races by women.
All of the Zuni pottery, examples of which are familiar to
you, has been made by the hands of women. And the most
skillful and famous of the living Indian potters to-day are the
squaws, whose nimble fingers also work the looms and weave
the baskets of the tribes. It is an interesting fact that the
industrial arts owe their origin very largely to the influence
of women. It has been the mother among the aboriginal
races who has laid the foundation for the fictile and the textile
arts, and to a very large degree also for the arts of agriculture.
Intent upon feeding and clothing those who were dependent
upon her, she has elaborated the method of making utensils,
of weaving cloth, and making garments, and she, while her
husband was intent upon the chase, bent upon securing
animal food, has compelled the soil to yield up to her of
its fruits. She tilled the garden with its herbs and grain
while her lord was absent, engaged in war or in the chase.

The roar of the spindles in Manchester and Birmingham,
at Lowell and Fall River, reflects in these modern times the
thought of a woman, who, far back in some lonely cave or
under some rude shelter of boughs, first heckled the flax,
spun the thread, and wove the cloth with which to shelter
herself and her offspring against the cold in time of need
when the hunter’s skill should fail to bring in the wonted
store of peltry. And the great potteries of Staffordshire, of
Trenton, and East Liverpool are a reflex in modern times of
an art which women acquired and which they taught to men.
It is an interesting thing to trace in these arts the influence
of social conditions long since outlived among civilized men,
and possibly interesting also to see how even at this day there
is a tendency to a reversion to primitive types, and to know

86 KHERAMIC

how woman at the dawn of the twentieth century is asserting
her place in the arts and crafts from which for nearly a
thousand years she has been banished among the nations of
the West, but in the development of which on more graceful
and useful lines she has been asserting her influence with
growing power during the last half-century. Do you ask me
how I know that at least among the primitive peoples of
America woman was the potter? Ican tell you that to-day
among the Zunis all the ware is made under the roof of
the household by the hands of women and girls, and that
in every well regulated Zuni household there is an oven for
the baking of pottery ware, which is considered as indispens-
able an adjunct of domestic economy as the oven in which
food is cooked for the household. The Zuni housewife makes
the dishes in which she places the food with which she feeds
her family. This is a reflection, no doubt, of primitive man-
ners and customs, which have in the past prevailed more or
less over the entire continent among our aboriginal races.

ILLIAM A. KING of Buffalo gave the opening address at
W the convention of the National League of Mineral
Painters. Hespoke at length upon “The Poetry of Pottery,”
conveying to his audience a greater sense of the beauty of
pottery than is generally felt. It is scarcely realized how
much poetry and romance, how many gems of beautiful
thought in ancient and modern literature are hedged round
the inanimate objects evolved by the potter and his wheel.
Pottery antedated literature and painting and may be said to
have been the forerunner of sculpture. Before books were
made, the potter turned his wheel; and long before the pot-
ter's wheel was dreamed of, necessity had discovered the
making of rude vessels fashioned by hand of mud and clay
and baked in the sun. Utility has ever been the forerunner
of art, and the cooking and baking dish eventually led to the
vase and tablet. On these frail creations, which came from
the hands of the primitive artist-potter, was written much of
the history whose records were thus preserved. Beautiful
legends of mythology would have been lost had not the potter
saved them to posterity on the surface of vases of almost pre-
historic ages.

As a type of the Creator, the potter has figured far and
wide in the literature of the world, from the Hebrew prophets
to the present time. Among the Egyptians certain gods
were represented as making man from clay, on a wheel.

The weaving of fanciful, poetic, historic or legendary
thought runs well through the entire range of Oriental pot-
tery, which often bears quaint inscriptions. Mr. King illus-
trated his talk with many beautiful verses from writers of
every age and related a number of pretty Japanese legends of
pottery.

STUDIO

ORANGE CUP DESIGN
Anna B. Leonard

HE design looks well carried out in flat enamels, with an
ah outline of reddish brown, obtained by using a little
Brunswick Black and Pompadour Red.

For the oranges use Aufsetzweis, with one-eighth flux;
into this mix a little silver yellow and touch of black. The
tone may be deepened by adding a little Orange Yellow and
Yellow Brown. For the leaves use flat tones, obtained by
mixing Yellow, Brown Green andatouch of Black. Add one-
eighth Aufsetzweis and use almost as thin as paint. The
stems may be a lighter tone of the same green.

The design may also be carried out effectively in lustres,
using a black outline. Orange lustre for the first fire with
Yellow lustre over that for the second fire. Leaves in Dark
green lustre (two fires). The background may be white, or
gold, or a powdering of small gold dots may be used. The
lower part of the cup may be white, or Yellow lustre, ora
tint of Silver Yellow. These cups are used for ices also and
make a pleasing addition to a dinner service.

mm
LOST MONOGRAMS

Will those subscribers who have missed their monograms
kindly send them again, as they were lost at the time of
moving the Magazine Office to Syracuse ?

KRERAMIC STUDIO

13. Rich green background flower; flower in
dark blue; turquoise blue stem; gold outline.

Our advertisers keep a full line of these
novelties and at present many are decorating
them for stores or dressmakers.

ANCIENT EGYPTIAN BOWL

HERE is in London an association called
Friends of the National Collection which

has presented to the British Museum a piece of
pottery alone of its kind. It isa bowl about five
inches across the top, very thin and firm in make,
the outside decorated in thorough Egyptian
style with designs of different colors. When
dry the interior is all white; when water is
poured in the ground appears fawn colored, with
figures and Latin inscription in white. The lat-
ter shows that the period is when Christianity
was accepted as the State religion for the Roman
world. In the centre is a seated figure of Christ,
with right arm extended. Above the shoulders
are medallions with portraits of the Emperor
Constantine and the Empress Fausta in profile.
A bit of the rim is gone, leaving a gap in the

Designs for Porcelain Buttons, Belt-Pins and Hat-Pins, with
Suggestions for the Color Schemes

Anna B Leonard

1. Roses delicate pink, leaves in dull greens, background
white.

2. Roses in pink, leaves dull green, the design outlined
with pompadour red and black; background gold.

3. Central ornament in dark blue on gold background
with wavy lines in dark green; the scallops merely a line of
black; there may be a central jewel of turquoise blue.

4. Ornament in dark blue, with the dots in green, either
on a white or gold background; or the design may be carried
out in turquoise blue.

5. Central ornament in dark blue, the four smaller leaf-
life ornaments in turquoise blue; dark green in the center
circle; background gold; black outline.

6. Flower form in pink; scroll stem in green; white or
gold background.

7. Isa design for belt-pin. Background turquoise blue
tone, stems and leaves in green, the leaves shading into dark
blue and the peacock shades of green blue. The flower form
in white; outline the design in gold.

8. White background with a powdering of fine gold dots.
Rose in pink, leaves in dull green, outline in ruby purple and
a touch of black, The outline must be very fine and dainty.

g. Gold background, with dark blue and dark green used
in the design.

10. Turquoise blue background with design in raised
gold; if flat gold is preferred there should be a black outline.

11. Pale turquoise blue near the center of floral ornament,
shading into a darker blue, then a dark green background
with gold between the two lines; dark blue again towards the
edge.

12. Turquoise blue blossoms, white background, gold or
dark blue outline.

inscription, which runs around the lip of the bowl
within. What remains is as follows: ‘“ Val. Constantivs.
Pivs. Felix. Avgvstvs. Cvm. Flav. Max. Favst.’’ On the
piece that is missing The Athenzeum conjectures abbreviations
for a pious petition that Constantine and Fausta may live in
the favor of the Lord. Rarely do we find such a combination
as this. The bowl is a singular example of the perfection to
which pottery was carried in Egypt at a late epoch, and the
portraits are very welcome documents for the artist and his-
torian.—Glass and Pottery Review.

Y request of several subscribers we give these heads, re-

duced from January, 1901, Supplement, for use on shirt

waist sets. The directions for coloring will be found with the
original number.

OQ
Ox

Pe:
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faryraes wo)

CLOG ay
Paes oe

RERAMIC STUDIO

TREATMENT OF STEIN
[MENTION MODERN ORNAMENT |
Marte C. Crilley

AKE black portions bronze, with grapes
M and leaves and bands in gold outlined
in black, the landscape in lustres with
black outline. Use for sky, Blue Grey, for
trees Light and Dark Green, for houses
Yellow Brown, or Ivory, and for occasional
roofs a red made of Orange over Ruby, the
roads Brown and walls Blue Grey. Some of
the houses might also have a little Blue Grey
or Green tones.

ae
MEDIUMS

HESE are the oils that are used with the

mineral paints to make them work

smoothly and adhere properly to the china.

There are drying oils and non-drying oils.

To the former class belong Dresden Thick

Oil, Fat Oil of Turpentine, Balsam Copaiba,

Lavender Oil and Oil of Tar. To the latter

belong Oil of Cloves and English Grounding
Ou.

A very good medium for using with
powder gold or powder colors is compound
of equal parts of Lavender Oil, Balsam Co-
paiba and Oil of Tar, with twenty-five drops
of Clove Oil to an ounce of the mixture.
This is a very useful medium indeed and
may be utilized in tinting, when a pale color
isdesired. A better tinting medium is made
of Balsam Copaiba with one-sixth Oil of
Cloves; this is put into the color and then
thinned with Oil of Lavender, which does
not dry as quickly as turpentine. However,
if the space to be covered is not large it is
better to use turpentine, which, no doubt,
will hold the color open long enough. If
the color is held open too long after blend-
ing, dust and lint will settle in it and mar
the tinting.

For ordinary painting some use Dresden
Thick Oil with one-sixth Clove Oil, using
turpentine to thin the color. We have seen
Prof. Maene use Lacroix Fat Oil of Turpen-
tine, thinning with turpentine and no other’
medium, in washes broad and free as water
color, but we have never succeeded with it
ourselves. Dresden Thick Oil (some like
Fat Oil) and Lavender are the oils for paste.
English Grounding Oil (thinned with tur-
pentine when very thick) is used for dusting
on color. This is non-drying oil and it may
stand a day after it has been padded on the
china and it will still be right for use. It
should never be painted on too thick, as it
will absorb too much of the powder color
and look opaque; especially is this true with
the gold colors, such as Rose, Carmine or

Ruby Purple.

Balsam Copaiba makes the color blend
or flow and is the foundation of all tinting

RERAMIC STUDIO

oils, but if it is used too freely without another medium to
counteract it, it becomes sticky or tacky and the color will pull
up on the dabber in spots; by adding a drop or two of Clove
Oil this tendency will be obviated. By adding too much
Clove Oil the color will run or settle in little bubbles. When
this is the case add more color. By learning the character-
istics of these various oils, one can use them quite independ-
ently and if one oil is not convenient another may be used, if
it is properly understood.

A decorator is much more independent when he or
she understands the chemistry of the mediums and the
colors and it is the duty of students to inform themselves,
in spite of the various concoctions that are sold ready for
use.

TREATMENT FOR INDIAN PLAQUE (SUPPLEMENT)
Henrtetta Barclay Paist

OR the face-shading and for the brown back of the feathers
F use Sepia Brown. For the local tone of the buckskin
and the buckskin color in the background, Yellow Brown,
Spear, Yellow Brown shaded with Sepia. -For the tips of
feathers and outer border Chocolate or Dark Brown. For the
green leaves a very thin wash of Shading Green will do. Albert
Yellow (or Lemon) very thin for flowers, and Copenhagen
Grey for the shading of the White petals and feathers. For
the touches of red, blue and Green, use Dresden Dark Blue,
Moss Green and Blood Red. Outline with a good black, light
and heavy as seen in the study. Do not model, but treat in
a flat manner.

MUSHROOM DESIGN (No. 3)—S. EVANNAH PRICE

AY in the background and grasses as in No. 1. Wipe out
IL the mushrooms, and paint the larger ones as follows:
Caps, Yellow Brown shaded with Sepia and Blood Red (just
a little Blood Red added to the Sepia for the darkest spots).
The gills are yellowish white (Ivory Yellow shaded with

Violet No. 2 and Primrose Yellow, equal parts), The dark
lines are Violet.

The small mushrooms are yellowish (very thin wash of
Lemon Yellow shaded with the same, with Brown Green in
the darkest touches.)

THE COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE

(When pieces are sent by express, expressage is paid by buyer. When pieces are
sent on approval and returned, return expressage is also paid by buyer).

Proof pieces

wear.

must be absolutely perfect and show practically no traces of
Perfect pieces must be perfect not only in condition, but in color, and

traces of wear must be very slight and not injure the piecein any way. Allcracks,

chips, repairs, marked discolorations or scratches must be mentioned.
STAFFORDSHIRE

Alms House platter, 17-inch, fine condition, : - - $46.00

Upper Ferry Bridge platter, crack shows little, fine color, - 35.00

Erie Canal plate, Utica inscription, perfect, - + 45.00

Capitol at Washington (Stevenson, vine leaf border), 10-inch, crack
inside of rim looks fire crack, fine color, - > - 32.00

Octagon Church, Boston, soup, to-inch plate, perfect, - 20.00

Dam and Water Works, Philadelphia, ro-inch proof Plats (side wheels) 20.00

Another, soup, to-inch, Brae plate, - - - - 16.00
Escape of the Mouse (Wilkie), to-inch proof plate, - = 20.00
Playing at Draught (Wilkie), 10-inch soup, small chip rep., - 14,00
Valentine (Wilkie), ro-inch plate, perfect, - - - 13.00
Baltimore Court House, 8-inch, small chip rep., 5 = - 18.00
Anti-Slavery plate, 94-inch, - - - - - 18 00
Transylvania University, 9%-inch plate, good color, - = 17.00
Upper Ferry Bridge, 9-inch proof plate, - - 5 12.50
City Hall (Ridgway), to-inch, perfect, = ; - - 12.00
Philadelphia Library, 8-inch, = - - : - 12.00
Winter View of Pittsfield, 9-inch, perfect, - - > 10.00
Fairmount Park, near Philadelphia, to-inch, good condition, - 8.00
Erie Canal at Buffalo, red plate, 10-inch, piece broken and rep., shows
little, fine color, - - - = : = 6.00
States plate, 61-inch, perfect, - : - = - 6,00
Chateau Ermenonville, to-inch, perfect, - - - 7.00
Lafayette at tomb of Franklin, cup and saucer, perfect, * - 4.50
Girl at Well cup and saucer, perfect, large size, : = 4.00
Christmas Eve. (Wilkie) cup and saucer, perfect, large size, 3 5.50
Soup tureen, 15-inch wide, dark blue, floral decoration, very fine, 12.00
Caledonian pink soup plate, ro-inch, Highlander in center, perfect, 2.00
LUSTRES
Copper lustre pitcher, 6-inch, medallions, game of battledore and shut-
tlecock, fine, - = - = - : - 6.50
Copper lustre goblet, 44-inch, yellow band, fine piece, - 5.50
Copper lustre pitcher, 4-inch, raised decoration on blue, odd shape, 3.50
Another, raised figures on blue, 4-inch, fine piece, - - - Par5
Another, 3!2-inch, raised flowers, no band, rare, = 3.75
Another, 5-inch, pink lustre band, short crack on edge, - - 3.25
Another, 524-inch, band in polychrome sections, fine, - - 5.50
Another, 3%-inch, flowers on white band, - 7 > : 2.50
Another, 4-inch, raised decoration on blue, dark lustre, - 2.75
Copper lustre mug, raised dec. on blue, slight crack on edge = 2.75
Another, 4-inch, yellow band, = : - = - 2.00
Copper lustre salt cellar, decoration on white band, 5 1.75
Staffordshire pitcher, pink lustre band on border, green ground, black
medallions with battles of ships, United States and Macedonian,
Enterprise and Boxer (Bentley, Weare & Bourne, engravers, Shel-
ton) slight crack on spout, - - = = - 18.00
MISCELLANEOUS
Lowestoft set, tea pot, sugar bowl, creamer, 1 cup and saucer, armorial
decoration, fine condition, 2 = - - - 40.00
Another, single flower dec., tea pot, sugar bowl, creamer, two cups
and saucers, fine condition, - 3 - = = 26.00
Lowestoft sugar bowl, crack and small chip, floral decoration, 2 2.75
Lowestoft g-inch plate, scalloped edge, perfect, - : - 2.50
Twelve Apostle pitcher (Chas. Meigh) date 1842, small repair on edge,
shows little, fine and rare, - : - = - 18.00
Old pitcher, cream ground, figures in blue in relief, animal’s head
spout, slight repair on edge, - - = - - 6 00
New Hall porcelain tea pot, marked New Hall, flowers in brilliant
colors, spout restored, - - 3 - 6.00

RERAMIC STUDIO

E find such a wide spread interest in our old china
department that we have decided to make some im-
portant changes for the benefit of collectors. Many collect-
ors, who are not interested in china decoration, have objected
to paying $3.50 a year for a Magazine which contained only
two or three pages of value to them, and for this class of sub-
scribers the need of a special and cheaper publication is
obvious. On the other hand, we find that a number of our
readers, without being collectors, are interested in old china
in a general way, and the suppression of this department in
KERAMIC STUDIO would be a loss to them.

In order to satisfy these two classes of subscribers, we
will continue our Collector department as before in KERAMIC
STUDIO. Besides, we will make a special issue of THE COL-
LECTOR every month for the benefit of lovers of old china
who are not interested in the other departments of KERAMIC
STuDIO. This special issue will begin with our October
number and will be out the last days of September. The sub-
scription price will be $1.00 a year.

Subscribers will have the right as before to list pieces for
sale, but we find that these exchange sales, in which we sell
the china of a subscriber to another, without any returns
whatever, involve a good deal of trouble and expense. Most
of this china passes through our hands, has to be packed and
shipped, and it may be, in some cases, returned to us and left
on our hands. Although our main object is to extend our
subscription list among collectors, it seems only fair that a
commission should be charged to the seller, to cover our ex-
This commission will be moderate and will
be agreed upon between the seller and ourselves. We will
have also to reserve the right of refusing to list pieces which
will be offered at prices which we will consider excessive and
above value.

A remittance in full must accompany orders for old china.
Expressage is paid by buyer. All pieces which are not found
satisfactory can be returned to usand money will be refunded
at once, but expressage is at the expense of the party who
returns them.

KERAMIC STUDIO has subscribers in every State and
almost every County in the Union. A great many live in
small towns in the Eastern States, and although old china is
not found as easily and cheaply as it was a few years ago,
there are yet good opportunities to pick up pieces at prices
leaving a margin of profit. Many people who have not the
means to collect on a large scale, manage to gradually gather
a valuable collection at a comparatively small cost, by picking
up china in the country and selling part of it. If purchases
are made with discrimination, the profit on pieces sold goes a
long way toward paying for pieces kept. Correspondence is
solicited from all people who are in a position to secure old
china in the country.

penses and risks.

00 0
LUSTRES ON OLD ENGLISH PORCELAIN

MONG the wares most interesting to collectors of Anglo-
American china, outside of historical pieces, are the old
lustres. Most of them are found on pottery of every kind
and description without marks, and in most cases impossible
to identify. This is especially true of the copper lustre
pitchers and mugs, and silver lustre tea sets, which are found
in so large quantities and on so many different bodies that it
is evident that this style of decoration was profusely used by
a large number of the old English potters. Some of these
lustre wares can be identified by the paste, for instance the
lustres of the Leeds district, with the characteristic very light

KRERAMIC STUDIO gI

and greenish Leeds paste, also the yellowish paste of
Sunderland with its black print decoration and washes of pink
lustre. But most generally it is impossible to determine the
make or date of old lustre pottery.

Lustres on old English porcelain are not as common as
they are on pottery. However tea sets are found in this

country which by their similarity of shape and decoration
betray the same origin, the decoration consisting generally of
a narrow band of copper lustre on the edge of pieces, and of
medallions either in black print or in pink lustre, also of
We illustrate here two inter-

bands with lustre decoration.

esting sets of this ware which belong to one of our subscribers,
Mrs. S. E. Posey of Los Angeles, Cal. One has black print
medallions illustrating a game of battledore and shuttlecock
and a reading lesson, the» other pink lustre medallions of
buildings and trees. The latter set is especially interesting
as it consists of tea pot, sugar bowl, creamer, slop bowl, two
cake plates and ten cups and saucers, in remarkably good
condition. This practically constituted a complete tea set in
the old time, the number of cups and saucers varying from 6
to 12.

The origin of these lustre porcelain tea sets (there does
not seem to be anything but tea sets in this ware) is very
much discussed by collectors. Many think that they are of
Staffordshire make and there is very little
doubt that lustres have been used by Stafford-
shire potters on porcelain. One must not
forget that the process of metallic oxide dec-
oration, called lustre ware, was invented early-
in the Century by Peter Warburton of the New
Hall Works, in Shelton, Staffordshire. It
would be strange if the New Hall potters who
were making porcelain exclusively had not used
the new decoration invented by one of them,
and Miss Earle mentions some plates in her
possession, decorated with lustre and bearing
the New Hallmark. But New Hall porcelain,
which is quite rare, is of a very white body,
rather opaque and heavy, resembling Bristol
porcelain, and quite different from the lustre porcelain tea
sets most commonly found and illustrated here, which show
a good translucent porcelain, not especially white, the light
showing through it with a slightly greenish tint.

Other people think that this porcelain is of Swansea
make. The shapes and style of decoration given by Litch-
field as typical of the ordinary table ware which was made at
Swansea bear a strong resemblance to the shapes and decora-
tion of these lustre sets, same squatty teapots and sugar bowl,
handle of teapot attached low, broad mouth creamer, medal-
lion decoration, the medallions being repeated on covers of

teapot and sugar bowl. If these sets can positively be identi-
fied as Swansea, they should belong to that period beginning
about 1815, when the Swansea factory gave up the manu-
facture of fine artistic ware and turned to the manufacture of
ordinary table ware.

In fact the history of porcelain making at Swansea is
short. A pottery was founded there in the middle of the
last century for the manufacture of common earthenware. It
At the end of the
century they began to manufacture an opaque porcelain
which was considerably improved by Mr. Dillwyn, the owner
of the works from 1802 to 1817. In 1814 Mr. Dillwyn
attached to his pottery two clever artists, Billingsley
or Beeley and Walker, formerly employed at Worces-
ter, and who had been for some time manufacturing
at Nantgarw the famous porcelain of that name. This
Nantgarw porcelain is very rare and commands high
prices from collectors, as it is considered the most
beautiful of old English bodies. It was a vitreous
paste, having a granulated appearance like that of fine
lump sugar, and very soft, easily injured by firing, a
large number of the specimens found being either fire
cracked, or somewhat warped and bent. It was also
beautifully decorated, Billingsley, who alone had the
secret of this peculiar paste, being the first flower
painter of his time. However, the manufacture of Nantgarw
porcelain was not carried on very long at Swansea, as Mr.
Dillwyn received a letter from Barr & Flight of Worcester
forbidding him to use the services of Billingsley and Walker,
who it appears had a contract with the Worcester works and
had broken it. They were dismissed, went back to Nantgarw
and tried to continue their manufacture, but soon failed.
Meantime the Swansea works continued to manufacture por-
celain, but not the Nantgarw paste, the secret of which Bill-
ingsley had carried with him.

Jewitt claims that the manufacture of porcelain at Swan-
sea ceased in 1823; Chaffers makes the date 1825, while Litch-
field seems to think that it was carried on to a later date.

was called Swansea or Cambrian pottery.

SALT GLAZE WARE
Edwin A. Barber

EW England collectors are familiar with the old English
Salt Glaze Ware which, for some unknown reason, is

more frequently found through Connecticut, Massachusetts
and Rhode Island than elsewhere. It is characterized by a
white body and a pitted, orange-peel surface. The plates
usually have a relief-work border and are frequently pierced,
having been usually made from old moulds which had form-
erly done service in the hands of the old silversmiths. This

92 RERAMIC STUDIO

ware first appeared in England near the middle of the seven-
teenth century and continued to be made at numerous English
potteries until about the end of the eighteenth century. Occa-
sionally fine pieces turn up in the Middle States and further
south. A beautiful example recently found in Pennsylvania,
is a large plate or meat dish, twelve inches in diameter, which
is here shown.

The Doultons of Lambeth, England, still manufacture
salt glaze stoneware, although they have combined this style
of glazing with colored enamels. The body of their ware is
of a browner color than the older product and they have ele-
vated it to a place beside the finest art wares now produced.
Usually the salt glazing is confined to certain parts of a piece
such as panels, bearing incised designs, while the remainder
of the surface is covered with “dipped glazes,” of various
colors, blue, green, red, brown, olive, etc., in raised or outlined
ornamentation.

Among the foremost decorators in this style at the Doul-
ton Works, is Miss Hannah B. Barlow, who has become

famous during the last twenty-five years as a delineator of
animals. A loving cup, here produced, is a good illustration
of her incised work, which first attracted attention at the
Centennial Exposition in 1876. Several fine vases exhibited
then in Philadelphia are owned by the Pennsylvania Museum

of that city.
000

NEW YORK FROM STATEN ISLAND,
A RARE VIEW OF NEW YORK

HIS illustration is a view of New York from Staten Island,

which we think has not been mentioned and listed before

in books on historical china. As will be seen by the fruit
border, generally called blackberry spray border, this platter
belongs to the Wood series of Celtic China, marked E. W, &
S. The city of New York is shown in the distance (that is,
on the platter; it has almost disappeared in the photographic
reproduction.) The color is the same fine medium blue which
is found on a Harvard College plate of the same series, well
known to collectors. This interesting platter is in the collec-
tion of Mr. Otis M. Bigelow of Baldwinsville, N. Y.
ae
COLOR AS A FACTOR

HERE is nothing in the pottery line more valuable than
Ajj the quality of color. Shape, glaze, quality, are all mat-
ters of intrinsic value, but color is the essential which appeals
to a mind like the rhythm of sweet music. Think of a make
of pottery that has ever achieved distinction and you will find
it is not only the glaze, it is the color that is good, and it isa
great pity that the potters cannot study more closely the
great examples in the museums, for out of them they would
discover many styles well worth copying. Inthe fifth century
there was a form of reddish pottery that was well worth
copying. Some of it was recently discovered at Megara, in
Greece, and occupies a prominent place in the National
Museum at Athens. It has eight lines of Greek which gives
the Lord’s Prayer, varying a trifle from the accepted text, but
the reddish character of the ware is what attracts everyone's
attention, it is so distinctive—G/ass and Pottery Review.

A new glass has just been invented by an English chemist.
This ware bears the euphonious name of “ Verre-sur-verre,”’
and is said to be a dream of iridescent beauty. While here-
tofore it has been deemed impossible to obtain more than three
colors on a flint base, this glass is said to yield no less than
twenty-seven distinct colors, including the long lost Burmah
ruby-red, used by the Monks in the twelfth century.—G/ass
and Pottery Review.

RERAMIC STUDIO

DROP OF BOX

93
PYROGRAPHY

All designs for Pyrography should be sent to Miss &. Livermore, Box 476,
New Haven, Ct., who will have charge of this department and will answer inquiries
in the Magazine.

CALIFORNIA LIVE OAK FOR BOX

Edna Gamble
ily design is to be left uncolored, outline distinctly, burn the

outline darker in places, leave the background white or just a
mere suggestion of burning.

e
DESIGNS FOR BORDERS ( Page 94)
Katherin Livermore

No. 1. Conventionalized Fleur-de-lis. Burn the outlines and
shade the plain background flatly, stain flowers in various tones of
purple, making the black darts in the petals and also the dotted
spaces of gold.

No. 2. Burn outlines of the dragon flies very delicately;
work out in tones of blue and green, giving an iridescent effect,
use gold in dotted spaces and to touch up the wings.

No. 3. Burn and shade the ear very strongly, tint the husks
in greens and browns, give the kernels a reddish or golden yellow
tone.

No. 4. Treat the nasturtiums according to directions given in
July number of the magazine; make the background gold.

END OF BOX

CALIFORNIA LIVE OAK FOR BOX

a KERAMIC STUDIO

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WLLL LLL LLL LLL LL LL ddd LL LL a OEE TT
/ ESD

ae \
th DAAC AVOADIONNVANONONOQNOQODUAOQGROPOQONHQNRAQUUNEQOQORNNGONGGA000 201187 SASS {TAQ RURUUGUOUOPOBNNQSOGOSSNYQOOQUGNOOUCOLCONUNIQUQURORONOVEQUE0N0110014 SRR 111012

K lavermer e - /g0/-

Treatment on page 93. DESIGNS FOR BORDERS

HERAMIC STUDIO 95

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

R. H.—Roman gold is gold already prepared and mixed with oils ready
for application to the china. It has always more or less alloy. Burnish gold
is supposed to be chemically pure and comes in powder form by the penny
weight and has to be rubbed down with fat oil and turpentine before using

Mrs. W. F. E.—If you wish to put the ivory glaze on a piece already
fired and do not wish to repaint the piece first, you will need to tint it on
delicately as you would any color. Then when dry, rub the powder into the
surface until it all has an even matt appearance. For the tinting mix the
color with fat oil to the consistency of tube colors, then thin with oil of
lavender until it is no longer tacky.

E. W.—You can remedy your plate with the spotted ruby lustre by using
Aqua Regia on the lustre, which will probably remove it entirely. If not,
warm the plate and pour melted wax all over it, pouring off the surplus.
When cold, remove the wax with a knife from the portions covered with
spoiled lustre and use hydrofluoric acid, cleansing thoroughly under running
water. Do not allow the acid to touch your skin as it burns frightfully.
Never use turpentine to clean the edges of lustre; it will almost surely ruin;
use alcohol and water with a stick. In regard to the little rings that appeared
on your underglaze blue band after firing, we cannot suggest any reason ex-
cept moisture in the kiln. You might cover the band with little rings of
black or hard gold or white enamel; the enamel would probably look best.

We do not understand the business methods of the dealer you refer to,

but if he can afford to give 40% off on his gold to any one, we doubt if it can
be very pure gold. Most firms will give from 20% to 33% on gold or materials
if bought in large quantities, but they cannot afford to give a discount ona
small order.

MRS. H. B.—In the treatment of grapes by Aulich, you can substitute
for air blue, deep blue green; for carmine blue, banding blue or dark blue;
for flesh red, pompadour and albert yellow or capucine.

E. L.—A good simple outfit for a beginner would be as follows: We
give the La Croix tube colors, as they are easier to find in smaller places,
although most artists prefer the powder colors which can be obtained from
any of our advertisers by asking for the corresponding colors and are just as
reliable. Jonquil yellow, orange yellow, yellow brown, brown 4 or 17, out-
lining black, brown green, apple green, moss green, dark green, 7 deep blue
green, dark blue, pompadour red (not rose pompadour), deep red brown,
carmine 2 and 3, ruby purple, flux, Dresden aufsetzweis in tubes for enamel,
Hancock’s paste for raised gold, a good make of Roman gold. When more
advanced you can add many desirable things to your outfit, such as colors,
bronzes, lustres, etc. Write to our advertisers for a book on china painting.
Those advertised in K. S. are all reliable.

For brushes, get six square shaders, assorted sizes, from the largest to
the smallest, six assorted pointed shaders, a grounding brush and a large
and a small brush for gold, all quill brushes, some soft, old, white, wash silk
and surgeon’s cotton for pads. A bottle of fat or thick oil of turpentine, oil

of lavender, spirits of turpentine, copaiba and clove oil: also alcohol to wash
brushes, a steel point to remove dust, two small pallette knives, a square of
ground glass and a china palette.
do good work.

These things are absolutely essential to

VIOLET CUP AND
SAUCER

Florence Murphy

HE flowers
painted in

colors unshaded, and out-
lined in dark blue; or in
gold with gold
stems outlined in brown or
black. The ground can be
white or cream tint in bor-

can be
natural

green

der, made of ivory yellow
or yellow ochre put on
thin.

Miss Emily C. Adams
... Miniatures...

Portraits and Figures on Porcelain and Ivory.
Decorative Work in both Mineral Painting and Water Color

Studios, 745 Third Ave., Lansingburgh, N. Y.,
and at the Emma Willard Art School, Troy, N. Y.

Mrs. Adelaide Alsop-Robineau
MINIATURES

Decorative Work of All Kinds. Figure Painting on Ivory
and Porcelain.

ORIGINAL DESIGNS.

180 Holland Street, ‘“‘Keramic Studio,’”? Syracuse, N. Y.

E. Aulich
China Decoration and Flower Painting
in Water Colors.
Portraits on China and Ivory a Specialty
GLASS GLOBE PAINTING, TAUGHT.
Lessons given in all branches, under the personal
supervision of MR. AULICH.

152 West Twenty-third Street, - - NEW YORK.

Maud Crigler-Anderson
Pyrography and Leather Staining

Combined with Oil Decorations, also Etching on Wood,
Leather, Ivory and Fabrics.
---SPECIAL ATTENTION TO ORDER WORK ---
Complete outfits, large or small, for leather or wood stain-
ing and illuminating, with instructions. Special Designs for
sale orto order. Studiesforrent, withinstructions. Supplies,
stains, gold aud silver, leather, wood, &c.

Studio: Cor. Washington and Lincoln Sts, Saybrook., III.
Mr. Sidney T. Callowhill

Announces his retnrn from Europe with new designs,
and the re-opening of his studio, September 23d.

Instruction in China Decorating & Water Colors

COLORS AND HARD-FIRED JEWELS FOR SALE.
FIRING DAILY.

Studio: Colonial Bldg, 100 Boylston St., Boston, Mass.
Room 929.

Mrs. K. E. Cherry
Studio, 213 Vista Block, Grand and Franklin Ave.,
St. Louis, Mo.

Lessons in China Painting.

Summer Classes at Alfred, N. Y¥.

Miss Mabel C. Dibble

Classes in China Painting and Water Colors.
TUESDAYS, THURSDAYS, SATURDAYS.
Conventional Work a Specialty. Original Designs in Water
Colors for sale. Special attention given to all order work.
INSTRUCTIONS BY MAIL.

Studio: 806 Marshall Field Building, Chicago.
Marshal Fry

Classes tn Decorative Painting on Porcelain.

Summer Classes at *‘Summer School of Keramic Art,”’
Alfred University, Alfred, N. Y.

Circulars upon application.

Studio: 36 West Twenty-Fourth Street, -

New York.

Miss Jennie Manson
Studio: 58 Prince Street, NEW HAVEN, CONN,
All Branches of China Painting Taught.

Original Water Color Studies to Rent.
PYROGRAPHY.

Mrs. A. H. Heaslip

... Pyrography or Fire Etching...
ON WOOD AND LEATHER.
Large assortment of Supplies and Designs.

Anderson Bldg, 534 Main St., cor. Huron, Buffalo, N. Y.

Will be in Buffalo July and August, and return to New York
in September.

Mrs. H. E. Hersam

STUDIOS:

372 Boylston Street, Boston, Mass.,
20 Hersam Street, Stoneham, Mass.
INSTRUCTION IN
Flower Painting and Conventional Design.
FIRING EVERY DAY.

RERAMIC STUDIO

Teachers’ Directory.

Colorado,
DENVER.

Miss Ida C. Failing, 1041 South
Fifteenth Street.
CRIPPLE CREBR.
Mrs. C. W. Searles, 509 Colorado
Avenue,
Connecticut.

NEW HAVEN.
Miss Tennie Hanson, 58 Prince St.
Katherin Livermore, Box 476.
NORWICH.
Mrs. F. A. Roath, 37 Otis Street.

District of Columbia.

WASHINGTON.
Prof. Sherratt, 608 13th St,, N. W.

Illinois.
CHICAGO.
Mr. F. B. Aulich, 1104 Auditorium,
Miss Mabel C. Dibble, 806 Marshall
Field Bldg.
Anna Armstrong Green, 1101 Audi-
torium Tower.

Mrs. Teana McLennan-Hinman,
1100 Auditorium Bldg.

Miss Jeanne M. Stewart, 845 Mar-
shall Field Bldg.

OAK PARK.
Miss Edith H. Loucks, 421 N. Hum-
phrey Avenue,
SAYBROOK,
Maud Crigler-Anderson.

Indiana.
INDIANAPOLIS.
Mrs. W. 5S. Day, 316 N. California
Street.
Massachusetts.
HINGHAM.
Mrs. Eva Macomber.
BOSTON.

Mr. Sidney T. Callowhill,100 Boyls-
ton St., Colonial Bldg, Room 929.

Miss E. A. Fairbanks, 15 Welling-
ton Street.

Mrs. H. E. Hersam, 372 Boylston
St., 20 Hersam St., Stoneham,
Mass,
Miss Joy’s Studio, 3 Park Street.
Miss E. E. Page, 2 Park Square.
CAMBRIDGE.

Alice B. Holbrook, 116 Chestnut St.
WESTFIELD.

Miss B. Maie Weaver, Highlands.

Michigan.
DETROIT.

Miss Mariam L. Candler,
Adams Avenue.

6 West

Missouri.
ST. LOUIS.
Mrs. K. E. Cherry, 213 Vista Block.
Miss Emma Moreau, 3561 Olive St.

Minnesota.
MINNEAPOLIS.

Mrs. Henrietta Barclay Paist, 207
E, Grant Street.

New York.
BROOKLYN,
Miss Emily F. Peacock, 58 S. 9th St
BUFFALO.
Mrs. Filkins, 609 Main Street.
Mrs. A. H. Heaslip, 534 Main St.
Miss Grace Milsom, 13 Anderson
Bldg, 534-536 Main, cor. Huron.
LANSINGBURGH.
Miss Emilie C. Adams, 745 3d Ave.
NEW YORK.
Mr. E. Aulich, Hartford Bldg., 152
West 23d Street.
Mr. Marshal Fry,
24th Street.
Mrs. Anna B. Leonard, 28 E, 23d St.
Miss M.M.Mason,48 E. 26th St.
Miss E. Mason, 48 E. 26th St,
Osgood Art School, Miss A. H. Os-
good, Principal, 12 E. 17th St.
Mrs. Fanny Rowell, 96 Fifth Ave.
Mrs, Sara Wood Safford, 115 East
23d Street.
Miss Fannie M. Scammell, 118
Waverly Place, near Sixth Ave.
Mary Tromm, Rooms 18, 14, 15,
1112 Broadway.
Mrs. L. Vance-Phillips, 115 E. 23d
Street.
Charles Volkmar, 114 E. 23d St.

Ji-; 6. West

Miss E. Louise Jenkins

—CLASSES IN—
China and Water Color Painting

STUDIO: 1377 Forsythe Ave. COLUMBUS, OHIO.

Original Studies for Sale or Rent.

Mrs. Thomas A. Johnson
Classes in China Painting and Water Colors.

58 Boston Block, = = : SEATTLE, Wash.

Miss Joy’s Studio
3 PARK STREET, BOSTON MASS.

China Teacher and Decorator «.

PRIVATE AND CLASS LESSONS.
. Water Color Studies to Rent.

Mrs. Anna B. Leonard
© fa GEG REALIVEE: SHEGUDYKO! % o_.

Classes: Tuesdays, Wednesdays, Fridays.
INSTRUCTION BY THE MONTH OR BY THE TERM.

Exclusive Designs for Table Services
Special attention given to Design and Enamels.
POWDER GOLD.

28 East Twenty-third Street, New York.

Katherin Livermore

“. China Decoration and Pyrography «.
Special rates to those who desire to form out-of-town

classes after May 1st.

Box 476. New Haven, Ct.

Miss Grace Milsom
KERAMIC STUDIO:

Room 13, Anderson Bldg, 534:536 Main, cor. Huron Street,
BUFFALO, N. Y.

Specialty “ Roses.”

Original Designs in All Branches of Decorative Work.

Summer Classes.

Miss Emma Moreau
Pupil of School of Fine Arts, Paris
Instruction in China Painting .«.

Figure and Miniature Painting on China and Ivory
a specialty.

CONVENTIONAL WORK—WATER COLORS.
Studio: 3561 Olive Street, - ST. LOUIS, Mo.

Miss Mary Alta Morris

—CLASSES IN—

China Painting and Water Color.

Studio, No. 30, Art School, Y. M. C. A. Bldg.,

Send for Catalogue. COLUMBUS, O.

Miss Laura B. Overly
Studio: 323 Penn Ave., PITTSBURG, PA.
SUMMER CLASSES AT BUFFALO, N. Y.
Lessons in Water Colors and China Painting.
Agent for Revelation Kiln.

Henrietta Barclay Wright Paist
207 E. Grant Street, Minneapolis, Minn.

Special attention given to orders for DESIGNS in

WATER COLORS.

Studies for sale and for rent.

Miss E. E. Page

.. China Decorator and Teacher ..
MINIATURES on Iyory and Porcelain.

Studio: No. 2 Park Square, .... BOSTON, MASS

When writing to Advertisers, please mention this Magazine.

SEPT. MCMI

Price 35c. Yearly Subscription $3. 50

CONTRIBUTORS
MR. F.B, AULICH # &
MR. EDWIN A. BARBER
MR. C, BABCOCK « 2
MR. G. T. COLLINS & 2
MISS MARIE G. CRILLEY
MRS. S. S. FRACKLETON
~ MISS KIMBALL # # 2 &
MISS KATHERIN LIVERMORE >
MRS. ANNA B. LEONARD#* vt
MISS M, HELEN E. MONTFORT
MR. A, G. MARSHALL2 « &# &
- MISS GRACE OSBORNE # &#
MISS EMILY F. PEACOCK# &
MRS. S. EVANNAH PRICE*X # o
MRS, ADELAIDE ALSOP-ROBINEAU
MISS ALICE SHERRARDs *% ot 2

Se %& & & ES
eee & S&S &

SRREERREERKERERESE EES

EASES apo on Se COSC SS poe

FoR:

_Blsidee-rer

_ Sepreantes 1899 by the Keramic penile o Publishing. Co. Syracuse and New orks

Hotered at the! Post Office at Syracuse, N.Y, as Second Clase Matter, Aug 2, 1899,

( The entire contents of this Magazine are covered by the general saan and the articles must not be reprinted Without peal] Parnes

CONTENTS a ae oe alee 1903

PAGE
Editorial 97
The National League of Mineral Painters at the Pan Am. — M. Helen E. Montfort, 97-08
Treatment of Stein illustrated in August number Marie G. Crilley, 98
Vase—* Dog-tooth Violet” - A. G. Marshall, 98 |
Design for Water Pitcher | Adelaide Alsop-Robineau, 99

Organized Effort Mrs. S. S. Frackleton, 100
Mushroom Design No. 4 . S. Evannah Price, ae
Flat Enamels 55
Plate Design Anna B. Leonard, 102
Cup and Plate—Vine Design Grace Osborne; 103
A Precursor of Modern French Potters Laurent Bouvier, 104
Artistic Table-ware Edwin A. Barber, 105-106
Marmalade Jar and Plate seats Babcock, 107
Treatment of Ferns (Plate) Be ome Collins, 108
Design for Placque Alice Sherrard, 109
Pomegranate Salad Bowl Miss Kimball, I1O-111
The Collector—*“The Monthly Price List ” ITI-114

—‘ High Prices for Old China”’ I1I-114

Tankard Anna B. Leonard, - IIs

Pyrography—Water Lily Border | Katherin Livermore, 116
—Taborette Design | Emily F. Peacock, 117
-—Treatment for Taborette Design Katherin Livermore, 116

Answers to Correspondents 118

Treatment “ Fleur de Lis’ (Supplement) F, B. Aulich, 118

Looking for AN EXTRAORDINARY OFFER!
Comfort, | Twelve Colored Studies and a Portfolio
Convenience,
Best Results, Bs ——@& SENT FREE @&_

All Attained by Using... TO THE ONE WHO WILL SEND US

sent free on application.

The Eureka......} Five NEW NAMES *comars2¢2 OF $3.15 EACH.
Focusing Cloth Bie Calor Studiss may be selected from our Catalogues

THE PORTFOLIO is neat and attractively bound in cloth, stamped on side
“KRrRaMIc STUDIO,’’ and large enough to hold the entire volume of 12 numbers.

4x 5 i$ = Geo. H. Clark, Syracuse, N. nf FOR TWO NEW NAMES accompanied by the full subscription price of $3.50

5x 7 each, we will send either the Portfolio or the Twelve Color Studies,
+ PY } -

~8xiIi0 Le Cor. Franklin and Water Streets. ; f By NEW Names we mean those who have NEVER
; ; Sniens before subscribed for the KERAMIC STUDIO ----

Vol. Ill, No. 5

NEW YORK AND SYRACUSE

September 1901

HE KERAMIC STUDIO would like to suggest to
those students who have returned from their
summer vacation and are now planning their
winter work, to plan it carefully and with in-
telligence. Besides the usual routine of the

piece of work that may do one credit at an exhibition, a piece
of work that has been carefully studied as to design and color.
In the hurry of life, unfortunately, one has the inclination to
do a lot of things that may not stand criticism, but at least
one may try to do something that shows study and thought,
especially when that piece of work is exhibited as an example
of that which one is capable of doing. The fault of most
keramic exhibitions is that there is too much work hurriedly
done, work that could not stand the test of a jury, were juries
generally employed.

Instead of doing simple things that are good, and making
them count, one sees such a lot of overloaded work with
absolutely no meaning at all. The average decorator tries to
put everything he or she knows into everything that he or she
does. It is much more difficult, of course, to make good
simple things, because they require thought, but after they
are finished they are forever good, and always in demand, if
decorators understood the fact. We would advise a course of
study, either in a class or individually. Study in classes is
rather better, because one has the advantage of the other’s
criticism. But it is only in classes where designs or subjects
are worked out by the student that the greatest benefit is
derived. This was plainly shown in the lectures of Mr. Dow,
when the students were allowed ten minutes for a sketch, and
after a criticism the same subject was carried out carefully
and intelligently at home, to be again criticised before the
class. This was difficult at first, but those who worked the
hardest were the ones who received the greatest benefit.

THE NATIONAL LEAGUE OF MINERAL PAINTERS
AT THE PAN-AMERICAN EXPOSITION

MM, FHlelen E. Montfort

O many trials and tribulations were encountered in the
beginning that it seemed rather a foolish proceeding on

the part of the League to attempt to place anexhibit. Strikes
among the workmen—first carpenters, then painters and
electricians—the work held up from day to day for this or
that reason. Cold, rainy weather, no possibility of getting
rid of the frost, no decent walks, impossibility of getting
goods carted to Exposition, etc., together with dampness of
the building and the red tape necessary to unwind before any
move could be made, all tended to retard the installation.
Days, even weeks, passed without being able to see that we
were making any headway. A notice was served one morn-
ing stating that the exhibit must be ready May 20th. A glance
at our space made one feel the hopelessness of the demand,

but pluck and determination won, and on the afternoon of
the 19th we had three cases filled and ready to show, the
remainder of the boxes and bundles piled in the background
and covered from view. At 5 P. M. came a notice that as
there was so little to show the Inner Court would be closed to
the public on the 20th. All that extra work was lost, and it
was nearly June Ist before the Inner Court opened. We
had the pleasure of knowing that we showed the first case of
work in the Court. The Inner Court represents the finest of
all the manufacturer’s arts. There are the Tiffany Company,
with jewels and silver work, the Tiffany glass in all its glory,
the Gorham Company, the Rookwood, the Grueby Pottery,
the National Arts Club. With such neighbors, we were im-
pelled to do our very best. Our location is not, perhaps, all
that could be desired, but it is by no means bad, and with the
means at our disposal, our exhibit is really a credit to us.
In this collection we have been fortunate in our figure work.
People look at it with wonder, and many of them quite
doubted my statement that it is painted on china. Among
the best specimens of this work are seen the names of H. O.
Punsch, Mrs. T. A. Johnson of Seattle, Washington, Mrs. L.
Vance Phillips, Miss E. C. Adams of Troy, Miss M. Armstrong
of Chicago, Mr. George Collins, Mrs. H. C. Foster, Mrs. I. S,
Hammond, Mr. E. Aulich, Miss Mary Phillips and others.
There is more variety in the work than ever before, therefore
it has been much more difficult to arrange in a small space.
We chose a cool green for the background, and while it is
only a cotton delain, it does not detract from the china. The
New York Keramic Art Society is well represented, and the
work being varied and along all lines, it has caused a great
deal of wonder. Each artist has had his or her share of
attention, and New York may be proud of her workers. The
Duquesne Club is well represented, if only by a few workers,
and the work shown is of good quality ; it is a delight to handle
it. The Chicago Ceramic Association has on exhibition a
large number of pieces. They show great diversity of styles
and ideas, and perhaps more originality than do some of the
other clubs. Other clubs exhibiting are Brooklyn Mineral
Art League and the Jersey City Keramic Art Club. They
A good sized case filled with
work of the quality they have here, would surely have brought"
to those clubs a great amount of praise, if not a more sub-
stantial reward.

I would like to tell you all about the plates that are
entered for the competition for the service and bronze League
medals, but I must leave that for another time.
regret is the fact that there are so fewofthem. San Francisco
has sent its beautiful work, and work that is well executed.
I should like not only to be able to describe it all, but to
photograph it. Then there is Denver, with its jewel-work
and finely painted heads.
sented by only one member, and Bridgeport has only two
members. Eighteen individual members are exhibiting, and
they cover a wide range in decorating.

There is great chance for study here, and the questions |

send only a very few pieces.

My only

Boston, we regret to say, is repre-

98 RERAMIC STUDIO

ask as I look about are these: “ Are we working in the right
direction?’’ “Do we get the best instruction within our
reach?’’ “ Do we try to work along the lines most suited to
the talent we have?” &c., &c. There is less work this time
that seems a copy, or that seems to show directly the influence
of a teacher, and that is a point gained. I hope that at our
next exhibition we shall all be able to show work that is not
only purely American but original all through.

Some time later I want to tell you of the pottery and
porcelain here. We are proud of the women who have sent
us samples of their efforts in this line.

TREATMENT OF STEIN IN AUGUST NUMBER
Marie G. Crilley
FTER making the sketch carefully, paint in the design,
keeping the color flat and decidedly posteresque. The
sky, Deep Blue, all the trees of Duck Green, Brown Green,
painting them heavier in the foreground. The buildings of
the “‘ Turkish village” are to be Pearl Grey. This will serve
asa half tone. Vary the scheme by adding a little Blue or
Brown, thus breaking the monotony. The towers are of

Yellow Ochre. Place some of this same color on the face of
the building in center group, making this (the center group)
the feature of vour design. The roofs of all the towers are
deep Red Brown, adding a touch of Ivory Black. Use the
same color for at least five of the roofs of center group, but
remember that a spotted effect and strong contrast will have
ruinous consequences. The remaining housetops are of
Brown 4 or 17. The walls which cross the city are of Van
Dyke Brown and a little Deep Blue, making the color a soft
Brown Grey. Leave the narrow bands at the top of the
walls white. Outline the complete design, windows, trees,
wall, houses, &c., with a firm, fine line of Brown 4 and Deep
Blue. All the space surrounding the village of Brown 4 or 17.
This must be of great depth and must balance with the depth
of color of village. The bands which separate this from town
are gold. The small squares indicated under the handle are
to be of colored enamels, to represent stones. When this is

finished for second firing, dry in an oven until the colors
become scorched, then glaze with a thin wash of Ivory Black
This will give the appearance of old
If the colors are kept harmonious and low in tone and
these suggestions are carried out, the effect will be unique
and pleasing.

and a little Deep Blue.
china.

VASE “DOG TOOTH
VIOLET ”
A. G. Marshall

AVENDER ground. Black
k portions deep (not crude)
purple. Or rose ground with
deep maroon. Leaves green
with darker green spots.

Flowers and buds deep
yellow. Gold edge and fes-
toon around top and edge to
dark ground between the
standing leaves.

100

ORGANIZED EFFORT

[ Paper read before the National League of Mineral Painters, June 4, 1901, by

Mrs. S. S. Frackleton, first President.]

HE power of organization appeals to us at this
time as at no other epoch in the history of
our civilization. It gives a tremendous force
wherever it is applied, either as a stimulus
ora restraint. Organization produces con-
centration: concentration, force: this con-

centrated force allows a great economy of personal effort.

This is an age of organization : capital, labor, society, charity,

and the sciences have attained marvels by it, and art must

keep abreast with the times. That civilization may breathe
pure air, art must not be smothered by the smoke of factory
chimneys or ground between the wheels of machinery.

When this League was formed, some ten years since,
there were a few individual workers scattered over the broad
face of this great land, wandering in the mists and mysteries
of the unknown; groping painfully but determinedly after a
“little knowledge” which is a “dangerous thing.” The work
of the Cincinnati women at the Centennial Exhibition lighted
a brilliant little spark which in time became a running prairie
fire. This result was attained because the work was shown at
an exhibition center, the first great organized effort of the
kind in our country.

As time passed, individual workers began to hear of one
another, and to form themselves into little bands or clubs.
Sometimes only “two or three were gathered together,” but
when their work was sincere, it became a prayer that always
received a response. The benefit of organization was quickly
sensed, an atmosphere was created which was helpful and
stimulating, and they began to acquire a ‘“‘point of view,” but
always dimmed by the floating veil of mystery which hung
swaying before it. A great fiat had been thundered forth
from the clear sky: only French porcelains must be used,
only French colors. Only one factory with one mark could
make this ‘‘right” ware: all else was false: nothing else would
fire: no other glaze would develop color: on nothing else
would the gold wear. There is more than one of us here who
remember these times and can recall the thrill of delight
sweeping the cobwebs from the sky with her own personal
broom, having the inspiring idea at the moment that she was
doing something phenomenally daring. The portable kiln
was the first real liberator. Firing seemed little short of
witchcraft, and flux was the unknown quantity which con-
trolled fate.

The hopeless little anguishes one has suffered from flux
in the beginning! The first pieces of porcelain that I
attempted to decorate were sent from Wisconsin to New York
to be fired. On their return the information came with them
that the carmines were “off color,” because there was too
much flux used, that the blues were grey and raw because
there was too little, etc., etc. All the time I was guiltless of
having used any, and was innocent of the existence of the
‘flowing material” until the receipt of this same epistle
which stated that the amount to exactly develop the best
chemical results from the various colors must be most care-
fully determined by systematic and repeated experiments, the
flux and color to be accurately weighed in chemists scales,
etc., etc. ‘‘ Repeated experiments’”—to the woman in Wis.
consin or Utah, or Colorado, or California !—‘* Repeated Ex-
periments!” and the kiln in New York.

Then the delightful independence when this wonderful
kiln had been captured, tamed and turned into a comfortable

RERAMIC STUDIO

“house cat.” The lovely times one could have in the seclu-
sion of one’s own cellar, doing the things which one ought not
to do, and leaving undone those things which one ought to
have done, and having them come out all right half the time.

The beginners and workers of to-day cannot realize the
pangs or joys that the pioneers have passed through, for so
much has been made possible and simple in these days through
organization. The great wave of overglaze decorating has
flooded the country, and though many a voice has been raised
in captious comment, few persons realize the important
impetus it has given to American and foreign manufactures.

The American woman has an insatiable appetite for “new
things,” but she is learning, is acquiring discrimination. She
senses her lack or she would not be uncertain of herself, and
afraid she may grow tired of them. No one grows tired of a
simple pure form: of an American corn jar or a Greek
amphora,

Before this bee of novel forms began its buzzing in the
American bonnet, the European factories made the same
patterns of table ware, year in and year out, the same designs
for vases. Getting out a new shape was a serious matter: one
to be approached with prayer and fasting—and money!
But /—suddenly Mary Ellen appeared upon the scene with the
glory of the Stars and Stripes all about her, American eagles
in her pocket book, and a paint brush in her hand! She
demanded “something new.” Thesupply came! It has kept
coming! It is going to come!

But se / what has she not done in her time with that
fateful paint brush! What awful and astonishing things has
she not wrought upon her “ china”! But we are arriving,
All this has been a necessary phase of growth. We must not
expect Mary Ellen to pose as a mushroom or a Jonah’s gourd
—a thing matured in a night or a day. Consider our pottery
industry now and twenty years ago. I do not mean to say
that women have made these changes in a positive physical
sense, but they have had their fingers in the mud pie, and
with marked results.

The chairs of keramics and clay-making in our several
State Universities are the direct result of the Columbian Ex-
position. So also is the American Keramic Society. It is
my sincere desire that this League of ours should affiliate
itself with the General Federation of Women's Clubs that we
may be in touch with the progressive thought of women in
all lines, that we may secure recognition and encouragement
from our intercourse with them, and give to them of our ideals
and efforts. Surely you remember the old Roman lictors
with their bundles of rods; the strong whole which is created
by securely binding the many weak rods together; and their
motto, “In wzzov is strength”? We must recognize a national
feeling and be loyal to it, and we must stand by our American
potters, raise their standard by recognizing merit, not discrim-
inating against them as has so long been the discouraging
fashion. How best can we accomplish this? Only by organ-
ized effort.

Potting, as a manufacture, is flourishing. As an art it
has been almost lost sight of, overshadowed by the legion of
decorators and the greed of manufacturers. But the potter is
no new person. She was here in her blanket and moccasins,
her beads and bright colors, long before Mary Ellen was bred
upon these shores. For the centuries of the past hers was the
“Art of Arts” hers, the glory and the beauty of true handi-
craft. Sse had no potter's wheel! Later in Egypt it was
used, and later in India they copied her designs in their far-
famed weavings. The eyes of the serpent from the temple of

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FLEUR DE LIS—F. B. AULICH

SHPrEMBER,. 1901.

SUPPLEMENT TO Corpyrigun, L9OL, By
EERAMIC STUDIO PUBLISHING © sg
KEHERAMIOC STUDIO, A)

SYRACUSE, WN, YY.

RERAMIC STUDIO

Mitta they wove in their beautiful wools long centuries after
she had made them in the warm-tinted red clays of the mesas.
There were no men potters in those days. We are the new
race, but we grow in thesame soil. And we are yielding toa
natural instinctive influence when we give ourselves up to this
old art!

Taking the clay in our hands and modeling with it
some simple thing, putting thought and purpose into our
little bit of earth, to give it some grace of form by careful
endeavor, some beauty of surface, and by delving deeper into
the hidden mineral treasures of the earth to gain that which
will add some harmonious color or brilliant glaze,—this is the
true delight of anoble art! And can this be accomplished
best alone? Not at all. Organization is needed and of great-
est service. Recognition and sympathy, that wondrous

IO!

atmosphere of friendship, nourishes artistic growth as no
other factor can. Flattery is harmful, indiscriminate praise a
thing to be deplored, but a generous use of the wet db/anket is
one of the most deadening, paralyzing methods of. treatment
conceivable. So let me urge you, in all sincerity, to so organ-
ize yourselves and ally yourselves with other organizations, as
to give and gain the greatest good. Keep your identity,
demand that recognition for your art of which it is worthy.
Not that it should be recognized because it is yours, but
because it is worth recognition. Put your heart and soul into
it and gzve it worth. Be sincere and honest and it will shout
your purpose to the world. It zs shouting all the time, but

you can determine by your own efforts what the message may
be: whether the works of your hands and the meditations of
your heart shall be acceptable.

MUSHROOM DESIGN (No. 4)—S. EVANNAH PRICE

AY in the background with the same colors as in No. 1.

Cones— Wash the high lights with Russian Green (thin).

Shade with Sepia and Dark Brown. The needles are a light
brownish green (Moss, Brown and Shading Greens).

Mushrooms—Thin wash of Lemon Yellow shaded with
Yellow Brown, with Sepia in the darkest parts. The cones
and needles at the opposite side of plate are treated the same
as the mushrooms in No. 1.

AERAMIC
FLAT ENAMELS

S many of our subscribers write to us concerning enamels
A in flat washes, we would like to offer a few suggestions
after our own practical experience. In the first place students
are apt to think that enamels must necessarily stand up in
relief. Using flat washes of color with enamel mixed in to
give more of a body, is quite a different proposition from
enamel used in jewel effects, which many amateurs and
students use in great chunks or knobs, at once commonizing
a beautiful design, especially if used for table service. The
use of enamel in washes is merely to give body or depth of
tone, which is not attainable when using a color alone, unless
it be in some of the deep colors that are soft, and fire with an
intense glaze.

Very little oil must be used (none at all when the tube
enamel is used) and the color must be very wet with turpen-
tine, so that broad washes smooth themselves at once and
then dry almost immediately. These washes must be only a
little heavier than when color is used. There being so much
more color than enamel, naturally the color will blister when
used too thick. A little experimenting is worth more to

students than lessons, as it is something each one must work
out more or less oneself.

The KERAMIC STUDIO can give only the experiences of
those who have been successful in this work, and to encourage

STUDIO

and urge continual trials by those who are using our conven-
tional designs. We have given rules for mixing enamels with
the different colors and these rules are the results of success-
ful experiments. A second wash of enamel may be applied
if the first wash is thoroughly dried in an oven, when a deeper
tone is desired. The outline of the design is usually made
first and this line will show through the enamel if it should
happen to run over and if the enamel is the right consistency.

er
TURKISH VASE OF 400 B. C.

T LAMPSAKI, on the Dardanelles, a vase was recently un-
A earthed which has awakened the interest of pottery con-
noisseurs by its beauty of form and design and its extreme
antiquity. It is made of a fine quality of ground clay,
incrusted on the exterior with gold. It has three gold
handles and splendid relief representations of a hunting scene.
The date of the vase, which contained human ashes, is esti-
mated at about 4oo B.C. It is by considering the significance
of a relic like this that the deep respect for ceramics is awak-
ened. No other work of man has proved so enduring as the
records that the Antediluvians traced upon their primitive
pottery. The architecture of 400 B. C. lies crumbled or buried
under the sands of centuries and the sole relic of that age is

found in a piece of clay. The three handles on this vase
prove that this popular design is centuries old.

PLATE DESIGN—ANNA B. LEONARD

UTLINE the design with sharp line of black, using Bruns-
wick Black and a little Dark Blue (Lacroix). Blos-

soms and stems with surrounding band should be painted in
Dark Blue (combination of Dark Blue, Ruby Purple and Black.)
The leaves and line inside the medallion in Green, using a
combination of Apple Green, Mixing Yellow, Chrome Green
3B, Brown Green and a little Black to modify the tone. The
all-over design is in the dark blue on the white china, or ona
Turquoise Blue background ( Be careful not to use a vivid

tone.) The two inner bands are in two colors, the outside
one in the dull green. The little single blossoms within the
two bands are in Dark Blue and the circles in the Green. The
two outer bands are in two colors, with white space in be-
tween, the outer one being in Dark Blue and the inner one
Green.

These bands may be used in other proportions according
to the size of the plate. A treatment in red and gold is also
very effective.

CUP AND PLATE—VINE DESIGN
Grace Osborne

HIS is especially adapted to underglaze

decoration in monochrome. We sug-

gest blues or greens as most suitable for
table ware.

KRERAMIC STUDIO

103

RACE
OSboRNE

104

RERAMIC STUDIO

A PRECURSOR OF MODERN FRENCH POTTERS

Laurent Bouvier

O the illustrations of modern French pottery, we add a
if few pieces from an almost unknown artist, whose vases
and plates made quite a sensation in Paris about thirty years
ago, and whose life is a lesson to the would-be student of
pottery.

Laurent Bouvier was a painter, not a potter, and his
vases were the pastime of his summer vacations in his natal
province of Dauphiné in France. There are many potteries
in that country making only rustic wares for country use,
without any artistic pretensions. But they have kilns and
clays and potter’s wheels, and it is all that a true artist needs
to become a potter of note. Laurent Bouvier came to Paris
in 1861 to follow his vocation, the study of painting, notwith-
standing the opposition of his parents who wanted him to
study law, and cut his allowance when they learned that he
was a student at the “Academie Suisse.”

His first painting sent to the Salon was refused. But in
1866 a study in white, a white bouquet in a white vase ona
white cloth, was received, and his painting for the Salon of
1868, very much noticed by critics, was bought by the French
Government. As if the painter had a presentiment of the
fascination which the potter's art would have for him later
on, this painting, which we reproduce here, was an allegorical
and decorative composition, called ‘La Céramique.”

It is only in 1869 that Laurent Bouvier, while spending
the summer in his natal mountains, thought of trying his
hand at the making of faience. When he came back to Paris
at the beginning of the following winter, he brought a few
cases full-of his vases and plates, intending to use them only
as a decoration for his studio. One of his friends advised
him to exhibit them at an Exposition of Arts and Crafts
which happened to be held in Paris that winter. His success
was instantaneous, and his pieces eagerly bought by such con-
noisseurs as Prince Orloff, Countess Narishkine, Mess. de St.
Remy, Paul Perier, Christofle and others. Then came the
war of 1870, in which he took part, being able to resume his
work only in 1872. Another exhibition of his faiences held

in the winter of that year had the same success as the first,
Durand-Ruel, the dealer, buying most of them.

A cruel disease, which for the last twenty-nine years has
confined him to his provincial home in Dauphiné, and a great
part of his time to his bed, has suddenly cut short the brilliant
career of this talented painter and self-made keramist. He
has at times attempted to take up again his brush and his
clays, but the hand was unable to execute the conceptions of
the brain which had remained as clear and bright as ever.

From a modern point of view, the work of Laurent
Bouvier will be found altogether too Oriental. The ornament

LA CERAMIOQUE

RERAMIC STUDIO

is decidedly Persian and Japanese. One must not forget that
thirty years ago was the time when every steamer coming
from the Far East was bringing the artistic treasures of
Oriental pottery. The beautiful Persian arabesques and the
fine Japanese treatment of flowers were then a revelation to
all artists, and it is but natural that in his first attempts at
faience making, Bouvier was strongly influenced by an art

105

which had fascinated him. But it must be said that however
strongly influenced by Japanese and Persian ornament,
Bouvier made them his own. His vases are not mere copies

of Oriental work, they show an original and innate talent,
which would probably have made the name of Bouvier a great
name among potters, if disease had not put a sudden end to
his remarkable but too short career.

ARTISTIC TABLEWARE

[Address by Mr. Edward A, Barber at the Buffalo Convention of the National
League. ]

BOUT the middle of the eighteenth century, one Christo-
A pher Dock, a Pennsylvania German, locally known as
the Pious Schoolmaster of the Skippack, found it advisable
to prepare and issue a book on etiquette, under the title of
“A Hundred Necessary Rules of Conduct for Children.”
Among these precepts we find the following:

“To look or smell at the dish holding the provisions (at
table) too closely is not well.

“Tt is not well to put back on the dish what you have
once had on your plate.

“Do not wipe the plate off either with the finger or the
tongue, and do not thrust your tongue about out of your
mouth,

“The bones, or what remains over, do not throw under
the table; do not put them on the tablecloth, but let them
lie on the edge of the plate.”

This last-quoted piece of well-intended advice furnishes
us with a clue to the original purpose of the flat projecting
rim of the dinner plate, as it has descended to us. While this
table accessory can boast of a far greater antiquity, it was
used in this country 150 years ago as the receptacle for the
- bones and refuse of the meal. The world has progressed in
many ways since then; great improvements have been made
in almost every household utensil, yet in the present age of
culture and refinement we still cling to the primitive relic of
the distant past.

Two and three-tined forks have given place to those with
four prongs; the broad, spatula-shaped iron knife, which once
served to convey the food to the mouth, has been supplanted
by a more graceful cutting blade; the tiny cup-plate, which
was once in general useas a receptacle for the cup, while tea was
being sipped from the saucer, is no longer tolerated in polite
society, yet the plate ledge or thumb guard still survives—an
unsightly reminder of the uncouth customs of by-gone days.

At the threshold of the 20th century, when the arts are
supposed to have reached the highest state of perfection in
the world’s history; when the glassmaker, the worker in

metals, the weaver and the cabinetmaker are all producing
works of art which surpass all that have gone before—the
potter, who has also kept abreast of the march of progress in
some directions, has sadly neglected the improvement of his
utilitarian wares. Fully to realize this fact, it is only neces-
sary to compare the forms of our modern table service with
some of those of a century ago, which survive in our museums
or among our treasured heirlooms.

When we visit a crockery shop and inspect the china
tableware there displayed, our attention is usually first
attracted by the vegetable or covered dishes, which seem to
be the most conspicuous pieces among the various forms of
vessels, because of their disproportionate size and their total
lack of beauty. We pass service after service, from the fore-
most potteries of Trenton and East Liverpool and other
places, and we are impressed with the tiresome similarity of
the patterns, their inartistic modeling and incongruous
decorations.

If we take up some of the trades journals and examine
hideous shapes which are illustrated in flaunting advertise-
ments there, as new designs of special merit, we can obtain a
better idea of the degradation of American art, as it is applied
to the useful wares, than can be obtained in any other way.
We find little, if any, originality in any of them—no evidence
of artistic feeling, no distinctive design. They are all copies
or modifications of the nondescript forms which have gone
before, patterns which have disgusted the cultured public for
more than 25 years.

Each newly announced service is only marked by greater
clumsiness, a higher degree of ugliness, if that were possible,
than its predecessors, If the potters themselves should take
exception to this assertion, there is a test to which few of
them would be willing to submit—the verdict of a jury of com-
petent sculptors and artists,

Compare their creations with the simple forms of ancient
Greece and Rome, the chaste decoration of China and Japan,
of Sevres and Worcester, and note the contrast. Why is it
that none of our manufacturers has broken away from the old
trade and given us something original and meritorious? This
is a question not easily answered. Some say that the public

AERAMIC

106

taste is alone to blame. Others place the responsibility on
the dealers who demand cheap and trashy ware. Still others
claim that we have produced the best that we are capable of
making.

Be this as it may, the fact remains that we are obliged to
look to foreign manufacturers to furnish our tables, if we
would have artistic china which is suitable for the use of cul-
tured people. I once saw in a prominent crockery shop a
table service which had been made in England. The covered
dishes were oval in form, like an ostrich egg, scarcely larger
and devoid of all relief ornaments. The decorative designs
consisted entirely of large and boldly painted flowers in natural
colors—a few simple blossoms and leaves artistically scattered
over the creamy surface with sparing hand.

Adjoining it was displayed one of the most pretentious
of our American services, elaborately covered with scroll-work
in relief and incongruous over-crowded color designs and
cheap gilding. The contrast was most marked and all who
saw the two, turned from the latter in disgust to the beauti-
fully simple and appetizing exhibit beside it.

One of our foremost ceramic modelers, while deploring
the existing condition of affairs, recently volunteered the fol-
lowing explanation: The average potter cares nothing for his
art save what it will bring him in cash. The trained artist
who spends weeks in the designing and modeling of artistic
shapes, finds no demand for his drawings, because the manu-
facturer is unwilling to pay him a fair price for his work.
When a new design is desired, the moldmaker of the estab-
lishment is instructed to make sufficient alterations in some
of the old shapes to serve the purpose, at little or no addi-
tional expense. The result is necessarily a nondescript series
of pieces, of such size and character as will answer the varied
purposes of a large hotel or a small family. By persisted
advertising and the efforts of traveling salesmen the set is
forced upon the public and a sufficient quantity sold to pay a
handsome profit on the small investment.
ing as these statements may sound, they are, nevertheless,
true, as every discerning, candid potter must admit, and are
offered in a spirit of entire kindness, for the benefit of those
who should be most interested.

In the designing of tableware, several rules should be
observed. First, the forms should be simple and graceful,
and if possible carry some suggestion of their uses. There
should be no relief ornamentation or but little, no straight
lines or angles to offend the eye and collect dirt.

Second—The relative size of the various pieces should be
proportioned with a view to the purpose of each. The cov-
ered dishes should not be large enough to serve as soup
tureens, nor the latter so capacious as to supply the needs of
a country tavern.

Third—The decoration should be invariably beneath the
Overglazing ornamentation is always out of place on

Harsh and sweep-

glaze.
tableware, and suggestive of grit and sand as the paintings
wear away in time, even though thoroughly fired on. The
decorative subjects should be appropriate and appetizing,
delicate in coloring and sparingly applied.

The character of the ware is not of such importance as
the shapes and embellishment. Common cream-colored ware
can be made as pleasing as the most expensive porcelain. In
fact, the softer grades of ware will take the decorations more
readily than the harder bodies. Inexpensive ivory-white ware
can be made as attractive as the finest white porcelain, either
soft or hard.

The nearest approach to a really artistic table service that

STUDIO

has yet been specially produced for American use was that
manufactured by the Messrs. Haviland & Co. of Limoges,
France, for the Executive Mansion at Washington, during
the Hayes Administration, from designs drawn by Mr. Theo-
dore R. Davis, an American artist, illustrating in shapes and
decorations the flora and fauna of the United States. Mr.
Davis secured a small bathing-house on the beach at Asbury
Park, N. J., for a studio, and here he made the drawings from
which the various pieces were reproduced.

The plates of the service were modeled in imitation of
the petals of the mountain laurel, on which were respectively
painted a spray of the same plant, the figure of a crab floating
on the beach at low tide, an Indian sitting beside a slain deer,
the trunk and summit of a palmetto cabbage, a moonlight
view showing stalks of waving corn and pumpkins ripening
on the ground, and a view of an old log cabin, in front of
which are shown some tomatoes ripening on a plank.

The soup plates were equally suggestive, the subjects
being the green turtle, canvasback ducks, a clambake scene,
a frog perched on a lily pad, a fireside scene in which the
boiling kettle is shown in the chimney corner, and an okra
stalk.

The other sets of plate were in keeping with the general
scheme, being original in shape and more or less appropriate
in subject-design. The only criticism which could be made
on the service as a whole is the appearance of over-decoration,
where the designs cover the entire surface. Yet this was a
move in the right direction, the first attempt in this country
to elevate the standard of tableware to the point of artistic
excellence which decorative china had already reached.

Can we wonder that people of refined taste, with the
means to gratify them, should be driven to the use of silver
and gold for table purposes? Is it not time that the public
should rise in its might and demand of our potters a long-
needed reform in the shapes of our tableware? Away with
the thumbguards, the scrap rims, the bone ledges, which still
disfigure our dinner plates and platters and reflect upon our
20th century refinement. Give us the gracefully curving
plaque as a receptacle for solid food of the slightly recurving
edges for liquids, and we shall have, instead of the unsightly
trencher-shapes of a century or two ago shapes in keeping
with the advanced civilization and culture of the present day
—pieces thoroughly adapted for artistic decoration, elegant
for use, pleasing to the eye, worthy to receive the most beau-
tiful ornamentation.

Let us cultivate a taste for good art in table service
among the people. Let us start a crusade against the offen-
sive designs we have been so long accumstomed to seeing
that we have come to accept them as the best that we can
procure. Let us tear away the traditions of the past and
build up new ideals for the future, keeping pace in ceramic
progress with the improvement which has been reached in the
otherarts. Surely the beautifying of our dining tables around
which we gather a thousand times a year, should receive as
much attention as the ornamentation of our drawing-rooms,
our libraries and our cabinets.

We need a complete revolution in the shapes of our table-
ware, and who is to bring this about if not our women model-
ers. We need radical changes in the character and quality of
the decorative designs which are placed upon them, and who
shall undertake this if not our amateur and professional min-
eral painters? This is a work which, above all others, needs
the discriminating judgment of a woman’s mind, the dainty
touch of a woman's hand,

RERAMIC STUDIO

MARMALADE jrr

ik ATE

> Ste
= --
Se BRR SESS

MARMALADE JAR—C. BABCOCK

107

AKE black portion of design and outlines of gold. The design and top of cover should be padded brown and orange
dotted background of ivory lustre. The leaves and lustre. The circle of jewels, if added to design, make of Auf-
stems of brown lustre over orange lustre. The berries of setzweis first and fire hard before doing anything else to jar,

orange over rose lustre. The white bands above and below then cover with ruby lustre, then with orange.

108

RERAMIC STUDIO

TREATMENT OF FERNS—G. T. COLLINS

F not properly handled, ferns are apt to look hard and stiff
| as though cut from paper. Avoid all hard lines and give
careful attention to light and shade. The whole composition
should be painted in for the first firing at one sitting, as a very
muddy effect is produced if the edges are allowed to become dry.
Never put in thick dark color for the first firing, as there is
plenty opportunity for darkening on the second and last firing.
This cannot be too deeply impressed on the beginner. The
universal fault of the novice is to paint too thickly.

First wash in the background, using the colors very oily.

The colors must be carefully blended into a soft cloudy back-
ground which suggests a tangle of plants and grasses in the
distance. The distant leaves are best painted with Air Blue
and a little Rose, and those that come directly behind the
masses of ferns are painted with Blue Green, Yellow Green
and Shading Green. For the ferns in the sunlight use Olive
and Yellow Green. The darker touches are Shading and
Brown Green. The ends of the ferns show touches of Pom-
padour and Yellow Brown. The stems are Blood Red and
Black, with touches of Ruby.

RERAMIC STUDIO 109

DESIGN FOR PLACQUE—ALICE SHERRARD

OR center medallion use for background a tinting of Deep
Blue Green, rubbing into it a little powder Pompadour

and Royal Green toward the lower part. For the face a mix-
ture of % Albert Yellow and % Pompadour, add more Pom-
padour to cheeks and lips; eyes, blue; hair, yellow brown—
Meissen and Finishing Brown; drapery, white shaded slightly

with Royal and Blue green, blossoms Pompadour thin, Albert
Yellow in center, stems Royal Green. Outline all carefully
in Finishing Brown. Black portion of border Red Bronze,
white ground Light Brown Bronze, flowers and stems in
gold. Outline in black. The center can also have a mono-
chromatic treatment in browns or a lustre treatment.

fos

: Ving e
GG OGE OOGEDS

RERAMIC STUDIO

POMEGRANATE SALAD BOWL
Miss Kimball
IIS design would be very effective carried out in Copenha-
i gen Blue, ora dark blue made of Banding Blue and black

with a touch of Ruby Purple. To carry out a polychrome
color scheme, make the background black; clean out the

O aa

design, leaving ground for black outline. Make the leaves
and stems of browns; the outside of Pomegranates, Yellow
Ochre shading into Pompadour at point opposite stems; inside
of Pomegranate, Yellow Ochre thin, with seeds in Pompadour

III

and Red Brown; band at top, Ochre and dots of Pompadour.
Inside of bowl tinted cream and design carried out in browns
and ochre outlined with black.

Or, make outside of bowl gold ground with leaves and
stems in brown lustre; pomegranates in orange lustre with
seeds ruby. After firing and burnishing, cover the entire out-
side with dark green lustre. Inside of bowl make design in gold
with gold line around top, put green lustre over stems and
dots in centers of flowers also dots around center. A fine
black outline will give character to the whole bowl.

ie
THE COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE
(When pieces are sent by express, expressage is paid by buyer. When pieces are
sent on approval and returned, return expressage is also paid by buyer).
Proof pieces must be ahsolutely perfect and show practically no traces of
wear. Perfect pieces must be perfect not only in condition, but in color, and
traces of wear must be very slight and not injure the pieceinany way. All cracks,
chips, repairs, marked discolorations or scratches must be mentioned.

STAFFORDSHIRE

Alms House platter, 17-inch, fine condition, = - - $46.00
Upper Ferry Bridge platter, crack shows little, fine color, 2 35.co
Erie Canal plate, Utica inscription, perfect, “- : = 45.00

Capitol at Washington (Stevenson, vine leaf border), 10-inch, crack

inside of rim looks fire crack, fine color, - = - 32.00
Octagon Church, Boston, soup, 10-inch plate, perfect, - 20.00
Another, soup, to-inch, proof plate, - - - = - 16.00
Escape of the Mouse (Wilkie), 10-inch proof plate, - 2 20.00
Playing at Draught (Wilkie), ro-inch soup, small chip rep., - 14.00
Valentine (Wilkie), ro-inch plate, perfect, - - - 13.00
Baltimore Court House, 8 inch, small chip rep., = = - 18.00
Anti-Slavery plate, 914-inch, = - - i = 18 00
Transylvania University, 91-inch plate, good color, - = 17.00
Upper Ferry Bridge, 9-inch proof plate, - - > 12.50
City Hall (Ridgway), ro-inch, perfect, = - - = 12.00
Philadelphia Library, 8-inch, - - - < = 12.00
Winter View of Pittsfield, 9-inch, perfect, - = - > 10 co
Fairmount Park, near Philadelphia, 1o-inch, good condition, - 8.co
Erie Canal at Buffalo, red plate, 10-inch, piece broken and rep., shows
Chateau Ermenonville, to-inch, perfect, - = - 7.00

little, fine color, 2 - - - - = : 6.00
States plate, 6%-inch, perfect, - - - - - 6.00
City Hall, Meigs, light blue, perfect, = = = - 5.00
Girl at Well cup and saucer, perfect, large size, 2 = 4.00
Soup tureen, 15-inch wide, dark blue, floral decoration, very fine, 12.00
Caledonian pink soup plate, ro-inch, Highlander in center, perfect, 2.00
Erie Canal pitcher, cracked but holds water, = 2 - 18.00

LUSTRES
Pink square dish, handles perfect, Yale College and State House, 30.00
Copper lustre pitcher, 4-inch, raised decoration on blue, odd shape, 3.50

Another, raised figures on blue, 4-inch, fine piece, - - - 375

Another, 3%-inch, raised flowers, no band, rare, = = 3.75
Another, 5-inch, pink lustre band, short crack on edge, - - 3.25
Another, 5%-inch, band in polychrome sections, fine, - - 5.50
Another, 34-inch, flowers on white band, - - ; ; 2.50
Another, 4-inch, raised decoration on blue, dark lustre, - 2.75

Cup and saucer, purplish pink design of Temperance emblem, pink

lustre band, = - - = = - = a.
Copper lustre mug, raised dec. on blue, slight crack on edge = 2.75
Another, 4-inch, yellow band, = = - . - 2.0

Staffordshire pitcher, pink lustre band on border, green ground, black
medallions with battles of ships, United States and Macedonian,
Enterprise and Boxer (Bentley, Weare & Bourne, engravers, Shel-

ton) slight crack on spout, - - - 18.00
MISCELLANEOUS

Another, single flower dec., tea pot, sugar bowl, creamer, two cups

and saucers, fine condition, - - - : = 20.00
Lowestoft sugar bowl, crack and small chip, floral decoration, = 2.75
Lowestoft 9-inch plate, scalloped edge, perfect, - = - 2.50
Twelve Apostle pitcher (Chas. Meigh) date 1842, small repair on edge,

shows little, fine and rare, - - - = - 18.00
Old pitcher, cream ground, figures in blue in relief, animal’s head

spout, slight repair on edge, - - = - - 6 00
New Hall porcelain tea pot, marked New Hall, flowers in brilliant

colors, spout restored, - = = - = - 6.00

FIVE PIECES FROM THE SEVRES SERVICE MADE FOR THE EMPRESS
OF RUSSIA IN 1778—COLLECTION OF M. GOODE.

From ‘‘La Porcelaine Tendre de Sevres,”’ by E. Garnier.

Gilding by Vincent and Legray, flowers by Barre and Taillandier, ground bleu
turquoise and white, ornaments and circles gold, flowers and leaves natural
colors, border medallions, figures in cameo white on chocolate brown ground.

HIGH PRICES FOR OLD CHINA

NE of our subscribers asks what is the most valuable old
() china. It is well known that a number of old faiences
and porcelains bring enormous prices, and without covering
the ground very thoroughly we will try in this article to give
an idea of the prices paid in recent years for some rare pieces
of different makes.

We have in this magazine given accounts of sales of
Chinese porcelains, which take place almost every year in
New York, and our readers know that fine blue and white,
also some of the rare single color potteries run up to four
figures. Some idea of the value placed by collectors upon
really fine specimens of Chinese may be given by stating that
a square shaped vase in Mr. George Salting’s collection in
England, black glaze and white decoration (famille noie) was
bought for £1,000 ($5,000). If we are not mistaken, a blue
and white vase from the Dana collection sold in New York
for the same price a few years ago. There is no doubt that
some of the best and rarest specimens of old Chinese are yet
in Chinese collections, and that unique pieces, if brought for
sale in Europe or in this country, would go much higher than
prices quoted above.

The rare and valuable faiences and porcelains made in
Europe during the 16th, 17th and 18th centuries, such as
Italian and French faiences, Sevres, Dresden, Worcester,
Chelsea porcelains, &c., do not seem to figure conspicuously
in American collections. Genuine and high-priced specimens
are seldom offered for sale here, although the country is
flooded with counterfeits, and to get an idea of their value
one must refer to sales occasionally made under the hammer
at Christie’s in London or at the Hotel Drouot in Paris, when
famous European collections are dispersed.

The porcelaine tendre de Sevres, manufactured first at
Vincennes, later at Sevres, from 1740 to 1760, has lately
attained phenomenal values. Single plates have brought as
much as $1,000, cups and saucers $750. A famous service in
the possession of H. M. the King of England, in Windsor
Castle, is valued, according to Litchfield, at $500,000. Another
service made for the Empress of Russia, in 1778, although of
a later date than the most prized period, is highly valued.
About 160 pieces were stolen during a fire at the Trasknoe

KRERAMIC STUDIO

Selo palace and sold in England. Although most of them
were repurchased later on by Emperor Nicholas, some pieces
occasionally come up for sale, and a single plate will easily
bring $750 or more. Perhaps the most valued color on old
Sevres is the famous pink called Rose Du Barry, or more
properly Pompadour, which was discontinued about 1760.
A pair of Rose Pompadour vases sold as far back as 1857 in
the Bernal sale for $9,710, and would fetch considerably more
now. These two vases are in the Wallace collection. Blue
de roi and turquoise are also very much sought after.
Practically all specimens of old porcelaine tendre are
placed in collections or museums. The high prices paid for it
at all times, even at the time of its fabrication, had for natural
result to create a special industry, the manufactory of coun-
terfeit old Sevres, as, in fact, has been the case for all rare and
valuable keramics. The quantity of spurious old Sevres
which is constantly thrown on the French, English and
American markets can hardly be imagined, most of it so
inferior to the originals as to deceive only the most ignorant.
However some very clever reproductions are made. The best

and most difficult to detect are the pieces decorated at the
beginning of this century on genuine soft paste of Sevres.
In 1804, after the manufacture of porcelaine tendre was dis-
continued and replaced by the hard paste, the Director,
Brongniard, badly in need of money to pay his workmen, sold
all the soft paste in stock. This was decorated by very clever
artists and sold as Sevres, and specimens are found in some of

No. 1. No. 2.

SEVRES VASES.
From ‘*La Porcelaine Tendre de Sevres,”' by E. Garnier,

No.1. VasE CALICE, OPEN WoRK CoveR—Collection of H. M. the King of Eng-
land, Buckingham Palace; painted by Morin. Ground bleu de roi, gold scrolls,
medallions natural colors,

No. 2, VASE BALUSTRE—Collection of A, de Rothschild.
scrolls, medallions natural colors.

No. 3. Vase Caxice—Collection of Sir Richard Wallace: painted by Morin,
Ground bleu de roi and gold, interlaced ornaments vert pomme (apple green),
medallions natural colors.

No. 3.

Ground bleu de roi, gold

the best collections, among them, it is claimed, the Sevres
china of the King of England at Windsor Castle. However
well decorated, this counterfeit Sevres can be detected with a
little experience, first from the use of chrome green in
bouquets and landscapes. Before 1804, and consequently on
all old Sevres, the green used was copper oxide, but about at
that time it was found that chrome oxide gave a richer green
and of better glazing qualities, and it rapidly took the place
of the old green. The decorators of the undecorated paste
of Sevres did not think of this. Their chrome green is warmer
and yellower than the copper green and has not the metallic
shine of the green on genuine old Sevres. This difference is

RERAMIC STUDIO

quite noticeable when two pieces are placed side by side.
Another difference is that gold on old Sevres was burnished
with nails adjusted on a wooden handle, while at the begin-
ning of the 19th century these were replaced by agate bur-
nishers. With practice one may recognize the soft marks of
the agate burnishing from the sharp marks, sometimes quite
deep, of the old nail burnishing.

Dresden china of the 18th century has been as much
imitated and counterfeited as Sevres, if not more. The cross
sword mark has been used at all times by numerous potteries,
and it is very difficult to pronounce a piece of Dresden as
genuine old Royal Meissen, unless it is accompanied with an
authentic pedigree. As a matter of fact, old Meissen is
exceedingly rare, and the prices it realizes are very high. A
collection considered second only to the collection in the
Japan Palace of Dresden, that of Hon. Massey Manwaring,
M. P., was sold in 1899 to Mr. King, a South African million-
aire, for the respectable sum of $250,000.

Some of the old English porcelains have, of late years,
considerably increased in value; first of all Worcester. The
most valued specimens of Worcester are, of course, those of
Dr. Wall’s period, 1768 to 1783. It was at that time that the
famous blue salmon scale decoration was introduced, the
ground being dark blue, covered with gold ornaments in the
shape of fish scales. On this ground were panels of white
ground with decorations of figures, exotic birds or flowers.
Figure subjects are the rarest, flowers the most common.
Another famous decoration of this period is the powder blue
in imitation of Oriental china.

A fine vase, painted by Donaldson, fetched in the Trap-
nell sale, in 1899, $3,517, and a pair of salmon scale blue
ground cups and saucers, with Watteau subjects, sold for
$787. The later periods of Worcester, the Flight & Barr
and the Chamberlain periods, which were very much neglected
by collectors a few years ago, are beginning to realize
excellent prices.

But of all English porcelains the most valued is certainly
the famous Chelsea. One of the peculiarities of the Chelsea
paste is that its composition is such that any attempt to refire
it would result in the specimen flying to pieces. There can,
therefore, be no after decoration or doctoring of old Chelsea,
as isso often the case with Sevres and many other wares.
But there are many clever imitations.

The rarest and most sought after Chelsea pieces are those
with rose pink, claret or crimson ground colors, also a rich,
deep Vincennes blue. The most valuable set of Chelsea in
existence is the set of seven vases in the collection of Lord
Burton. These have the rose pink ground color and are
superbly painted after the manner of old Sevres with mytho-
logical subjects. In 1899 three vases of this ground color,
from the collection of Lord Methuen, sold at Christie’s for
$15,000. As the Burton vases are more than double the size
of these and in remarkably good condition, it is difficult to
guess what sum such a set would bring if it was offered for sale.

In connection with Chelsea, we may mention Bow and
Derby. In 1899 a pair of fine Bow figures realized $2,000,
which is the record price so far. Old Crown Derby also com-
mands good figures, but only the finest specimens.

We cannot leave English china without referring to
prices realized by some pieces of that greatest of all English
potters, Wedgwood. Some of the fifty original copies of the
Portland vase have occasionally come for sale at Christie’s and
have brought from $750 to $900. A famous vase in the
collection of Lord Tweedmouth is valued at from $2,500 to

113

$5,000. It is interesting to know that this vase was bought
only twenty-five years ago for the modest sum of $22.50.

Some of the old European faiences, especially those of
the 16th century bring very large figures. In fact it is among
them that we will find the most highly prized of all keramic
products.

Italian majolicas have a prominent place among these
rare faiences, first of allthe Faenza Majolica, decorated in blue
and yellow. A beautiful plate with grotesque figures, dated
1508, was bought by A. de Rothschild at the Fountaine sale
in 1884, for $4,600. A baluster shaped vase in blue and deep
orange was bought by Mr. George Salting for $5,950.

The Gubbio faience is quite as famous, especially the
lustre pieces made by Maestro Georgio Andreoli. His most
celebrated plate is one decorated with the three Graces, signed
and dated 1525. Mr. Fountaine bought it for $3,832, at
the sale of his collection it brought $2,100 and was sold
again in 1885 to the South Kensington Museum for $4,352.

Practically all genuine specimensof these rare faiences are
known and placed. But the flood of counterfeits thrown on
the market is unabated. Last winter, in New York, two
Gubbio placques sold in auction sale for $150 a piece. If the
sale was genuine, it was a pretty big price, as there is not one
chance in a thousand that these placques were real Gubbio.

If Sevres is the most valuable of all porcelains, it is also
a French faience which is the most valuable of all faiences, and
undoubtedly the finest of all keramic gems without exception.
This is the celebrated Saint Porchaire faience, also called faience
d’Oiron or Henry Deux ware. This unique, delicate and
exceedingly rare ware seems to have turned the heads of col-
lectors, and its prices in the last years have gone up by leaps
Its date is 1520 to 1550.
There are now in existence only sixty five specimens, all
placed in collections and museums. The South Kensington

and bounds to extraordinary figures.

Pa
—aed
Noreen

PITA

RATT

SAINT PORCHAIRE SALT CELLAR IN THE SOUTH KENSINGTON MUSEUM

From Litehfield’s ‘‘ Pottery and Porcelain,’’ by courtesy of

Truslove, Hanson & Comba, New York.

Museum possesses six of them, which were purchased for
$12,150, a very modest sum compared with prices that could
be realized at present. In a sale at Paris in 1899, an ewer
realized $10,000 anda salt cellar $4,000. Atthe Spitzer sale in
Paris in 1893, a tazza was purchased by Mr. George Salting
for $4,500, and a candlestick in the Rothschild collection cost
the enormous sum of $18,375, certainly a record price for
candlesticks.

114

This Saint Porchaire ware is unique, being an incrusted
faience. It was made by two clever artists, Bernard and
Charpentier, under the supervision of a woman of great taste,
Helene de Hengest, widow of Arthur Gouffier, governor of
Francis I. It was of fine paste, worked by hand and very
thin. Upon the first nucleus the potter spread a still thinner
layer of purer and whiter clay, in which he graved the princi-
pal ornaments, then filled them with colored clays, which he
made level with the surface.

In connection with the Saint Porchaire faience, we must
mention the well known Bernard de Palissy ware. Palissy was
a painter on glass when, in 1539, he saw a beautiful cup and
saucer which so enraptured him that he decided to become a
potter. There is very little doubt that this cup and saucer
was of Saint Porchaire make, as Palissy lived in the same part
of the country. And although the faience which he made,
after sixteen years of patient work, is entirely different, it
seems probable that the ornamentation in relief as used by
him was suggested by the same kind of ornamentation on
St. Porchaire.

The Palissy dishes with animals in relief are very rare and
beautiful, his enamel being of very fine quality, the ware light
and highly finished, the reproduction of animals true to
nature. The imitations are numerous, some clever, but most
of them heavy, clumsy and made to deceive only people who
have never seen a real Palissy dish. A large round basin
representing Diana leaning on a stag, with dogs around her,
brought in the Soltykoff sale, $1,460. A fine circular dish with
a lizard in center was bought by G. de Rothschild at the Ber-
nal sale for $810. It had been bought some time before in a
broken state for 12 francs ($2.40), and after being restored
had been sold to Mr. Bernal for $20.

In many other wares, such as Rouen, Delft, Capo di
Monte, etc., good genuine specimens may be mentioned as
bringing high piices. Here also reproductions are much more
common than genuine pieces. Capo di Monte, for instance,
can be found at almost every antique shop in New York, but
it is doubtful if there is a single genuine specimen in this
country. Although some of the modern Capo di Monte
pieces are clever reproductions of the old, they can easily be
detected, the body of the ware being heavier and more vitre-
ous, while the old paste is light, very translucent, of almost
eggshell texture.

To the American collector, the only ware of interest at
present is the Anglo-American pottery of colonial times and
of the beginning of this century, and the question is often
asked: ‘ Will this ware keep increasing in value, and what is
the best to collect?” Although the historical dark blue
Staffordshire is already at almost prohibitive prices for small
purses, there seems very little doubt that it will keep increas-
ing in value more than anything else. As soon asthe country
supply is practically exhausted and the dark blue comes for
sale only when collections are dispersed, its prices will proba-
bly be much higher than now. However, one must not forget
that this ware has been collected early, when the supply,
especially of the most common subjects, was quite large, and
that many collections being formed for speculative purposes,
every rise in value will be met by offers of sale. The cheap-
est Anglo-American ware to-day may very well be the rare
pieces of historical dark blue, even if one has to pay $50 fora
plate and $100 for a platter, or more. These rare pieces may
some day reach fancy figures, but it is improbable that the
most common pieces will ever do so. As to the late Stafford-
shire, printed in light blue, brown, pink, black, etc., outside

RERAMIC STUDIO

of historical pieces, the value of which will be maintained and
probably increased, the balance may be considered as hardly
worth collecting. It is common table ware, like all printed
Staffordshire, but is lacking the high decorative qualities of
the dark blue, besides having no historical interest whatever,
and being of comparatively recent manufacture.

Among the old wares outside of Staffordshire, collections
made with good judgment of the best specimens of Wedg-
wood and his contemporary imitators of Worcester, Derby,
Minton, Spode, Lowestoft, Bristol, Leeds and others, will
surely prove to be a good investment, as many of these wares
have been comparatively neglected by collectors so far, and
good purchases can be made. Lustres also, especially silver
and copper lustres, will undoubtedly be always much sought
after for their decorative qualities.

For Anglo-American ware, as for any old china, the
more values rise, the more collectors will have to beware of
counterfeit pieces. It seems to be the impression among
many that certain wares, like silver lustres and dark blue
Staffordshire cannot be imitated. This does not seem justi-
fied. There would be no difficulty in counterfeiting silver
lustres by using what the old English potters used, platinum
lustre, and not silver. As to the famous dark blue,
it is only cobalt blue which, if applied to the proper body,
a most essential condition, produce very deceiving
counterfeits.

Strict laws are in force in England, preventing the sale of
counterfeit china as old china, and obliging manufacturers to
mark all china coming out of their kilns with their mark and
the word “ England.” Unfortunately there are no laws of
that kind in France, which is the largest producer of counter-
feit old china, and in this country where this peculiar industry
has not yet flourished to a great extent, there is nothing to
prevent the sale of counterfeits. A large consignment of
spurious Lowestoft, Capo di Monte, Sevres, Rouen, Chelsea,
etc., was openly sold last winter as old china, in one of the
leading auction rooms in New York.

Collectors must not be discouraged by the fact that
Anglo-American ware, which so far has been comparatively
free of imitations, will probably have the same fate in this
respect as other china, as soon as values are an incentive for
the counterfeit industry, as they are now in many instances.
These imitations can always be detected, and make collecting
more interesting. However perfect they are, there are always
some peculiar marks which will betray their origin. Differ-
ences in paste, weight, colors and glazes; and old age and wear
have left on the best preserved specimens of china, sometimes
in the appearance of the paste, sometimes in the softness of
color and glaze, marks which it is impossible to define, but
which a practiced eve will detect and no modern imitation
can exactly reproduce.

will

Cn es
JN THE Miss M. Helen E. Montfort, who is spend-
SHOPS ing the summer in charge of the National

League exhibit at the Pan-American, will
teach in Buffalo during the month of September.

The new catalogue of L. B. King & Co., of Detroit
shows a large and varied line of china for decoration. Also
Bohemian glass which amateurs will find reliable for experi-
mental glass decoration. The catalogue also shows a good
line of colors and materials for china and water color
painting.

KRERAMIC STUDIO

TANKARD Decorated by Anna B. Leonard
Presented by the Keramic Art Club of Poughkeepsie to its President, Mrs. Hinckley.

115

116 RERAMIC STUDIO

PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Livermore, Box +476,
New Haven, Ct., who will have charge of this department and will answer inquiries
in the Magazine

Qa wos TREATMENT FOR WATER LILY BORDER

Katherin Livermore

HIS design is very effective if enlarged several times and used
T as a border around the doors of a cabinet. Burn the outlines
very deeply, then carve the background away, leaving the ornament
in relief. Burn the background very dark, leaving ornament light,
but modeled slightly. Stain the dark parts, then wax and polish
in the usual way.

(o @

wy Gi TREATMENT OF TABORETTE DESIGN

Wi ie: Katherin Livermore
GaN AKE the outlines deep and perfect, then stain as follows:

Black spaces, green; lined spaces, brown, dotted spaces,

yellow; white spaces, red, except the center, which should be

4 green. The lower part of the taborette should be green. Shellac

the entire surface with bleached shellac and, when perfectly dry,
wax and polish in in the usual way.

For Treatment see page 116 DESIGN FOR TABORETTE—EMILY F. PEACOCK

118

TREATMENT OF FLEUR-DE-LIS STUDY (Supplement)
I. B. Aulich

OR china painting I would advise that the study be applied
F to tall shapes or where a long stem can be introduced.
The Fleur-de-Lis is also prettier when painted in the natural
The flower is a difficult one to paint, and careful atten-
tion must be paid to the drawing. Forthe Violet tints in the
upper petals use Turquoise Blue mixed with a little Rose, the
quantity of both depending on the depths of Violet to be
desired. If you wish a pale lavender use Air Blue instead of
Turquoise in the mixture. For the lower dark petals use
Crimson Purple with Banding Blue. For the centre and
inside parts and the narrow shaped stripes down the centre of
each petal curling downward use Lemon Yellow and shade
with Albert and Yellow Brown. Do not forget the purple
veins in the petals which lose themselves in the yellow centre,
The three petals hanging downwards are always darker than
the others.

When you paint the white fleur-de-lis use a gray made of
Yellow Green and Violet, first lay in Lemon Yellow, Blue,
and shade with gray. There are purple veins in the lower
petals also. Yellow Green, Blue Green and Shading green
can be used in the leaves. For the distant greens use more
blue. The general character of the greens in this plant is cold
in tone, but as in all paintings use warmer colors in the
leaves, etc. For the first firing you may lay in color scheme
as given above, using colors very oily for the painting of
backgrounds also. The background is laid in for the second
firing, which I consider more practical for the less experi-
enced painter, as he can change the color scheme and effects
to suit the individual taste, and if not successful can wipe off
the tint without destroying the design. The last firing I use
for finishing and accents and a general rounding up of the
color scheme and light and shade.

TREATMENT FOR WATER COLORS.

Put in the background first by using Payne's Grey and
Indian Yellow with a little carmine in it. For the violet
tints use new blue and rose madder mixed and blue and car-_
mine for the lower petals. The leaves are laid in as the back-
ground, only in a little brighter tones, using more yellow for
the prominent ones and more blue in the distant ones. The
whole should be done very watery to get a good effect.

er x
GOLD

size.

Emily F. Peacock

[Reprinted from our October, 1899, Keramic by request.]

O the amateur, the preparing of gold for keramic decora-
T tion seemsa great undertaking, but with the proper appar-
atus, materials and care, this should not be. Then the pleasure
and profit derived from using pure gold, more than compen-
sates for time expended. There are two methods generally
used. In both, the metal is dissolved in agua regia, and when
precipitated is in the form of a light brown powder. By one
method the gold is precipitated by ferros sulphate (copperas),
the other by mercury. The former I prefer, and give as
follows:

Take four pennyweights of pure ribbon gold, cut into
small pieces. and put in a large measuring glass or porcelain
vessel holding not less than a pint, cover with about an ounce
and a half of agua regza, placing over vessel a piece of common
Let this stand over night in a large room, or prefera-
In the morning pour the chloride of

glass.
bly, in the open air.

RERAMIC STUDIO

gold into two glass vessels, each holding three pints or more,
being very careful not to waste a drop, as every grain counts
when the precipitate is formed. Then make a solution, taking
about a quart of warm water to an ounce of ferros sulphate.
When thoroughly dissolved, add to the chloride until precipi-
tation begins, clouding the liquid, and the gold in the form of
brown powder will begin to fall to the bottom of the vessel.
Let this stand four or five hours, or until entirely settled; then
pour off the clear liquid from the precipitate, treating it as
before, as the gold held in solution may not all have been
precipitated; 2. ¢., pour off clear liquid into another vessel, to
this must be added more of the prepared solution, until it is
cloudy as in the first instance; if it refuses to cloud there is no
more gold in solution. Wash the precipitate left in the vessels
with warm water, let it stand until settled, pour off, and repeat
the process twice. The washing consists of stirring the pre-
cipitate with a glass rod a few times in the water. When it
has settled for the last time, pour off the water and transfer
to a shallow plate that will bear heat; place over this a paper
cover, and put in front or over a fire. When quite dry, rub
down with a muller, when it is ready for use or to be fluxed.
Divide your powder into pennyweights. In this way you will
find out how much you have made. All liquid used should
be poured through filter paper afterwards, to make sure you
do not lose the smallest quantity. When dry this may be
burned, and only the grains of gold remains. To make flux,
use nitrate of bismuth, twelve parts, to one part of pulverized
borax; mixing one part flux to twelve parts of the gold pow.
der. When ready to use, rub down to a proper consistency
with fat oil and spirits of turpentine, taking care not to make
it too thin. If made as directed, one coat of this gold is suff-
cient for this purpose.

A couple of glass rods, several pieces of glass for covers,
and a large jar to hold solution, besides vessels already men-
tioned, will be necessary, and each one of these must be
washed scrupulously clean before using. Glazed paper is best
for wrapping up gold powder, and a small pair of scales will
be found very useful.

er
ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

C. D. E. Verv frequently when hard enamel has been fired hard and
then fired at a lower temperature it shows a tendency to chip off, but paste is
rather expected to be fired lighter the second time for enamels, etc. We think
the trouble must be either in the ware you are using, or the medium may not
be just right. A heat sufficient to glaze rose nicely ought to be strong enough
for paste. Why not try fat or thick oil and lavender instead of turpentine
during this warm weather which affects all oils more or less, and especially
turpentine. When paste is not just right, it will sometimes fire all right in
the first fire and chip in the second.

You can use Carmine No. 3 for first fire and rose for second, but not vice
versa. Better make a test first on a bit of broken china, to see if it is the
tone you desire. Rose used first is likely to purple in second fire.

L. K.—You will find the formula for gold in this issue.

E. M. H.—There is no reason why a good pink enamel should fire white.
Perhaps there was some mistake in your bottle. We would return it to the
dealer, explaining the trouble and asking for a new bottle.

Mrs. W. R. O’N.—We will send you the La Croix color chart which you
desire. We do not understand why cement for mending china should turn
dark in any kiln, but if you have that trouble we should advise using Auf-
setzweis in tubes for mending instead of cement. Fire hard. We would
suggest as a decoration tor your ice tub one of the conventional borders
given in the KERAMIC STUDIO. There are many to choose from. Carry
the design up on handles and, if desired, drop the single principal ornament
at intervals below the border and a little design in flat gold on the inside to
correspond.

Mrs. P. A. B.—If you wish to write an article on “‘ China Painting as a
fine art,’’ the best material we can refer you to for modern decoration is to the
various articles in back numbers on the different potteries and their work. For
the older work you can look in any of the reference books mentioned in the
list on publisher’s page, You will haye to add to this from your own expe-
rience.

ge OCT. MCMI Price 35c. Yearly Subscription $3.50

, CONTRIBUTORS
MR. JULIUS BRAUER ee
MR, EDWIN A. BARBER & & .
MR. C, BABCOCK AA A
MR. MARSHALL CUTLER * a
_ MISS KATHERIN LIVERMORE #
MRS. ANNA B. LEONARD # ee
MISS JANET PULSIFER # # ot
MRS. S. EVANNAH PRICEX 2
MRS. ADELAIDE ALSOP-ROBINEAU.
- - MISS'SOULE # & & # #
MISS TILDEN » # # 4 wo
_ MISS CORA WRIGHT » # # 2

BSE ERE o weesee

ee a aONTHLY r
ee, ‘MBGHZINE:

Sirs URE Comrrisned 1A99 bre the Keramie Studio Publtens ing So, area 8 and Ne ew Vark: i “Barer ed at ‘the Post Office = Syr acuse ¢, N. BR Second Claes Matter, Ang 2. 1899.

[ The entire contents of this Magasine are cobered by the general copyright, and the articles must not be reprinted Without special permission. |

CONTENTS FOR OCTOBER, 190!

A a rt

Editorial,

American Ceramic Society, , ;

Orchids, Julius Brauer,

Design for Plate, Charles Babcock,

Poppies, | . Adelaide Alsop-Robineau,

Bunch Betries, Miss Tilden,

Design for Cup and Saucer, Ree Anna B. Leonard,

‘“L’ Arte Della Ceramica,” Marshall Cutler,

Design for Placque, 3 -Miss Soule,

Work of First Year Students of Chicago Art Institute,

The Collector—*“ Lowestoft,” ip "B.A. Barber,

League Notes—In the Studios—Club Notes,

Pyrography—Jack in the Pulpit, | Janet Pulsifer,
—Tulip Frame, a Katherin Livermore,

Mushroom. Design No. 5, S. Evannah Price,

Lily of Valley Pitcher, — | Cora Wright,

Answers to Correspondents,

PAGE
11g

119, -

120-121,

121
122-126
127
127
128-129
130
131

132-136

Vol. Ill, No. 6

NEW YORK AND SYRACUSE

October 1901

S$ THE fall season begins there is always the
question ‘t What are the most saleable articles
to paint for the holidays, or for a studio exhi-
bition?” Of course one finds a lot of mean-
ingless trash of odds and ends that is sent to
this country for decoration with the many
beautiful and useful things that at once attract

the connoisseur, and it is here that the decorator shows his
or her taste and individuality in selection. By all means
avoid buying china that has a design upon it in relief, as
plain, smooth surfaces are far preferable for overglaze decora-
tion, besides giving the decorator the chance of exercising
originality without being bound to the potter's idea of
what the decoration should be. It is quite right to elaborate
upon the structural lines that the potter gives, but the mean-
ingless relief work hampers, confuses and discourages the
decorator.

We find a great improvement in the comparatively new
shapes shown in the shops (as the catalogues of our adver_
tisers prove), and one has no difficulty now in selecting
articles that are really good. For the holidays there will be
all the required articles for the writing desk; large and gen-
erous ink wells that are very practical, instead of the useless
toys that were formerly exhibited; with the ink wells are all
the needful accessories. Then there are articles for the toilet
table, which may be elaborately or simply decorated, but
always making useful and attractive presents, especially so
the boxes. Candlesticks are numerous and are ever accept-
able and saleable. A beautiful setting for a dinner table is
to have a tall, single candlestick in front of each plate, with a
tiny vase of flowers between; and a large loving cup or
jardiniere filled with loose flowers in the centre of the table.
While these so far have been in silver, there is no reason
why they should not be in porcelain; and how very attrac-
tively they could be decorated with some of the rich designs
that have been given in the KERAMIC STUDIO.

The writer had the pleasure of seeing a round table of a
dozen covers arranged in this manner; it was charming in
every particular; at the same time there was the jealous
thought of the keramist, ‘‘why silver?” Dinner plates are
larger than the ordinary decorators use, a ten inch plate
gives more dignity and eloquence to the table. Nothing
could be more acceptable than plates or cups and saucers
when artistically decorated; there are many dainty and fas-
cinating styles, but one can never go amiss when selecting
the good, plain, old fashioned shapes. Another
article is the large and plain bonbonniere which is appro-
priate in any room. The smaller ones are very attractive
also, and may be simple or so exquisite in decoration as to be
a gem in a cabinet collection of treasures. Picture frames
are not so much used as novelties, they were always clumsy
and comparatively unsaleable, owing to their fragility.

Another useful article is a small water pitcher and tray ;
and we suggest our colored study of Miss Dibble’s pitcher

useful

(April supplement, 1901), as an extraordinarily good example
of the way one should be decorated; there are two or three
sizes of this same pitcher now in the shops, which will be
found very saleable after the decoration is applied. It is
rather difficult to find a good tea pot, such as will hold five or
six cups, the plainer shapes are preferable; a beautifully
decorated one is not to be resisted. The same may be said
of chocolate sets, which seem always in demand. The
KERAMIC STUDIO wishes great success the coming season to
all those who are seriously studying and are trying to do
good things for the coming sales and exhibitions. Our advice
is to keep the work simple.

er ££
AMERICAN CERAMIC SOCIETY

HE American Ceramic Society was formed a few years ago
with a view to applying scientific researches to the
Ceramic industry. A great many of the prominent potters,
tile makers and others interested in this industry in the vari-
ous parts of the country are members or associate members of
this Society.

The American Ceramic Society desires to announce to
those interested in the clay industries, that the Society de_
sires to offer a prize, consisting of Seger’s Collected Writings
on Ceramics, published in two volumes and valued at $15, to
be given to the person producing the best design for a seal to
be used on the Society’s publications and papers.

The design may symbolize some phase of the work com-
mon to all clay working operations, and does not represent
one single clay industry or may be an Allegorical design, in
which Science or Progress is represented as elevating the
crude labor of the primitive clay worker into an art.

The seal completed must not exceed two
diameter, and, though preferably circular, may have any other
form. If the design could be of such a nature that a much
reduced copy of it could be made up in metal to be worn as
the Society’s pin or emblem, it would bea strong additional
reason for its acceptance. The design must be in black and
white so as to be capable of reproduction by a common print-
ing process.

The sole reservation made by the Society to competitors
for this prize is that they must all be citizens of the United
States. The time offered for this competition is exceedingly
short. The design must be submitted prior to October 15th
to receive consideration.

Address all correspondence on the subject to Prof. Ed-
ward Orton, Jr., Secretary, Columbus, Ohio.

¢ ¥€

The first number of our “Old China” magazine will be
out October Ist. To subscribers of KERAMIC STUDIO who
wish to give an additional subscription to ‘Old China” we
will make the special offer of one year subscription to both
magazines for $4.00.

inches in

ORCHIDS—JULIUS BRAUER

RERAMIC STUDIO

TREATMENT FOR ORCHIDS
Sulius Braucr

RAW /outlines of flowers carefully. Lay in the calyx with
dark purple, leaving out some brisk high lights. Add

some black for deep shadows. For petals use Banding Blue
very thin, with some Pink and Rose for the broad turns,
occasionally some Gray, specially for flowers in background.

aaey

. eae ye A
oP Pe gecee®
fae ze

121

For background and leaves use Yellow, Pink, Yellow green,
Shading Green, Finishing Brown, Deep Purple.

For second fire wash a Yellow over calyx (lighter parts),
over darker parts some Ruby.
calyx.

Some yellow over petals near
Wash Ivory Yellow over light parts of green leaves

and background, Pink and Yellow Brown over the dark parts,
with some touches of light Pompadour also over flowers in
background.

ee ye

——_
<i 777

DESIGN FOR PLATE—CHARLES BABCOCK

LOWERS Violet with Brown centers; striped spaces Medium
Light Brown; dotted spaces Copenhagen Gray; and

black portions and butterfly and outlines a darker Brown or
Gold; leaves Gray Green.

122 RERAMIC STUDIO

POPPIES
Mrs. Adelaide Alsop-Robineau
O FLOWER is more decorative than the Poppy and no flower more
carelessly abused. A normal Poppy has but four petals, yet we see
it drawn with three or five almost more often than with four. The
petals are drawn of varying sizes instead of two large and two
slightly smaller, the buds and seed pods are drawn “any old way”
and no observation is made of the way the leaf clasps the stem or how the various
buds, seeds and flowers combine in one plant. There are of course various types of
the flower, but all agreeing in essential points. The drawings of the ordinary field
Poppy by M. Verneuil make very good models from which to evolve conventional
designs. A word now about drawing designs. We give here two cuts of the same
plate. The design is by Mrs. Alice Ross Hadley and has some very nice things

/A\Pverneuth.

about it. In No.1 the design is over elaborated, the
criss cross shading is quite unnecessary and weakens the
drawing. Enough thought is not spent on the real shape

of the flower and the different tones of the narrow and Se \
wide panels are not sufficiently indicated by the back- Y
hf AAR

ground. In No. 2 we have all that is necessary to in-

dicate what is desired. Make your drawings always as

simple as possible. Shading is hardly desirable in a con-

ventional design, still it is possible, but must not be too

finicky. In carrying these designs out in colors do not

use too many, rather keep a somewhat monochromatic effect. This

is more elegant and permanently satisfying, especially in table ware. The plate
might be carried out in browns and yellows, ranging from cream to yellow brown
and a darker brown. A touch of green would not be inharmonious if desired, or
of dull violet. If carried out in reds the gamut could be run from red to red

PVerneuth

RERAMIC

STUDIO 123

No.1. Designed by Mrs. Alice Ross Hadley

brown and a more neutral brown, a cream ground could still
be used for the lighter panels if desired, or a faint dull pink
made from red and brown.

We give also a graceful vase design by Miss Margaret
Overbeck, which has been slightly changed from the original,
which had a dark panel about the flower. A simple tone all over
takes less from the unity of the whole vase effect. This vase
would look well in lustres on a black ground or in pale Copen-
hagen tints of dull violet red, green, and grey. The tea caddy
design is intended for this sort of treatment. It isadapted from
a French design for a Pochoir. The white china should be used
in the background. The Poppies made of gold grey or warm

portions.

grey. The stems should bea grey green, like celadon or a
mixture of silver grey and green. The leaves, seed pods and
buds a shade darker. A tinting of grey can be used in dotted
This design might also be carried out in gold and
bronze outlined with black, brown or red.

The toilet set is found both in Belleek and in white china,

frequently with a _ slightly raised design, but this can
be easily ignored. The set should be decorated with an eye
to the room it is to furnish, if blue leave white ground for
centre, make Poppies in a pale shade of blue, stems in darker
blue, with a touch of black, if a Copenhagen blue is used for
the lighter tone, leaves and buds in a medium shade, stamens
and outline in black or dark blue mixed with black, dark
border, dark blue mixed with black, and dotted space grey.
If more of a turquoise shade is desired to match room use for
Poppies, deep blue green, turquoise green or chrome water
green according to desired shade, for stems, etc., pale brown,
or dull grey green, outer edge a deeper tone of the blue and
dotted space grey, outline gold or dark green 7. If a red
effect is desired make edge black, dotted space pale brown,
center cream, using lustres. For Poppies use ruby for first
fire, orange for second; for leaves, stems and buds, dark and
light green lustre for first fire, brown lustre for second, out-
line with black. For a yellow room use a dark brown outer

RERAMIC STUDIO

edge made of Meissen % and Finishing Brown 4%, for dotted
space brown lustre and ivory lustre for center, for Poppies
yellow and orange lustre, brown lustre for leaves, stems and
buds, outlines dark brown. For a pink room tint edge pink
to match, center cream, Poppies in shades of grey and green
greys, or using lustre make outer edge light green lustre over
violet, for Poppies yellow over rose, and for leaves and
stems, etc., light green over rose. This gives a sort of
mother of pearl effect. It would be risky to try and match a
pink in lustres. Outlines dark green 7 or gold. For a green
room make edge dark green over ruby, dotted spaces dark
green over rose. The Poppies in yellow brown first, brown
second fire, leaves, etc., in dark green first and brown second
fire, or use for entire design different shades of light and dark
green, giving extra coats to make darker.

The design for cup and saucer is suitable to an entire
table furnishing and can be developed in many ways. We
give a few color schemes for selection.

1. Dark portions and inside circle dull violet or blue,

mix black with colors to dull them,
leaves and outside edge dull green,
background grey or white. For
colors use Violet 2. (Fry) Emerald
stone green, Black and Pearl grey.

2. Dark portions and inner circle
dull red, leaves and outer edge gold,
cream or white ground, black or red
outlines, colors, Pompadour, black,
and gold.

3. Poppies warm or gold grey,
leaves pale brown, seed pods and
dark leaves a darker brown, inner
circle brown, outer edge warm or
gold grey, ground white.

Be careful always in designing
to place the Poppy itself on the
widest part of the piece to be dec-
orated, as the shape should always
be emphasized, not distorted by
placing the wide part of design on
the narrow part of the shape, and
never have the design itself so con-
spicuous in color or drawing as to
attract all the attention and so de-
tract from the unity of the piece.

RERAMIC STUDIO

125

126 RERAMIC STUDIO

This plate design is intended to be carried out in Delft blue but any other monochromatic treatment would be appropriate.

RERAMIC STUDIO 127
BUNCH BERRIES—MISS TILDEN

HESE little drawings of bunch berries are given as a suggestive motif for conventional de-
ii signing. The berries are red; leaves a glossy green with touches of red and brown where
older ; stems brown, but of course in conventionalization, any desired liberty can be taken with
the color as long as the effect is harmonious,

DESIGN FOR CUP AND SAUCER—ANNA B, LEONARD

tleas design is outlined in black. Rosettes are in turquoise blue enamel with outer rim in gold,

also gold centres. The leaf-like forms in the narrow perpendicular stripes are of tur-
quoise blue enamel, with a darker shade for the narrow bands each side, the dots between
the leaves being gold. The wide band at the top of the cup and outer edge of the saucer is a
turquoise blue tint obtained by using one-third Deep Blue Green (Lacroix), two-thirds Night
Green (Lacroix). To this mixture add one-sixth flux. The smaller bands may be turquoise
blue or gold. This design may be carried out in any color. It is charming in blue and green
or in red and gold. It is an adaptable design for beginners, and can be used in monochrome.
The second arrangement of the same spacing may be carried out in the old Sevres coloring of
turquoise blue band, pink roses and turquoise blue enamel in settings of fine raised paste dots,
which must not stand too high, but which should be carefully and beautifully executed, or the
design will look coarse and common.

128

RERAMIC STUDIO

“VVARTE DELLA CERAMICA”
Marshall Cutler

N “ Venice in America” at the Pan-Ameri-
can Exposition, among the Italian pro-
ducts displayed, one of the most note-
worthy exhibits of art applied to industry
is that of the Tuscan ceramic factory,
“L’Arte della Ceramica.” This factory
was founded in 1897 by a group of artists
and cultivated men, who proposed to
imitate also in Italy that fecund renais-
sance of decorative art of which England
had set such an admirable example to
the world, and more particularly to
restore to their former post of honor the

arts of pottery, making “a gran fuoco” which, together with

those of glass making, were formerly the glory of Italy.

The task was not an easy one in a country like Italy,
where for more than a century there has been a lack of both
knowledge and desire to do anything but copy the works of
the great makers of the fifteenth and sixteenth centuries, and
where no one has dared to leave the beaten path of tradition
through fear of the hostile criticism any such attempt would
create.

The members of this Society, however, have sought to
prove by facts that the material characteristics of Italian
majolica could be preserved in products inspired and pervaded

“TVARTE DELLA CERAMICA.”

Faience.

by a strong living modern sentiment, and executed with the
new processes which our present age has developed in chemi-
cal science.

Notwithstanding the scepticism and indifference which
still reigns in Italy regarding all matters of industrial art, this
hardy attempt has been understood and appreciated and the

products of the Society have encountered the praise of con-
noisseurs and the favor of the public.

In the National Exhibition at Turin in 1898, which was
of no slight importance as marking the intellectual progress
in Italy, the young Society obtained a gold medal, and in the
Paris Exposition of 1900 it was the only one among all the

“L'ARTE DELLA CERAMICA,"

Faience.

HRERAMIC STUDIO

Italian factories, although possessing no extended reputation
such as the old and famous ones enjoyed, to which was
awarded the Grand Prix d’Honneur.

The display which the Society is now making in ‘ Venice
in America” by no
means offers a complete
exhibit of their varied
products, but the ex-
amples shown — suffi-
ciently indicate the
seriousness and artistic
quality of the work and
evidence the marked
originality of form and
decoration, as well as
the excellence of tech-
nical execution. The
vivid coloring which so
often offends the eye in
Italian majolica is here
found toned down so that the effect is always harmonious and
pleasing. The enamel is lustrous without presenting that
glassy appearance which in majolica a gran fuoco destroys
its true character and makes it seem an imitation of porce-

lain. Among the most interesting pieces are those with

129

metallic reflex’ which, while remarkable for? their luminous
iridescent effects, show at the same time such delicacy and
sobriety of tone as to mark their distinctive character and
wide difference from the vivid lustre work of French and
Hungarian makers.

The Society,has not limited its activity to the mere pro-
duction of artistic bric-a-brac, but has occupied itself and with
success in the application of majolica as a decorative feature
in internal and external work of buildings and in furniture,
and already many noteworthy examples of ornamentation,
both flat and’in relief, can be seen to-day in numerous palaces
and villas throughout Italy, and the relatively modest cost at
which such work can be executed cannot fail to extend its
other countries as knowledge of it spreads.
Typical pieces of work
which show the artistic
quality of the Society’s
product can be seen in
their exhibit in the
large polychrome panel
representing peacocks
and pheasants, and the
decorative frieze of
fishes in metallic reflex,
both of which display
perfect harmony of
color and great richness
of tone.

The work of the So-
ciety being now exhib-
ited in the United States for the first time, it is to be
hoped that it will meet with the same measure of success
that it has received elsewhere. Certainly every lover of artis-
tic pottery who can visit the exhibit will derive great pleasure
from so doing.

adoption in

“L’ARTE DELLA CERAMICA."

130 RERAMIC STUDIO

DESIGN FOR PLACQUE—MISS SOULE

Ts original design had pale yellow flowers and grey green worked out successfully with this design, care being taken
leaves and stems, but the design would be equally effec- that leaves and stems be rather of a neutral tint, whether
tive with blue or violet flowers. Any color scheme could be brown or green or grey.

RERAMIC STUDIO 131

LILLIAN M. FOSTER GRACE M. McCLURE MRS. C. L, CADWELL
Margin Designs from top:—ANcIB W. Cox, JOHANNA VON OVEN, Grace M. McCLure, LinA M, CLARK,
FLORENCE COONEY, ANGIE W. Cox.

E show a few photos of the work of the first year students of the Art
Institute. Considering that most of these students have never
painted china and the work is all their own in design and applica-
tion to the ware and that the instruction given was only a few hours
once a week, the results are very satisfactory and encouraging
beyond expectations. These pieces were selected at random and
give a fair idea of the average work. The instructors’ names of the “ Department of
Ceramics” of the “Art Institute of Chicago” are: Louis J. Millet, Design, John W.
Hasburg, Ceramics. Mr. Hasburg is thinking of opening a department of pottery,
consisting of shaping, modelling and underglaze decoration, all shaping, etc., to be done
entirely by hand on the throwing wheel. There will be no casting or pressing and no
duplicates.

BMY wizye Vy “ye Z
Oy WY: Wy es
Ls 3 UY Oi
zs

e
TREATMENT OF CHINESE PLATE (Supplement)

Katharin Livermore

UTLINE the design in black, using pen according to directions given in previous
C) number of magazine. Wash in a yellowish brown background, using Yellow
Ochre, toned with Brown No. 4, a little Silver Yellow and Black. The red is Capucine,
touched with Brunswick Black. With the last fire, float white enamel around the petals
of the conventionalized flower form, and wherever the design is left white (with the
exception of the outer band, which is left in white china), using Awfsetzweis and %
flux, with just enough Black and Yellow Ochre to tone off the dead white effect.

ve <
OF INTEREST TO COLLECTORS
THE DEANSGATE PRESS, }
GEO. FALKNER & SONS, |
DESIGNERS, ENGRAVERS, PRINTERS, LITHOGRAPHERS, [
170 DEANSGATE, MANCHESTER, August roth, Igor. J
To the Editors of Keramic Studio :

The interesting article which appeared in your issue of September, 1900, of the
KERAMIC STUDIO, prompts me to write and ask if any of your readers who may happen
to possess genuine old Staffordshire figures would care to send me photographs with
description and dimensions of their treasures, as I am about to publish a list of these
cottage toys.

I have for some years been making a collection of the quaint mantelpiece orna-
ments about which our authorities have written so very little and which are becoming
more and more sought after every year. The glaze upon the earlier figures attributed
to Astbury, Whielden and Voyez is much to be admired, and the humour of many of
the village scene pieces is most delightful. They are no mean guides to the study of
costume, and many of the pieces by Enoch Wood are fine specimens of the modellers’
art and the potters’ craft.

If at any time any of your patrons when visiting England should find themselves
near Manchester it will afford me much pleasure to show my small collection to those
who may take an interest in Staffordshire figures.

May I, as an English printer, congratulate you upon the artistic get up of your
periodical; the illustrations are delightful examples of process work.

I am, faithfully yours,
FRANK FALKNER,

132
THE ‘COLLECTOR

OLD CHINA FOR SALE OR EXCHANGE

(When pieces are sent by express, expressage is paid by buyer. When pieces are
sent on approval and returned, return expressage is also paid by buyer).

Proof pieces must be absolutely perfect and show practically no traces of
wear. Perfect pieces must be perfect not only in condition, but in color, and
traces of wear must be very slight and not injure the piecein anyway. All cracks,
chips, repairs, marked discolorations or scratches must be mentioned.

Lack of room will often prevent us from giving a complete list of pieces for sale
in this Magazine. A complete and revised list will be found in our special publica-
tion ‘‘ Old China,’’ which will be issued at the end of every month, fourorfive days
after the issue of KERaMIC StrupIo. Although ‘Old China" will be practically a
reprint ot Collector articles in KERAMIC STUDIO, notices, advertisements and occa-
sionally articles will appear in it, for which we have no room in KERAMIC STUDIO,
To subscribers of KERAMIC STUDIO who wish to receive ‘‘Old China,’ we will make
the special following club offer :

One year subscription to KERAmiIc StupIo and “Old China”
cents less than regular prices of both Magazines.)

$4.00 (or 50

DARK BLUE STAFFORDSHIRE

Landing of Lafayette platter, 19%4-inch, perfect, fine clear print, $45.00
Coat of Arms of Rhode Island, 9-inch plate, perfect - - = 32.00
Capitol at Washington (Stevenson, vine leaf), perfect but very slight
discoloration in center, 10-inch plate, - - - - 32.00
Cadmus, to-inch soup plate, perfect, very fine = : Ss 20.00
Boston Octagon Church, 1o-inch soup, perfect, - - 18.00
Another, short crack on edge, hardly shows, fine glaze, - - 12.00
Six City Hall N. Y., 1o-inch plates (Ridgway), perfect, for lot of six, 63.00
Chateau of La Grange, 1o-inch plate, perfect, 7 - - 18.00
East View of La Grange, 9%-inch plate, perfect. - : 16.00
B. & O. R. R., g-inch plate (inclined), perfect, - - . 18.00
Another, to-inch (level), traces of wear, < : - 15.00
Another, to-inch soup, perfect E 2 - > . 15.00
Boston Hospital, 9 !4-inch plate, vine leaf, white edge - - 16.00
Escape of the Mouse (Wilkie), to-inch plate, perfect, - > 18.00
Another, repaired, but good color, good decorative specimen, : 8.00
Valentine (Wilkie), 10-inch Plate, perfect, - - - 13.00
Boston State House, chaise in toreground, to-inch plate, slight crack
on edge, hardly shows, = = - - - 16.00
Pine Orchard House, 97 -inch soup plate, slight crack on edge, hardly
shows, - 15.00
McDonough’s Victory, 94-inch plate. perfect, - - 7 15.00
Another, 7%-inch, proof, : - - - a = 7.00
Water Works, Philadelphia, chaise in foreground, medium blue, 9-inch
soup plate, 5 = - = - * : 12.50
States platter, ro-inch, one inch crack on border, - = - 12.50
States, to-inch soup plate, proof, 2 2 - - 12.00
Another, flat, repaired, good decorative specimen, - 2 - 6.50
City of Albany, 10-inch plate (Wood), crack and slight discoloration, 12.50
Pairmount Park, Philadelphia, 1o-inch plate, perfect, = - 10.00
Trenton Falls, 74-inch plate, perfect, 2 - - - II.00
Quebec, 9-inch soup plate, perfect, - : = - - 10.00
English Hunting Scene, ro-inch, perfect, sah blue, - - = 5 00
St. Catherine’s Hill near Guilford, ro-inch soup plate, perfect, > 5.00
Yorkminster Abbey, ro-inch soup plate, crack on edge, shows little, 3 50
Cup and saucer, fruit and flowers, perfect, - : - 2.007
Soup tureen, 15-inch wide, flowers, perfect, fine piece - - 12.00
Medium size pitcher, shell design, fine, - “i = > 5.00
LIGHT COLOR STAFFORDSHIRE
Anti-Slavery, 8-inch plate, perfect, - - 3 = 14 00
Hartford, Conn., 1034-inch pink plate, perfect, - = - 12 00
Six pink plates, Bethlehem, 7-inch, perfect, for lot, r - 12.00
Fort Montgomery, Hudson River, 5-inch black and white plate, perfect, 8.00
West Point, Hudson River, 8-inch black and white plate, perfect, 4.50
Richard Jordan, 7-inch pink plate, perfect, - = - : 6.00
Caledonia, 1014-inch pink soup plate, perfect, - - ; 2.00

LUSTRES
In Old China Magazine, will be found a list of lustre pitchers and mugs,
from $2 up. We will send to subscribers who apply for it a good lot of these
pitchers for selection, pieces not wanted being returned at subscriber’s
expense.
MISCELLANEOUS

single flower decoration, teapot, suger bowl,

Lowestoft tea set,

creamer, 2 cups and saucers, good condition, 2 . $26.00
Three Lowestoft sugar bowls, flowers, slight cracks, $2.75 to - 4.00
Lowestoft plate, g-inch, red and gold decoration, very fine, : 3.00
Lowestoft, 8-inch plate, and cup and saucer, single flower, black, - 3.50
Twelve Apostle pitcher (Chas. _Meigh) date 1842, small repair on edge,
rare and fine, i - 18,00
New Hall porcelain tea pot, marked, flowers in brilliant colors, A
-00

spout restored, - - - - = = =
(See complete list in Old China.)

RERAMIC

STUDIO

ORIENTAL ‘*LOWESTOFT.”

Boston Museum of Fine Arts.

LOWESTOFT
Edwin Atlee Barber

MONG the best china of our grandmothers the so-called
“Lowestoft” ware figured most extensively. In the
early part of the nineteenth century there was scarcely a well-
to-do household throughout the New England, Middle and
Southern States which could not boast of a table service or
at least a few pieces of this ware. In such large quantities
was it imported into this country that at the present day the
supply which is constantly coming to light seems inexhaust-
ible, yet while often beautiful in form and decoration it rarely
commands a high price among collectors.

It has been a much disputed question among ceramists
whether what is commonly known as “‘ Lowestoft” china was
produced in the town of that name at the easternmost point
of England, or in the Orient. Prominent students are found
supporting each side of the question. Others claim that the
ware was made in China and sent to England to be decorated.

As found on this side of the Atlantic, ‘‘ Lowestoft’ ware
may be divided roughly into three classes, all different in the
character of the decorations, yet possessing certain features in
common:

ist. That which is embellished with dark blue enameled
bands, flowers, vases and other designs, in combination with
gold dots, stars and tracery.

2d. That having polychrome decorations of red flowers
and green leaves, usually small in size, with waving lines of
red or brown closely running dots around the borders.

3d. That with brown monochrome devices, in which
coats-of-arms, crests and armorial bearings figure conspic-
uously. In all of these varieties the body of the ware is sim-
ilar,—a coarse, hard paste, extremely brittle and usually quite
rough on the under sides. Occasionally we find pieces com-
bining the characteristics of two or more of these varieties,
such as a recently seen punch bowl with blue and gold trim-
mings, and a medallion on one side in various colors, repre-
senting the Arms of New York State.

In attempting to decide which theory of origin is correct,
American collectors are hampered at the outset by the lack
of fully identified examples of true Lowestoft porcelain. We
have no means in this country of comparing the ware found
here with authenticated pieces of English origin. Among

| / ; i * \ : |
\@ ih ; . = i \ 4 : j

O8GHOD ART COLORTYPE 1) 1

CHINESE PLATE—K. LIVERMORE

OcTOBER, 1901.

SUPPLEMENT TO EERAMIC STUDIO PUBLISHING CO,,
SYRACUSE, N. ¥.
KHRAMIC STUDIO, ,

CopyriGcHr, 1901, by

HRERAMIC STUDIO

the examples which are accessible to us we cannot discover
any indications of two distinct origins, and it is therefore
reasonably safe to assume that all of this ware which has
found its way to America is from the same general source, be
it England or China. In view of the fact that fully identified
pieces are so rare in English collections it would seem
improbable that the immense quantities of this ware found in
this country could be of English manufacture. We cannot
suppose that the American market should have been selected
by the small English factory as a dumping ground for the
great bulk of its products. Indeed, if one-tenth of the ware
which is known here as ‘‘ Lowestoft”’ could have been made
at the English factory, that establishment must have been
the largest of its kind in all of Europe.

First let us consider the subject of paste or body. No
one will dispute the assertion that ordinary Chinese porcelain
presents similar characteristics to what we call ‘‘ Lowestoft.”
In fact the two are identical in all points, save the one of dec-
oration. No English porcelain is known, be it Lowestoft,
Plymouth or Bristol, that possesses the same peculiarities,—
the distinctive, greenish or bluish tinge, the extreme brittle-
ness, the pitted appearance of the glaze and the uneven sur-
face of the paste.

The second point to be considered is the character of the
forms of ‘ Lowestoft” vessels. Fora century and a half or
more the helmet cream pitcher and the twisted and floriated
handles of sugar bowls and tea pots, the jar shaped vases and
square, flat tea caddies have been conspicuous among
Oriental wares. These shapes first appeared in the blue Can-
ton china and were exactly reproduced later in the mono-
chrome and polychrome-painted wares. We search in vain
among them all for English models.

ORIENTAL “LOWESTOFT” BLUE AND GOLD DECORATION.
Pennsylvania Museum, Philadelphia.

As anillustration of the first described class of ‘ Lowes-
toft’’ ware, we here show two pieces, a small tray and tea
caddy in the Pennsylvania Museum, Philadelphia. The dec-
orations are entirely in blue, relieved by gold stars and dots.
It is what is commonly known as “‘ Lowestoft” porcelain, yet
beside it in the same case are some pieces of identical form
and paste which are unquestionably of Chinese origin.

The second class is represented by a little group of
“Lowestoft ’ which may be seen in the Boston Museum of
Fine Arts. The saucer to the left of the group and the cup
are of similar character to the two pieces already shown, with
identical decorative designs. The toddy jug, teapot and

133

plate are decorated in various colors and are unquestionably
of Eastern manufacture.

ORIENTAL “LOWESTOFT.” MONOCHROME DECORATION.
From private collection in Milford, Pa.

Illustrating the third class is a portion of a table service,
consisting of helmet creamer, cup and saucer, teapot and
sugar bowl, embellished with a design of the American Eagle
and thirteen stars, and the characteristic dotted border lines.
These pieces are decorated in brown and gold and evidently
form part of an order executed in China for an American
purchaser.

One of the most striking forms of ‘‘ Lowestoft” vases is
shown in the accompanying cut. These were usually made
in pairs and placed at each side of the mantel, but it is seldom
that they are found with the cover intact. The decorations
were generally in colors and gold, though occasionally in
brown.

ORIENTAL “LOWESTOFT.” POLYCHROME DECORATION,
By courtesy of N. Metzger, New York,

A most interesting piece of so-called ‘ Lowestoft” porce-
lain is to be seen in the Bloomfield Moore collection of the
Pennsylvania Museum, Philadelphia. It is an enormous
punch bowl, 21 inches in diameter, with exterior decorations
in various colors. In the interior are carefully lettered docu-
ments in the Swedish language, closely imitating printing.

134

This was supposed to be of Swedish origin, but a careful ex-
amination shows it to be of identical body and workmanship
with the “ Lowestoft” china of our collections. It was exe-
cuted in China for a Swedish purchaser, just as orders were
filled there for American patrons.

CHINESE “LOWESTOFT”’ TODDY JUG.

Another interesting piece, of Chinese origin, a variety of
ware sometimes classed with “Lowestoft,” is a toddy jug
bearing the portrait of Washington, evidently copied from
the Stuart likeness. It is painted in black or dark brown,
surrounded by a gold band. The handle and knob of the
cover are of the typical Chinese form. This piece is owned
by a Newport collector.

It is generally believed by collectors that the real Lowes-
toft ware was of a hard porcelain body, yet I have examined
all the authorities within reach and do not find that any one

RERAMIC STUDIO

of them makes such an assertion. It is conceded by most
writers that the earlier products of the English factory, from
about 1756 to 1762, were of a pottery body, with blue decora-
tions, somewhat resembling delft ware. From the latter date
to the close of the factory in 1803-’04, a better class of ware
was gradually introduced, but, according to several authors,
this could be readily distinguished from the Oriental ware,
which other authorities believe to have been decorated there.
Mr. Llewellynn Jewitt, than whom there is no higher author-
ity, in his Ceramic Art in Great Britain states that “The col-
lector will be able to distinguish immediately between the
examples painted at Lowestoft on Oriental body and those
which were potted and painted there.” It is extremely
doubtful if any true hard porcelain was ever fabricated at the
English factory. On the contrary many examples of soft
body have been found that have been fully identified as Eng-
lish Lowestoft. How the hard porcelain fallacy should have
ever gained such a foothold among collectors is one of those
mysteries which cannot be explained.

We have not sufficient facilities in this country to deter-
mine satisfactorily whether any of the Oriental ware with
European decorations, if such was ever painted at Lowestoft,
can be found among our material in this country. With this
question we have nothing to do. It is at least highly proba-
ble that no such pieces are to be found in American collec-
tions. Certainly no examples have yet been identified.

It is not deemed necessary here to quote from the vari-
ous conflicting authorities, on both sides. Those who take
the ground that the ware generally known as ‘“‘ Lowestoft” is
simply a variety of Chinese porcelain of a peculiar style and
character, have the consensus of opinion in their favor. It is
difficult to understand how the ‘ Lowestoft” hallucination
originated in this country. There is certainly not the slight-
est basis for believing that any of the Oriental products which
are so common here could have been brought from England.
Neither have we any proof whatever that the Chinese ware
was ever painted in the English town. A prominent English
writer, Mr. Owen, in his 7zvo Centuries of Ceramic Art in
Bristol, says, “There cannot be any doubt that hard porce-
lain, vitrified and translucent, was never manufactured from
the raw materials, native kaolin and petunse, at any other
locality in England than Plymouth and Bristol. The tradi-
tion that such ware was made at Lowestoft in 1775 * * #*

ORIENTAL “LOWESTOFT.”

Bloomfield Moore Collection, Pennsylvania Museum, Philadelphia.

KRERAMIC STUDIO

rests upon evidence too slight to be worthy of argument.
The East India Company imported into England large quan-
tities of porcelain for sale * * * This particular ware,
which is very plentiful even at the present day, and which
has of late acquired the reputation of having been made at
Lowestoft, was simply, in form and ornamentation, a _re-
production by the Chinese of English earthen-ware models.
The Chinese do not use saucers, butter boats and numbers of
other articles after the European fashion, and the agents in
China were compelled to furnish a model for every piece of
ware ordered. These models the Asiatic workmen have cop-
ied only too faithfully. The ill-drawn roses, the coarsely
painted baskets of flowers, the rude borders of lines and dots,
are literally copied from the inartistic painting on the English
There is a tradition that
Oriental ware was imported in the white state, to be painted
in England. Before giving belief to this speculation, it will
be necessary to consider how singular, nay, how impossible, a
circumstance it is, that if this unpainted china was imported
in quantities sufficient to constitute a trade, none of it should
have escaped into private custody free from that miserable
defacement which has been miscalled decoration.”

It may be interesting to know what Mr. M. L. Solon,
the great pate-sur-pate artist, and one of the highest authori-
ties on old English wares, has to say about the scarcity of
true Lowestoft ware in England. In a recent letter he
writes me:

“With respect to your inquiries concerning the real
Lowestoft ware I have not much to say beside what every
one knows about it. A genuine specimen is, at least, very
difficult to find, if not impossible to identify. The so-called
‘Lowestoft’ ware, made in China for the foreign markets, is
altogether out of the question—the point has been settled
long ago. A few pieces are in existence, to which an
unquestionable pedigree gives a certificate of origin. In all
cases we observe that the style of decoration is always an

earthenware of by-gone days.

135

imitation of that adopted in other English factories. I have
seen a few undoubted examples painted in blue under glaze
which could be mistaken for common Worcester or Caughley.
You may understand that, as the Lowestoft ware never bore
any mark, it is next to impossible to discover a genuine
specimen. In short, a real Lowestoft piece is the vara avis
for an English collector, and many a one would be prepared
to give a very high price for it if it could be found.”

The late Sir A. W. Franks, a noted collector and authority
on ceramic subjects, stated that ‘‘ There can be no doubt
that there was a considerable manufactory of porcelain at
Lowestoft, but this was of the usual English soft paste. The
evidence of hard paste having been made there is of the most
slender kind.”

The question naturally arises, is there any genuine
Lowestoft china to be found in the United States. So far as
any positively identified pieces are concerned it may be said
that not a single one is known. There are, however, a few
examples which are confidently believed to be of Lowestoft
origin, but these may be counted on the fingers of one hand.
Of the thousands of pieces of so-called Lowestoft that I have
examined, only two could possibly have been of English
manufacture. One of these is a tea pot of lozenge form and
English shape, bearing the characteristic ‘ Lowestoft”
decorations,—tiny flowers and roses in colors, with waving
lines of minute dots around the top and cover. The handle
of this piece is of the usual plain design seen on English ware.
The form of the piece is unquestionably English, and the
paste is entirely different from the Oriental, possessing a
pinkish white cast instead of the greenish or bluish tint of
the Chinese ware. Furthermore the body is the soft bone
china of the English factories, and there would seem to be no
reasonable room for doubt that this piece was produced at
the Lowestoft factory.

The second example to which I have referred is a small
cream pitcher with the same characteristic decoration and

SUPPOSED TRUE LOWESTOFT. Boston Museum of Fine Arts.

1 36

unquestionably English in shape, entirely different from any
of the Oriental forms, the body being a pure white, bone
china. The first of these pieces may be seen in the Field
Columbian Museum, Chicago, while the second is in a private
collection in Pennsylvania.

SUPPOSED LOWESTOFT TEA POT.

Field Columbian Museum, Chicago.

Gen. Charles G. Loring, Director of the Boston Museum
of Fine Arts, informs me that there are three examples of
supposed genuine Lowestoft ware in their collections.
Quoting from his remarks on this subject, ‘‘ You ask what is
my authority for believing that the three objects are
Lowestoft ware. Take the cup and saucer. In the first
place the ware is evidently English. It is porcelain, soft
paste, thick glaze, of purer white than the Chinese, border
decoration not native to the East, and in the centre the red
roses mentioned by Lewellyn Jewitt (the best authority that
I know of in regard to Lowestoft). Unquestionably not
Oriental, but English; whether from Lowestoft is another
question ; they were given by an American gentleman living
in the Isle of Wight, a collector of, and an expert in, old
English ware, as pieces of accepted Lowestoft.

“The cream jug is from another source, also from an
expert. Roses similar, diaper border, distinctly not Oriental.

“ Another wholly independent confirmation comes from
this: One of our officers in London at a bric-a-brac shop,
seeing a small fragment of ware, asked the dealer if he had a
whole piece. His reply was, ‘ No, if I had it would be almost
priceless; that is true Lowestoft.’ The paste of this is simi-
lar and the decoration almost identical with that of the cream
jug.

“This question of Lowestoft interested me twenty-five
years ago when I was first arranging the Museum. I then
found that all the so-called specimens we had of that ware
were Oriental,—unquestionably Chinese. It led me to inves-
tigate and I found that every old cupboard in Salem was full
of it. Salem was in old days the headquarters of the trade
with China, and every sea captain and every consignee brought
home full dinner or tea sets marked with his initials and often
with armorial bearings. While these and much of the
decoration were copied from drawings sent out from here,
there were always little points that betrayed the Oriental
hand, irrespective of the ware, which was unquestionably
Chinese.”

In view of the evidence presented above, it is safe to
assume that there is very little true Lowestoft ware to be
found in America. The few pieces which are believed to be

RERAMIC STUDIO

such are still in doubt, but they may turn out to be the excep-
tions which prove the rule. If true Lowestoft is so rare in
England it follows that it must be still less common in this
country. The Lowestoft factory was an obscure and insigni-
ficant establishment and could not have produced any great
quantity of ware, of which little could have found its way to
this country from the farthermost point in England.

Many years of study and investigation have convinced
me of the following facts. In the first place no pieces of
Oriental shapes found in this country could possibly have
been made in England. We may with confidence attribute.
every helmet-shaped cream pitcher, every flattened and
arched tea caddy, every tea pot and sugar bowl with twisted
handles which predominate, to a Chinese potter. In the
second place we may safely assume that every example of
hard, brittle porcelain of this type which may fall into our
hands is purely Oriental in origin. All such pieces must be
discarded by the searcher for English Lowestoft china. It is
highly probable that the latter exists here, but who is to
decide the question of authenticity in the absence of any
factory marks? Who can distinguish the paste of Lowestoft
porcelain from the bodies of similar wares produced at other
English factories, whose shapes and decorations were so
closely copied? The ceramic student, however, may be sure
First, that if any true Lowestoft exists on
this side of the Atlantic, it must be looked for among the
pieces of Anglish shape, and, secondly, that it will be more
likely to be found among the pure white or creamy porcelain
so characteristic of the English factories, which is entirely
different from the cold, bluish, vitreous ware that comes only
from the East. The collector who finds a piece which pos-
sesses these requirements, provided it bears the characteristic
decorations of true Lowestoft,—the tiny groups of flowers
with roses of larger size; the scalloped lines composed of
tiny dots or finely diapered borders,—will have the satisfac-
tion of knowing that he at least possesses an interesting bit
of old English ware, more nearly akin to his desideratum than
any of the Oriental “ Lowestoft” offered by dealers. Among
such pieces it is probable that, when an opportunity comes
for comparison with identified examples, a few-at least will
prove, by further elimination, to be undoubted specimens of
true Lowestoft.

The peculiarities of decoration in this Oriental ware
which masquerades under the name,—characteristics which,
by accident rather than design, are suggestive of the
Lowestoft style,—render it so different from the average
Chinese productions that it will probably continue to be
known by a distinctive term. I would suggest for it the name
of False Lowestoft.

of two things:

e
We call the attention of collectors to a letter from Mr.
Frank Falkner, Manchester, England, published on page 131.

A large collection of ancient pottery from tombs of the
Incas, in Peru, will be sold in London next Autumn. It was
made by Sir Spenser St. John while acting as British Minister
in Peru, and contains many bird, beast, and fruit pieces placed
in the graves with the mummies for their use or enjoyment
during the march to the better world. One represents a
panther suckling her cubs. Another consists of a three-faced
figure which will please those who are forever discovering
Buddhist or East Asian analogies in relics found in Central
and South America. There are human heads and figures
used as cups, and other bits of pottery for which no explan-
ation has yet beenfound, The collection numbers 400 pieces.

~ once.

RERAMIC STUDIO

“The object of the National League of
Mineral Painters is to associate and centralize
the members of the various and widely scat-
tered clubs of mineral artists throughout the United States,
and thereby promote inter-communication in order that com-
parison of method may tend to the improvement of the art
of mineral painting, and lead to the gradual development of a
National School of Mineral Painting.”

The question is frequently asked by both individual and
club members, “Of what benefit is the League to me?”
This query is usually followed by the explanation that this
particular individual has not time to follow a prescribed course
of study and is not interested to exhibit work. These two
points touch lines upon which much time and effort have been
expended, and through which the League has sought to be
helpful to its members.

Well directed, systematic study means advancement.
Exhibitions at intervals are a means of measuring advance-
ment, and even those who do not care to exhibit are glad to
see a League exhibit. The more largely representative these
exhibitions the greater the pleasure.

There are doubtless a considerable number of members
of the League who are prominent teachers and whose time is
of such value that if only a thought of what this organization
can “do for me’ actuated them, they would withdraw at
Many loyal members are members because of a love
for this art and its advancement. The “benefit to me” is
one reason for membership, and the privilege of being a
benefit to others is another reason for membership. The
ceramists of our country are divided into two general classes,
those who are of necessity primarily interested from a wage
earning point of view, and those interested because of a love
of this beautiful art. The latter class can but be glad to lend
their encouragement to the former by membership as active
as is consistent with other duties. It can but bea pleasant
privilege to combine in one effort assistance in the advance-
ment of ceramics and assistance to artists who depend upon
this art for their income.

The League, through the close alliance in feeling and
purpose of its widespread members, can accomplish by united
effort what would be impossible of accomplishment by a few
people, however deep their interest. We are banded together
that we may accomplish a purpose set forth in the above
quotation from our constitution.

Mrs. VANCE PHILLIPS, President.

LEAGUE
NOTES

°
JN THE Miss Pearl W. Phelps has returned from
STUDIOS Paris, where she has been painting miniatures

with Mme. Richard, and will now assume
charge of the art department of Holbrook Normal College,
Fountain City, Tenn.

Mrs. Vance Phillips will resume classes in New York
October Ist, after a season of remarkable success in the
Keramic School at Chautauqua. At one time five teachers
were kept constantly busy—Mrs. Safford, Misses Mason and
Mrs. Culp.

Mr. Marshal Fry will receive pupils the rst of October
after a few weeks’ sketching at Shinnecock. The School of
Keramics at Alfred, N. Y., at which he was instructor, met
with great success, there being many more pupils than was ex.
pected for the first season.

The Misses Mason are in their studio and have resumed
classes.

137

Mr. A. B. Cobden of Philadelphia, has reopened his
Ceramic Art School for the winter.

Pupils seem to be starting in early this year, and the
teachers look forward to a busy season.

Mrs. Helen M. Clark of Chicago, has been studying the
making of pottery at the school in Alfred, and will receive
her pupils the 1st of October at her studio in the Auditorium
tower.

Mr. Franz Bischoff has had classes in Buffalo during the
Pan-American Exposition.

Mr. F. B. Aulich received pupils in Pittsburg during the
summer months, but will return to Chicago in October.

We are in receipt of Miss Wynne’s new fall catalogue of
china for decoration, to which have been added many new and
good things.

ray
CLUB Misses Peck, Topping and Middleton of
NOTES the Atlan Club have been in New York

studying and sketching the rare porcelains at
the Metropolitan Museum.

The New York Society of Keramic Arts held its first
meeting of the season as usual at the Waldorf-Astoria, and
will give an exhibition the first or second week of December.

er
PYROGRAPHY

All designs for Pyrography should be sent to \liss K. Livermore, 1010 Chapel St.,
New Haven, Ct., who will have charge of this department and will answer in-
quiries in the Magazine.

JACK IN THE PULPIT DESIGN FOR BOX
Janet Pulsifer

URN the outline of flowers and leaves as well as the dark
B lines in the flowers and veins in the leaves with a firm
dark line. The background should be burned lightly with
the flat side of the point. Tint the flowers and leaves with a
warm green, not too dark, trying as much as possible in the
burning and color to represent the natural colors of the flow-

ers. Finish with a wax polish.

pe
ates

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.

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Coe nde

RERAMIC STUDIO

AsAISTAd LANV{

—xXOd AOA NOISAC Lid1Nd AHL NI SOvl

See age

RERAMIC STUDIO 139

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TULIP FRAME—KATHERIN LIVERMORE

eee outlines and shade slightly, use either the combin- Color flowers a dull red,stems and turned over por-
ation of stippling and cross-hatching for background or tion of leaves a yellow green, leaves a grey green; wax
carry it out in one style only. and polish.

140

“President Loubet will present to the Czarina as a
souvenir of her visit to France a magnificent Sevres table
service of thirty pieces, the decorations representing dancing
girls.”

er €

A large number of face urns have been found in excavating
prehistoric tombs near Dantzic, in Eastern Prussia. Three
are more perfect than those found by Schliemann in the
Troad. They have fairly well-shaped ears on the sides, well-
molded noses with the nostrils formed, mouths, prominent
eyebrows, and large, oblong eyes. The type, if a type there
be, is Asiatic rather than European. The belly of each urn
has decorations of spears and other weapons.

RERAMIC STUDIO

OUR CLAYWORKING INDUSTRIES

N extensive report will shortly be issued by the Geo-
A graphical Survey containing statistics of the claywork-
ing industries of the United States in 1899 and 1900. The
figures. show great activity in all branches of this industry,
every one making large increases in 1899 over 1898 and in
1900 over 1899. The clayworking industry, the report pre-
dicts, is unquestionably destined to enjoy a much wider field
of usefulness, especially in view of the rapid destruction of
the forests of the United States, which will necessitate a
greater use of clay products as structural materials.—Wew
York Times.

MUSHROOM DESIGN (No. 5)—S. EVANNAH PRICE

ROCEED with the background and ferns asin No.1. For
ie the large ragged mushroom, use a very thin wash of
Ivory Yellow for the lightest parts, with a touch of Yellow
Brown at the tip end of the cap. The faint shadows on the
little scales are rose, also the inside of the gills back of the

stem.

For markings and shading of stem, use Violet No. 2 and
Primrose Yellow (equal parts). The little rootlets are yellow
brown and sepia. The small spotted mushrooms are cream
white (Ivory Yellow) spotted with green (Apple Green and
Lemon Yellow.) Treat the cluster at the opposite side of the
plate as in No. 1.

RERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list.
do not send stamped envelopes for reply.
in this column.

Please
The editors can answer questions only

Mrs. M. G. C.—For dusting background of “‘Toad stool”? use same
colors used in painting in first fire. You will have to get the unpainted cab-
inet from a manufacturer of furniture. The gilt lacquer you can procure
from any of our advertisers who keep materials for painting.

Mrs R. H. S.—Of course underglaze tiling for your fire places would be
the best as fine color effects can be produced with little or no design, but as
that is impracticable for you we would suggest as simple a design as possible,
a conventional one, in rather neutral tones, but harmonizing with wall dec-
oration of room. In this number you will find some designs by pupils of the
Art Institute of Chicago which will offer suggestions as to treatment of tiles
in flat colors with or without outlines. You can get the tiles from any of
our advertisers of china. Blue and white tiles are very effective, or if your
studio is in green, a combination of dull green, warm or gold grey and a violet
blue would be interesting. Read suggestions of color scheme in article on
Poppies. We do not know the prices of tiles,—it depends upon size, shape
and quality of tiles. The dealers will give you all information of that kind.

Mrs. P. F. N.—To mix your powder gold make a medium of equal parts
lavender oil, balsam copaiba, and oil of tar with 25 drops of oil of cloves to
an ounce of the mixture. If this makes a too open medium to keep on a glass
slab omit the clove oil.

Mrc. C. T. G.—Our editorial will give you the desired suggestions for
working up small novelties for Christmas sales.

Mrs. E. W.—Your little plate design had a dainty general effect but the
details of the design itself have hardly enough character. The scrolls are
rather meaningless as well as the little dots and dashes at top. Anything
that suggests Rococo is rather out of date. The two little flowers sprouting
from inner line are rather set,—two is an awkward number. We will make
a design on the same general plan and publish in a later number, so you can
see what we mean when we say your general plan is good, but hardly enough
originality or technique in execution. However it shows taste in arrange-
ment, and we think you ought to feel encouraged to keep on. Study the arti-

141

cles on designing from flowers which appear in KERAMIC STUDIO from time
to time; the first ones beginning October, 1900, will be most useful at the
start.

x €
RAISED PASTE

OR the benefit of those who have not read our numerous
F articles on raised paste, we will repeat the simple formula.
Use Hancock's paste for raised gold. Add to this enough
Dresden Thick Oil (Fat Oil of Turpentine may be used if it
is not too thick) to make the powder a trifle darker, but not
enough to make it soft orina paste. Then thin with lavender
oil, rubbing the mixture until it is of a creamy consistency
and will remain as it is placed either with a brush or pen.

LILY OF VALLEY PITCHER—CORA WRIGHT

OTTED portion, Yellow Lustre; black portion, Yellow Gold; leaves Green Gold, with flowers in White Enamel;

Brown Lustre; narrow bands at top and bottom, Yellow
Brown; background of tiny borders, White with design in

stems, Gold.

Outline all with Black.

Miss Emily C. Adams

. . Winiatures
Portraits and Figures on Porcelain and Ivory.
Decorative Work in both Mineral Painting and Water Color

Studios, 745 Third Ave., Lansingburgh, N. Y.,
and at the Emma Willard Art School, Troy, N. ¥.

Mrs. Adelaide Alsop-Robineau
MINIATURES .«.

Decorative Work of All Kinds. Figure Painting on Ivory
and Porcelain,

ORIGINAL DESIGNS.

189 Holland Street, “‘Keramic Studio,’”? Syracuse, N. Y.
EK. Aulich

China Decoration and Flower Painting
in Water Colors.
Portraits on China and Ivory a Specialty

GLASS GLOBE PAINTING TAUGHT.
Lessons given in all branches, under the personal

supervision of MR. AULICH.
152 West Twenty-third Street, - - NEW YORK.

Maud Crigler-Anderson
Pyrography and Leather Staining

with Oil Decorations, also Etching on Wood,
Leather, Ivory and Fabrics.
---SPECIAL ATTENTION TO ORDER WORK -- -
Complete outfits, large or small, for leather or wood stain-
ing and illuminating, with instructions. Special Designs for
sale or to order. Studiestorrent, withinstructions. Supplies,
stains, gold and silver, leather, wood, &c. Send for lists.

Studio: Cor. Washington and Lincoln Sts, Saybrook., III.

Mrs. K. E. Cherry

Studio, 213 Vista Block, Grand and Franklin Ave.,
St. Louis, Mo.

Combined

Lessons in China Painting.

Mrs. 8S. ¥. Culp
Will return from New York the 15th of October
and reopen a Studio at Rooms 35 & 36 Union
Square Building, Stockton and Geary Streets,
San Francisco, Cal. a3 Be a 55 ra
Classes tn Water Color and China Painting

APPLIED ARTS—MRS. R. V. BATEMAN,

Miss Mabel C. Dibble

Classes in China Painting and Water Colors.

TUESDAYS, THURSDAYS, SATURDAYS.
Conventional Work a Specialty. Original Designs in Water
Colors for sale. Special attention given to all order work,
INSTRUCTIONS BY MAIL.

Studio: 806 Marshall Field Building, Chicago.

Designs of California
Wild Flowers, Ferns and Sea Weed a Specialty, for
China, Pyrography, Wood Carving, &c.
Full size working designs, colored, single $1.00; set of 6, $5.00
Sample copy, 50c. Address:

EDNA GAMBLE,

428 Avenue 21. LOS ANGELES, CAL.

Marshal Fry
Classes tn Decorative Painting on Porcelain.

The New York Classes will re-open October 1st.
Terms On application.

Circulars upon application.

Studio: 36 West Twenty-Fourth Street, - New York.
The F. E. Hall Art School
36 East 23d Street, .°. NEW YORK.

Tenth season; commodious studios. China Painting
in all branches. Oils and Water Colors. The popular
Hall Keramic Colors, 10 cents per vial. Hall Kilns;
White China and Art Materials for sale. SP gat ise

—CHINA FIRED DAILY—
Miss Jennie Hanson
Studio: 58 Prince Street, NEW HAVEN, CONN.
All Branches of China Painting Taught.

Original Water Color Studies to Rent.
PYRCGRAPHY.

RERAMIC STUDIO

Teachers’ Directory.

California
LOS ANGELES.
Edna Gamble, 428 Avenue 21.
SAN FRANCISCO.

Mrs. S. V. Culp, 35 & 36 Union
Square Bldg., Stockton and Geary

Streets.
Mrs, M. E. Perley, 209a Post St.
Colorado.
DENVER.

Miss Ida C. Failing, 1041 South
Fifteenth Street.
CRIPPLE CREEK.
Mrs. C. W. Searles, 509 Colorado
Avenue.
Connecticut.
NEW HAVEN.
Miss Jennie Hanson, 58 Prince St.
Katherin Livermore, Box 476.
NORWICH.
Mrs, F. A. Roath. 37 Otis Street.

District of Columbia.
WASHINGTON.
Prof. Sherratt, 608 13th St., N. W.
Illinois,
CHICAGO.
Mr. F. B. Aulich, 1104 Auditorium.
Miss Mabel C. Dibble, 806 Marshall
Field Bldg.
Anna Armstrong Green, 1101 Audi-
torium Tower.

Mrs. Teana McLennan-Hinman,
1100 Auditorium Bldg.

Prof. Franz J. Schwarz, room 840
Fine Arts Building.
Miss Jeanne M. Stewart, 845 Mar-
shall Field Bldg.
SAYBROOK.
Maud Crigler-Anderson.
Indiana.
INDIANAPOLIS.
Mrs. W.S. Day, 316 N. California
Street.
Massachusetts.
HINGHAM.
Mrs. Eva Macomber.
BOSTON.
Mr. Sidney T. Callowhill, 100 Boyls-
ton St., Colonial Bldg, Room 929.

Miss E. A. Fairbanks, 15 Welling-
ton Street.

Mrs. H. E. Hersam, 372 Boylston
St., 20 Hersam St., Stoneham,
Mass.

Miss Joy’s Studio, 3 Park Street.

Miss E. E. Page, 2 Park Square.
CAMBRIDGE.

Alice B. Holbrook, 116 Chestnut St.
WESTFIELD.

Miss B. Maie Weaver, Highlands.

Michigan.
DETROIT.

Miss Mariam L. Candler,
Adams Avenue.

6 West

Missouri.

ST. LOUIS.
Mrs. K. E. Cherry, 213 Vista Block.
Miss Emma Moreau, 3561 Olive St.

Minnesota.

MINNEAPOLIS.
Mrs. Henrietta Barclay Paist, 207
E. Grant Street.

New York.

BROOKLYN.

Miss Emily F. Peacock, 58 S. 9th St
BUFFALO.

Mrs, Filkins, 609 Main Street.

Mrs. A. H. Heaslip, 534 Main St.

Miss Grace Milsom, 13 Anderson

Bldg, 534-536 Main, cor. Huron.

LANSINGBURGH.

Miss Emilie C. Adams, 745 3d Ave.
NEW YORK.

Mr. E. Aulich, Hartford Bldg., 152
West 23d Street.

Mr. Marshal Fry,
24th Street.

F. E. Hall, 36 Hast 23d Street.
Mrs. Anna B, Leonard, 28 E. 23d St.
Miss M.M.Mason,48 E. 26th St.
Miss E. Mason, 48 E. 26th St,
Mrs. Mary Alley Neal, 1425 B’way.
Osgood Art School, Miss A. H. Os-
good, Principal, 12 E. 17th St.

Miss L. B. Overly, Miss E.S. Overly,
114 East 23d Street.

Mrs, Fanny Rowell, 96 Fifth Ave.

Jr., 36 West

Mrs. A. H. Heaslip

... Pyrography or Fire Etching...
ON WOOD AND LEATHER.
Large assortment of Supplies and Designs.

Anderson Bldg, 534 Main St., cor. Huron, Buffalo, N. Y.

Will he in Buffalo July and August, and return to New York
in September.

Mrs. H. E. Hersam

STUDIOS:
372 Boylston Street, Boston, Mass.,
20 Hersam Street, Stoneham, Mass.
INSTRUCTION IN
Flower Painting and Conventional Design.
FIRING EVERY DAY.

Miss E. Louise Jenkins

—CL@aSSES IN—
China and Water Color Painting ..

STUDIO: 1377 Forsythe Ave. COLUMBUS, OHIO.

Original Studies for Sale or Rent.

Mrs. Thomas A. Johnson
Classes in China Painting and Water Colors.

58 Boston Block, - - - SEATTLE, Wash.

Miss Joyw’s Studio
3 PARK STREET, BOSTON MASS.

China Teacher and Decorator

PRIVATE AND CLASS LESSONS.
. Water Color Studies to Rent,

Mrs. Anna B. Leonard
Be KGET TA EST IDO! Oo

Classes: Tuesdays, Wednesdays, Fridays.

INSTRUCTION BY THE MONTH OR BY THE TERM.

Exclusive Designs for Table Services
Special attention given to Design and Enamels.
POWDER GOLD.

28 East Twenty-third Street, New York.

Katherin Livermore
—INSTRUCTIONS IN—
. China Decoration and Pyrography
Leather, Wood, Stains and Outfits for sale.

Special attention given to Designs and Orders.

Studio, Room 14, No. 1010 Chapel St., NEW HAVEN, Ct.
(Opposite Osborne Hall.)

Miss Grace Milsom
KERAMIC STUDIO:

Room 13, Anderson Bldg, 534:536 Main, cor. Huron Street,
BUFFALO, N. Y.

Specialty “ Roses.”

Original Designs in All Branches of Decorative Work.

Summer Classes.

Miss Emma Moreau
Pupil of School of Fine Arts, Paris

Instruction 1n China Painting

Figure and Miniature Painting on China and Ivory
a specialty.

CONVENTIONAL WORK—WATER COLORS.
Studio: 3561 Olive Street, - ST. LOUIS, Mo,

Miss Mary Alta Morris
—CLASSES IN—
China Painting and Water Color.
Studio, No. 30, Art School, Y. M. C. A. Bldg.,
Send for Catalogue. COLUMBUS, O.

Mrs. Marw Alley Neal

Has returned from Europe and will resume
her classes in

Water Colors and China Decoration

on September 20th. Por particulars apply to her.
Srupto: The Broadway,
e a ey r NEW YORK CITY

1425 Broadway,

When writing to Advertisers, please mention this Magazine,

“NOV. MCMIPrice 35c. Yearly Subscription $3.50

CONTRIBUTORS ©

MR, EDWIN A. BARBER &
MR, FRANK S. BROWNE
MISS MARY BURNETT
MISS EDNA GAMBLE » &
MR. GOODWIN = ee
MISS SALLY S, HOLT#
‘MISS E. LOUISE JENKINS #

- MISS KATHERIN LIVERMORE
MRS. ANNA B. LEONARDs #
MR, A. G. MARSHALL &
MISS M.M, MASON # # &
MRS. S. EVANNAH PRICE*

MRS. ADELAIDE ALSOP-ROBINEAU
MISS SOULE 2 4 & & & #

MISS JEANNE M. STEWART & 2 &

yee &&e EY
Ee

SS SESE SEE EEE ES

i MONTHLY:

& MACHZINE:
“FoR: ™” THE:

- Beside: POTTER DECORATOR: Figen:

. Co oprrighted 1899 by the Ke tamic Studio o Publishing Co. p Sirraiens ¢ and Ne w Yo a Hutered at the Po cased at Syracuse, N. Y., a0 Sec ond fins # Matter, Aug 2, 1899.

[ The entire contents of this Magasine are covered by the general copyright, and the articles must not be reprinted Without spectal permission. |

CONTENTS FOR NOVEMBER, 190!

- Editorial,

The National Arts Club Exhibit at’ Pan-American,

Monks with Treatment,

Wild Rose Plate,

Rookwood at the Pan-American,
Claret Pitcher (Mulberries)

Vase or Lamp Shade (Persian),
Design for Plate,

Tulip Placque,

League Notes--Shop Notes--Studio Notes,
Brushes,

Design for Cup and Saucer,
Design for Lobster Salad Bowl, —
Scarlet Geraniums, |
Geraniums (Colored Supplement),
Nasturtium Design for Plate,
Decoration of Tiles for Fire Places;
Mushroom Design (No. 6),

Collector-—Some Rarities in Historical China,
Mason’s Patent Ironstone China,

Pyrography-—Poppy Box and Borders,
Night,
Poppy, Mistletoe and Iris,
Answers to. Correspondents,

Extraordinary

Offer

Sa See

E. Louise Jenkins,

Jeanne M. Stewart,
A. G. Marshall,
F, Browne,

Miss Soule,

Adelaide Alsop-Robineau,
Mr. Goodwin,

Mary Burnett,

M.-M, Mason,

Anna B. Leonard,

Sally S. Holt,

S: Evannah Price,

E. A. Barber,

Edna Gamble,
Edna Gamble,

Katherin Livermore,

153

153
154-155
155

155

156

157

157
158-159
160-161
161-163-164
163

162

164

Twelve Colored Studies and a Portfolio

a SENT FREE @__

TO THE ONE WHO WILL SEND US

FIVE NEW NAMES “sceiis"xare > OF $3.15 EACH.

The Color Studies may be selected from our Catalogues

sent free on application.

THE PORTFOLIO is neat and attractively bound in cloth, stamped on side
‘*Keramic Stupio,” and large enough to hold the entire volume of 12 numbers,

FOR TWO NEW NAMES accompanied by the full subscription price of $3.50
each, we will send either the Portfolio om the Twelve Color Studies,

By NEW Names we mean those who have NEVER
before subscribed for the KERAMIC STUDIO ----

NEW YORK AND SYRACUSE

November 1901

HERE seems to be, in all studios, more
activity than usual at this season of the
year, which argues well for the work
everywhere. Classes are rapidly filling
with pupils from all quarters. We will

; not call them (as yet) students of kera-

mics, because the majority have no aim nor plan other than

visiting the different studios, asking to see work, much in the

same manner as those seeking new styles in millinery, and if a

vase or plate suits them in one studio, a few lessons are asked

for, and again a few lessons in another studio, perhaps to copy

a stein or tankard, and so on, ad infinitum, without much re-

gard to any underlying principles that pertain either to

Keramics or decorative art; the one idea seems to be to have

something in a material form to take home.

Consequently, going to various teachers, who are all using
different colors, and instructing in different methods, is the
most confusing thing a pupil can do, to say nothing of the
extravagance of it.

We are often appalled at the utter waste of money and
time of those who have worked so hard and saved in
order to come to New York to study. Our advice is
frequently asked, and we are always impressed with the aim-
less plans which are presented. One ambitious aspirant wished
to study roses with a certain teacher, violets with another and
dark backgrounds with still another and perhaps design with
some one else. It is well to emphasize feriaps, as DESIGN is
usually the last thing thought of, but it is encouraging to
know that STUDY invariably brings the desire for a knowledge
of it, and therefore the utmost patience, interest and tact are
necessary in order to bring pupils to this frame of mind.

It is infinitely better to go to one teacher for color until
his or her method is understood and acquired, and if this
teacher should be only a naturalistic painter, a knowledge of
design should be obtained elsewhere—both are essential.

There should be especial attention given to the study of
keramics at the Metropolitan Museum.

It greatly aids students to resort to the libraries, not
merely for copies, but for motifs and suggestions, and for that
mental stimulus which comes with study and research.

After hard work in the morning, a quiet afternoon at the
library is a diversion which will prove not only absorbing to
the mental faculties but restful as well.

One should study the color schemes and lines of deco-
rators whose work is acknowledged to be good; unconsciously
a sense of the fitness of things will begin to grow, and at first
without knowing why, the rzg#¢ and the wroug in decoration
will be felt, if not altogether understood, and from this there
should spring individuality of style, which is the lacking
characteristic of the usual worker, the noticeable fault in all
exhibitions and the lamentable want in studio work generally.

Our next color studies: Roses, Miss Jenkins; columbine,
Mrs. Robineau ; asters, Mrs. Safford; rose, Mrs. Nicholls.

THE NATIONAL ARTS CLUB EXHIBIT OF PORCE-
LAIN AND POTTERY AT THE PAN-AMERICAN.

ESIDES L’Art de la Ceramique, Grueby and Rookwood
which we have noted at length in other articles, tha
most important exhibits of porcelain and pottery are to be
found in -the exhibits of the National Arts Club and the
National League of Mineral Painters.

In the Arts Club the most important exhibit is the
quaint pottery of Thomas Inglis, an amateur of note who died
He worked only for his own pleasure,
and so each piece is unique and interesting. Some pieces are
in the Metropolitan Museum, and the balance is owned by
Tiffany, with the exception of a few pieces bought by con-
noisseurs. The shapes are quaint, turned by hand, the glazes
dark and sometimes lustrous and metallic ; blacks, dull greens,
browns with warm yellow predominate—very little of any
decoration, the beauty depending solely upon color effect and
glaze. Many odd jars are finished with little tops which look
like ivory. They have the appearance of gourds with tops
cut out of the inner rind. Some interesting landscape tiles
were also shown.

Mr. Charles Volkmar, of Corona, has a large case of as
fine specimens of his well-known work as we have ever seen:
single color effects of every artistic shade. The forms, too,
are simple and elegant, and some semi-dull finish pieces
were quite new and interesting.

The Newcomb Pottery also exhibits with the Arts Club.
The blue glass canopy over the exhibit detracts somewhat
from the color, or rather adds to it a blue which is not its
own. The shapes are nice, and the designs strictly and simply
conventional. Heavy outlines are used, and designs are
slightly raised; some color pieces with lustre finish, and
especially some pieces with a “dripping” effect of colored
glazes, are very interesting. We must not forget to mention
some matt red and brown effects with modeled flowers.

Mrs. Poillion shows some specimens of her clays modelled
but not glazed, and Mrs. Robineau shows two pieces modelled
in Mr. Volkmar’s clay, which are interesting because they
show the spreading tendency to go into Keramic work from
the clay to finish.

Among the over-glaze decorators exhibiting with the
National Arts Club, Mr. Marshal Fry is represented by an
interesting jar, tall and slender, with swans, water, trees
and their reflections. The study was made in Central Park
at dusk, and the glimmering lights also show reflected in the
water. The whole is treated in greys and brown greens
with extreme conventionalism, and is most interesting.

Mrs. Robineau is represented by seven pices, the most
important being three vases entitled respectively Daybreak,
Sunset and Moonlight, the first in grey-blues, three columns
of smoke forming a canopy about the top. The foreground
at the base is a purplish brown, representing the hither side
ofalake. Facing each other on either side of one of the
smouldering fires are two satyrs silhouetted against the lake

a short time since.

144 RERAMIC

in the same purplish brown, the farther side of the lake ap-
pearing mistily in the background. Sunset is in rich browns
and yellows; three purplish brown willows extend from the
base with interlacing branches at top across a sky shading
from yellow to yellow brown. There are glints of green in
the water, and dull white waterlilies in the foreground, the
distant shore making a band just below the shoulder of the
vase. Moonlight is in deep blues, greens and greyish browns.
The study of pelicans was made in Bronx Park, New York.
One pelican stands on a rock at base with outstretched
wings, throwing a sharp shadow on the rock. Two others are
swimming in the middle distance. A lone tree is outlined
against the sky, and a moon gleams from out of a cloud. As
experiments in atmospheric effects on porcelain, these vases
are quite successful. The other pieces are small experiments
in lustre and color.

STUDIO

Mrs, Anna B. Leonard has four fine samples of paste and
enamel work in oriental designs of rich color and gold. Mrs.
Neal is represented by her Fleur de Lis set in rich lustre and
gold, and Mrs. Rowell shows a plate in the same mediums.

er
DUQUESNE CERAMIC CLUB, }
PITTSBURGH, September 28, 1got {
Keramtc Studio Pub. Co., Syracuse, N. Y.

GENTLEMEN :—Enclosed please find your circular, filled
out as requested. Also a money order for $3.50, to pay sub-
scription for one year, beginning with September, Igor.

Your magazine is incomparably the best of its kind yet
attempted in this country, and I hope to see it grow in sub-
scribers as in grace year by year.

Very Sincerely Yours,
Miss SOPHIE G. KEENAN, President.

TREATMENT OF MONKS

HE September, 1900, KERAMIC STUDIO contains the flesh
ip palette and all directions for painting flesh. Of course
in treating the heads of old men the warmer colors are used
rather than the delicate tints of youth. Use Flesh 2 and
more of the warm shadow and Finishing Brown. The Tender
and Cool Shadow and Finishing Brown for hair and beard.

The monk’s gowns are brown. Use Meissen and Finish-
ing Brown and Cool Shadow, The apron, Copenhagen Blue

with Cool Shadow and Finishing Brown. The table, Yellow
Ochre, Tender and Cool Shadow, Meissen and Finishing Brown.
The same colors, varying the tones, for bread, etc. Thestone,
steins, pewter, etc., in Copenhagen Blue and Finishing Brown,
a little Pompadour and Yellow Brown for carrots, etc. Ruby,
Meissen and Finishing Brown for beer in glass stein. Be care-
ful to make all edges soft, melting into background. Be gen-
erous everywhere with Tender and Cool Shadow,

KERAMIC STUDIO PUBLISHING CO. Supplement to Keramic Studio
November 1901

COLSOHTYRE

RERAMIC STUDIO

145

TREATMENT FOR WILD ROSES—E. LOUISE JENKINS

OR the light roses use Rose with shadows of Copenha-
F gen Grey and Rose. For the darker ones use Rose
with shadows of Ruby. And for the darkest ones, those in
the background, use Ruby, and powder over with Brown
Green. The leaves are of Apple Green and Moss Green re-
touched with Brown Green and Dark Green. The centres are
of Lemon Yellow, retouched with Yellow Brown, Brown Green
and a little Brown Red.

For the strongest touches on the stamens and pollen use
Gold Gray and Brown Red. The background shades from a
soft Green at the top, Apple Green and Copenhagen Blue,
into Moss Yellow in the centre, with Brown Green shadows
under the cluster of Roses, into a warm Moss Green at the

lower edge of the plate, use Moss Green and Ivory Yellow.

The rose at theside, showing the calyx, should be painted
softly into a delicate tint of light violet of gold, blending into
the very centre. And over the whole lighter portion of the
plate, the indistinct roses and leaves at the top, and the roses
and leaves of the edge should be a powdering of Copenhagen
Grey. The dark spot in the design isa mass of dark leaves
and suggestions of roses, use Brown Green and Ruby and
powder with Brown Green.

Under the dark rose and stems, use Egg Yellow and
powder with Meissen and Yellow Brown.

The effect as a whole should be one of delicate Pink,
Lavender and soft Green.

RERAMIC STUDIO

By W. P. McDONALD.

ROOKWOOD AT THE PAN-AMERICAN

HE Mecca of all lovers of decoration in keram-
ics was the Rookwood exhibit at the Pan-
American, and to those who were capable
of absorbing the best in art, a day with their
latest work was inspiring than a
year’s study anywhere else. We have a

rare right to feel proud of this American achievement in
pottery. There is no foreign ware that can compare with it.
The Royal Copenhagen is the only manufactory which sends
out ware that appeals so to appreciation of mellowness in
texture and color, and when we reflect that the Rookwood
achieves its results with faience while Copenhagen relies on
the natural texture of porcelain, we feel that our American
pottery has achieved the greater triumph. Our illustrations
but faintly indicate the beauty of the work and a description
helps but little more. We would advise all to see for them-
selves, though we will endeavor to give some sort of explan-
ation of the charm to those who found it impossible to
go to the Pan-American or who live out of reach of any art
dealer having Rookwood pottery on exhibition.

To most people the name Rookwood brings up the familiar
ware in rich browns, reds and yellows, which is being so exten-
sively imitated with more or less success—usually less. But
by far the larger part of the exhibit is so absolutely different that
one would hardly credit it with being the same ware, though
examination will show here and there the familiar style of
many of the olddesigners. The Standard
ware, as it is called, is still as good as
ever, and the Indian heads which started
the present craze for things Indian, are
as effective as ever, but the new work, to
our mind, so far surpasses the old that
comparison would be unfair and unkind.
In the new ware the possibilities of grey
will be a revelation to many, in fact to
most Keramic artists. Such delicious
greys—pink greys, blue greys, green
greys, yellow greys and indescribable
greys, so mellow and alluring. If the
vases had nothing but the color it would
be sufficient. The design is a very second-
ary matter though it adds to the pleasure
of a closer examination. This is as decoration should be.

The Iris ware shows the greatest play of color and is well
named, for rainbow tints seen through a mist best describe
these same indescribable greys. The decorations, whether of
flowers, fish, birds or what not are simply drawn and sparingly

Standard Ware.
Sturgis Laurence,

AMERICAN INDIAN WARE DESIGN, MATT GLAZE.

used, giving a feeling of rest and satisfaction that all the rich
jewelling and gilding and elaborate figure or flower painting of
Dresden or Sevres fail to give.

The Dark Iris is similar in general treatment but the
colors are much darker, the ground sometimes being a rich,
luminous black.

The Sea Green ware shades from light yellow to dark
green, all the colors being softly toned with grey and none of
them crude. Somewhat similarto the Standard Ware are the
Goldstone, Tiger Eye and Mahogany, but with distinctive

and extremely interesting features. One piece of the Gold-

STANDARD WARE.

By M, A. DALY.

stone valued at $1,000, a large jar in reds and brown with an
incised design of dragons having a very Japanesque effect,
seems to have a fine shower of gold streaked through or under
the glaze from top to bottom. It puts to blush all other at-
tempts at gold under glaze, especially the tawdry effects of
Brouwer. The gold seems a part of the whole just as the
glints of gold in the goldstone.

There are some remarkable reds, underglaze, not like the
peach blow or sang de boeuf, more on the mahogany tints,
It is said they were made by a man who made
Mr. Philip Smith, a

but real reds.
only a few pieces and has since died.

KRERAMIC STUDIO

By M. A. DALY. IRIS, RELIEF STYLE.

collector of Buffalo, bought a small vase of a peculiar red
which was a perfect single tone all over, a few specks of yellow
alone breaking its completeness.

We come now to speak of the latest departure, unique
and singularly interesting—the matt glazes. There are sev-
eral varieties of these without distinguishing names, but all
charming; though it is a question in our mind whether the
total disguising of material is quite satisfying. The decora-
tions in matt glaze which first strike you are those similar in
color to the Iris and Sea Green wares. Ata short distance
the pieces look like translucent glass, and on first sight one
wonders whether it is not a new development of the Tiffany
Favrile glass. The surface is delightful to the touch and has
a soft bloom, a glaze which is not a glaze but more like the
effect of polishing with a stone. The surface and decoration
have the effect of staniferous enamel if that is possible, the
colors of the decoration being grainy on close inspection and

147

very boldly painted, as would be necessary in painting on
stanifer. What we cannot account for are the reds and
pinks, which would seem impossible at the high temperature
necessary for a staniferous enamel unless retouched over glaze.
Then there are single color pieces with modeled figures wound

Boreas

By STURGIS LAURENCE. SEA GREEN,

about them, the finish is like wax. But above all
admired the bowls and trays with designs incised from
Indian motifs, especially those with a green glaze which
had almost the effect of smear glaze slightly oxydized.

The effect was entirely, unquestionably satisfying. Some

By HARKIET E. WILLCOX.

_ DARK IRIS.

148

pieces had more of the matt wax appearance, and the blues,
yellows, pinks were quite gaudy but in character. Others had
a bronze effect, iridescent in color,

Another novel decorative
effect is the use of metal in
combination. Not like those
dreadful Gorham open work,
silver decorations which sug-
gest defects to be covered up,
but used so as to appear one
with the vase. The design is
modeled and painted and
glazed; then the metal is ap-
plied over a part only of the
raised design following it ex-
actly and ending with a rim or
a handle so quietly and unos-
tentatiously that you could al-
most believe that instead of
being real metal work, it might
besome preparation like Roman
gold, for instance, so imper-
ceptibly does it join the ware
itself.

Some pieces were pierced
in the upper part of the vase.

. We noticed especially one in
Sea Green with Applied Metal Work.

K, SHIRAYAMADANI, matt colors, peacock
feathers, the interstices between the feathers being slightly
cut out after the style of the Bing au Grondahl porcelain.
We are not sure we like this pierced effect. It “wont hold
water” we fear. What most we admire, however, is the spirit
of progress, the continual reaching after something not only
new but artistically good. There seems no stagnating self
satisfaction when one good thing has been achieved, as in
most foreign potteries.

There is no limitation to what may be achieved where so
many artists—not workmen only—are employed. A hundred
years henice, seeing a piece of this ware across a salon one can
not say, ‘‘ There is a piece of Rookwood,” as one says “‘ There
is Wedgwood, Dresden, Sevres, Delft, Capo Di Monte,” etc.,
etc. One can simply say, “There is e work of art,” and only
on examination can one declare ‘‘ Rookwood.” We recollect

Tris

THROWING.

RERAMIC STUDIO

once an artist of note saying that no artist could be called
successful as an artist if one could always recognize his work
on entering a room where it was on exhibition.

CASTING.

If Rookwood is not one of the great names in pottery
hereafter it will not be for this reason. Another admirable
thing is the simplicity of the forms, nothing to keep you
‘““suessing,’ still nothing monotonous. Then, too, it is a
good thing that we are not sure we quite like all the new
effects. The best things have to “ grow upon us,” and Rook-
wood does grow.

Ce
TREATMENT FOR MULBERRIES FOR PITCHER

Jeanne M, Stewart

OR the first firing, paint berries in Yellow Green, Lemon
Yellow, Ruby Purple, Banding Blue with a touch of
black in the darkest berries, keeping the high lights very dis-
tinct. Keep the leaves flat and simple at first, using Yellow
Green and Turquoise Green in the light parts, and Olive,
Brown and Shading Green in the dark tones.

For the second firing, paint the background in Bright
Yellow and Browns back of the fruit, toning down to Grey
Greens with rich touches of the mulberry colors.

The top of the pitcher is in Ivory Yellow and Turquoise
Green. Add details to berries and leaves and fire.

For the third firing, finish with shadowy leaves and
berries.

WOULD-BE STUDENT OF ART

A well-known artist was called upon recently by a young
woman who said she would like to take half a dozen lessons
in painting, in case the terms were satisfactory. She asked
him what he would charge to give her that number of lessons.

“ Well,” said he, “have you ever had any instructions or
practice in drawing or painting?”

“No,” said she, “I have not.”

‘Then I must tell you,” said he, “that half a dozen
lessons would be of very little useto you. Before you should
think of attempting to paint you should learn something of
drawing.”

“Oh, well,” explained the young woman, “I haven't
any idea of becoming an artist, I only want to learn enough
so I can teach.” —Czuernnate Enquirer.

DESIGN FOR CLARET PITCHER—MULBERRIES—JEANNE M. STEWART

150

RERAMIC STUDIO

DESIGN FOR PLATE—F. BROWNE

VASE or LAMP SHADE
A. G. Marshall

ROUND buff. Top sal-
mon. Base warm
maroon, Figures inshades
of copper and dull red,
outlined with gold. Long
leaves turquoise green.
Figures about neck tur-
quoise and gold with red
jewel in center. Gold
band, arches and edge of
neck.

€

PLATE DESIGN
F. Browne

ENTER cream _ tint.
Darker ground yel-
lowish brown. Edge gold
or red composed of Capu-
cine and a touch of black.
Scrolls in pale blueish
green. Palm leaf orna-
ment lavender with little
dark blue enamel flowers.
All outlined in gold.
Background might also
be, center white, darker
ground celadon and edge
Copenhagen blue.

ARERAMIC STUDIO 151

TULIP PLACQUE—MISS SOULE

ACKGROUND, yellow lustre. Tulips, orange lustre for Or background, light green or yellow lustre. Tulips,
first fire, yellow lustre for second fire; leaves, light and ruby or rose for first fire, orange for second fire; leaves,
dark green lustre first fire, orange and brown for second fire; ruby and rose for first fire, dark green for second fire; out-

outline in black or dark brown. line in black.

152

[| EAGUE Officers of the National League of Min-
NOTES eral ‘Painters: President, Mrs. L. °“Vance-
Phillips, r15 East 23d street, New York;
Vice-President, Miss Sophie G. Keenan, 5550 Hays street,
E. E. Pittsburg, Pa.; Recording Secretary, Mrs. Evelyn D.
DeWitt, 47 West 16th street, New York; Recording Sectre-
tary, Miss Myra Boyd, Penn avenue, near Long, Pittsburg,
East End, Pa.; Assistant Secretary, Mrs. C. B. Doremus, 231
West avenue, Bridgeport, Conn.; Treasurer, Miss M. Helen
E. Montfort, 142 West 125th street, New York.

As provided by our constitution, the business of the
League is transacted by the executive and advisory board,
both of which are elected. When a board member is not
present at a meeting, a duly accredited proxy may represent
such member either continually or for occasional meetings, as
the member represented may elect. This proxy is to be in-
structed by the member and to return a complete account of
proceedings at board meeting.

Delegates assembled at Buffalo last May (as provided by
the constitution) named the executive. It was by this body
deemed wise to leave the electing of a board until such time
as the executive could take the matter up by letter. October
was thought to be the first month that club members could be
counted upon to be at home and ready for consideration of
this subject. Letters have therefore gone forth and the board
will be formed and names published at an early date.

LEAGUE MEDALS.

The committee on education is being formed and it will
probably be December before a study course can be issued.
In the meantime we would advise reference to last year’s
course, which contained many good suggestions, including the
classes of work which are sure to be announced for the year’s
medals. Whatever course of study is advised will be sure to
bear upon subjects relating to the awarding of the three
medals—a gold, a silver and a bronze—made after the design
which this year brought to the designer the gold medal. This
together with a silver medal awarded for the best design fora
plate border were the first medals given by the National
League. Through Mrs. Worth Osgood’s untiring efforts this
system of recognizing meritorious work by the giving of
medals was arranged. The awards are to be made each year
upon work exhibited at the annual meeting in May. The
classes of work to receive the medals to be decided by the
board, and the classes may vary each year; for instance, if the
board elect to give the gold medal to ‘“‘ best conventional de-
sign adapted to a vase”’ for any given year, the same board
could decide the following year to offer the gold medal for an
entirely different class of work. A system of rotation has been
suggested. Portraits or studies from life, conventional designs,
realistic studies, adaptation of ornament to a given subject,
etc., could in turn be offered the gold medal, the silver medal,
or the bronze, thus giving highest honor by rotation to differ-
ent lines of keramic work. Correspondence from individual
and club members is solicited on this subject, and preferences
in this way expressed to our corresponding secretary, Miss
Boyd, are sure to influence the decision of the board.

SHOW CASES
is a subject which should interest all clubs. A wise sugges-
tion has been made by our vice-president, Miss Keenan, that
the League decide upon the most suitable and effective kind
of show case for future use both in individual club exhibitions
and for the annual ones of the League, that each club pay
for and keep its own. It would be advisable that the League

HERAMIC STUDIO

officers or a committee order for all, thus securing uniformity
and cheapness.

Cases of plate glass set in bog oak or Flemish oak would
enhance the effect of all colors. Certain sizes could be adopted
as standard. Each club could order one or more such cases,
and if their exhibits called for it, a taller case; this second
size could be known as standard No. 2. Cabinets and minia-
ture tables for individual members could be similarly de-
signed, but always carried out in plate glass and black oak.

The idea is to urge in good time the great advantage of
uniformity to each exhibitor, as well as to the League in gen-
Once purchased, the disproportionately heavy rental of
cases of miscellaneous style and quality would be done away
Each club would have its own cases for local display
and for exhibitions of the League. When arranging for the
latter, each club could plan its own arrangements intelligently
and pay for space merely.

The ninth annual exhibition of the Mineral Art League
of Boston will be held the first week in December in the ban-
quet hall of the Westminster Club. The afternoon of De-
cember 2d there will be a private view for the press and
profession, in the evening of the same date an informal recep-
tion to the patrons of the League and the exhibition will be
open to the public Tuesday, the 3d, at 10 o’clock; also each
day and evening of the week, closing Saturday at noon. For
the first time an admission fee will be charged. All members
of sister clubs will be cordially welcomed if they will kindly
ask for any member of the committee, which is made up of
the officers of the League.

eral.

with.

@
JN THE The classes in Design and Practical
STUDIOS Keramics opened at the Art Institute, Chi-

cago, Oct. 5th. The tuition is very low, and
students of keramics in and about Chicago ought to take
advantage of them. The object of these lessons is to acquaint
the students with fundamental principles, historical resources
and practical methods in connection with keramic design, so
that they may independently create new and original designs
suited to the materials and forms of the ware. The instruc-
tion in design will include the study of organic ornament,
geometric and conventionalized, the distribution of areas, the
effect of repetition and contrast, the artistic use of colors, etc.
The instruction in keramics will cover processes and materials,
including the practical application of designs to keramics, the
use of tools and appliances, the properties of paints, bronzes,
lustres and gold, the methods of firing, etc. The production
of artistic pottery will also be undertaken, including the
processes of designing, shaping, modeling and underglaze
painting. Each piece will be original in design, shape and
decoration, and formed entirely by hand with the aid of the
potter’s wheel, without casting or other mechanical process,
so that it cannot be duplicated.

Miss Fanny M. Scammell of New York, has moved her
studio to 152 West 23d street, near Sixth avenue.

Miss Cora Stratton of Chattanooga, Tenn., is sending out
an illustrated circular of her studio classes, etc., which testifies
to her enterprise and success as a teacher.

@
JN THE A fine catalogue of Pyrography material,
SHOPS leather and wooden goods, has just been re-

ceived from F. Weber & Co. of Philadelphia.
Mrs. Pauline MacLean is selling her stock of white china,

owing to lack of room in her new studio. See advertisement,

RERAMIC STUDIO

BRUSHES

E HEAR of remarkable pictures being painted with the

most primitive utensils and effects obtained by fin-

gers and knife, and all sorts of stories about great geniuses

who have painted masterpieces in a moment of inspiration,

with stumps and sticks or anything that happened to be con-
venient,—but for porcelain painting give us good brushes!!

A beginner will need two or three pointed shaders, rang-
ing from number three to ten, also square shaders about the
same sizes for painting larger motifs and backgrounds.

A brush for putting on tints or grounding oil is a good
thing to have, also a few stiplers and blenders, for working in
colors under handles or in difficult places—and for smoothing
gold on large surfaces.

Then for paste brushes, sable riggers number oo and one.
A flat pointed sable brush is fine for modeling in paste;
often an old sable brush cut down will do very well. For
outlining a design in India ink, a Japanese brush with fine

point is exceedingly useful. (They are not so successful with

193

turpentine.) For outlining a design in color, a long camel’s
hair brush is necessary, as it will hold a lot of color and prevent
frequent replenishing; the use of this brush will seem awkward
at first, but with perseverance the difficulty will be sur-
mountable,

A fine crow quill pen often saves time for outlining either
in gold or color, but this, too, needs a certain handling to
make effective lines that show strength and character without
being hard and mechanical.

The pointed shaders are useful in obtaining an effect with
one heavy sweep or stroke, such as the Japanese use in their
method of painting.

The square shaders are better for broad washes, where a
more even tone is desired and where one color is blended into
another.

There are special brushes for miniature painters which of
course a beginner will not need for some time.

After using, brushes should be carefully cleansed and put
away from the dust. A tiny bit of sweet oil will keep them
soft and pliable.

DESIGN FOR CUP AND SAUCER—ADELAIDE ALSOP-ROBINEAU

OSES should be in flat gold outlined in black, the dark
band of some tint ora fine diaper of gold lines and
black dots, or the roses can be modeled in raised paste not
too high, finished with a line of flat gold above and below, or
they can be painted in natural colors or modeled in pink
enamel. For the latter treatment mix two shades of Aufsetz-

weis, tinting with Carmine 2 and using one-eighth flux. Use
the darker shade for center and far away petals. When nearly
dry raise little turnover edges on the center and near petals.
Leaves can be in flat color, brown and green, in gold or in
enamel, using Apple Green and Brown Green to tint enamel,
and retouching with brown when dry.

RERAMIC STUDIO 155

SALAD BOWL—LOBSTER
Mr. Goodwin

HIS design can be carried out in any scheme of flat color
i outlined with gold or black. Wesuggest a few schemes:
1. Dark blue, using either the Keramic Supply Co.’s
Underglaze Blue or one put up by the Fry Co., or make a
mixture of Banding Blue and Black or Victoria Blue and Pur-
ple No. 2, according to the desired shade, or use any Delft or
Copenhagen Blue. Use the color either flat or in flat enamel,
adding about one-fifth color to Aufsetzweis and firing hard.

2. Ground of design light ivory tint or lustre, design gold
outlined with black or red brown.

J Wy

3. Ground black, outside design, ruby lustre first fire,
orange second fire, black outlines; inside design, gold on a
cream lustre ground, black outlines.

SCARLET GERANIUMS—MARY BURNETT

TREATMENT FOR GERAN IUMS—(Supplement)
M. M. Mason

OR the first firing, lay the brightest flowers on with Carna-
F tion, Pompadour and Blood Red, the darker ones with
Blood Red and Brown Pink.

Keep the leaves very warm in tone, using Brown Green,
Olive Green, and Albert Yellow for the lighter ones, and
Brown Green, Hair Brown and Finishing Brown for the
darker ones.

Beginning at the top of the panel, the background is
painted with Albert Yellow, Olive Green, shading through
Brown Green, Yellow Brown, Hair Brown and Finishing
Brown, all blending softly together. When the painting is
quite dry further softness of effect can be gained by carefully
rubbing a little of the dry Blood Red powder over the

156

shadow side of the flowers and into the green leaves. The
darkest flowers are blended into the background by dusting
with Brown Pink. If desired, the background can be
strengthened by dusting with the same colors with which it
was laid in. A final rubbing over with Ivory will give a
brilliant glaze, but it must not be allowed to run over into

the reds.

RERAMIC STUDIO

In retouching use the same colors as on the first painting
with more of the Brown and a very little Moss Green in
bringing out the details.

In the final painting, Yellow Brown, Hair Brown and
Finishing Brown will be found useful in flushing and in draw-
ing the background and leaves together. Use flushes of
Carnation in the flowers.

NASTURTIUM DESIGN FOR PLATE—ANNA B. LEONARD

F DESIRED, the design may be painted in a naturalistic man-
| ner, but if treated in flat tones, there will be a certain
effective style which will be infinitely more pleasing as a
decoration.

The flowers may be laid in flat tones of Yellow Brown
lustre with the leaves and stems in Light Green lustre, which
fires a grey green. The design may be outlined either in black
or gold. The narrow band on the edge of rim and the narrow
bands running towards the center of the plate and around the
inside rim may be in gold, with the wide space between in the
Yellow Brown lustre. If a background is desired, a pale tone
of Yellow lustre will be effective.

Then again the whole design can be outlined in black,
with the flowers in flat tones of Capucine Red, with a little

touch of black to tone, using Pompadour Red with this in the
deep lines towards the center. The stemsina pale grey green
(apple green and mixing yellow), witha touch of black. The
leaves must be a little darker by adding Brown Green and
Chrome Green, 3b.

The design is very good in all blue, using Dark Blue, a
touch of Ruby Purple and a little black.

The same may also be carried out in flat gold with out-
lines and veins in dark red.

This design will be usefulin classes as it is extremely sim-
ple and the treatment may be varied, so that no two plates
need be alike, which is a great advantage when one is called
upon to furnish different ideas, it being monotonous to have
all pupils working on the same thing.

RERAMIC STUDIO

DECORATION OF TILES FOR FIRE PLACES
Keramic Studio:

Might I make a suggestion in reference to tiling
for fire places? It would possibly help others beside Mrs.
R. H. S., whom you have answered in your October issue.

At any art store where mantel supplies are kept you can
get plain white tiles 2x3, 3x3, and6x6. Thesmall ones are
only 2% cents a piece, which is much cheaper than porcelain.
They can be decorated with an underglaze effect by fluxing
the colors heavily and firing them light,—about the heat you

would have for a second or third fire (according to the kiln).
I did some in deep red brown and brilliant black (Hall’s), and
they were the best imitation underglaze I have seen. 2 parts
brown No. 40r 17, 1 part deep brown, with % flux, will give
a like effect.

A very pretty combination I have used quite often is
duck green for dark and Chrome water green for light; out-
line with black (Hall’s.)

Hoping this will prove useful, I am very sincerely,

SALLY S. HOLT.

SAN ANTONIO, October 4, I90I.

MUSHROOM DESIGN (No. 6)—S. EVANNAH PRICE

ROCEED with the background, leaves and weeds as in No.
P 1. For the acorns use Russian Green thin for high
light and shade with Sepia and Dark Brown.
This species is very delicate, being/a mealy white.

Mushrooms.
Shade the

caps with Silver Grey, then wipe out very clean white spots
to give it a tufted appearance. Shade the stems with Silver
Grey, also the gills. The dark markings on the gills and
stems are Silver Grey also. (Note No. 1 in June, 1901).

158
THE COLLECTOR
OLD CHINA FOR SALE

(When pieces are sent by express, expressage is paid by buyer. When Pieces are
sent on approval and returned, return expressage is also paid by buyer).

Proof pieces must be absolutely perfect and show practically no traces of
wear. Perfect pieces must be perfect not only in condition, but in color, and
traces of wear must be very slight and not injure the pieceinany way. All cracks,
chips, repairs, marked discolorations or scratches must be mentioned.

Lack of room will often prevent us from giving a complete list of pieces for sale
in this Magazine. A complete and revised list will be found in our special publica-
tion ‘Old China,” which is issued at the end of every month, four orfive days
after the issue of Kmramic Srupio. Although ‘‘Old China” is practically a
reprint of Collector articles in KeRAMic StupI0, notices, advertisements and occa-
sionally articles will appear in it, for which we have no room in KERAMIC STUDIO.
To subscribers of KERAMIC STUDIO who wish to receive ‘‘Old China,’’ we will make
the special following club offer:

One year subscription to KErrRamic StupIo and ‘‘Old China’ $4.00 (or 50
cents less than regular prices of both Magazines.)

DARK BLUE STAFFORDSHIRE
Capitol at Harrisburg, Pa., soup tureen, 15-inch, foliage border (Adams)
cover missing, top of handlos restored, also old engraving identi-
fying the piece, very rare, > - - - -
Park Theatre, to-inch plate, perfect, = - 5 -
Capitol at Washington (Stevenson, vine leaf), 1o-inch plate, perfect but

$16.00
30.00

slight discoloration in center, - - - 3 30.00
Cadmus, ro-inch soup plate, perfect, very fine : = = 20.00
Boston Octagon Church, 1o-inch soup, perfect, - - 18.00
Six City Hall N. Y., 10-inch plates (Ridgway), perfect, for lot of six, 63.00
East View of La Grange, 9!4-inch plate, traces of wear : 12.00
B. & O. R. R., g-inch plate perfect (inclined), - - - 18,00
Another, ro-inch (level), traces of wear, - = - 14.00
Another, to-inch soup, perfect 5 = - - 2 15.00
Boston Hospital, 9%-inch plate, vine leaf, white edge, perfect, 16.00
Escape of the Mouse, to-inch plate (Wilkie), perfect, - 18 00
Another, repaired, but good color, good decorative specimen, - 8.00
Valentine (Wilkie), to-inch plate, perfect, - - - 12.00
Christmas Eve, 9-inch plate (Wilkie), cracked, good color, - 4.00
Boston State House, chaise in foreground, to-inch plate, slight crack

on edge, hardly shows, : = - - - 16.00
Pine Orchard House, 94-inch soup plate; slight crack on edge, hardly

shows, > = . 15.00
McDonough’s Victory, 93-inch plate, perfect, - - = 15.00
Another, 7%-inch, proof, : - - - = 7.00
Table Rock, Niagara, 1o-inch soup plate, perfect, - - - 14.00
States platter, to-inch, one inch crack onrim, - = - 12.50
City of Albany, to-inch plate (Wood), crack and slight discoloration, 12.50
Fairmount Park, Philadelphia, to-inch plate, perfect, - - 10.00
Trenton Falls, 734-inch plate, perfect, = - - - 11.00
Quebec, 9-inch soup plate, perfect, - > = - 10.00
Cupids and the Rose, to-inch plate, scalloped edge, perfect, - - 8.00
English Hunting Scene, to-inch plates, perfect, rich blue, each : 4.50
Hunting, plate, 9-inch, perfect, - - - - > 3.50
St. Catherines’ Hill, ro-inch plate, perfect, - - = - 4.50
St. Catherine’s Hill, 10-inch soup plate, perfect, - - 4.00

Villa Regent’s Park, 9-inch plate, traces of wear, - # - 3.50

American Villa (called “[eatntenee Mansion), to-inch soup, marked, perfect, 5.00
Chateau Ermonville (La Grange series), 10-inch, perfect, - 5.00
Chateau de Coucy (La Grange series), 10-inch soup plate, perfect, 4.50
Moulin Sur La Marne (La Grange series), 9-inch plate, traces of wear, 4.00
Ten-inch soup plate, flowers, perfect, - - - 2.50

Seven-inch plate, flowers, perfect, ; - - - - 75

Cup and saucer, fruit and flowers, perfect, - = - 1.75
Medium size pitcher, shell design, fine, - = . - 5.00
States, 4%-inch pitcher, crack on base, does not show, rare, - 10.00
LIGHT COLOR STAFFORDSHIRE

Penitentiary at Pittsburgh, 12 x 15, lavender igtier 3-inch crack in-

side rim, rare view, = = 20.00
Anti-Slavery, 8-inch plate, perfect, light blue, - 3 = 14 00
Fort Hamilton, to-inch plate, blue, perfect, - 11.00
Fort Montgomery, Hudson River, 5-inch black and mnie miata perfect, 8.00
West Point, Hudson River, 8: inch black and white plate, perfect, 4.50
Two Caledonia, 1o4g-inch soup plate, perfect, pink and lavender, each, 1.75

LUSTRES

In Old China Magazine will be found a list of lustre pitchers and mugs
from $1 up. We will send to subscribers who apply for it a good lot of these
pitchers for selection, pieces not wanted being returned at subscriber’s
expense.

MISCELLANEOUS

Mason’s 9-inch plate, as per illustration No. 2, page 160 - - 3.00.
Two Mason’s 8-inch plates (Morley), as perillus. No. 2, page 160, each, 2.00
New Hall porcelain tea et marked, flowers in brilliant colors,

spout restored, 2 ; 4 - 6.00
Leeds tea pot, raised decoration, knob of cover restored, : : 5-00

KRERAMIC STUDIO

BOSTON STATE HOUSE, BY STUBBS.

SOME RARITIES IN PRINTED CHINA
Edwin Atlee Barber

MONG the rare dark blue American designs in old Eng-
A lish china is the Boston State House with the Eagle
border of Stubbs. A beautiful example is owned by Mrs. G.
L. Hurd of Lakeville, Conn., from which the accompanying
illustration is taken. Another uncommon view, owned by the
same collector, is that of Newburgh, N. Y., by Jackson, here
shown.

VIEW OF NEWBURGH, JACKSON’S.

Collectors have recently become greatly interested in
Syntax plates, probably for the reason that they are among
the finest examples of keramic engraving and transfer printing,
and the color, while not of the darkest, is particularly attract-
ive. The serial border of this set of views is a design of
flowers and scroll work, but at least one possesses a special bor-
der, bearing panels containing Syntax designs. The view
referred to is“ Dr. Syntax Disputing His Bill With the Land-
lady.” A fine example may be seen in the Pennsylvania
Museum, Philadelphia. At least one of the Syntax set,—
‘“ Dr. Syntax Painting a Portrait,’ —is being counterfeited and
offered by dealers to unsuspecting collectors,

HERAMIC STUDIO

DR. SYNTAX DISPUTING HIS BILL WITH THE LANDLADY.

Among the rarest of Liverpool pitchers are those bearing
a printed copy of the Gilbert Stuart portrait of Washington.
Sometimes these prints were cut from the pitchers to form
oval placques, which were used as pictures for wall decoration.
These, of course, presented a convex surface and were unsuit-
able for framing, but they suggested a new idea to the potter,
who proceeded to prepare flat creamware plaques of oval
form, to the surface of which the black printed portrait was
transferred. These were usually provided with two perfora-
tions at the upper end, for suspension.

FRANKLIN PLACQUE. LIVERPOOL WARE.

Not only were Washington portraits printed in this man-
ner, but an excellent likeness of Dr. Franklin as well. One of
these portraits, owned by Mr. E. Stanley Hart, may be seen
in the collection of the Pennsylvania Museum.

Another rare Liverpool device occurs on a pitcher in the

ye)

same collection. On one side is a monument on which is an
engraved bust of Washington and the inscription “ First in
War, First in Peace, First in Fame, First in Virtue.” On the
right is a winged female figure and on the left a clergyman
and officer, while beneath, in the foreground, is another officer
reclining on an American flag which is spread on the ground.
Around the border of the design are the names of thirteen
States, including ‘‘ Pennsylvania” and “ Kentucky.”” On the
reverse is a symbolical design entitled “An Emblem of

EMBLEM OF AMERICA, LIVERPOOL WARE,

America.” A female holds an American flag bearing sixteen
stars. To the left are two Indian braves and at the right are
medallion heads labeled ‘‘ Columbus,” “Americanos,” “Sir W.

Raleigh,” ‘“ Dr. Franklin,” ‘“G. Washington,” “J. Adams,” a
curious combination of historical personages.

OOO

MASON’S PATENT IRONSTONE CHINA

HARLES J. MASON, of Hanley, the inventor of the famous
Cs “Mason's Ironstone China,” was a potter of great skill
and taste, and in 1813 took a patent for his process. So-called
ironstone china had been made before by the old firm of
Hicks, Meigh & Johnson, also of Hanley, and an opaque china
had been made by Spode under the name of Stone china, but
it seems that Mason’s process was different, and in fact in no
other stone or ironstone china do we find the heavy, highly
vitrified body, so characteristic of Mason’s ware, with its ori-
ental decoration in brilliant colors.

In 1851, for want of capital or for other reasons, Mason
sold his patent and entire business to Mr. Francis Morley, who
had married a daughter of W. Ridgway, and as partner of Mor-
ley, Wear & Co., had succeeded to the old concern of Hicks,

160

Meigh & Johnson. The new firm was called fora while Ridg-
way & Co., then F. Morley & Co. In 1858, a first medal was
accorded them at the Paris Exposition for their real ironstone
china, In 1859 Mr. Morley retired, having sold the entire
business to George L. & Taylor Ashworth, who kept produc-
ing Mason’s best patterns. The Ashworth firm is in existence
to-day and uses the same old Mason moulds, and the modern
ware can be seen at the store of Edward Boote, 25 West
Broadway, New York.

Old ironstone china is quite commonly found, but a good
deal of discrimination is necessary and the best ware, made by
Mason himself, is rare, and being as a rule extremely beauti-
ful in decoration, would be much sought by collectors, if it was
better known. The mark used by Mason on these fine speci-
mens of heavy, opaque porcelain
was the crown as given in the
accompanying cut, with Mason’s
name above and under it a rect-
angle with the words, “ Patent
Ironstone China.” This mark is
the mark of pieces in our illus-
tration No. 1. The two plates
decorated with the same design are treated in different
schemes of color. In one, the central vase is green, other
ornaments and border red, dark blue, buff and gold, while in
the other plate the central vase is red, and the border more
soberly treated with red, buff, green and a very dark blue,
almost black.

Pitchers and jugs seem to be less rare than plates, although
far from being common. We know of a dealer who has a
regular order for these pitchers at fairly good prices and has
They are gen-

been able to secure only three in three years.
erally decorated with printed designs of complicated Indian
foliage and grotesque animals, in very brilliant colors, reds,
black and greens on buff or other color grounds, the red being
a unique and beautiful vermillion or coral red. These jugs

were called by Mason Bandana ware, and according to Jewitt
some specimens are found with the mark ‘‘ Mason’s Bandana

ware’ on a circular garter enclosing the words “ Patentee of

the Patent Ironstone China,” and a crown.

Other marks are ‘‘Mason’s Patent Ironstone China” im-
pressed. This mark is found on the plate in the middle of
illustration No. 2, and may be a mark of Mason’s time, but
judging from this plate and a few other specimens which came
to our notice, it was used on a different body, and neither in
color nor design can compare with pieces marked with the
crown.

After the patent passed out of Mason’s hands into Mor-
ley’s, the mark generally used was a combination of impressed
and printed marks, the words ‘“ Patent Ironstone China”’ or
more generally ‘“ Real Ironstone China” being impressed, and
the printed mark being the Royal Arms of England, with
supporters, crest, mottoes, etc., and under it the words “ Iron-
stone China.’ The two small plates in illustration No. 2 are

RERAMIC STUDIO

good specimens of this Morley ware, made from 1851 to 1859.
They are heavy like the best Mason china and finely decorated
in brilliant red and dark blue.

The later marks are on a garter, the words “ Real Iron-
stone China” enclosing the Royal Arms and the name G. L.
Ashworth & Bros., Henley. Another Ashworth mark is the
old Mason crown and rectangle with the addition under it of
the word “ Ashworths.” As the modern firm has reproduced
most of Mason’s best pieces*and has sometimes used the
old Mason crown, collectors must be careful to distinguish be-
tween the real Mason ware and the Ashworth reproductions.

A genuine old Mason jug in good condition isa good
thing to have and to keep, as it is extremely decorative, and
is quite a rarity.

We have received a letter from Mr. Percy Adams, the
Staffordshire potter, and hope that some of our subscribers
will be able to help him in his search for old Adams’ speci-
mens, and answer the part of his letter which we here quote:
Will any collector who may have specimens of eighteenth
century English Jasper ware (either in the blue or black
ground with white relief), black basalt, fine stone ware, etc.,
also printed ware with the name Adams impressed, kindly
send particulars of same for a biography which is being
written on the early Adams’ potteries, to Perey Adams, Wol-
stanton, Staffordshire, England, as early as possible?

PEWTER POT INSCRIPTIONS FOR EARTHENWARE

Two things all honest men do fear:
A scolding wife and ill-brewed beer.
Drink fayre, don’t swayre ;
God save ye Kinge!
He who quaffs my good ale here
Will long defer his final bier.
If you daily drink your fill
There'll be no need to make a will.
He who drinks and runs away
Will live to drink another day.
Straight is the line of duty,
Curved is the line of beauty ;
Follow the straight line, thou shalt see
The curved line ever follow thee.
Be merry while you can to-day,
There may be no to-morrow ;
No man so sad who cannot find,
In ale a balm for sorrow.
While beer brings gladness, don’t forget
That water only makes you wet!
Since man is dust it would appear
’Twere wise to “ water” him with beer.

It’s a long tankard that cannot be refilled.

Never put off till to-morrow what you can drink to-day.
Drink beer and forget your sorrow ;

If the thought comes back, drink more to-morrow.
While your money lasts you are welcome here ;

When it’s gone there’s no more beer.

Dust makes thirst; and, man being dust,

Day and night drink he must.

RERAMIC STUDIO

161

CALIFORNIA POPPY BORDER No. {—EDNA GAMBLE

PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Livermore, 1010 Chapel St.,
New Haven, Ct., who has charge of this department and will answer in-
quiries in the Magazine.

TREATMENT OF DESIGNS (Page 162)
Katherin Livermore

OPPIES. Outline—Burn the lined background very deep
& and strong; stipple the upper background with tip of
point, the lower background with flat side of point. Stain
poppies dull red, leaves dull green, stems yellow, centres
green.

MISTLETOE. Either burn background very dark, leaving
berries white and staining leaves yellow green, or leave back-
ground light and burn the ornament very dark.

Tr1s. Burn outlines—For lower background burn deep
lines, following general outline of ornament, upper back-
ground stippled. Stain upper petals of Iris a blue-purple, the
lower ones red-purple (Mr. Aulich’s flower supplement in Sep-
tember number is an excellent guide), stain leaves green.
Keep the coloring very delicate.

Ly)

NIGHT (Page 163)
Edna Gamble

HOWING portion of California Mission in the fore ground.
This design may be carried out in outline only; back
ground shaded from light to dark, as indicated in design. Or
if colored, the moon pale-yellow, sky grayish-blue to purple; -
mission creamy-yellow, shadows brown, with a suggestion of
purple; poppies yellow, leaves and stems gray green.

CALIFORNIA POPPY BORDERS FOR WOOD OR LEATHER
Edna Gamble

O. 1. Outline the design with the point; burn stronger
N in places; to be left uncolored or a mere suggestion
of yellow in the flower, with a tinting of pale green for the
leaves.

INO, 2

Outline clearly, burning stronger in places,

shading back ground with the point.

CALIFORNIA POPPY BORDER No. 2—EDNA GAMBLE

RERAMIC STUDIO

162

ate
es

2
Ciaaie

-*
Yrpes 28s
Sra i ay

POPPY, MISTLETOE AND IRIS DESIGNS—KATHERIN LIVERMORE

Vie

Ni "

i |

AW IT ‘it !

— -

NIGHT—EDNA GAMBLE

ARERAMIC STUDIO

CALIFORNIA POPPY FOR BOX—EDNA GAMBLE

This design may also be used for china plate in flat enamels.

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

R. S.—If your Aufsetzweis with % flux comes out of the kiln chalky and
unglazed, it has had insufficient firing. It should always have the hottest
place in the kiln.

Mrs. C. D. W.—For Chinese plate, October, 1901, use the finest India
ink pen for outlining. For black use the powder color—German or Outlining
Black—mix with fat oil to the consistency of tube colors and thin with tur-
pentine, or mix with a thin syrup made of sugar and water.

In Poppy Plate No. 2—Also plate by Babcock—Lay the colors in flowers
and leaves, etc., perfectly flat. It is seldom desirable to shade in conven-
tional work. Your scheme for chocolate set in browns, acorn design, should
be very effective. We prefer conventional arrangement for tableware, how-
ever. If none of the designs already published in K. S. are suitable for your
6 cup teapot, make us a drawing of shape and size and suggest the flower
you would like and we will publish a design for it at the earliest possible date.

L D.—Your dinner set in violets we would prefer decorated uniformly,
using a good violet tint if desired—the violets themselves need not be uni-
form in shade, as violets vary from a blueish to a pinkish tone. Royal pur-
ple and banding blue of the powder colors are very good shades for violets.
We would mix a tint in regular proportions so it can be repeated on the whole
set, then use the same colors for painting. This should give a uniform effect.

F. M. S.—There is no book on modern Keramics in America excepting
Mr. Edwin Atlee Barber’s ‘‘ Pottery and Porcelain of the United States,”’
which we can procure for you at $3.50. (Second edition just out). The
decorations of the Newcomb pottery are principally in blues, greens and
greys, the designs being conventionalized from Southern plants. The
Zanesville pottery is not so artistic as the Rookwood either in design or
execution, many pieces being inferior imitations of the early Rookwood.
The decorations of both are underglaze, but their processes are their own
secrets. The Rookwood Pottery is considered the best decorated ware.
Grueby ware has a beauty of its own and ranks equally as high, but it has
little decoration beyond its modelling, color and glaze. It would be difficult
to place the other potteries in order of their merit. Many individual pot-
teries are doing more artistic work than the large potteries. Newcomb
College Pottery is the work of students, Dedham Pottery the work of Mr.
Robertson, Biloxi of Geo. Ohr, Volkmar Pottery of Charles Volkmar. etc.,
etc. It is impossible to say how many professional decorators there are in
the country; the number reaches up in the thousands.

Mrs. T. T. R.—If you cannot get the shade of rich dark red you wish by
using ruby or roman purple and finishing brown, try modelling in blood red
or pompadour for first fire and model with the ruby, etc., for second fire. It
would hardly do to mix the iron reds and gold colors in the same fire.

Miss A. M. S.—For gold and paste work with a pen, use a crow quill or
fine Indiaink pen. Mix your gold, etc., to the proper consistency, and put in
a small well-like dish to avoid quick drying, then dip your pen in as if it were
ink.

~ DEC. MCMI

_ CONTRIBUTORS

MRS. MAUDE CRIGLER ANDERSON
MR. E. A. BARBER & &
MISS MARY BURNETT #
_ MISS MARIAM L. CANDLER »
_ MR. MARSHAL FRY of & &
MISS MARY GIBSON #« 2 &
MISS KATHERIN LIVERMORE
MISS EDITH LOUCKS « #
MISS LOUISE McLAUGHLIN
MRS. ANNA B. LEONARD
MISS MARY ALTA MORRIS
MRS. CARRIE A. PRATT #«
MISS EMILY F. PEACOCK &
MRS. ADELAIDE ALSOP-ROBINEAU
MRS. SARA WOOD-SAFFORDs* s&
MISS CORA WRIGHT # ow 2 &

_ MISS B. MAIE WEAVER »« 2 &

a ee eee

Cae eG Gee Ge Be 6 5h 5S

"i MONTHLY: Ss
Le ) MECRZINE:

a ee Sten CR ber Ae Pele ee ie a he a, |
Fe wert ee pl trate pty San c

ee te

? Patan | oe oo
a ee tee ao a
bgt > ey

, Bist SAGER OTTER DECORATOR FIRER:

Price 35c. Yearly ey ton $3. 50

[ The entire contents of this Magazine are covered by the general copyright, and the articles must not be reprinted without spectal permission. |

CONTENTS FOR DECEMBER, 1901

ae O

Editorial, } |
Alfred Summer School of Ceramic Att.
Frackelton Blue and Grey,
Cherries, ,
Indian Pottery,
Designs for Umbrella Handles and Belt Buckles, etc,
Stein,
Chocolate Cup and Saucer,
‘Lily of Valley Plate,
National League Exhibit at the Pan-American,
Club Notes, In the Studios, In the Shops,
Semi-Conventional Borders,
Chocolate Pot—Jonguils,
Gooseberry: Design,
* Losanti Ware,
Design for Plate,
Design for Toast Cup,
Russian Keramics,
Treatment of Wild Asters (Supplement),
“Pottery and Porcelain-of the United States,”’
The Collector--A New Series of Dark Blue Views,
| Washington Monument Pitcher,
Pyrography--Frame,
Opera Glass Bao,
Tobacco Jar, Oak Leaves,
Answers to Correspondents, ©

Some Leading Agencies of Keramic Studio.

We take pleasure in mentioning a few of the leading agencies for the sale of the
KERAMIC STUDIO, where, also, subscriptions may be placed:

Baltimore, Md.—W. H. Cullimore, corner Lexington and Park Sts.

Boston—Miss BE, E. Page, 2 Park Square.

Brooklyn—A. D. Mathews & Sons, Fulton Street.

Buffalo—Mrs. Filkins; 609 Main Street.

Chicago—A, C. McClurg & Co., Brentano’s; Burley & Co.; Thayer & Chandler,
148 Wabash Avenue; A, H. Abbott & Coi, 48 Madison Avenue.

Cintinnati—Robert Clarke Co.; Miss M. Owen, 134. West Fourth Street; A.B,
Closson, 4th Street near Race; Traxel & Maas, 4th Street near Elim. :

Denver, Colo,—E, Meininger, 807 16th Street, A

Detroit; Mich.—L.. B. King & Co. |

Grand Rapids, Mich:—G.N. Miller, & Co.

Indianapolis, Ind.—Keramie Supply Co., Lemeke Building,

Kansas City, Mo.—Bmery, Bird) Thayer Co.

Louisville—Lonuisville Book Store,

Milwaukee, Wis.—Des Forges Book Store, corner Wisconsin St. and Broadway.

Minneapolis, Minn,—My» Etta) Beede,

New Work’ City—Brentano’s,’ Union Sarat ; M. iT. Wrynne's, “44 E. 20th
St. The Fry Art''Co., 36 W.)24th St:; Wanamaker’ 8; American News Co.

Oakland: Cal.—Smith Peo h

Omaha, Neb.—Megeath Giitiauee Co,

Oxford; O.—A. Beaugureau’s ap SER

Philadelphia—W anamaker’s,

Pittsburg, Pa.—Otto Schaffer & Bro.; Kurtz, Langbein & Swartz; R. 8,
Davis & Co., 346 Fifth Avenue; John G. Yergan, 36 Fifth Street,

San Francisco—Mrs. M, E. Perley, 219 Post Street.

Sioux City, Ia.—J. K. Prugh, 312 Nebraska Street,

St. Louis—F. Weber & Co.; A. S, Aloe & Co,

St. Paul, Minn,—St. Paul Book and Stationery Co., Fifth and St. Peter Sts,

Syracuse—Wolcott & West; Bailey & Sackett; HE, G. Nigga Co.; Doxee & !

Welch; W. Y¥. Foote; W. H. Wood.
Toronto. The Art Metropole.
Vancouver, B. €.—Drainie & Co, ;
The Magazine may also ‘be ordered from any newsdealer in this country, who

can procure it through the American News Company, New York, orits branches,

Our New Catalogue of Color Studies

AND REVISED LIST OF DESIGNS

WILL BE SENT POST-PeAID ON APPLICATION.

pee a STUDIO PUB. oe Syracuse, N. Y,

=
PAGE
165 }
Marshal Fry, 165-166
166
Mary. Alta Morris 166-167
: 168-170
Mary Cinco: 170
Adelaide Alsop- Ronineans 171
ESR. Peacock, V7
Edith Loucks, 172
173-174
. 174-175
Mrs. Carrie A. Pratt, 175
Cora Wright, 176
Mariam L. Candler, ite
Louise McLaughlin, 178-179
Anna B. Leonard, 179
B. Maie Weaver, 180-181
181
| Sara Wood Safford, 181
181
-E, A. Barber, 182-183
183
Katherin Livermore, 184
Maude Crigler Anderson,. 185
Mary Burnett, 186
186

December 1901

NEW YORK AND SYRACUSE

F there is the same improvement this year in decor-
ation as was shown at last year’s keramic exhibi-
tion over the previous year, there indeed will be
seen still further the results of the constant
advice of the KERAMIC STUDIO. We will gladly
bear the burden of criticism from those who
have not studied the principles of decoration, when we see
the artistic results in the work of the leading keramists, as
frequently comes within notice; therefore the approaching
exhibitions are eagerly anticipated.

One thing that is distinctly noticeable is that the
Art Schools or Schools of Design are giving more attention
to designs for keramic forms, cultivating the eye and taste of
all students; many of them, however, are becoming wildly
enthusiastic in the designs without really being practical
decorators, consequently some of the designs are more suit-
able for underglaze than for overglaze decoration on porce-
lain; but in these designs the simplicity and beauty of line
is forcible, and the idea gives the overglaze decorator many
suggestions and plans.

As one thing leads to another, the wave of interest over
the country in establishing American schools of pottery and
porcelain, has led others into the study and has influenced
the feeling for design; these designers are eager to see their
creations in a tangible form of clay and color, which brings
about a closer study of the subject, uniting the potter and
decorator. The designer must understand the materials as
well as the decorator the form to be decorated. All this
carries us back to the starting point and to our untiring
appeal, study Design, Beauty of Line, Color and Composition,

ALFRED SUMMER SCHOOL OF CERAMIC ART
Marshal Fry
To The New York Society of Keramtc Arts:

A wish has been expressed by our President that I make
a few statements about the past season’s work of the ‘Summer
School of Ceramic Art’ at Alfred University, and, being deeply
interested in the work of this institution, Iam happy in telling
you about some of the things we enjoyed there this summer.

The large and splendidly equipped building, situated on
the college campus at Alfred, and known as the “ New York
State School of Clay Working and Ceramics,” was presented
by the State of New York in order that Americans might be
taught how American clays and materials may be utilized
in artistic pottery and fine porcelain as well as in the coarser
wares of utility and commerce.

Unlike Germany, England, France and other European
countries, where schools are provided for the education of the
people in Ceramics, America has been destitute of advantages
for study in these branches until now, when, thanks to the
inspiration and efforts of President Davis, Prof. Binns and
other good men, the doors of the first American school of
Ceramics have been thrown open to us. In order to make
study possible for those otherwise engaged during the regular

school term, the idea of a summer school suggested itself, and
was carried into effect this last summer with great success—
more than fifty pupils having enrolled.

The course of study began with a series of lectures by
Prof. Binns, dealing with the technical ceramic problems.
Later, after making ourselves ‘slip bath’ proof by overalls or
aprons, we were initiated into the joys and sorrows of practical
pottery making—the ‘turning’ of forms in plaster on the
‘jigger’ or lathe, the making of moulds from the plaster
forms, the preparation of ‘slip’ (the body of ware in liquid
form), the casting of pieces in the moulds, the ‘throwing’ of
forms on the potter’s wheel, the principles of relief decoration
in ‘slip,’ carving and later the glazing, etc.

One of the humorous accidents—sure to happen to the
novice—is what is known as the ‘slip bath.’ The moulds are
usually made in three parts. These are placed together and
the slip is poured in and allowed to stand until that which
adheres to the sides of the mould—caused by the absorption
of the water by the plaster—is of the right thickness, when
the remaining slip is poured out. In the excitement attend-
ing the first attempt one is apt to forget to hold the bottom
on tight, and asa result the creamy contents—a gallon per-
haps—come pouring out upon the astonished operator, and
the bench and floor. This catastrophe is extremely humiliat-
ing to the unfortunate victim, and usually occurs but once,
but is always witnessed with much enjoyment by the specta-
tors.

Each student designs his forms, and is taught the pro-
cesses of producing them in the ware. Demonstrations of
the preparation of glazes, and their application to the ware,
were made in the laboratory, and the students had access to
formulas and materials with which they could experiment.
A small test kiln was also at our disposal. The freedom of
the’ place was delightful, and the generosity of Prof. Binns, in
so freely giving us the benefit of his knowledge and experi-
ence, was a wonder to us all.

Once a week the great kiln was fired, sometimes requir-
ing thirty-six hours of constant watching and stoking, and
during the process of cooling we could hardly restrain our-
selves from breaking into the hot kiln, so eager were we to
know the result. The most exciting thing I know of is the
unstacking or ‘drawing’ of the kiln. A child’s wild delight
when examining the contents of his stocking on Christmas
morning is the only thing that approaches it. If the first
saggars reveal pleasant surprises the loud chorus of Oh’s and
Ah’s and explosion of adjectives rouses the neighborhood,
and people rush to the scene from all directions. The pro-
fessor, as enthusiastic as the rest, will seize a pair of leather
mittens, make a dash into the hot kiln and rush out witha
saggar in his arms, while everyone else stands around in
breathless anticipation. Often the results are happy surprises,
and again, when success seems certain, the contents of the
saggars prove bitterly disappointing. Perhaps in this uncer-
tainty lies the charm.

A soft body, made from materials found in the vicinity,

166

was chosen for the first year’s work, and some beautiful col-
ored glaze effects were produced. Among them were mat
glazes in turquoise and dark green, and bright glazes, similar
to Rookwood, some of which were flecked with gold, known
as ‘tiger eye.’
and subjected to a ‘reducing flame,’ which acting chemically
upon the copper in the glaze, makes the latter brilliant in
color—some of the pieces showing flashes of red, called by
potters ‘beef’s blood.’

At the next exhibition of Keramic Society at the Wal-
dorf you will see a few specimens of Alfred pottery—only a
few, unfortunately, as most of the ware produced this sum-
mer has been scattered from New York to San Francisco (the
pupils represented sixteen states).

Much great work has been done in pottery making in
this country, but the successful production of high tempera-
ture porcelain has been rare; and we are promised that by
next summer preparations will have been made, in the mat-
ter of kilns and equipment, to give us the opportunity of deal-
ing with the higher and more difficult problems of manufac-
turing the finest translucent porcelain, which, because of its
superiority, in fineness of texture, over the coarser and more
‘masculine’ pottery and faience, has been called the ‘femi-
nine body.’

The ceramic school at Alfred has been started off with
flying colors, and if the good work continues, and it surely
will, it will doubtless prove an immense factor in the growth
of interest and intelligence in ceramic matters in this country.

Long live the Alfred School and its influence for good!

x *

FRACKELTON BLUE AND GREY

RS. FRACKELTON is the maker of a new ware, well and
M rightly named “Frackelton, Blue and Grey,” which
received a medal at the Paris Exposition. What Mr. Will-
iam A. King, member of the Committee on Fine Arts, has
recently said of her and her work best exemplifies her remark-
able ability. He says: ‘‘Frackelton’ is the name of a ware
made by Mrs. S. S. Frackelton, of Milwaukee, Wis. This
gifted woman is one of the foremost workers in the art world
of the great Northwest. She has taken the despised earthen-
ware and glorified it into art pottery which delights the soul
of him who knows. The German critics at the Paris Expost-
tion were not lavish in praise of American pottery, yet one of
the most exacting of them, the Kunst and Handwerk of
Munich, in its issue for February, 1901, says: “ For Germany,
on the other hand, the collection ‘Frackelton’ is of especial]
interest. This is a grey ware made by Mrs. Susan Frackelton,
and is an unusually important attempt to revive the grey
stone ware of Rhenish character with applied ornaments and
flowers done in a modern manner.”

Mrs. Frackelton sent some pieces to Buffalo which she

Many fine bits were fired in the little test kiln ©

RKRERAMIC STUDIO

considered superior to those which she sent to the Paris Expo-
sition. Among them are two large jars. One of them is
decorated with bunches of pomegranates modeled in relief,
the background being incised with a conventionalized decora-
tion of the same subject. The other jar has luxurious orien-
tal poppies in relief upon the surface.

The great French bowl and standard which attracted
universal attention at Paris, is very large and oval in shape,
the outside being decorated with heavy clusters of blue grapes
and foliage, the stalks of the vine forming the strong graceful
handles. On the inside, about the top, is cut into the clay
the following inscription “The draught contains no drop of
sin, if love is only well stirred in to keep it sound and sweet.”
In the bottom is cut ‘ Man wants but little here below, But
wants that little strong.” A quaint jug has the old English
inscription “Come here my boy if you are dry—The fault’s in
you, and not in I.”

All the “Salt Glaze”’ pieces exhibited at Buffalo were
shown in the Wisconsin Building, the Blue and Grey which
is a different process, with the N. L. M. P. One especially
graceful piece of Mrs. Frackelton’s work, which she has
kindly loaned to the Wisconsin Building to be used in
ornamenting the writing room, is a tall lily jar. It is orna-
mented with long stemmed waterlilies held in place by a
band, on which is inscribed ‘They toil not, neither do they
spin.” The top of the jar has perforations through which
the flower stems may be inserted and when filled forms a
veritable crown of blossoms.

a
TREATMENT FOR CHERRIES
Mary Alta Morris

SE Yellow Red on light side, shading in Pompadour and
Blood Red, Yellow Brown for reflected light, or where
reflected light is very clear use Albert Yellow for first painting
and retouch with Yellow Brown. For dark cherries use
Blood Red and Ruby, adding a little black for darkest part.
Care must be taken that the reflected light be clearly painted
and the high light wiped out to get them round and juicy
though some should be kept rather flat, as they
For the less ripe ones on the

looking,
appear back of the main ones.
lower end of branch, use Yellow Green, Yellow Brown for
reflected light, shade with Brown Green, use Yellow Red on
some to show a degree of ripeness.

The stems of cherries should be taken out light, after-
wards painting in with yellowish green. For main branch
use Brown Green, Yellow Brown, Finishing Brown, having
light tone of Copenhagen Blue in high light.
Moss Green, Brown Green, Shading Green, adding a touch of
Ruby to green for dark leaves behind cherries.

The background should be put in with Lemon Yellow,
adding violet for grey tones nnder branch, blending into
warmer tones of Yellow Brown and Brown Green, allowing
some of the ruby and blood red used in cherries to melt into
background, where darker effects are desired.

Use same colors for retouching, avoid painting each
cherry with same idea of roundness and color, allow some to
remain flat, others may need only dark tone in centre
strengthened, and if any are too purple use more blood red
this time. On some of the prominent dark cherries use a
light wash of Banding Blue on right side near high light,
The third painting is mostly light washes here and there to
harmonize the whole with a few strong, sharp touches in
stems and cherries.

For leaves,

RERAMIC STUDIO 167

CHERRIES—MARY ALTA MORRIS

168

KRERAMIC STUDIO

Potteries from Awatobi and Sikyatki; from the Seventeenth
Annual Report of Bureau of American Ethnology.

INDIAN_ POTTERY

[From Crna, GLASS AND PoTTERY, REVIEW. ]

le is not from a study of monuments and the remains of great buildings that

the modern ethnologist gains a true conception of the civilization of a
remote people, but it is by close study of the household effects that have
come down to us, that the atmosphere of a past civilization can be recalled
from oblivion, and the customs, passions and pursuits of a people be studied
intelligently. The pyramids of Egypt stand as evidences of an age when
extravagance was dominant, for they represent a stupendous amount of
manual labor; but do they tell as much of the luxuriant life of the Ptolemys
as the ‘“dressmaker’s bill on a clay plaque,” which shows that the lady of
fashion of that day wore garments that were literally made of cloth of gold?
So it is in the pottery of the ancients that we acquire our serviceable knowl-
edge of their habits.

In this country the study of-the aboriginal races has been pursued with
great thoroughness, and as a consequence American ethnologists are regarded
as the most proficient in the world. They have searched the caves, cliffs and
huts of the Indian in the United States and in all the Central and South
American Republics, and have classified the crude works that the Red Men
have left as proof of their semi-civilization. The fact develops that nearly
all the Indian tribes were familiar with the art of pottery-making, and that
they took particular pains in producing attractive ware, the decorations on
which undeniably establish the Indian’s right to a place well advanced in the
social scale. Indian pottery has a potential claim on Americans, and it is
gratifying to note that not alone the pottery of the fast-vanishing aborigines,
but also the other products of their skill are familiar and popular objects of
decoration in all sorts of homes throughout the country.

The connection between Indian pottery and Indian basket-work, while
at first thought seemingly remote, is of a fact very close. The Indian woman
who lined a fibre basket-bowl with sand and clay to prevent it from contract-
ing, unconsciously lay the foundation of Indian pottery. These basket-bowls
were used for drying and roasting seeds, and after long usage the sand and
clay used to fill the interstices in the baskets became thoroughly baked, and
the squaw discovered, to her astonishment and delight, that the earthen
vessel would remain intact without the fibrous matrix, and that it would hold
water.

The Zuni pottery-maker, who is pictured in one of the illustrations
accompanying this article, is one of the best of the workers in clay of that
accomplished race. Kneading her clay to the proper consistency, she makes
a long fillet, or rope of it, coiling it around a common centre to form the
bottom, then spirally widening or contracting the diameter of the ascending
coil, to form the shape desired. As the clay is adhesive, each added coil is
pressed upon the one below, being shaped and smoothed inside and out by
means of a small spatula of bone or stone, the whole process being most
delicate and requiring infinite patience and skill. At first the coil pottery
was plain; then ornamentations were introduced. These consisted of wave-
like indentations and rude geometrical designs, suggested by pressing the
sharp edge of a blade of wood into the soft clay. A later decoration was
made of incised lines and applied fillets, and then quickly followed relief
ornamentation.

It is most fascinating to trace the development of the artistic sense of
the Indians; of how they elaborated on the shapes and decorations of their
pots and vessels, and of how they departed from natural models to reproduce
fanciful conceptions, There are specimens in our museums of mugs, bottles,

dishes and vases, in a wide variety of
shapes, each of which has a character-
istic touch which shows that it was the
original work of some patient Indian
woman who unconsciously produced
in the humble dish or cup an object
that would her race from
oblivion after the deeds of the warriors
had long been forgotten.

To the burial customs of the In-
dians we are chiefly indebted for the
many perfect specimens of pottery that
are extant. Wherever graves of In-
dians are found, there one is almost
certain to find articles of pottery.
These pieces were buried with the de-
ceased in accordance with the same
belief that actuates the Chinese to bury
food and clothing with their dead.

Modern Indian pottery, as made

reclaim

RERAMIC STUDIO

INDIAN WOMAN

by the Pueblos, cannot be said to come up to the
high standard of the old, and this is due to the
fact that there is a large market for their
products and they consequently neglect the
details that make the antique ware so interest-
ing. Nor do the present-day Indians attempt
to originate design or shape. They content
themselves with perpetuating the antique
models. These decorations are almost wholly
symbolical, and ina collection of any extent
present a comprehensive history of the religion
and government of the tribe that made the

ware. Some depict the animals and birds of

‘the age, and thus aid modern students in

zoological research. Horses, deer, dogs, owls
and ducks were chiefly used as subjects for the
decorator.

Besides the coil ware, there are various
styles of plain Indian pottery, ancient and

MAKING POTTERY

AT ZUNI.

modern, which is generally known by
the color of the ware and its predom-
inant decoration. There is the “black
and white,” in which the ware is white
and the decorative lines are black;
the and the ‘red
ware,’ the body being white and the
decoration in yellow or red.

“vellow ware”

[By courtesy of the Bureau of
American Ethnology (Smithsonian In-

stitution) we reproduce some of the
potteries from Awatobi and Sikyatki,
published in their Seventeenth Annual
Report. The originals being in colors
and mostly in yellows and browns,
which photograph very dark, our half
tones unfortunately came out so dark
that the designs are partially lost.
The two sites of Awatobi and
Sikyatki are in Northern Central Ari-
zona. Awatobi is now a ruin; the
pueblo or village flourished early in the
Seventeenth Century. Sikyatki is also
a ruin and still older; it was evacuated
probably in pre-Columbian times.—£d. |

170

ANCIENT PERUVIAN POTTERY

[From the Pottery Gazette. ]

There was dispersed under the auctioneer’s hammer, a
short time since, a very valuable and interesting collection of
ancient Peruvian pottery, acquired by Sir Spenser St. John,
formerly her Majesty’s Ministerin Peru, of which the following
are among the more noteworthy items:—A tigress suckling its
young, the four little ones lying in parallellines. The canopy
over it, surmounted by a human head, is also very curious.
Its place of origin is unknown, but it is understood to have
come from the Temple of the Sun, near Trujillo. Some rep-
resent people in a diseased state, and one with a hare-lip,
while others represent hunters carrying home their game. No.
97 is supposed to represent the Buddhist Trinity, though how
Buddhist ideas reached South America is, perhaps, difficult
to explain, though many hold that both Chinese and Japanese
swarmed into America during the dark ages. There is every
variety and form to be found among these ancient vases and
water-bottles, no two being exactly alike. The Indians en-
deavoured to represent the human form as well as every
variety of animal, fish, and fruit, while some of the human
faces are very remarkable. There are also double bottles
with heads of animals or men; when you blow into one hole,
the other emits a sound supposed to resemble the cry of a
bird or animal, or the human voice. The use of the vases and
bottles was that the latter should contain liquors, and the
former Indian corn or maize, for the use of the spirit in his
journey to the other world. In some of the vases the maize
still remains in good condition. The collection which was
offered for sale in September last, was commenced by Mr.
Gibbs, the American Minister in Lima, who sold it, when it
amounted to 176 pieces, to Sir Spencer St. John, who added
thereto, till the number is now over 400.

The collection is unique, and it is the first time such a
representative lot of ancient Peruvian pottery has been
offered to the public.

e
FINE COLLECTIONS ON EXHIBITION IN FIELD
COLUMBIAN MUSEUM
[From Chicago News. ]

After having lain undisturbed for 350 years in the Indian
ruins and tombs of northern Arizona, over 5,000 pieces of pot-
tery have been exhumed, and now, arranged neatly in sombre

. this field of design to all decorators.

RERAMIC STUDIO

black cases, are on exhibition in the Halls of the Field Colum-
bian Museum, making one of the finest collections of pot-
tery in existence to-day.

The display comprises two collections, both obtained for
the museum through the generosity of Stanley McCormick.
One was collected by the McCormick expedition, which spent
six months among the ruins last summer; the other was pur-
chased by Mr. McCormick from Sheriff Wattron, of Hol-
brook, Ariz. The ruins represented are Sikyatki, Homolobi,
San Cosmos, Round Valley, Mesa Rodonda, Huawikua,
Chevealon, Chevos Pass, Bitto-Ho-Chee and others within a
radius of forty miles of the head of the Little Colorado River.
Those from the first four named ruins contain some of the
rarest specimens ever collected.

From Homolobi came rare vases decorated in black and
red. In the Sikyatki group may be seen some of the most
highly conventionalized forms of decorations. Among these
are the horned toad, the bird design, the dragon shape, and
the human body, or the Kutcina, which was the name of the
deity.

Two bird jars in the group are unique in that they are
not only highly decorated, but are in the shape of a bird.
Another remarkable piece is a small ladle, which has a handle
in the form of a cradle and inside the cradle is a tiny repre-
sentation of a baby. The cradle is said to be a true represen-
tation of those used by the Walpi tribe before the advent of
the Spaniards, about 1540.

Some of these specimens represent the highest develop-
ment to which the production of pottery has ever been
brought,” said C. L. Owen, who was in charge of the McCor-
mick expedition of 1900. They were all made by hand, with
only the rudest tools, and yet modern methods fail to produce
their equal, either in composition or decoration.

Indian motifs for decoration are very effective and inter-
esting. Keramists have here a source of inspiration truly
American and as yet little exploited. The Rookwood people
have done some. fine things in this line, not confining them-
selves to the simple, almost monochromatic colorings of old
Indian pottery, but keeping to the general characteristics of
Indian coloring, both ancient and modern. We recommend
The medallion designs
in black and white are suggestions for belt buckles by one of
our contributors, Miss Gibson, of New York.—E£d.

DESIGNS FOR UMBRELLA HANDLES, BELT BUCKLES, ETC.—MARY GIBSON

These designs are adapted from old Indian pottery and are to be carried out in three colors, deep cream, a dark red and black.

CHOCOLATE CUP AND
SAUCER

FE. F. Peacock

INT the cup and saucer
with Primrose Yellow,
clean out the design and fill
in with gold. Second fire;
go over the design in gold
again, outline in black, and
put a rim of black on edge
of cup and saucer. Give the
handle a coat of gold at each
fire.

RERAMIC STUDIO

171

STEIN AFTER DESIGN BY MUCHA
Adelaide Alsop-Robineau

INT the body of the stein ivory, carry
i out the design in warm browns with
a little Albert Yellow and Yellow Brown
for the fruit. Have the flowers cream
and outline with dark brown, or treat in
a color scheme of green, using a celadon
tint. Shading Green, Royal Green, per-
haps Brown Green, or Banding Blue, if a
cooler effect is desired outline in dark
green or black. A treatment in Delft
Blue would be very pleasing also.

172 RERAMIC STUDIO

LILY OF THE VALLEY PLATE—EDITH LOUCKS
Mention in our Design Competition of May 1901.

HE dark portions of this design may be of rich violet
lh purple enamels, the dotted portions of a soft gray tint,
the white background and panels in the border of an ivory
tint, the white spaces in the center, formed by the stems of
the leaves, also the four spaces of white between the dark star
shaped ornaments, to be of a light violet purple enamel.

The leaves of cool shades of green enamel, lighter to-
wards the edge of the design. The flowers of white enamel,
also the two bands and bars dividing the panels on the edge
of the plate. Theinner band of the purple enamel. Outline
everything in black. Gold may be used in the place of the
dark purple enamel, and other colors used with good effect.

RERAMIC STUDIO 17

NATIONAL LEAGUE EXHIBIT AT THE PAN-
AMERICAN

HE National League exhibit is a large one and contains
il many interesting specimens, prominent among which are
the pottery and porcelain exhibits of Miss McLaughlin, Mrs.
Frackleton and Mrs. Irelan. Miss Louise McLaughlin has
sent a case of small vases called ‘“‘Losanti” ware. They are
of a soft porcelain, resembling the Chinese, light in weight,
creamy in color and appear to be turned by hand as the por-
celain is of varying thickness. All are decorated underglaze
or with colored glazes, none are decorated overglaze. The
colors used are mostly a greenish grey, brownish or purplish
red and blue. Many of the vases are decorated with flowers
in low relief, or incised designs, often parts about the tops of
the designs being cut out. The shapes are quaint and inter-
esting, but simple and in good taste.
We noticed especially a vase in dark and pale olive greens;
tulip in low relief, background a sort of lattice; another in
grey and brownish grey with incised peonies; and two slender
cylindrical vases, one blue with water lilies in relief, one dark
blue and red mixed ground with a design of flowers and stems
in relief. Then there was a vase, Chinese in shape and feeling,
with a spotted red and green glaze; a vase in blues also, with
pansies about the base and cut out background, the interstices
being filled with a greenish glaze. Altogether Miss McLaugh-
lin’s exhibit was an extremely attractive one to connoisseurs
and was the object of great interest to those who are inter-
ested in pastes and glazes and especially to those interested
in the making of porcelain in this country.

A few have dull glazes.

Mrs. S. S. Frackleton showed a large case of interesting
grey stoneware. We understood that she was not pleased
with what she had sent and intended to send a new lot as
soon as it came from the kiln. However, we found what she
did send very well worth examining. The decorations are in
a sort of Delft blue and the result, in many cases, is very
artistic. There are two tall covered jars, of a Chinese shape.
One has poppies in high relief, an incised design of blue in
the background. The other has a similar treatment of Pome-
granates. Then there was a tall vase of tulip design witha
bulging top, the flower supporting the bulge and the stems
reaching to the base. Many pieces, such as steins, tankards,
loving cups and jars have very decorative inscriptions. A
tankard in thistles with bulging top supported by Gothic
arches was extremely nice and a low jar with a scroll and
band in blue might have come direct from Delft, so typical
was the decoration as well as color. We have not heard what
Mrs. Frackleton calls her ware, but she may well be proud of
it under any name.

Mrs. Irelan sends only a few examples of her ‘“ Roblin’
ware, which seems to be a sort of terra cotta unglazed, very

~~
Su

PART OF
CHICAGO
CLUB
EXHIBIT
AT

BUFFALO

light and capable of delicate manipulation, as was shown in
several pieces with toadstools and ferns carefully and deli-
cately modeled standing out bodily from the vases; each
little crease and convolution of the toadstool, each little frond
and finger of the fern minutely and lovingly shown. A green
vase with a lizard about the slender neck was very attractive.
This piece had a dull glaze if we remember right. There were
several green pieces with ferns in a lighter tone.

These three pottery exhibits show that the women who
are going to the root of things in pottery are striking out for
themselves independently, not following a beaten track nor
copying one the other, as has so long been the paralyzing
custom in overglaze work. Three more different mediums or
styles of work one could not well imagine.

The large overglaze exhibit has already been mentioned,
especially the fine exhibit of figure work from all our best
workers, but a few things call for special mention as being out
of the ordinary,

Mr. Marshall Fry has a case of fine pieces, most of which
were exhibited at the Waldorf last winter. One does not
need to describe his well-known and exquisitely painted pars-
ley, milkweed, asters and pine cones, but his newer and more
conventional work heralds an era of decorative work that is
going to make its impression not only here but abroad. His
large vase with storks and reeds in a deep brown, almost
black, ground was one of the striking things at the Waldorf
last winter, but he is showing a new vase which we consider
by far the most interesting yet. The vase is tall and slender,
in soft grays, rather Copenhagen in tone, with sea weeds
draped from the top and fishes swimming about below. This,
like the stork vase, is Japanese in feeling but is more original
and we feel that it represents better the personality of the
artist as does also the vase exhibited with the National Arts
Club. Among the other exhibits of the New York Club we
were attracted by the vase in fleur de lis of Miss Maude Mason.
It is treated conventionally and outlined in black ona dark
ground, recalling the Japanese Cloisonné; otherwise we do
not feel that either Miss Maude or her sister, Miss Bessie
Mason, are fairly represented. Miss Maude Mason is doing
some very interesting things in conventional work, beside her
well known flower painting, and we expect to see something
unique at the next exhibit of the New York society. Miss
Bessie Mason shows only two pieces, a stein with a conven-
tionalized design of birds, somewhat medizval in style,
executed in flat enamels with gold and lustre and a bowl with
a lustre decoration of dragon flies; both are well executed and
pleasing in color and general effect, but the exhibit is too
small to justly show her ability in the decorative line.

Mrs. Sadie Wood Safford has a stunning vase. The
design is of fishes with swirling lines from top to base of vase.
The vase is in various tones of yellow, orange, and red, which

174

give a sort of flame effect. She also shows a handsome bowl
in purple.

Mrs. K. E. Cherry, of St. Louis, exhibits a vase in fleur de
lis, well painted and nice in color. She, too, is hardly well
represented by her work here.

Mrs. Church, of New York, is doing some interesting
work in Rembrantesque decorative heads. She is one of
New York’s new workers and a clever one.

The Chicago Club sends a large and varied exhibit.
Apart from the figure work already mentioned the most
clever work seems to be that of Miss Mary Phillips, whose
flat enamels and other decorative work, both in historical and
modern design, shows the serious worker. Mrs. E. B. Enright
shows also some commendable modern designing.

Of the Bridgeport Club Mrs. Doremus shows a handsome
chocolate set of lustre over gold.

Mrs. Perley of the California Club, has some exceedingly
elaborate and well executed pieces in flat enamels and gold,
Oriental designs. This is perhaps the best work of its kind in
the entire exhibit. |

Mrs. Culp, also of San Francisco, shows some interesting
flower work.

The Denver Club is well represented by Miss Ida Failing,
whose paste and enamel is technically perfect. She has been
well known for this kind of work several years.

Mrs. Worth-Osgood of the Brooklyn Club and late
President of the National League, shows some interesting
decorations of bats in blue and of storks in brown.

The Duquesne Club is the only one to show glass decor-
ation. This was well done, and we regret we failed to get the
name of the artist.

Miss Overly’s flower work was the most interesting in
this Club’s exhibit. Miss Myra Boyd and Mrs. Swaney
showed some interesting conventional work in Oriental de-
signs.

In the Jersey City Club’s exhibit we liked best the
Chinese bowl of Mrs. Ehler in flat color and gold.

Boston was not as well represented as we had expected.
Mr. Callowhill’s large vase of roses “‘ smothered” in gold was
rather the best piece.

A most interesting exhibit was the case of plates in com-
petition for the League medal. Miss Elsie Pierce of the
New York Club, was the medalist. Her plate has a border of
conventionalized Poppies in green, and is decidedly the best
design in the case. Altogether the League makes a very
good showing.

The Buffalo Club has an exhibit by itself. The work is
still somewhat in the formative state, but the Club shows its
appreciation of really good things by having added to itself
an exhibit of a collection of pottery and porcelain from vari-
ous American sources loaned by Mr. King and Mr. Philip
Smith, of Buffalo. This was very interesting as showing the
different kinds of work done in the United States.

The Atlan Club is very badly placed, mixed up with a
lot of fancy work. The work itself is as excellent as ever.
The exhibit, we understood, was composed of specimens
from the Paris exhibit.

Altogether the various exhibits of Porcelain and Pottery
at the Pan-American are well worth seeing and studying, and
there is little doubt that with so many serious workers
keramics in America will take a much longer stride forward
in the next decade than it has in the past.

RERAMIC STUDIO

PAN-AMERICAN AWARDS TO KERAMISTS

Gold Medal—Grueby, Rookwood, Tiffany.

Silver Medal—Tiffany, Newcomb College, National Arts
Club.

Bronze Medal—Charles Volkmar, Corona, L. I.: Miss
Louise McLaughlin, Cincinnati, O.; Mrs. C. B. Doremus,
Bridgeport, Conn.

Honorable Mention—National League Mineral Painters;
Mrs. S. S. Frackleton, Milwaukee, Wis.; Mr. Marshal Fry,
New York; Atlan Art Club, Chicago; Miss Mabel C. Dibble,
Chicago; Miss Matilda Middleton; Miss Eva E. Adams, Chi-
cago; Mrs. W. S. Day, Indianapolis, Ind.

5 ae

CLUB The New York Society of Keramic Arts
NOTES held its November meeting at the Waldorf-
Astoria, and after the business was transacted,
some interesting papers were read. One by Marshal Fry,
on the Alfred Summer School of Keramics; another ‘“Sketch-
ing in Holland,” by Mrs. Neal, who has just returned from
her annual sketching tour. Then Mrs. Anderson gave a most
interesting account of her summer at Ipswich, in Mr. Dow’s
summer classes—a synopsis of which will be given in the
KERAMIC STUDIO. The Society will give its annual exhibit
at the Waldorf Astoria, December oth, roth, 11th.

The Poughkeepsie Keramic Art Club held its annual ex-
hibition the 1st of November. The rooms were hung with
handsome rugs, while the china was displayed on old polished
mahogany tables. in connection with the work of the mem-
bers, there was a loan exhibit of rare old china, which added
to the educational feature of the exhibit; we would suggest
other clubs following this example.

The Atlan Club of Chicago gave a reception at the Art
Institute October 31st, where their work will remain until
November 13th. We consider this the most dignified way of
of exhibiting. Receiving recognition from the Art Institute
at once places their work in the position that it deserves.

The Jersey City Keramic Art Club is making an innova-
tion this season by having at their monthly meetings a differ-
ent New York teacher each time to give a practical lesson,
demonstrating the way in which he or she works. The idea
is broad and we are awaiting results with interest. The club
supplies the china upon which the artist is to work, and if it
is not finished in one lesson, the members, if wishing to do so,
in a body visit the artist’s studio and again take another lesson,
which of course is necessary where there are to be two or
three firings.

The Arts and Crafts Club will hold its first meeting Nov.
7th. The membership of this organization is not limited to
students of the New York School of Art. In order to increase
the accommodations required by large enrollment of the class
in designing, Mr. F. K. Houston has taken a studio at No.
1512 Broadway. The staff of instructors remains unchanged,
with the exception that Mr. Everett Shinn has charge of the
sketch class.

The Indianapolis Club held its annual exhibition the
week of November 11th at English’s Hotel. There was a
round table in the centre of the room called the ‘Court of
Honor,” and all work done under the instruction of prominent
teachers was placed there, which distinguished it from the
work done by the members unaided.

Among the exhibitions contemplated at the National
Arts Club during the present season is one of objects relat-

RERAMIC STUDIO

ing to the city, conducted by the Municipal Art Society ;
another of arts and crafts of the American Indians, and a
third of carvings in ivory, wood, mother of pearl and horn.
The Club has been awarded a silver medal for its exhibition
of objects of Industrial arts at the Pan-American Exposi-
tion.
EXHIBITIONS.
There was an interesting exhibition at the Fifth Avenue

Auction Rooms, New York, of pottery, rare fabrics,
velvets, silk embroidered screens, and bronzes.

uncut

A special exhibition of paintings of children by Mr, A.
C. Albright was held at the Cincinnati Art Museum during
October.

During November a special exhibition of bronzes by
Mrs. Maria Longworth Storer was held. Mrs. Storer re-
ceived a gold medal at Paris.

JN THE
STUDIOS

Miss E. E. Page of Boston has recently
moved her studio to 286 Boylston street, one
of the best locations in the city.

(

vere
‘aa —_

175,

Miss Frances X. Marquard, after a long period of sickness,
has resumed her work and reopened her studio at 145 West
123d street, New York.

Mrs. Mary A. Neal of New York, will give an exhibition
of her summer work in Venice and Holland, also of china at
the Gallery of Golberg’s Art Store, 123 Fifth avenue, near
Nineteenth street, from Dec. 9th to 14th.

Miss F. E. Hall has considerably enlarged her classes at
36 Twenty-Third street, New York. The interesting work
of Mrs. S. Evannah Price, well-known to readers of KERAMIC
STUDIO, and the dainty lustre work of Miss Smith, have at-
tracted many pupils to Miss Hall’s studio.

@
[N THE J. W. Hasburg & Co. of Chicago have sent
SHOPS US OnE of their new gauges for china, which

will be found convenient for division marks.

We have received an interesting list of wooden articles

for pyrography from James James, 1151 Broadway, New York.

Mrs. Filkins, of Buffalo, sends us a very complete cata-
logue of colors and materials and china for decoration.

SEMI-CONVEN TIONAL BORDERS—MIRS, CARRIE A. PRATT

i semi-conventional borders for bread and butter plates;
size 614 inches; one-sixth of border given.
be painted in natural colors.

Flowers to

All outlines in gold. Borders

to be tinted or painted with Shading Green from the design
to outer edge, and pink from design to inner edge. Etching
in gold over these colors in any of ways suggested.

176 HERAMIC STUDIO

CHOCOLATE POT—JONQUILS—CORA WRIGHT

AKE dotted portion yellow lustre padded, lower black gold, also little leaf at base of flowers, bands at top and
M portion yellow brown lustre. Flowers gold, leaves handle gold. Outline everything in black, handle may be a
green bronze to which % gold has been added, stems green combination of yellow brown lustre, gold and black.

RERAMIC

STUDIO 177

GOOSEBERRY DESIGN—MARIAM L. CANDLER

KETCH in the design very simply. The first firing should
be effective washes of light and shade, using a light
wash of Yellow for the center of the prominent berries,
rounding or modeling them with Moss Green and Brown
Green. Keep the berries as transparent as possible.

Paint in the green leaves with flat washes, using Russian
Green, Moss Green, Brown Green and Shading Green. The
shadow leaves and berries are painted in Warm Grey and
Violet of Iron. Those fading into the background keep in

the cool greys. The stems are painted in Moss Green, re-
touching with Violet of Iron or Pompadour for the thorns.

Make the background very delicate except on the shadow
side of the design, using Ivory Yellow, Apple Green, Russian
Green, Shading Green and Violet of Iron.

For the second firing, use the same colors, modeling
and strengthening when needed ; in accenting the leaves usea
little Finishing Brown. Just before firing powder the back-
ground with Ivory Glaze or Lavender Glaze.

RERAMIC STUDIO

LOSANTI WARE
Louise McLaughlin

BOUT three years ago, | was tempted to enter into what
A seemed, in this country at least, an unoccupied field,
that of the production of decorative porcelain. Having forti-
fied myself with such directions and formulas as could be
found in books, I had a small kiln built in my garden and
embarked in an enterprise which proved to be even more
absorbing than was anticipated.

There is an old adage, which it is not pleasant to remem-
ber in this connection, the application of which is, however,
very obvious. Having rushed into this temple of mysteries
then, I was not willing to withdraw until some of its secrets
had become mine. It did not take long to discover that there
was no royal road to this consummation. It is best perhaps,
at present, to pass over the events of the first few months in
silence. If there was a single detail of the work where the
way was not made hard, memory fails to recall it. From the
potter whose aid was sought in preparing the clay, and whose
product was so compounded that the first kiln full melted
into shapeless masses, to the neighbors who objected to the

smoke, nothing was lacking to prove to the amateur potter
that the way was not strewn with roses.

Without entering further into the harrassing details of
this time of which an history might be written, it is enough
to say that, at the end of several months, I found myself
again at the beginning, confronted by a problem which must
be worked out, if at all, by my own unaided effort.

The matter of fuel, body, glaze and long technicality of the
manufacture was to be worked out by one who knew next to
nothing of practical pottery. The question of fuel, a very
important one, under the circumstances, was solved by the
choice of Connellsville coke. This selection was made con-
trary to advice, and from this point on, it was found that the
very things pronounced impossible by even experienced pot-
ters proved to be entirely feasible. Having broken every one
of the cardinal laws of pottery, the writer may be pardoned a
growing disinclination to heed traditional rules.

In the making of porcelain, tradition as to methods has
more weight perhaps than in other branches of the potter's
art, but even here there may be many variations while the
distinctive characteristics of the ware are retained. The in-
finite number of possible chemical combinations together with

Large Vase, 7 inches high; decoration in pale pink and green on white ground.
Second Vase, 6 inches high; dark grey blue ground with decoration in white and
green, Small Vase, 44 inches high; carved decoration with open work band
around the top.

Second Vase, 6

Vase with open work top, 534 inches high; pale cream color.
inches high; ground tinted with pale blue, with decoration of green leaves. Small
Vase, 3% inches high; grey and blue mottled,

RERAMIC STUDIO

the marvelous changes produced by a few degrees more or
less in temperature, render the effects which can be produced
practically unlimited. During my experiments I have often
been astonished at the results in color produced by very slight
changes in body and glaze. Indeed these facts render the
work of the experimenter extremely difficult. While my own
experience, however, was very trying during its progress, I
cannot regret it altogether now. It has been absorbingly in-
teresting and has led at last to the production of a ware
which at least, has a distinct character. It has been compared
to the old Chinese ‘soft paste,’ but while ‘‘soft paste” in
contradiction to its name is really a hard body, it is invested
with a soft glaze.

The Losanti ware is, however, hard both in body and
glaze, being fired at a temperature of over twenty-five hun-
dred degrees Fahrenheit. The glaze is applied to the raw
body and fired without the usual previous “biscuit” firing.

The name as perhaps, should be explained, has been
given in reference to the place where it is made, the original
name of Cincinnati having been Losantiville.

The ware has a tenacious, cream white body, very trans-
lucent and susceptible of decoration, having a considera-
ble range of color from the usual high temperature colors,
the blues, greens, blacks and browns, to the more delicate reds
and pinks. The entire range of color has not yet been shown
in exhibited pieces, but more recent experiments have deter-

She

mined the possibilities of color decoration very satisfac-
torily. The first exhibition of ware at the spring exhibit of
the Cincinnati Art Museum in 1899, was entirely different in
character, the body and glaze having both been changed since
then.

A dozen pieces were sent to Paris in 1900 to form part of
the exhibit of the Mineral Painters’ League at the Exposition;
a part of these only were of the body now used.

The exhibit at the Pan-American Exposition is the first
exhibit of the body and glaze now used, and that exhibit
contains some pieces of other experimental bodies. The
details of the work which have so far been settled are a prac-
ticable working body and glaze and the temperature at which
it can be matured, the rest is yet to be evolved.

DESIGN FOR PLATE—ANNA B. LEONARD

HE bands are in dark blue enamel, so also the blossoms
a outlined in black, the background in blue grey lustre
with the wavy lines in gold. The color scheme of the bands
and the blossoms may be changed any number of ways—for
instance, instead of an old blue plate, the blossoms may be
in pink with the many lines in a dull green, and also the nar-

row bands in dull green.
well in all red and gold.

It may also be carried out in flat gold with either a red
or black outline, or the blossoms would look well in gold only
slightly in relief (with paste.) The design is very simple and
can be used by beginners.

Then again the design will look

STUDIO

RKRERAMIC

180

DESIGN FOR TOAST CUP—B. MAIE WEAVER

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Copyricur, 1901, BY

DECEMBER, 1901. KERAMIC STUDIO PUBLISHING CO,,

SUPPLEMENT TO ASTERS—Mrs. SARAH WOOD SAFFORD SYRACUSE, N. ¥.
KERAMTO STUDIO.

RERAMIC STUDIO

TREATMENT FOR TOAST CUP
B. Mate

FTER carefully tracing on the design, cover the whole cup
with Apple Green and pad to an even tint. Now make
a clouded effect from the base of the cup part way up as far as
you wish. For this effect use Yellow Green No. 1, Yellow
Green No. 2 and an occasional touch of Russian Green,
and for the darker parts Shading Green, Be sure and have
the darkest part come at the bottom of the cup part.
Blend the colors carefully where they come into the back-
ground; do not drag the Shading Green into the other colors,
but leave the strokes crisp.

When the background is shaded in an effective manner,
wash in the leaves and stems as simply as possible, using a
gradation of color that will always keep the pattern rather
indistinct, after the style of the Rookwood ware. Lay in the
sharp points on the leaves with Pompadour and Brunswick
Black mixed; a touch of this can also be used where the
leaves fasten onto the stem. The medallion in front can also
be laid in with plain Pompadour in an even tint. Raise the
border of golf sticks and balls with paste and cover with gold
in the second fire. Now carefully scratch out a fine outline of
the whole design, and all the veins and make the outlines and
veins with gold. A touch of gold would not be amiss on the
stems and leaves as shading applied after the style of pen and
ink work. Lay in the entire blossoms with gold for the first
fire.

For the second fire, after bringing up all effects that
have been lost in firing, draw very fine lines with the
Pompadour over the gold in the blossoms to carry out the
effect of the lines used in the study. Also use this color to
shade the veins and stems, always using a very fine line,
instead of shading with the side of the brush or a larger brush.

If a motto or quotation were desired in the medallion,
that would be very effective put on over the red with hard
gold, for the second fire. A head or view would be very pretty
for the medallion instead of the quotation.

er
RUSSIAN KERAMICS

O country seems to have made more rapid strides
during the last half century than Russia. A very fine
recent exhibition in St. Petersburg and the display at Paris
show how these people are cultivating thisart. Their designs
seem characteristic, and there is a decided richness about
their fine table porcelain which no other country at present
excels. At their exhibition, works from other nations were
admitted which were either distinguished for the originality
of their design, form, or mode of manufacture, there being a
jury requiring artistic excellence.

. x <
TREATMENT FOR WILD ASTERS (Supplement)
Sara Wood Safford

HE darkest asters are painted in with Royal Blue, Ruby
if and Black; Banding Blue and Ruby are used in flowers
of the next deepest shade, and the very light ones are washed
in with Blue Green and Violet. Leave some of the asters
almost white for the first firing and soften into the mass with
washes of thin color in the second painting. Leave all sharp
strong detail touches for the last firing.

Blue, Green and Violet are used in the background, and
carry it, if possible, along with the design, thus avoiding hard

Weaver

181

edges. Wipe the light blossoms out of the background while
it is in a fresh state; in this way the soft effect is obtained.

Albert Yellow and Yellow Brown are used in the sunny
light just back of the dark mass, asa thin wash of Carnation
is used for deeper warm tones in the last painting. In com-
bining the Blue, Ruby and Black, use about two-thirds of Blue
and one of Ruby, with a “touch of black.”

“POTTERY AND PORCELAIN OF THE UNITED
STATES” (Second Edition)
By EDWIN A. BARBER.

HE publication of the second edition of * Pottery and Por-
‘(a celain of the United States,” by Mr. Edwin A. Barber,
Curator of the Pennsylvania Museum, Philadelphia, has been
welcome news to the lovers of Keramic Art in this country.
The first edition had been exhausted for some time and was
at a premium, and the reduced price of this second edition,
thoroughly revised and enlarged, makes it available even to
people of small means.

The book is profusely illustrated throughout, and the
history of American Keramics is reviewed from the earliest
times of American colonists to the present day. The first
chapter gives an interesting summing up of the different pro-
cesses used in the manufacture of pottery and porcelain, and,
following this, a few pages are devoted to the History of
Aboriginal Pottery. These two pages form an interesting
introduction to the book proper. Collectors will find of the
greatest interest the chapters relating to American pottery of
the Eighteenth Century and first part of the Nineteenth. The
slip decorated and sgraffiato wares of the Dutch potters of
Pennsylvania, with their crude but interesting designs and
inscriptions, are to-day much sought by collectors, and the
readers of KERAMIC STUDIO will remember some interesting
illustrations we have given of this old Pennsylvania earthen-
ware.

The manufacture of fine china from native clay was un-
dertaken in Philadelphia as early as 1769. Early in the Nine-
teenth Century, Abraham Miller’s productions had a great
reputation, He made red, yellow and white ware, also lus-
tered and silvered ware, and was very successful in experi-
ments on porcelain, but never produced it for the market. To
William Tucker, also of Philadelphia, belongs the honor of
being the first to supply the home market with a purely
American porcelain, equal to the imported ware. Much in-
teresting information will be found on the Tucker and Hemp-
hill products, fine specimens of which are found to-day in
different collections.

We would like to have the space to review here exten-
sively the work done by the numerous potteries of New Jer-
sey, New England (among the latter, the famous Pottery of
the United States, of Bennington, Vt.), the Ohio Valley, etc.,
and the wonderful development of keramic manufacturing in
the last fifty years.

Readers of Pottery and Porcelain in the United States
will find in the book an exhaustive study of this development
up to the fine artistic modern productions of Rookwood,
Grueby, Dedham, Miss McLaughlin and others.

We hope to be able to review in next number the long
promised second edition of Anglo-American Pottery, this in-
valuable manual to collectors by Mr. Barber. Both books will
be found in our list of Keramic books on Publishers’ Page.

102

THE COLLECTOR

OLD CHINA FOR SALE

(When pieces are sent by express, expressage is paid by buyer. When pieces are
sent on approval and returned, return expressage is also paid by buyer).

Proof pieces must be absolutely perfect and show practically no traces of
wear, Perfect pieces must be perfect not only in condition, but in eolor, and
traces of wear must be very slight and not injure the piece inany way. All cracks,
chips, repairs, marked discolorations or scratches must be mentioned; also defective
printing and other kiln flaws. The word “check” is used for small cracks on back
of plates which do not show through.

DARK BLUE STAFFORDSHIRE

Landing of Lafayette platter, 1215 x 9, proof, - > - $18 00
Peace and Plenty, platter, 12 x 9, proof, - - - 2 15.00
Erie Canal, Entrance to Albany, to-inch plate, perfect, - 52.00
Erie Canal, Utica inscription, 8-inch plate, perfect, - ; 50.00
Erie Canal, Clinton inscription, ro-inch plate, perfect, - - 42.00
Erie Canal, Clinton inscription, 9-inch, traces of wear, - 20.00
Coat of Arms of Rhode Island, 834 inch plate, pertect, - - 28.00
Dr. Syntax and the Bees, to- inch, perfect, 3 2 25.00
Dr. Syntax turned nurse, 714- inch plate, perfect, - 28.00

Dr. Syntax taking possession of his living, ro-inch plate, crack dita

little, fine color, - - 18.00
U.S. Bank of Philadelphia, 10 neh plate (Stubbs), proof - 2 24.00
Another, perfect, but slight kiln flaw, fine color, = 22.00
Cadmus, to-inch soup plate, perfect, very fine, 2 > . 18.00
Boston Octagon Church, to-inch soup, perfect, - - 18.00
City Hall New York, to inch plate, proof, r 11.00
Six ey Hall N. Y., to-inch plates (Ridgway), perfect, for lot of six, 60.00
B. & O. R. R., g-inch plate perfect (inclined), 16.00
B. & O. R. R., to-inch plate (level), glaze dull in center, = 13.00
Boston Hospital, 94-inch plate, vine leaf, white edge, perfect, 16.00
Escape of the Mouse. to-inch plate (Wilkie), perfect, - 18.00
Playing at Draught (Wilkie), 1o-inch soup plate, small nick rep., 15.00
Valentine (Wilkie), 1o-inch plate, perfect, 12.00
Boston State House, chaise in foreground, to-inch plates cheele on ages, 15.00
Pine Orchard House, 9%-inch soup plate, check on edge, - [2.50
Nahant near Boston, 8 inch plate (Stubbs), perfect, - - 15.00
McDonough’s Victory, 9%-inch Plate, pun, - - * 15.00
Another, 7%4-inch, proof, - = 2 6.00
Table Rock, Niagara, to-inch soup plate, Bereets 7 = - 13.50
Another, good condition, but knite marks, - - - 10.00
States, 1o-inch soup plate, proot, =) - = - 1200
States, 44-inch pitcher, crack at bottom, does not Sua rare, - 8.00
City of Albany, to-inch plate (Wood), crack, - - - 15.00
Pairmount Park, Philadelphia, to-inch plate, traces of wear, - 9.00
Trenton Falls, 7h inch plate, perfect, = - - 11.00
Another, chip ‘repaired, fine glaze, - = - = - 7.00
Quebec, g-inch soup plate, perfect, but light color, flower border, 10.00
Sancho Panza at Boar Hunt, Io-Inch soup plate, slight scratches, 10.00
Upper Ferry Bridge (Stubbs), 84-inch plate, proof, - - 10,00
Union Line, 9 inch plate, perfect, - - 12.00
Landing of Lafayette, to inch plate, proof, - - 3 10.00
Cupids and the Rose, ro-inch plate, scalloped edge, perace : 7 00
St. Catherine’s Hill, view on tureen and cover, 7-inch, perfect, c 4.50
Regents Park, 9- inch plate, traces of wear, - - 2 3.50
Chateau de Coucy to-inch soup plate, perfect, - E - 4.50
Chateau Ermenonville ro-inch soup plate, perfect, ; - . 5 00
Moulin Sur La Marne (La Grange series), 9-inch plate, traces of wear, 3.50
American Villa, to-inch soup, perfect, marked, : - 5.00
English Hunting Scene, 1o-inch plates, perfect, rich blue, each = 4 00
Another, 9-inch, perfect, = ‘= 3.00
Arms of United States pitcher, 6-inch, cnc on base, ‘does Bar show, 9.00
Pitcher, shell design, 7-inch, small chip repaired, very fine, = 400

LIGHT COLOR STAFFORDSHIRE
Penitentiary at Pittsburgh, 15 x 12, lavender Platter, 3-inch crack in-

side rim, rare view, - - - 18.00
Lake George pink platter, 12x10, wane, - - - - 14.00
Merchants’ Exchange fire, o- -inch plate, good condition, - 16.00
Anti-Slavery pitcher, Lovejoy inscription, 9-inch, cracked, - 9.00

LUSTRES
Silver lustre pitcher, 6-inch, very fine specimen, (3 pints), - 11.00
Copper lustre pitcher, 4- -inch, pink and black lustre, coBpes Beale 5 00
Another, 4-inch, pink lustre band, perfect, - 3.00
Copper lustre goblet, dark lustre, blue band, pereee > F - 4,50
Copper lustre salt cellar, bright lustre, very small nick, - = 3.25

We have on hand a number of lustre pitchers and mugs at all prices

from $1 to $6, which we will be pleased to send on approval, pieces not
wanted being returned at subscriber’s expense.

MISCELLANEOUS
Liverpool plate, black print ship in full sail, perfect, - _ - - 5,00
Lowestoft tea pot, black decoration, small crack on top, HS, - 7.50
Blue Delf plate, very fine specimen, genuine old - 2.00
Temperance Staffordshire plate, 7-inch, as described by Miss Earle, 2.50
Two Glass Cup Plates (Henry Clay), one nicked, pair, : - 1.50

RERAMIC STUDIO

UNITED STATES HOTEL, PHILADELPHIA.
From R. T, Haines Halsey’s ‘‘Rarly New York on Dark Blue Staffordshire,” by
courtesy of Dodd, Mead & Co.

A NEW SERIES OF DARK BLUE VIEWS
Edwin A. Barber

HE recent discovery of several plates bearing the same
border design as that of the United States Hotel, Phila-
delphia, marked with the names of the makers, S. Tams &
Co., brings to the attention of collectors a new series of inter-
esting dark blue views. This border is composed of the
foliage of trees somewhat similar to that which occurs on the
Mitchell & Freeman’s China and Glass Warehouse, Chatham
street, Boston, by Adams, and one of the borders of Enoch
Wood (A Ship of the Line in the Downs), but may be dis-
tinguished by a large, triangular patch of lighter color in the
lower edge at the right and by a small, oval figure in the left
side of the border, resembling the side view of a mushroom or
sea anemone. The following subjects with this marginal de-
vice have been discovered:

Unknown Building (probably American) by 8. Tams & Co.
Royal Exchange, London, by 8. 'Tams & Co.

United States Hotel, PHvadelphin, by S. Tams & Co.

State Capitol, Harrisburg, Pa., by S. Tams & Co.

Somerset House, London, by Tams.

Drury Lane Theatre, by Tams & Anderson.

Opera House, London, by Tams, Anderson & Tams.

Dublin Postoffize, by Tams, Anderson & Tams.

Since the borders used by the four above-mentioned firms

CAPITOL AT HARRISBURG, PA,
SOUP TUREEN WITH TAMS BORDER—NO MARK,

RERAMIC

are identical, it is reasonable to infer that they come from the
same establishment at different periods. Llewellynn Jewitt
mentions none of these firms in his Ceramic Art in Great
Britain but refers to John Tams, of the Crown Works, Staf-
ford street, Longton, and Anderson & Bellamy of the Crown
Works, It is highly probable that the Tams and Anderson
connected with the Crown Works were the makers of these
designs.

UNKNOWN VIEW (PROBABLY AMERICAN) MARKED S. TAMS & CO,

An illustration of the London Opera House, by Tams,
Anderson & Tams, was published in the KERAMIC STUDIO
in February last. The Harrisburg State Capitol view was re-
cently discovered by Keramic Studio Publishing Co. The
unknown view here shown, is in the collection of Dr. Daniel
Yoder, of Catasauqua, Pa. Who can identify it?

We intended to have in this number an illustrated article
on foliage borders in dark blue. Lack of space prevents us
from giving this article in KERAMIC STUDIO. It will be found
in Old China with views of Regent’s Park Villa, Regent’s
Street, St. Paul’s School, Blenheim, St. Catherine Hill, Can-
terbury Cathedral, St. Peter’s at Rome.

STUDIO

DUBLIN POST OFFICE—BY TAMS, ANDERSON & TAMS.
(In the collection of Mrs. Snow, Greenfield, Mass.)

x *

WASHINGTON MONUMENT PITCHER

E reproduce herewith three views of a very fine Liver
\ \ pool pitcher in the collection of Mr. Charles Arthur
Carlisle, of South Bend, Ind. This pitcher is known as Wash-
ington Monument Pitcher. On one side is the monument
with the medallion portrait of Washington, and the words:
“Birst in War, First in Peace, First in Fame, First in Vic-
tory.” The figure of Fame stands on the right of the monu-
ment, and a Naval Officer on the left: The names of the
thirteen original States are grouped around the edge of the
oval print. On the other side of the pitcher isa sail ship,
the “Warren B. Hammond”; in front is the United States
shield. The pitcher is 133¢ inches high; the prints are in
colors beautifully executed.

Mr. Carlisle will consider it a favor if anybody can give
him some information about the firm of Cropper, Benson &
Co., whose name is printed under the “ Warren B. Hammond’,
and who were probably agents for this line of ships.

PYROGRAPHY

All desigus for Pyrography should be sent to Miss K. Livermore, 1010 Chapel St.,
New Haven, Ct., who has charge of this department and will answer in-
quiries in the Magazine.

PYROGRAPHY FRAME
Katherin Livermore

HE mistletoe border may be burned black as in the design
at or outlined and shaded lightly with the point; color
may be introduced, if desired, staining the leaves a yellow
green and burning the background a flat even tone to bring
out the white berries.

The wheat may be arranged as a repeating border if
desired, burned and shaded delicately.

OO ne)

OPERA GLASS BAG
Maud Crigler Anderson

UT two pieces of leather size of design, place together and
iE punch where design indicates. Cut narrow strips
leather for lacing together the sides, C. Make leather fringe
and place between two pieces of leather and stitch all together
on line marked A. Use draw strings of leather in line marked
B, or punch larger holes and use a braided leather cord, end-
ing with tassels made of fine strips of leather run through
mould covered with the braided leather. Design simply
etched with needle. This could be made up in very dark
blue embossed leather, the design etched with fine brush in
gold for leather, using gold cord, tassels and fringe.

186 ©

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list.
do not send stamped envelopes for reply.
in this column.

H. P. B.—We should think that Miss Osgood’s ‘‘ Jacque red rose”’
would harmonize with the sample of pink which you sent. We think you
would find Mr. Arthur Dow’s “ Composition ”’ of great benefit to you, it is
not a repetition of articles in KERAMIC STUDIO. We are not acquainted
with any of the books you mention, preferring to learn drawing from nature
to any book instruction, however we believe that any of them would give
you valuable information, but be sure to prove each theory by practical ex-
perience.

Please
The editors can answer questions only

Mrs. T. J. M.—We will try to get a good treatment of yellow daffodils
as soon as possible. Youcan get the Hop study by Marshal Fry with
treatment by sending 35 cents to the KERAMIC STUDIO Publishing Co.
The treatment is about as foilows: Colors, Moss, Royal, Brown, Russian
and Shading Green, Copenhagen Blue, Violet 2, Yellow Brown, Albert Yel-
low and Pompadour of the Fry colors. If Belleek ware is used, substitute a
mixture of Apple Green and Albert Yellow for Moss Green. Use same colors
in second and third fire, making warmer in last fire. Paint into wet back-
ground. Wipe out lights with moist brush. Dust a little dry color into
background.

A. H. P.—We cannot account for your Royal Worcester tint rubbing off

HERAMIC STUDIO

if it was fired enough. The best advice we can give is to go entirely over it
with fresh tint, fire hard and rub down with fine old sand paper. You will
then probably have to regild your paste. The crack in your muffle would not
have that effect, but we would advise you to fill it with fire clay before firing
again, as the gas or smoke might affect your colors.

Mrs. J. H. T.—‘‘ Powdering with Copenhagen Grey ”’ or any other
color is done after the painting is finished and before it is thoroughly dry.
Dust some of the powder color on to the half wet paint with a soft brush or
pad of wool. You can in this way make quite a deep tone if you wish and
soften and blend all colors together.

TOBACCO JAR—OAK LEAVES—MARY BURNETT

HE general effect should be in rich browns and yellow
brown tones. For lightest leaves use Finishing Brown,
Deep Ochre, Red Brown and a little Moss Green in lightest
parts. Dark leaves, same colors but darker tones, leaving out
Moss Green.
Acorns, Finishing Brown, Chestnut Brown, Albert Yel-

low. Wash in background while design is moist, using Fin-
ishing Brown very dark at top broken into with touches of
Red Brown, shading down into Yellow Brown, using a little
Copenhagen under Acorns.

For dark accents under leaves use touches of Black. It
will require three firings to get dark effect.

CONTRIBUTORS
MRS. MAUDE CRIGLER ANDERSON
MR, E. A. BARBER’ & ot
MR. C. BABCOCK # # »
MRS. A. FRAZEE # #
MISS ALICE B, HOLBROOK
MISS]. BE. HANSON # o& 2
MRS. LINNA IRELAN # &
‘MISS KATHERIN LIVERMORE
_ MRS. ANNA B. LEONARD* #
MRS. L. VANCE PHILLIPS
MISS JANET PULSIFER # ot
MRS, ADELAIDE ALSOP-ROBINEAU (# —
MISS JEANNE M, STEWART # # # —
MISS M. SHULL #2 #% # # # sw

eee ee EES & & &

S%e&e & & & & & EE

NSM" ontEy:

: a & 2 ba A inthe ° Hes, 2 ; 4 \

’

. (The entire potions OF this Magazine are € covered by. He general cop pyri. and the anicles must ihe ie rpnited otha specal sihihed alg i

_ CONTENTS: FOR JANUARY, 1902

Soe
fehet | ues: i a . : | PAGE |
"Editorial, i Se A nar On Poa ee ial ee iat cena Wea es ey avers
SEO a GA rN an Pept es creo einen Ailes Gee ia | Sa hak ae tae | ot death Re hgas Bind Catheter reer ag
Plate Design, | he th as Hee Apna B Leonard, ig ia aN et me a 188 |
) Cup and Saucer, ues Babcock, m0 : ae (ie oma Se ty ¥ b 189
es Roblin Ware, ae nee Linna lrelan, see ; Sor ee
Columbine, © Adelaide Alsop Robineny, 192-106
a8 Meeting of The (ae Advisory Board, | LE, Vance bias Late 196-197
: Design or Conventional Columbine, oM. Sbull, | 197
‘ Fruit Bowl in Plums, : | . Jeanne M, Stewart 198-199
aig League N otes—Club Notes—In the Studios, | i 200 -
~ Tobacco Jar, Mr. A. Frazee, 200 |
i Witch Hazel Plate, 5 JOE. Hanson, — gre
’ Pineapple. Border, aiieaey Hanson, 201
i Begonia, | Alice B. Holbrook, te
‘ Atlan Club Exhibit, ae 203
Lathe: Collector —Some Ceramic Puzzles, -E. B. Barber, 204
Aer Erie Canal Plates, —
ie ‘Medallion Plates and Pitchers, : 205
Pyrogtaphy—Pomegranate Frame, ‘Katherin Livermore, | tbe 00
Jack Sprat es . Janet Pulsifer, : Caine Log his 206-207
. Leather, BAN ale oe Me api a ie z e ] Maude Crigler Anderson, ton =e sty by Ee
oe Answers to Correspondents, ies UMS eh EY ee! oe aa ae Etre a CUT a N pate ST Ping Sh

; aatuieees ‘Pay Otto Scnaftee & Bro.; Kurtz, eaters) & Swarts, R. $-
Davis -& Co., 846 Fifth Avenue: John G. Yergan, 36 Fifth Sereet: i
“San Pranciseo—Mrs. M. E: Perley, 219 Post Street.
1 Sidax City; Ta yoke Prugh, B12 Nebraska Street.
ys tep Louis—-F. Weber & Co.; A. §. Aloe & Co. t ‘
es Paul, Minn,—St: Paul Book and Stationery Co., Bitth and St. Peter Sts.
i Syracuse —Woleott & West; Bailéy & Sackett: E. G. Wyckoff Co.; Doxee &
“Welch; W, ¥! Foote; W. H, Wood.
Toronto The Art Metropole,
WVaueouyer, B,C. —Drainie & Go. 7 :
* “Phe Magazine may also be ordered from any newsdedler in this country, who
‘Gan ROCHE # it. through the American] News Peg cate 2 TENS Work, or its branches.

Some Leading Agencies of Rerene Studio. i

JoWe- tad, pleasure in mentioning a few of che leading’ agencies for the gale-of they, A

aaa STubIo, where, Also, subscriptions: amay- ‘be placed: :
SEE” éimoré, Md, SAW: Ey Cullimore, éorner Lexington and Park Sts. yey
“> ostot—Miss . EB. Page, 2 Park Sqnare 2) ; i
: Srooklyn—A, BD, Mathews & Sons; meen Streehy:
gt Buffalo—Mrs, Pilking, 609 Main Street. i f ’
Chicago—A, C- MeClure & Co., Brentano* 8; Bdsles 3 & Coy PTs & Chandler, 4 n i 4
: AA) Wabash Avenue; A. Et, Abbott & Co., 48 Madison, Avenue. iy
tt Cincinnati—Robert Clarke Co.; Miss My Olwent, 134 West Pourth: Street: ALB
: ‘Closson, 4th Street near’ Race} TPraxel & Maas, Ante Sifvet near Bim: i
‘ Denver, Golot—E. Meininger, B07 16th Street, he } ‘ +
“Detroit, Mich. B. Ring & Co. oy ea
Gtand. Rapids, Mich.-G.'N) Miller 8. Cb!
Indianapolis, Ind,—kKerainic Supply Coy Lenieke o yiloing,
: Kansas City, Mo.“Emery, Bird, ‘Thayer Con ait,
°S° : Leuisville Louisville Book Store. phew oat A
J dMilwaukee, Wisi—Des, Forges Book Store! ¢ corner. Wiscoitsin St. and Broadway. :
if Minneapolis, Minn... Etta Beede, : ‘
New =York ‘City Brentano! 8) Union's Snare MM, , “Wynne? s 4a E 20th ean Ba
SUS ihe (Fry /ArtCo.) (BS) We. ieaith: St.; Peeaaaekety si [anes ora Sabie’ Co. ;
\Odkland, Cal-—Smith Bros. ital ; hice
Bk ‘Omaha, Neb, —Megeath Stationery Co.
Oe Oxford, O OA, Beaugureau’ Seca sin
eens Senet patie st xh

Our New Catalogue of Color Studies

AND REVISED LIST OF DESIGNS

wal BE SENT POST. PAD. ON APPLICA TION.

| KERAMIE STUDIO PUB. 0. Syracuse, N. YY.

Vol. III, No. 9

NEW YORK AND SYRACUSE

January 1902

HE New York Society of Keramic Arts is to be
congratulated upon its successful exhibition.
While we can give no account of it in the
current number, we will have full description
with illustrations in our next. There was a
decided improvement over previous exhibi-
tions, showing stronger and more original work.

There were fewer direct copies of designs, and more original-
ity. The general tone was quiet and restful and very few
florid decorations. The loan exhibition of American Pottery
added interest, and opened the eyes of many, who had no
idea that such artistic products were made here. The Brook-
lyn Exhibition also had this educational feature. These
keramic clubs are working on the right lines, in stirring up the
public to admiration of things that are beautiful and interest-
ing in keramic forms and decoration.

FIRING

F one thing more than another adds to the fascination of
working upon a beautiful Keramic surface, it surely is the
possession of a kiln, which is really the best investment a
decorator can make, if constant work and experimenting are
to be seriously pursued. In these days where gas and kero-
sene are employed as fuel, the remote decorator or student
can work in the wilds and still be independent.

It is the portable kiln that has made good work possible
all over the country, and it has caused a revolution in applied
decoration. The amateur will attempt that which factories of
fifty years experience would tremble to undertake and feel
rather surprised that there should be a slight failure or blem-
ish. All this is commendable, and the results are leading up
to individual styles of decoration, especially in enamel and
lustre effects.

The advantage in owning a kiln is that after becoming
familiar with it one can judge results very nearly accurately,
and can work with a definite plan, knowing just where to place
certain wares that are decorated with this or that particular
color or enamel.

Then again it is an absolute comfort to fire one’s pieces as
many times as is necessary or is desired, without the trouble
and expense of taking the piece elsewhere, where perhaps the
firer is not much interested, or where he or she will place it in
the fire, regardless of the particular handling it requires, think-
ing only of getting as many things as possible into a kiln.

There are certain standard colors, if additional flux has not
been added, that are better in the hottest place, (we mean the
La Croix and Meissen colors) therefore from experience we
find that all blues and violets are better fired strong. One
must become familiar with the violet tones and add more or
less blue to counteract the strong tone of pink in them which
is sometimes objectionable.

Deep Blue Green is a transparent color and requires a
hard fire. Paste will standa hard fire if properly mixed, and

it is often necessary to give it such when the colors need heat,
but it is better to plan the work so that the paste may come
ina medium heat. A good preparation of gold will remain
unhurt in a strong fire, unless it should be over a heavy color
or on a soft ware, which will invariably absorb it.

The reason so many decorated pieces look soiled and

dingy after standing a few weeks, is that the colors have not

been fired hard enough, not forming a perfect union with the
glaze, which accumulates the dust, requiring a hard scrubbing
every little while. The iron reds willnot stand too harda fire
nor too frequent firing, neither will the. pinks. Greens are
usually safe anywhere, except when too much yellow is used,
and then the yellow absorbs the greens.
color to use with greens, and silver yellow with the reds.

One must understand thoroughly the difference in enam-
els, whether hard or soft, before perfect results will be ob-
tained in firing.

If it is necessary to give a hard fire to a piece that must
have enamel on it, in that same fire, then be sure to have the
enamel mixed harder, using much less flux in it.

A kiln will help one to understand the chemistry of colors
more quickly than by anything else, and we suggest to teachers
that they give a course of lessons in firing, as many do.

It is a good plan to keep a record of experiments, noth-
ing is too trivial for the great potters to note, and it would be
well to follow their excellent example.

English china which is in great demand can be beautifully
fired in our portable kilns, but no stilt must touch it, as it is
very easily marred, just as the belleek.

Besides the comfort and aid that a kiln is, the expense of
possessing and running it can be defrayed by firing for others.

Mixing yellow is the

In the article which appeared in the last Keramic Studio,
on the note of the Summer School at Alfred, I stated that
it was the first American School of Keramics. I intended to
say that it was the first American State School to deal with
the art side of Keramics. The first State university to afford
instruction in Keramics was that of Ohio, but as I understand
it the art side is not considered there. To my knowledge

the Sophie Newcomb Memorial College was the first school
other than a State school, to deal with the subject from
MARSHAL FRy,

the artist’s standpoint.

188 RERAMIC STUDIO

PLATE DESIGN—ANNA B, LEONARD

HIs plate is divided into twelve sections. (The quickest
way to reach the correct spacing is by using the plate
divider published in the KERAMIC STUDIO.) Draw the bands
or circles next, either by using the wheel or by using Mr.
Hasburg’s clever little device for drawing circles on plates or
vases. Tinting the bands is the next step. These may be
in a rich green, or a turquoise blue. The original plate is
tinted turquoise blue, obtained by using Night Green two-
thirds, and Deep Blue Green one-third (add flux to this mix-

ture, about one-sixth.) After drying thoroughly wipe out any
of the design that is in the bands, either for paste or for color
and fire quite hard.

The blue should come from the kiln a deep rich color
with brilliant glaze.

Next draw in the design in each section which is very
quickly done by using tracing paper.

For the first firing of the roses use Carmine No, 3 very
delicately, just barely enough to keep the drawing, use Apple

RERAMIC STUDIO

Green and Mixing Yellow for the leaves with an occasional
touch of Brown Green, the stems are painted a little stronger,
so that the lines of decoration, which they make are rather
pronounced, distributing and balancing the spots of color and
making the proper proportion of dark and light with refer-
ence to the background and the design.

Then model the roses in the outer band and the inter-
twining stems with paste (mixed with a very little Dresden
thick oil and thinned with common Oil of Lavender.)

The modeling of the high lights on the roses should be

sharp, but not raised too high, as that will give a cheap ap-

pearance to the plate; the little stems are perfectly smooth
to the touch, although they are irregular with thorns. Great
care must be exercised in making the fine beading or paste
dots that edge the blue bands, and they must be absolutely
smooth to the touch after the fire. Raise them only slightly,
as they look higher under gold (which reflects the light) than
as dull paste. The tiny roses in the small medallions are
_ treated the same as the larger ones, with Carmine No. 3.

189

For the last fire, the roses are strengthened in the shadows
with the same Carmine No. 3, but the washes in the original
plate are rather flat, as there is a delicate outline both
on the roses and leaves, which gives a more conventional
appearance.

The outline is Pompadour Red with a touch of black, and
is used very delicately indeed. For the enamel in the settings,
use Aufsetzweis two-thirds, and Best English Enamel, one-
third, colored only very slightly with Carmine No. 3.

CUP AND SAUCER DESIGN
C. Babcock

IMS, handle, legs and medallions in gold. Medallions can
be omitted if desired, otherwise the design upon them
should be carried out in enamel to harmonize with balance of

design. Flowers in violet and leaves ina green gray. The

entire design outlined in brown.

C.,BASCOCI<T

190

RERAMIC STUDIO

ROBLIN WARE
Of Mrs. Linna Trelan

HE clay deposits of the State of California are marvelous
ci in their magnitude and variety, and only the lamentable
lack of enterprise, the prejudice against all industry has left
undeveloped what should, years ago, have become a generous
revenue to the state.

The material of which the Roblin Ware is composed is
absolutely Californian. The glazes also are entirely native
material. The fuel used is coke with a little coal.

Mrs. Irelan’s work, designs and application of idea, is
entirely her own.
works, no set pattern to guide her, just the shape of clay, as
it comes from the Master-Thrower’s wheel. Mr. Alexander
William Robertson and Mrs. Irelan work in harmony. He
uses his wonderful skill on the old “string wheel” to create
the shapes which delight all who see them. He isthe Master
Thrower and particularly excels in the pure classic, especially
Grecian forms, which Mrs. Irelan rarely decorates unless it be
to carve or engrave a suitable design.

She models from nature, creating as she

Frequently she directs
the throwing to get some particular forms which she desires
for some fancies for modeling. Usually she touches these up
in some way or other, pinching and coaxing the tractable clay
to suit herself. Her particular aim is to have original ware
and she follows her love for nature and its handiwork as she
has always done before she “took to clay.” The dainty
lichens, mushrooms and toad-stools, the graceful lizards, the
wide-eyed frogs, etc., have the greatest charm for her, and it
is particularly the fungi in their quaintness which have, so to
say, taken the public by storm. She uses zo moulds, just a

few simple wooden tools, a bit of sponge and her hands and
finger-tips, arranging the modeled bits as simply as she can,
keeping within the lines of her model’s habits. To retain the
delicacy of the moulding as much as possible she leaves her
pieces in the bisque, although, to allow for difference in taste,
she glazes many pieces.

She has also done a good deal of slip-painting with
splendid results.

The name “ Roblin”’ is a compound, the first syllable of
Mr. Robertson’s (brother of Hugh), and the first syllable of
Mrs. Irelan’s Christian name.

Ig!

HERAMIC STUDIO

:
B
Z,
a
O
a

192 HERAMIC STUDIO

\ t
\
‘ Cabsmbrne.

RERAMIC STUDIO

COLUMBINE
TES Fa : Adelaide Alsop-Robincau
Spay ( HE Columbine is found in the cultivated
jf tS 3 ‘ .
yy a x Fy form, pink, yellow, white and purple; in
ASSES the wild state, it is red shading into a rich

YSe@) 4 yellow at the openings of the cornuco-

2 pias. This variety in coloring, the grace-
ful stems and varied forms of leaf, bud and flower, give the
artist ample scope for designing, especially since in strict con-
ventionalization one is not confined to the natural tints, but
can use any scheme of coloring desired. In the colored plate,
the reproduction has been rather too strong in tone to be very
pleasing, but for a table service the colors used are really
attractive—yellow, yellow brown and brown lustre outlined in
gold, dark brown or black. Any other color effect can be
easily applied making three tones, say of a tender green—or
delft blue or combinations of color can be used, such as violet
or blue and green; red, cream and brown; pink and grey; or

turquoise and grey being sure to usea harmonizing grey. With
pink there might be two shades of grey, one on the green, one
on the violet tone, with turquoise, a greenish grey or fawn color.

For the cup and saucer in blue and green use rather a
violet tone of blue and a bluish tone of green; for the other
color combination, use brown and a pink violet. This design
as well as that in red or brown and green, is simple and easily
adapted to any shape.
fast or tea sets.

They are especially suitable for break-

In order to illustrate the adaptation of a design to various
shapes we have here a border fitted to five pieces of a tea set.
The border is appropriate for a punch, berry or salad bowl,
and can be treated in any desired color scheme, making always
the little border at the top something of acontrast. It would
be better if the little design ran in the opposite direction to
balance the movement of the main design.

Make a tracing of the main ornament, reversing it to make
the panel for the teapot; let the leaves in center overlap as far

RERAMIC STUDIO

eae oak ye ln nip ant
leeds eed

é 070 0 g
Ss 1s 4 a as Wh A. J) f\ 5 J <
Ea a Oe eines

ad
y ; AN} lh Y

VA
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vy ~ aay Z
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RERAMIC

iG,

as necessary to fit the space—possibly this will leave but one
cluster of leaves. On the sugar it may be necessary to omit
leaves altogether, or, as on the creamer, omit the lowest flower
and use the cluster of leaves for a terminal. On the cup and
saucer it will be necessary to simplify the panel still further so
that it will come gracefully to the center, and for the plate
the extra curve with bud must be omitted so that the design
will remain on the border. Thus you can see that even the
most elaborate ornament can be made to fit all shapes by re-
moving a portion here or there to make the design fit the de-
sired space Of course, in making a set from this design, it
would be advisable to use on all pieces the same little or sub-
ordinate border. This has been purposely varied on the dif-
ferent pieces to give opportunity for choice. The interior of
the panel can be tinted of a harmonizing or contrasting tone,
made solid gold or fine flat gold, or enamel dots.
gestions of color schemes might be useful:

1. Ground, cream; panels, yellow brown; stems and
leaves, pale green or brown; flower, Yellow; outline in green,

A few sug-

STUDIO 195
brown or gold; band in gold with design in black.
2. Ground, white; leaves and stems in pale green;

flowers in dull blue, or a pinkish, bluish or grey violet; out-
line in dull blue, green or brown; small band with design
color of flowers on a green ground or vice versa.

3. Design in two shades of gold on cream or white or
tinted ground; outline, black; small border in flat enamels on
a gold ground with black outlines.

4. White ground; panels, in pearl grey; flowers, Pink;
leaves and stems, grey greens for Celadon or pale brown;
outline in grey green for leaves, Brown for flowers; small bor-
der, gold and enamels ona pink ground. A pinkish violet, a
buff or pale blue or yellow could be substituted for the pink.

The simple cup and saucer design made of leaf and stem
repeated can be carried out in any monochrome with outline.
This should be of use to the beginner. For one trying to de-
sign the most useful practice is to combine the various small
parts of the flower to make designs, without trying to use the
whole flower. Many of the best results are obtained this way.

RERAMIC STUDIO

MEETING OF THE LEAGUE ADVISORY BOARD
ADVISORY BOARD.
President, Mrs. L. Vance-Phillips, - 115 E. 23d street, New York.
Vice-President, Miss Sophie G. Keenan,
5,050 Hays street, E. E. Pittsburg, Pa.
Recording Secretary, Mrs. Evelyn S. De Witt, :
47 W. 16th street, New York.
Recording Secretary, Miss Myra Boyd.
Penn avenue, E. E. Pittsburg, Pa.
Secretary to President, Mrs. Caroline B. Doremus,
231 West avenue, Bridgeport, Conn.
Treasurer, Miss M. H. E. Montfort, - 142 West 125th street, New York.
Board Member from Boston, Caroline L. Swift,
144 Ruthven street, Roxbury, Mass.
Member from Chicago (not elected).
Board Member from Denver, Mrs. E. L. Hubbert, — -
Board Member from Detroit, Mary Chase Perry, - 44 Gratiot avenue.
Board Member from Jersey City, Mrs. James Erwin, 91 Clifton place.
Board Member from San Francisco, Katherine Corbell Church,
119 E. 28th street, New York.
Chairman of Educational Commitee, Miss Ida A. Johnson,
93 St. James place, Brooklyn, N. Y.

1241 Ogden street.

The first meeting of League’s Advisory Board was held
December 1oth at the home of the President. All the clubs
were represented except Chicago and Denver.

The most important subject to come before the Board
was that of League study for the coming year. Miss Ida
Johnson, Chairman of Educational Committee, had devoted
much time and serious thought to planning a course of study
which would interest and include all workers in keramics. Six
courses were presented, from which three were selected, the
Board being influenced by the feeling of the various League
club presidents, who had written their ideas on the subject.
These letters were read to the Board, thus bringing all League
workers in touch.

EXTRACTS FROM CLUB LETTERS.

“Tt would seem that we could take any flower, petal, stem or leaf
and make designs equal to the same done long ago by the different nations
which haye left us their ideas of ornament, now called Historic. Why
should not the designers of the twentieth century accomplish something
which in the fortieth century will be historic? * * * Our libraries are
full of books on design, easily obtained, so that the skill in reproducing
such designs or even altering them to fit the object decorated is too slight
to be worth a prize. * * * I would also say that unless the pieces
presented for medals were well up to a high standard in design, color, and
execution, no medal should be given, not that the best be chosen where
all are bad.”’

“TY would prefer that this year the bronze medal be given to one of
the two popular classes of last,—either conventional design {or flower
design, original, of course, and executed on china. * * # If the goy-
ernment table service is still open or will be reopened that might very
properly be given either second or third medal, the other going to
miniatures from life.”

““T would suggest reyersing the order in which awards are usually
given and put for the bronze medal ‘ Originality of Design.’ For the
silver, ‘ Excellence of workmanship and harmony of color.’ For the gold
medal combine the two, thus making the piece original, excellent in
workmanship and harmonious in color.”’

*‘T believe all the work presented should be strictly original. and that
the medals should be arranged for the best figure work, for conventional
design and for naturalistic (so called) work.”’

““We should really have three first prizes, one for each department
not making any one style of work (no matter how superior) secondary to
another entirely different and at the same time truly artistic. * * * If
the gold medal were awarded on the decoration of some given form, say a
new shape of vase, it would make judgment of results much easier. A
new form would mean, at least, entirely original application. * * * I
shall await with much interest the result of plans, for I know you have a
difficult duty to perform.”

After the reading of these interesting letters Miss John-

son said:
“The National League of Mineral Painters, with a generous measure
of committees, has one whose duties seem difficult to define, and that is

HRERAMIC STUDIO

the Educational Committee. Hach succeeding committee finds it a
puzzling problem to know in just what paths the ways to knowledge will
prove pleasant.

The matter is simplified this year by the introduction of the medal
competition, which it is hoped will prove attractive and interest a large
number of workers.

As that will appeal to individuals rather than clubs, it seems well
that the plans propounded last year by Miss Keenan should again be

brought forward, for they stand for the general uplifting of the club and

its standards. (See KERAMIC STuDIO, December, 19006).

Two important points condensed are as follows:
given subject, and to exchange work and criticisms.

Each club to have a section, owning and working a potter’s wheel,
and exchanging with other clubs the results of their experiments and ex-
periences. The keynote to all plans must be the intercommunication of
clubs, thereby making possible comparative study, without which progress
is slow.

As the formation of the club gave the individual opportunity to
broaden his horizon, so the League should enable the clubs to see largely
and comprehensively by placing before them frequent examples and judi-
cious criticisms.

Clubs to paint a

The League’s medals for the years 1901-1902 will be
awarded in May, 1902, to the following classes of keramic
work:

GoLD—The best original decoration applied to a vase,
not to exceed 15 inches in height. The following points will
be considered: Design; suitability and adaptation of the
design to the chosen form;
technical execution. The highest score for each point is 10.

SILVER—The best portrait head, size not limited. The
points to be considered are: Drawing; color; the technical
execution.

BRONZE—TABLE-WARE: Plates for any service.
plate or the entire service may be offered.

drawing; color scheme; the

One
The points to be

197

considered Design; adaptation; drawing; color
scheme; the technical execution. First and second honor-
able mentions will be made in each class.

Partial report of Miss M. H. E. Montfort, Chairman of
Pan-American Exhibit at Buffalo:

Ten clubs and fourteen individual members entered work for exhi-
bition. Four hundred and eighty-sevyen pieces were shown by one hun-
dred and twenty-two members,

One wall space and thirteen show-cases were used in arranging the
display. Cotton denim of a cool green shade was used as a wall covering
and also for hangings and seat coverings. The floor was covered with
grass matting of the same shale.

The booth was completed among the first in the building and seemed
satisfactory until the Singer Sewing Machine people and the National Arts
Club of New York, arrived and were allowed by the managers of the
Manufacturers and Liberal Arts Building to erect booths not only entirely
different from other booths and from the specifications, but much higher,
and in consequence the N. L. M. P. was effectually shut out of the Inner
Court. The position now seemed, instead of being in the ‘‘ Inner Court’’
to be just back of it and reaching through rather small aisles.

Had the League occupied the same relative position as any one of the
other three corners of the court the location would have been good, as all
other booths were low and open according to specification. The some-
what undesirable location was therefore a matter of misfortune rather
than of bad management.

Later in the season the attention of Director General Buchanan was
called to this obscure position, badly lighted by being in the shadow of the
adjoining structures. He recognized the disadvantage, and with great
consideration requested the treasurer to cut down our bill for space. This
recommendation was so generous a one that it enabled the League to come
through the exhibition with funds in the treasury, while if the manage-
ment had held the League to its contract there would have been a consid-
erable deficit. Therefore, all considered there is nothing to regret.

The sales amounted to over eight hundred dollars. The League made
many friends and increased its membership.

Reported by Mrs. L. VANCE PHILLIPS, Preszdent.

ane.

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DESIGN OF CONVENTIONAL COLUMBINE—BY M. SHULL

i>
,

* dit

ae .

FRUIT BOWL IN PLUMS

AINT plums in Banding Blue and Ruby Purple with a
little Brunswick Black in the darkest shadows, and on
some of the lighter plums, Yellow Green and Lemon Yellow
with Ruby Purple in darkertones. Turquoise, Yellow, Brown,
Olive and Shading Greens may be used in the leaves, keeping
more to the blue green tones. Add shadows in Grey Greens.
In the second fire, lay on background shading from blue
green and greys to brown green, blending into browns at the
base. In this, Turquoise Green, Ivory Yellow, Ruby Purple,
Yellow Green, Yellow Brown and Chestnut Brown may be i
used. f
In the third fire, strengthen the whole design, observing
strong light and shade; add shadows and darken the back-
ground. Let stand till almost dry, then dust with powder
colors in same mixtures as used in painting, throwing under
the color some of the lower leaves and plums.

200

The ninth annual exhibition of the Min-
eral Art League of Boston, which closed on
Saturday, December 7th, received much favor-
able comment from both press and patrons. The china was
arranged by the exhibitors, but under the supervision of the

[FAGUE
NOTES

committee, and the general effect carefully considered.

The exhibition opened with a private view for press and
profession, on Monday afternoon, which was well attended,
and the reception from eight until ten in the evening to the
patronesses and friends, was a brilliant success socially. Of
the exhibition a prominent Boston daily says: “The league
has made great progress in the relatively short time it has
been in existence, and at no time since 1892 has it shown such
an artistic collection of decorated china as that which is now
on view.

The object, the improvement of the members in the art
of mineral painting, has certainly been in a great measure at-
yeranotiershy “SE SPY
originality, and in no direction is the progress more encour-
aging than in that which is marked by a due observance of
the adaptability of the decorative design to the shape and
scale of the object decorated.”

The exhibitors included all but three members of the
league.

There is a distinct growth of taste and

@
CLUB The Brooklyn Society of Mineral Painters
NOTES held its November meeting at the residence of

Mrs. F. G. Mintram, on Wednesday of last
week, The subject for papers and discussion was, ‘“* How Can
We Make Our China Exhibitions More Interesting and Valu-

Sark
CEG ESS 98
oes
IOI) Soy

i Sel

- AN

RERAMIC STUDIO

able?’ Miss Alice P. Anderson had an excellent paper on this
subject—and one on the same subject, by Marshal Fry, was
read by Miss Miller.

Miss Helen E. Montfort, who has been in charge of the
league exhibit this summer in Buffalo, sent in an able paper
in which she urged china painters to send such pieces to exhi-
bitions as should represent them individually.

Miss Ida Johnson has been made chairman of the educa-
tional committee of the National League of Mineral Painters,
with which the Brooklyn Society is connected.

Mrs. L. Vance Phillips, president of the National League,
was one of the guests at this meeting. During the intermis-
sion a Scotch ballad was sung by Mrs. Marshall and light re-
freshments were served. A large attendance, the excellent
papers, and important business discussions, made this a very
interesting meeting.

The annual exhibition of the society will be held Decem-
ber 3rd and 4th at the Pouch mansion, 345 Clinton avenue.

An exhibition of posters suitable to be used at its annual
exhibition was one of the features of the November meeting
of the ‘‘ Mineral Art League of Boston,” the officers having
previously offered to purchase the poster receiving the highest
number of votes of members present. Miss Helen McKay
was the fortunate exhibitor. The poster is refined in design
and beautifully executed,

°
[N THE Mrs. Mary Alley Neal gave an exhibition
STUDIOS of water colors and decorated porcelain dur-

ing December in the gallery of Goldberg’s
Art Store.

Mrs. E. Lannitz Raymond gave a recep-
tion December 18th at her studio in East
Orange.

Miss Katherin Livermore now has a stu-
dio for porcelain decoration and fire etching
at 1010 Chapel street, New Haven, Conn.

The Cincinnati Art Club exhibited during
December at its club rooms, 126 East Fourth
street.

Miss M. Helen E. Montfort held a suc-
cessful Christmas sale in her studio, 142 W.
125th street, from December 16 to 21. On

January Ist, she will remove her studio to 307
Lenox avenue, New York.

The epitaph on Archbishop Potter’s grave-
stone runs thus:

“ Alack! and well a day!
Potter himself is turned to clay.”

TOBACCO JAR
Mrs. A. Frazee.
Outline the whole design Red—Capucine,
deep Red Brown, touch of Flux. Flowers and
leaves, white enamel, %4 relief White, 1% H.
W. Enamel. Band and top of jar Gold. White
back-ground with circles of Red.

JANUARY, 1902.

SUPPLEMENT TO
KERAMIC STUDIC.

OSGOOD ART COLORTYPE CO., N. ¥.

COLOMBINE—Mrs. ALSOP-ROBINEAU

CopyrRicuT, 1902,
KERAMIC STUDIO PUBLISHING CO,,
SYRACUSH, N.Y.

RERAMIC STUDIO

20 T

WITCH HAZEL PLATE—J. E. HANSON

ATURE seemed ready for Winter when this curious flower
bloomed on Oct. 18 and sent its little yellow ribbons

to catch the breeze and sunshine. In the heated house the
sudden expansion caused the seeds to fly from their cells and
click against the window some feet away, and startled the
inmates who thought some one outside was throwing pebbles,
Color flowers a clear, pure yellow with touch of Brown

Green No. 6 and Yellow Brown in shadow. The tiny leaf
form at base of flower light green, all the rest to be stem
color, using Warm Gray, Brown No. 4, bit of Blue and Black
in darkest accents only. A few warm touches of Ochre in
seed pods in addition to other colors mentioned. The frag-
ments of leaves remaining range from warm yellow browns to
a frost killed brown.

PINEAPPLE BORDER—J, E. HANSON

202

LETTER FROM AN EX-SUBSCRIBER.

We editors enjoy the frank expression of opinion from sub-

scribers to Keramic Studio, whether favorable or other-
wise. Occasionally a letter is received which touches their
sense of humor. The following note we consider a gem of
its kind, and the temptation to publish it is too great to
resist.

“ Keramic Studio Pub. Co., Syracuse.

“T do not care to renew my subscription to Keramic
Studio as I found it of very little use in an artistic way, the
conventional designs in many cases being far from attractive,
and too much detail given to dissecting orchids, etc. This is
as I see it after twenty years experience in art work. Others

RERAMIC STUDIO

may think otherwise. Think it best to give a reason why.

“ Respectfully yours Mrs. G. M. W.”

¥ ¥
FIRST AMERICAN POTTERY

pe the State records it appears that Dr. Daniel Coxe,

of London, proprietor and afterward Governor of West
Jersey, was undoubtedly the first manufacturer of white ware
on this side of the Atlantic. He did not make his residence
in this country, but, through his agent, John Tatham, caused
a pottery to be erected at Burlington, N. J., in the year 1680.
Later his son, Daniel Coxe, took charge of his father’s inter-
ests in America and effected a sale of them to the West Jersey
Society of London, in 1691, for the sum of 49,000. The
transfer enumerates ‘‘a pottery and tools, complete.”

TREATMENT OF BEGONIA—ALICE B, HOLBROOK

HE little blossoms are of two kinds, staminate and pistil-
i late, and are quite different in shape. The staminate
flowers are heart-shaped in the bud, and have four petals, two
large ones enclosing two smaller ones. The pistillate flower
is often irregular in form, having five or six petals of varying
size, borne on the end of the three-angled ovary, and the pistil
resembles three tiny curling bits of yellow chenille.

The waxy flowers are pink, very deep on the outside, and
more delicate in the wide open flowers. The leaves area rich

glossy green with deep red veins. All the stems are a rich
red. Use Rose for the flowers, Lemon Yellow shaded with
Yellow Brown in centres, Lay in leaves with Apple and
Moss Greens, with a little Russian Green for the bluish lights,
shading with Olive Brown and Shading Greens. The veins
and stems are Ruby with a little Blood Red mixed with it.
For the background use delicate washes of Apple and
Russian Greens, deepening into Royal Green under the flowers
and Brown Green and Meissen Brown in the deepest shadings.

RERAMIC STUDIO 203

Matilda Middleton Mary A. Phillips Helen Topping Mrs. F. M. Sessions Mabel C. Dibble Mrs, J. E. Zeublin Mrs. A. A. Frazee
ATLAN CLUB EXHIBIT club has yet made—each year showing more originality and

exquisite coloring, the workmanship on many pieces being

HE Atlan Ceramic Art Club opened its Ninth Annual eae
beyond criticism.

Exhibition with an afternoon reception at the Art
Institute, the exhibit to remain open to the public for two A number of experiments were made on the biscuit with
weeks. Only the work of the year was on exhibition, asa good results, and several members decorated the white, green
strict rule of this club is to never exhibit any of their work and soft yellow Chinese ware with most charming effects.
twice at the Art Institute. There were 16 exhibitors, and 137 pieces of china listed

The general verdict is that this is the best exhibition the in the catalogue.

Vase Salad Bowl Chop Plate Jardiniere
Mary A. Phillips Grace H. Peck Lillie E. Cole Mrs. Frazee Tea Caddy Plaque Jardiniere Chop Plate
Matilda Middleton Mahel C. Dibble Mrs. KE. L. Humphrey Mrs, J. B. McCrystal

Pitcher Small Vase Covered Vase Tea Caddy Cup and Saucer Chocolate Pot Hot Water Pot Pitcher
Mrs. F. M. Sessions Mrs, lL. T, Steward Mrs. J. E. Zeublin Helen M, Topping Mary E, Alden Mrs. A, A, Frazee Mrs. A. Barothy Eva E. Adams

THE COLLECTOR

SOME CERAMIC PUZZLES
Edwin A. Barber

OLLECTORS occasionally meet with views on dark blue

Staffordshire ware which are puzzling because of a lack
A plate of
this character, believed to belong to a series of American
views, has lately turned up. The border is the rose and
scroll device of A. Stevenson, and on the back is printed the
name of W. G. Wall, Esq., who was the artist that furnished
so many American designs for Stevenson. The view shows
an extensive building resembling a fort or castle, perched on
a bluff. In the foreground are hay makers and cattle grazing.
Mr. Wall came to New York from Ireland about the year
1819, which is said to be the date of the closing of the
not known that he furnished
landscapes for Stevenson previous to his arrival in this coun-
try. Several of these plates have been found, but whether
the design is American or Irish, no collector has been able to
determine. Can any of the readers of this magazine identify
the view, which is here shown ?

of titles, or other omissions in the printed marks.

Stevenson works. It is

Another interesting plate is here figured. It isa dark
blue view bearing on its back the impressed mark of WOOD.
The border is different from any known American views by
the same maker, yet this plate is said to be one of three, two
of which bear the title, “ Franklin's Birthplace.” Is it in-

RERAMIC STUDIO

tended to represent the early home of Benjamin Franklin in
Boston, or is it a foreign view?

OoOoO°0
ERIE CANAL PLATES,

Y courtesy of Mrs. Fred. Yates of Rochester, N. Y., and
B Mr. B, M. Martin of Syracuse, we are able to give in
this number some very interesting illustrations of Erie Canal
pieces with medallion heads. We have already reproduced on
cover of our October number a fine Park Theater plate with
heads of Washington, Lafayette, Jefferson and Clinton, from
Mr. Martin’s collection.

These medallion pieces are among the rarest and most
valuable specimens of historical dark blue Staffordshire. - AL:
though the various plates, platters and pitchers made in com-
memoration of the completion of the Erie Canal on October
26th, 1825, are well known to most collectors, it may be in-
teresting to some of our readers to have a revised list of these
pieces, especially to those who do not possess the valuable
book of Mr. Halsey on dark blue Staffordshire. A list, per-
haps more complete than ours, will undoubtedly be found in
the second edition of Mr. Barber’s Anglo-American Pottery.

WINDSOR CASTLE PLATTER—In the collection of Mrs. Fred Yates.

INSCRIPTION PLATES.

Eulogy of De Witt Clinton—Found on plates of differ-
ent sizes and on pitchers. There are two varieties of inscrip-
tion, one saying ‘“‘De Witt Clinton, Governor of the State,”
the other ‘ De Witt Clinton, the late Governor of the State.”

Utica Inscription—In commemoration of the opening of
the section of the canal extending from Rochester to Utica.
This inscription is found only on a 7% inch plate, which is

_rarer than the Clinton inscription plates, also on pitchers, as

pitchers bear both inscriptions, one on each side.
ENOCH WOOD SERIES.

Three interesting plates are found with views of the Canal,

25 follows:

Entrance of the Erie Canal into the Hudson at Albany
on 10-inch plates.

View of the Aqueduct Bridge at Little Falls, on to-inch
soup and 7%-inch plates.

View of the Aqueduct Bridge at Rochester, on 7% inch
plates.

These plates are rarer than the inscription series. They
are never marked, but Mr, Halsey has found a wash bow! with

RERAMIC STUDIO

NIAGARA PLATE—In the collection of Mr, B. M. Martin.

the Albany view and border, and the faint impressed mark of
E. Wood & Sons. The border is flowers and has not been
used by Wood on any other plates that we know of.

MEDALLION SERIES.
This is the most valuable of all. Plates of this series

have on top sometimes the four heads of Washington, Lafay-
ette, Jefferson and Clinton, sometimes only two heads or one.

ST. PAUL'S CHAPEL PLATHE—In the collection of Mrs. Fred Yates.

At the bottom are small size views of the Entrance at Albany,
or of the Rochester or Little Falls aqueduct bridges. Some-
times the heads are of large size, as in the Niagara plate illus-
trated here, sometimes of smaller size. They are found on

205

many different views, and it seems that with such a variety in
the central design, the views of the Canal and the arrange-
ment of the medallions, they ought to be common. But they
were probably made in a very limited quantity, each piece
requiring so many successive printings that it prevented their
manufacture on a large scale.

These medallions are found on plates, platters and pitch-
ers with three different borders, all attributed by Mr. Halsey
to Ralph Stevenson, as follows:

Vine Leaf Lordey—Capitol at Washington; Massachusetts
Hospital.

Flower Border (marked ‘A, Stevenson” and commonly
used on English views.)—Niagara plate; medallion pitcher.

MEDALLION PITCHER—In the collection of Mr. B. M. Martin.

This pitcher illustrated here is extremely rare. Besides the
original of our illustration, we know only of another one in
the collection of Mrs J. B. Neal, Easton, Pa. Mr. Martin’s
pitcher is 7 inches high and measures 23 inches around the
center. Mrs. Neal's pitcher is 6 inches high.

Oak Leaf and Acorn Border —American views: Park
Theater, New York; City Hotel, New York; St. Paul’s

Chapel, New York; Columbia College. English views: Wind-
sor Castle, Faulkbourne Hall, and a platter which Mr. Halsey
describes as showing a long house on top of a wooded hill,
evidently Kenmount House.

[Lack of space prevents us from giving the article in full.
It will be found complete in Old China, also the continuation
of article on English views, and list of china for sale.—ED.]

MEDALLION PITCHER—IN THE COLLECTION OF MR. B. M. MARTIN.

206 RERAMIC STUDIO
PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Livermore, 1010 Chapel St., New Haven, Ct., who has charge of this department
and will answer inquiries in the Magazine.

Katherin Livermore

fie the request of a subscriber we submit these designs for a frame for her fruit study. The pome-

granate is the motif used in a strictly conventional and semi-conventional way. If a dark
effect is desired and the conventional border used, outline the design and put in any dark back-
ground desired, then shade the ornament slightly putting in each little black seed with one sweep
of the point; if a light frame is required reverse the treatment.

For the semi-conventional border, outline and stipple in the background with the sharp end of
the point, then shade design slightly.

It is always a better plan to burn the background of any design before any shading of the orna-
ment is attempted, otherwise one is apt to lose the values and the whole thing is flat and uninter-
esting.

200
JACK SPRAT DESIGN—JANET PULSIFER

HE design may be carried out in outline on wood or leather, finishing entirely with the point, or
al it may be afterwards stained; leaving the flesh in the natural wood color and using dull
tones of red, green and blue for the various articles of clothing. Keep the background, table, &c.,
in brown. This is a good suggestion for nursery panels, juvenile book covers, etc.

LEATHER—MAUDE CRIGLER-ANDERSON

a/ }
ts
“ee
Q
o the Pyrographer, leather affords a wide field for decoration, from the modest little pen wiper
7 to pretentious hangings, wall and furniture coverings. It can be burned, stained, carved,
painted, appliqued, perforated, illuminated, stenciled, varnished, and what not?
To the woman who must earn her living by fashioning small novelties, it will bring no mean

income. To the artistic decorator of interiors it affords endless variety in design, execution and col-

/ oring. Leather comes in embossed, smooth and ornamental finish, ranging in color from white, cream,

gray, pink, blue and lavender to deepest tones of red, brown, green, blue and black. Either side can
be used, however, the smooth side is better for lustres, stains and glazes, or in designs for plain
burning when sharp, clear lines are required. Chamois skin lends itself admirably to plain burning
and the most beautiful and varied tones of brown may be obtained in shading by regulating the
pressure on the point. It can also be dyed any tint by dipping in gasoline to which has been added
any of the ¢ransparent oil painting colors. Stretch it securely on a board until thoroughly dry.
This process will not prove successful on a skin marred by little knots or the hard, smooth spots fre-
quently found upon it.
: SELECTION AND PREPARATION OF LEATHER.
Select a piece of uniform thickness a trifle larger than desired. Stretch it tightly on a board and
secure with thumb tacks. Remove all traces of soil with kneaded rubber. Transfer design with car-
\ bon paper and sharp-pointed agate tracer. Carbon paper is less apt to soil than impression paper,
oe

and the agate will produce sharper, clearer lines than acommon pencil. If the design ts large or re-

TAVASLUEN Laldeat Cae Mis |
WINE Mula eal rw \e Qa = See wi Game

r°rpass between thet both

The. laeke

Rlavver cleawe!_

208

quires much handling, follow the transferred lines with pen
and India Ink in fine dotted lines, and remove carbon lines
with kneaded rubber. If preferred the tinfoil stencil may
be used, brushing over with powdered charcoal to stamp
design, then follow with dotted lines in ink, and brush off re-
maining charcoal lines.

SELECTION OF POINTS AND THEIR TREATMENT.

A good selection of points is an economy in the end, en-
abling one to secure desired effects with an ease impossible to
one struggling with a few points. The curved and round

points in general use for wood, are also the two most used in
leather. Use the round point for broad, flat outlines, dots,
etc.—the curved point for sharp or deep cut lines, also for
shading, by using the point flat.

For etching or the fine lines of monograms, best results
are obtained with a slim, sharp point, shaped like a tiny pen-
cil. One can write upon leather with this. Another needle
desirable for shading small spaces is flat at the end and about
the sixteenth of an inch wide. There are also many shapes in
removable platinum burners with a special holder. These
burn circles, squares, and many other designs which are very
effective in back-grounds and borders.

In burning leather or wood containing moisture, tannin
or rosin a roughness forms on points which should be removed,
after point is cool, with pumice or hard rubber. Cleaning
points with emery gives a grain to accumulate more rough-
ness, and acid will injure the thin sheath of platinum.

BRUSHES.

For lustres, gold, silver and glazes, a small and medium
pointed red sable brush. A smalland medium flat red sable
brush one-half inch wide for glazing broad surface.

For stains, three flat camel hair brushes one-eighth to
one-half inch wide.

[TO BE CONTINUED. |

RERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list. Please
do not send stamped envelopes for reply. The editors can answer questions only
in this column.

Mrs. J. W. S.—The only way to get a dark rich effect by dusting powder
color over half dry painting is to make the painting in the first place as rich
and dark as possible without getting the color too thick. Then dust with
dark rich colors, and repeat this two or three times until the desired effect
is obtained.

The best way to know whether your kiln is sufficiently fired is to paint
a little rose color or carmine on several broken bits and place in yarious
parts of the kiln, ifthe pink comes out well fired, not too purplish, everything
else in that part of the kilnshould be about right color, if brieky it is under-
fired, if very purplish it is overfired for carmine, but will probably be about
right for other colors, as amateur kilns rarely fire too hard, except for car-
mine. A good plan would be to get some pyrometric cones from Prof.
Edward Orton, Jr., of the Ohio State University. They cost a cent apiece.
Set two or three of these on a piece of fire clay where it can he seen from
the peep hole, or if this is impossible you will have to fire and see what the
result is afterward. It would be well to have from cone .010 to cone .08 or
.02, for you would not go higher for overglaze, Then make trial fires till you
can see at what cone your china is properly fired and try to give the same
fire always for the same effects, Never tse two successive numbers in cones
at one time, but skip one, as there are so few degrees between. Say use cone
-07 and .05, .010 is the lowest, .01 the highest, when the cone is bent over
so the tip touches the base, the limit of heat for that cone is reached, put
your sample of carmine near your cone, when you find the carmine fired
right then you will know the right cone to use for firing carmines. If no
carmine is used you can go, say to the next higher cone, and see what
your results will be, If there remains anything unexplained, let us know
and we will do our best to make things clear to you.

M. D.—To use the Bohemian glass jewels on china, a cement for that
purpose is sold or you can use paste for gold or soft enamel, but they must
be fired at little more than glass heat, that is, when the kill is a dull red,
put a dot of the cement, paste or enamel and press the jewel firmly into it,
it is usually best to havea setting already fired and gilded, so that the little
rim of fresh paste which will come out around it will not show. Do not
wipe this rim off as it helps to hold, but when dry cover with gold,

Mrs. P. W. R.—Lustre can not be used over raised paste, but it is
sometimes quite effective over enamels.

Mrs. H. E. B.—If rose color scales off it is usually painted on too thick.
You should paint lightly and fire twice. If you wish to fire at a light tem-
perature you can add flux to your Aufsetzweis in using it as cement.

ESTABLISHED 1789.

rn echay :
ow ey oO»

GoLours.|

COLOURS = Most Permanent,» IN THE MARKET,
“ARE THE 7

FOR SALE BY ALL -
HIGH CLASS ART DEALERS.

IMPORTED BY
| The F. W. Devoe and C. T. Raynolds Co.,
101 Fulton Street, New York.
Favor, Ruhl & Co.,

54 Park Place, New York.
| AND OTHERS.

MARSCHING’S GOLD .-.

Costs more because worth more
than others

It is endorsed by all leading china painters and
by A. Lacroix, of Paris, the famous chemist and
authority on china colors and gold.

It is sold everywhere, because it is in demand
everywhere, Lacroix Colors and Marsching’s

| Gold tor sale by all dealers in Artists’ Materials.

FAVOR, RUHL & CO.
WHOLESALE AGENTS,
| 54 Park Place, New York City.

FEB. MCMIL Price 35c. Yearly Subscription $3.50“

CONTRIBUTORS |

"MRS, MAUDE'CRIGLER ANDERSON

MISS H. BERTHA BONEBRAKE +
MR.F.S. BROWNE 4 # #4 &

| MIR.C BABCOCK » « # # a
“Miss ETHEL PIERCE CLEMENTS

_ MISS MARIAM L. CANDLER #

_ MISS MABEL C, DIBBLE » 2
‘MISS JENNIE E. HANSON»
MISS E, LOUISE JENKINS 2 +
MISS KATHERIN LIVERMORE
NIRS. ANNA B. LEONARD* #

| MISS MARY ALTA MORRIS #

| MRS, MARY. ALLEY NEAL
MISS EMILY F. PEACOCKs 2
_. MRS. ADELAIDE ALSOP-ROBINEAU
Se MISS. A.C. TILDEN # # # &
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[The entire contents of this Magasine are cabered by the general copyright, and the articles must not be reprinted without biebdat penaeiesriet

CONTENTS FOR FEBRUARY, 1902

tied

Sketching in Holland,

Treatment for Roses, (Supplement,)

Tobacco Jar, . |
Conventional Plate Design,
Trumpet Flowers,

Cup and Saucer,
Newcomb Pottery, -
Honey or Marmalade Jar,
Design for Plate,

| Hazel-nuts, ie
Chocolate Pot, :

New York Society of Keramic Arts,
Placque—Fleur de Lis,
Punch Bowl,
Raspberry Plate,
tudio and League Notes,
Design for Hand Glass,

The Collector: A few odd Cups'and Saucers,
Pyrography—Ornamental Fragments,

_ Design for Portfolio,
Answers to Correspondents, —

Egyptian Design for Border,

Some Leading Agencies of Keramic ‘Studio.

We take pleasure in mentioning a few of the leading agencies for the sale of the

KBRAMIC STUDIO, where, also, ‘subseriptions may be placed:

Baltimore, Md.—W,. H. Cullimore, corner Lexington and Park Sts. 4
'Boston—Miss EB. E. Page, 2 Park Square, .

Brooklyn—A.D, Mathews & Sons, Fulton Sorect.

Buffalo—Mrs: Filkins, 609 Main Sirece: }

Chicago—A.C. McClurg & Co., Brentano's; wanley & Co; Thayer & Chandler,

143 Wabash Avenue; A. H. Abbott & Co., 48 Madison Avenue.
Cincinnati—Robert Clarke Co.; Miss M. Owen, 184 West Fourth Street; A. B.
. -Clossou, 4th Street near Race: Traxel & Maas, 4th Street near Elm.

Denver, Colo.—B. Meininger, 807 16th Street. ‘

Detroit; Mich/—L. B. King & Co.

Grand Rapids, Mich.—G. N. Miller & Co. #4):

Indianapolis, Ind.—Keramic Supply, Co., Lemecke Building.

Kansas City, Mo.—Emery, Bird, Thayer Co,

Louisville—Louisyille Book Store.

Milwaukee, Wis.—Des 3, Forges Book Store, corner Wisconsin St. and Broad way

PAGE
Mary Alley Neal, 209
E. Louise Jenkins, 210
C. Babcock, . 210
“Mabel C. Dibble, 211
Mary Alta Morris, ; wey |
Emily F. Peacock, is
| Ciao | 214-205
: Adelaide Alsop-Robineau, 21 5
Anna B. Leonard, | | 216
J. E. Hanson, 217
‘A. C. Tilden, 218
. 219-222
Cora Wright, 223
F, S. Browne, Lae
Mariam L; Candler, 225 |
; on | 226
H. Bertha Bonebrake, 226
| 227-228
Katherin: Livermore, 229
Maude Crigler-Anderson, 230
231
Ethel Pearce-Clements, Fair 2

, 2

hitewewwote’ Minn.—M. Etta Beede.

New York City—Brentano’s, Union Square; M. 7, Wrynne's, 11 E. 20th
St,; The Fry Art Co., 86 W_ 24th St.; Anan esas American News Co

Oakland, Cal.—Smith Bros, |

- Omaha, Neb.--Megeath Stationery Co.

Oxford, O.—A. Beaugureau’s Emporium,
Philadelphia—Wanamaker’s.

» Pittsburg, Pa.—Otto Schaffer & Bro.; Kurtz, Langbein & Swarts,; R. 8.

Davis & Co., 346 Fifth Avenue; John G. Yergan, 36 Fifth Street.

San Francisco—Mrs. M. B, Perley, 219 Post Street,

Sioux City, la.—J. K. Prigh, 312 Nebraska Street.

St-Louis—F. Weber &'Co.; A. S, Aloe & Ca-

St. Paul, Minn.—St. Paul Book and Stationery Co., Fifth and St, Peter Sts.

Syracuse—Wolcott & West; Bailey & Sackett; E.G. Wyckoff Co.; Doxce &
Welch; W. Y. Foote; W. Hi Wood..

Toronto —The Art Metropole.

Vancouver, B. C.—Drainie & Co.

The Magazine may also be ordered, from any neweasdealer in this country, who

can PLOeHTe it Hut ae: the Amenron News hilar gs New York, or its branches: -

NEW YORK AND SYRACUSE

February 1902

HE New York Society is to be congratulated,
not only on its artistic exhibition, but for its
successful management regarding all details.
Of course experience has taught the execu-

tive committee what to avoid; and they,

ae as well as the members, deserve credit for
the financial as well as artistic success of the exhibition.

Owing to the tremendous expense of a New York exhibition,

the New York Society does not always show such a balance.

An experiment was tried with the catalogues this year.

They were gzven away instead of being for sale, as usual.
The Committee met with more success from advertisers in
this way, and the catalogues, after all, netted the society a
balance. Then again, while there was an unlimited supply
of complimentaries, yet there were more tickets of admission
sold than ever before, and while the exhibition drew a fashion-
able crowd, yet the artists and professional people were in
greater numbers than ever, showing a thorough interest taken
by the art-lovers.

oo 0
The design of “ Fruit Bowl in Plums” illustrated in our
January number was by Miss Jeanne M. Stewart, Chicago,

Il]. The artist’s name was inadvertently omitted.
000

SKETCHING IN HOLLAND

[Written for the New York Society.]
Mary Alley Neal

KETCHING in Holland is not unlike sketching in America ;
S there are two very essential things in out door sketching,
one is an angelic disposition, the other plenty of patience.
Here you have many things to contend with, such as too
much mud, or the sun is out when you want it gray, or vice
versa, and mosquitoes and midgets, and no one knows what
these latter are until you meet them while you are sketching;
in Holland, you have added to these the pest of the children,
and the difficulties that arise from not speaking the language,
German is of very little use and only the educated people
speak French. You occasionally meet with English, and the
Dutch language is difficult, but you can readily pick up a
few words and sentences so you can be understood. The
cities I did not find very paintable, The Hague being the
most picturesque. Here you have the beautiful wood, the
trunks of the trees having an intense green, through which runs
the road that Napoleon laid out to the fishing village of
Scheveningen. The most interesting city to paint is Dor-
drecht, Hopkinson Smith’s Dort, which you all know from his
writing and paintings; in all the country around are some of
the oldest wind-mills, some of them built in the fifteenth cen-
tury, and many lovely picture subjects. I found the country
towns more paintable perhaps because I love the green fields
and country scenes. Holland has its drawbacks, one great
one is that it is not considered healthy in some parts. Vol-
endam, one of the most picturesque places in Holland, and to
me, the one having the prettiest costumes, is most unhealthy,
many people having fever there.

I spent nearly a month in the little town of Laren. This
is where Krever and Newhuys have their studios, and where
Mauve found many of his subjects. Some are the same now
and some have changed much by the growth of trees and
shrubs. The country is interesting, it has pine woods, beyond
which are beautiful sand dunes, and in the Fall, heather in
the greatest abundance. It has only one wind-mill.

Everything in Holland is a picture, in America you often
have to hunt your subject. Artists say it is not the subject,
but how you paint it, that makes the picture. But I find that
the people who want to buy, asa rule, look for the subject
rather than thetechnique. There the people with their quaint
costumes, whether it isthe man in his velveteen trousers, blue
shirt and clumpen or wooden shoes, plowing in the field, or
the woman coming down the lane with her milk cans hanging
from a wooden yoke on her shoulders, or the children, all
blend in with the low toned coloring of the landscape.

Each little town in Holland has its own particular cos-
tume and different caps, the unmarried women wear a differ-
ent cap, the still older women wearing the crullers, the richer
they are the more twists they have to them. But these will
soon pass away as my /vaz told me it was impossible to get
the young girls to wear the caps now, they have so many of
the modern ideas. ‘

As it rains in Holland a great deal, it is always well to
have interior subjects on hand, and Laren is noted for its in-
teriors. As many people are doing the same thing you have
to watch your chance to engage the house and models you
want, and the people think nothing of it when you knock at
their doors and in the best Dutch you know, you ask them to
let you look at their interior and ask to see themselves and
what poses they have. If you like it you decide to work one
or two weeks or the length of time you desire, and engage
them, then that interior and the models are yours for the
small amount of one gulden a morning, which is 42 cents of
our money. No one can paint there or use your models
while you are there.

For landscapes, I went to Rizzoord, and staid with the
dearest old Frau, Frau Noorlander, in a little wooden cottage
on the River Naal. As Holland is alow country your horizon
is naturally placed low on your canvas, which gives you a
fine opportunity for the study of clouds and sky: and what
skies they are! always beautiful in effect. It often rains with
the sun out. Having no fences the fields are divided by slotes
about three feet wide and very deep, which the cows never
think of crossing. Here youhave the opportunity of studying
the figure with the landscape, as the men and women work
together in the fields at the time of flax gathering, and haying
and milking time: there also are the beautiful Holstein cows.
The little town is built on the banks of the River Naal and
the low cottages with their thatched roof and the beautiful
tree forms with reflections in the water give many subjects.
Other interesting places are Alkamaar, with its cheese market
on Fridays, people coming with thousands of cheeses to

210

the market place to sell them and have them weighed;
Jaandam, where there are many windmills, of every shape: it
is called the forest of windmills, and Katnyk, a fishing village
near Leyden, very much like Scheveningen, only more quiet.
Here in September you have ample opportunity to study the
people: when the fishing boats come in the women all come to
the beach with their baskets. There are many beautiful canal
trips all through Holland, the most beautiful to me is the one
from Delft to Rotterdam. MHolland is also a fine place for
trips on your wheel, or asthey callthem, feitsryders. I found
many of the country people interested in art; they fill the
galleries studying the old masters, and, strange to say, knew
what you were drawing and could criticize intelligently. I
once thought I really knew how to draw, when a woman recog-
nized herself from a few blue lines; I had on my paper just
outlined a woman kneeling on a board, washing in the river.
As I mentioned before, the children pester you to death,
throw stones at you, upset your water and paint box if they
can. I have tried talking to them and keeping still, both with
the same result. But withall its drawbacks Holland is charm-
ing to be in and to paint in. I think sketching is like a game
of solitaire; you always want to try just once more, sure you
will get it the next time.
ae
TREATMENT FOR ROSES (Supplement).
E.. Loutse Jenkins.

OR the greys in the white roses, use Gray for flowers, with
F a touch of Lemon Yellow and Black. Thecentresare of
Lemon Yellow retouched with Egg Yellow, Yellow Ochre
and a very little Brown Red.

For yellow roses, use Lemon Yellow, and retouch with Egg

TOBACCO JAR—
Cc. BABCOCK

ARRY out the figures of the Indians in greys, blues or browns.

browns.
design of trees bronze and gold with black outlines.

This can also be carried out in lustres.

RERAMIC STUDIO

Yellow, Yellow Ochre, Brown Green and Brown Red. The red
roses are painted with Pompadour and powdered with Ruby
and Black in the shadows for the first fire. Retouch with
Roman Purple, and Roman Purple and Black in darkest parts.
Use Copenhagen Gray and Rose for the pinkish grays in back-
ground, and Copenhagen Gray with Russian Green and Apple
Green for the bluer tones. Shade these into Lemon Yellow
toned with Yellow Ochre, into warm browns, Brown Green
and Dark Brown.

The leaves are of Moss Green and Apple Green, varied
in tone with Russian Green, Brown Green and Dark Green.

It is well to lay in the background first, in order that the
edges may be soft, and that each color may partake of that
which lies next to it.

The trees should be in black, dark blue or dark
The trees might be brown with the light tones of cones, etc., in gold, also gold outline, or make the whole

Same color scheme for figures,

black lustre on trees, purple on cones and needles first fire, dark green afterward, outlines black paint.

RERAMIC STUDIO Onl

CONVENTIONAL PLATE DESIGN—MABEL C. DIBBLE

OUTLINE in black, ivory black and dark blue, the pair
C) narrow bands in green enamel; the two bands of leaves
are to be dark blue, with greyish tone. Add deep purple and
Brunswick black to the dark blue, a bit more black than pur-
ple. Use one-eighth Aufsetzweiss, or only a little oil, and
wash it in without the enamel effect. The leaves and scrolls
around the larger flowers in center band are green enamel—
the large flower only shaded in—in the blue mixture, leaving

edge of petals white; but the three little black bands lay in
quite heavy. The green leaves on the two dark grey blue
bands, and the blue flowers, with green leaves on the wide
white band, make a charmingly effective plate, and one that
is surely very simple. One word of warning, be sure and
space off your plate, and then have the seven lines or circles
put on with a banding wheel. The outer green band is the
edge of the plate, so only the one line is necessary there.

KRERAMIC STUDIO

STaAOWM

AAVW—SaqAOT LAdANAL

HERAMIC STUDIO

TRUMPET FLOWERS
Mary Alta Morris
HE flowers are a reddish yellow. Paint in the main bunch
a with Albert Yellow in lightest part, shade in Yellow Red,
then Carnation, using Pompadour for strongest markings.
Use same colors for the long tubular corolla, more yellow as
it approaches the calyx. Two of the more open or front
view of flowers show inside of corolla, paint with Lemon
Yellow, adding a touch of Shading and Brown Green for
shadow, as the two lower petals standing out light against
this touch of dark add depth to the flower.

In the cluster above the main bunch where the back
view or under side of petals is shown, they are more yellow
and lighter in color, use Lemon Yellow, shade in Yellow Red.
For those more in shadow, as bunch on the right, add Yellow
Brown and Brown Green. Paint in leaves with Yellow Green,
using Shading and Brown Green for dark ones under flowers.
Put in background at top with Copenhagen Blue, adding
Lemon Yellow, so it will not be too blue, shading into Brown
Green at the left, on right side use Yellow Brown, and
Meissen Brown under the leaves, shading into dark or Finish-

213

ing Brown at base, if very dark effects are desired. Take out
some of the leaves, as the end of branch is quite light, after-
wards wash with Moss Green, shade with Brown Green.
When dry, dust some of the darker lowers with Carnation,
use carefully ; dust brown on background with same as used
in painting. In retouching use same colors, but more red,
less yellow. The calyx is not as bright in color as the flower,
more Yellow Brown, Brown Green and touch of Violet of
Iron being used; also Yellow Brown and Brown Green for
shadows under petals of flower. The flowers being bright
and strong in color, keep the background subdued, strengthen
the dark parts, but allow some of the color underneath to
show through in places, thus giving more of an atmospheric
effect, instead of the solidity so often seen in heavy dark
backgrounds.
r
CUP AND SAUCER
Emily F. Peacock

ESIGN in gold, black outlines, on a cream ground, or dull
blue on a delicate pearl, dark green on cream or light
green, or yellow brown lustre on old ivory with gold outlines.

CUP AND SAUCER—EMILY F. PEACOCK

214

RERAMIC STUDIO

NEWCOMB POTTERY.

EWCOMB POTTERY is a manufacture conducted in the in-
N terest of artistic handicraft, which originated in the art
department of Newcomb College of New Orleans.

For a number of years the efforts of this department
were directed towards the education of art teachers and the
advancement of esthetic culture, but on account of the general
absence throughout the South of manufactures which call for
artistic skill, it became apparent that this work could not
become widely useful until there should arise a demand for
the work of the artist such as would justify the study of art
as ameans of gaining a livelihood for those not desirous of
entering the profession of teaching. In view of this situation
the college undertook to find a practical solution of the diffi-
culty. A manufacture of pottery was established under the
direct management of its art department.

After a brief experimental period a large number of
young women were educated for the work, for whom an
artistic vocation would otherwise have been impracticable.
These are now employed in an industry which affords them
both profit and reputation.

From the first the enterprise has been controlled by a de-
sire to create a style of ware which should challenge attention
by its originality and beauty of design, and make itself neces-
sary in all collections of American pottery by reason of its
individuality or unique charm. To this end the rich and
beautiful flora of the South has been a resource well nigh ex-

clusive since few art schools in the far South have given at-
tention to applied design as a study. Each worker in the
craft is led to feel that the responsibility attaching to a signed
design is the same as that which exists in the case of a signed
picture and individual reputation may be gained by this as by
other means of art expression. The increasing favor which
is being shown towards the enterprise has confirmed the college
in its belief in the possibilities for art education practically
directed. A medal was awarded the collection of pottery
sent to Paris in 1900 and again at the Pan-American Exposi-
tion at Buffalo. The Newcomb Pottery has become an estab-
lished institution, destined, it is believed, to hold a worthy
place in the field of American Art.

The instructor in design is Miss Mary Sherer. Mr.
Joseph Meyer is the potter and is responsible for the turning,
compounding of glazes, etc., and firing. He has done splendid
work and the college feels that much of its success is due to
him. Ellsworth Woodward is director.

HERAMIC STUDIO 215

NEWCOMB POTTERY

HONEY OR MARMALADE JAR (After design by H. Pfendsack) -ADELAIDE ALSOP-ROBINEAU

HIS little design would be most effective carried out in Copenhagen Grey and Blue on white, or some other monochromatic
‘le scheme, such as a harmony in brownsand yellow, would be pleasing. The jar is also suitable for honey and condensed milk.

216

RERAMIC STUDIO

DESIGN FOR PLATE—ANNA B. LEONARD

HE rim of the plate is divided into twelve spaces, the
rosette coming into the middle of every alternate divi-
sion and the vertical decoration coming in between.

Draw and place one-sixth of the design acurately, and
then trace the others from that. Use the plate divider to
make the divisions correct. A banding wheel should be used
for the narrow bands to facilitate the work. This design is
outlined in black and is very quickly done: it is most attrac-
tive for a luncheon service, or for an entree, fish or game

course at dinner. The colors are quite dark blue, a grey tone
of green and a tiny touch of yellow, with a little grey tone of
lighter blue as one of the colors in the outer decorated band.
Dark blue is the predominating tone in the decoration.

The rosettes, large and small, are of Dark Blue (Lacroix),
a touch of Ruby Purple and Black. Be careful not to get too
much of the last two colors. Then add one-eighth Aufsetz-
weis with a very little flux; when used the color must be
very thin indeed and floated over the design so as to form an

t Ne t inva \ li yh jolt
SN Re Bee sl
NA A NW AN Nal Da } | 11 FAN AA Mi

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Mi Fe HAM oy sat i
\ Mi hh ft , W th nay fu)

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Vf

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FEBRUAPY, 1902 Corrricnt, 190%,
KERAMIC STUDIO PUBLISHING CO.,

SUPPLEMENT 'TO ROSES—MISS FE. LOUISE TENKINS aka Seer
KHRAMIC STUDIO,

OSGOOD ART COLORTYPE CO., N. Y.

_ =:
oat

RERAMIC STUDIO

almost even tone, which is rather difficult to obtain in one fire.

The wavy band surrounding the rosette is green—com-
posed of Apple Green, Mixing Yellow, Chrome Green 3B,
Brown Green (Lacroix) and a touch of Black. If two shades
of green are desired, leave out the Brown Green, which will
make a harmonious light green.

Use Silver Yellow with one-eighth Aufsetzweis and a
little Flux, for the centers of rosettes and for the middle of
the central ornament in the panels. Just this little touch of
Yellow gives life to the decoration.

For the dark green tones one-eighth Aufsetzweis with a
little Flux will give the desired glaze and body, but for the
lighter tones of green use with the Aufsetweis and Flux, one-
third, Hancock’s Hard Enamel. The points in the outer rim
are: First row grey blue tone, next green, next dark blue,
and last grey blue. Make this tone by using Apple Green and
Deep Blue Green with a touch of Black. Add this to the

217

body enamel until right tone is obtained. For body enamel
use Aufsetzweis two-thirds and Hancock’s Hard Enamel one-
third. To this mixture add one-eighth Flux.

ANOTHER LETTER FROM A SUBSCRIBER

“ Keramtic Studio Publishing Company.

“I do care to renew my subscription to Keramic Studio,
as I find it of great use in an artistic way; the conventional
designs, in many cases, being good studies forme. I certainly
appreciate the effort made by the Editors of the Studio to
give to the subscribers a great deal more good than we pay
for, and I must have the magazine, if I go without something
else, to pay for it. Thanks for your beautiful colored supple-
ments.

“Glad you published ‘ Ex-Subscriber’s letter.’ Variety is
spice of life. Will send P. O. in a few days.
“ Respectfully,
December 29, 1901. ‘ SOUTHERNER.”

HAZELNUTS—J. E. HANSON

HESE Hazel nuts were gathered by a Connecticut road-
il side on September 2nd, so take lighter tones than an
October nut. But one husk opens enough to show a bit of its
brown nut. Extreme edge of husks were bright with ochre,
red brown and bit of (Brown 4) in varied markings running
into a light, warm green, and at base of nut a browner green.
The smooth, actual covering of nut is yellow for mixing—
ochre and some warm brown tone in darkest accents.

The little pendant, where leaf joins stem, is light yellow-
ish green with brownish dots.

Make the most of the broken tones of red and brown in
Srost touched and worm-eaten spots. The leaf, without “spice
of life” color, is well represented by moss green, and shaded
with brown green and shading green.

The background may be made to suit the painter’s fancy,
whose taste may run to simple or many hued treatment.

218 RERAMIC STUDIO

CHOCOLATE POT—A. C. TILDEN

HE color scheme for this chocolate pot is taken froma The floral design has alternate flowers of rose and turquoise
T piece of old Persian ware. Ground, a yellowish cream blue; leaves dark green, with rimmings of gold. Narrow
tint. The band at top and bottom a rich dark blue with a_ lines of gold run from top to bottom of the pot, dividing the
narrower edge of sienna brown, both outlined with gold. stripes of decoration. Handle and knob are of the dark blue.

‘

HRERAMIC STUDIO

EXHIBIT OF MARSHAL FRY

NEW YORK SOCIETY OF KERAMIC ARTS.

Photos by Ch. O. Chouinard, 434 Fifth Ave., New York.

O exhibition of the New York Society has reflected
N greater credit upon its members than the last one of
Dec. 9, 10, and 11. The marked advance in design and color
was greater even than expected, and there were few exhibits
which did not show a more or less serious movement toward
better things in decoration.

The loan exhibit of pottery was an especially interesting
feature and must have had a highly educational influence on
the society as well as its guests. Specimens of Rookwood
and Grueby, in all their modes of treatment, were in evidence.
The Merrimac, Graham and Onondaga potteries sent interest-
ing contributions. The work done by pupils of Mr. Charles
Volkmar and the Alfred School of Ceramics showed the awak-
ening interest in pottery among amateurs and overglaze deco-
rators. Mrs. Poillion exhibited examples of clay bodies and
glazes. Miss Harriet Shafer contributed a vase painted under
glaze in the old Rookwood style, and Miss Louise McLaughlin
sent a few specimens of her interesting Losanti ware.

Mr. Charles Volkmar showed a very interesting group of

his new work, a few pieces deco-

219

rated in his new “under enamel,”
a tankard and steins in a matt
green, and several of his well
known color effects. The under enamel was especially inter-
esting, the painting being in relief of a violet brown tone,
covered with a semi-transparent light grey green stannifer glaze.
This vase with ‘landscape had an especially fine atmospheric
effect.

As usual the overglaze work of Marshal Fry attracted
an enthusiastic crowd. Almost his entire exhibit was conven-
tional in design and coloring, low and refined in tone, and
clean in execution. The stork and Fleur de lis vases were in
tender greys and soft whites, rather Japanesque in treatment.
The vase with Bats suggests rather the Copenhagen style of
decoration. The Swan vase which we consider one of the
most interesting and more wholly Mr. Fry’s self, has already
been described with the National Arts Exhibit at Buffalo:
his milkweed vase from the Pan-American was also on exhi-

bitition.

“UNDER
ENAMEL.”
CHARLES
VOLKMAR,

As we predicted, Miss M. M. Mason has been preparing a surprise for the
fall exhibit. She has shown herself as capable in conventional design as in
her well known flower work. The large vase, Copenhagen in style, with fly-
ing geese, trees and water in low tones of greys and blue greys, was especially
successful, as was also the mug with willows—another stein, not illustrated,
a symphony in browns with flying birds, was extremely pleasing. The Fleur
de Lis and Narcissus vases, suggested strongly Japanese Cloisonné in treat-
ment of flat tones and outlines. Her swans and water lilies were extremely
well painted.

Miss Elizabeth Mason had a stunning exhibit of decorative work in
lustres, gold and enamels. Her work in gold enamels, both flat and raised, is
so well known as not to demand description. Her lustre work showed many
new color effects and designs. The coffee set in orange tulips on black and
gold was especially fine in design and execution.

The surprise of the exhibition was the work of a new member, Miss
Emily Peacock, of Brooklyn. Her collection of cups and saucers, bowls, etc.,
in simple conventional borders of grey blue on white took the society as well
as the art critics by storm. Miss Peacock has set a standard of taste and refine-
ment in table ware that is sure to have a beneficial effect upon other decora-
tors. Asan artistic adjunct to the table of an artistic home her decorations
were beyond criticism.

Speaking of table ware, the exhibit of the Onondaga Pottery was an in-
teresting one. The decorations were conventional both under glaze and
over glaze. Under the direction of Mrs. Robineau the Pottery is making
the experiment of introducing more artistic and original decorations on their
printed ware. The effort is a commendable one, as a good deal of financial
risk is involved in persuading the public to buy artistic. designs, and in a
big factory like the Onondaga Pottery where hundreds of girls are employed,
the loss from work poorly done is greatly increased in introducing this class

AGA
AIN

of design. Mr. Pass, the manager of the Pottery is ambitious to raise the art
standard of their porcelain, so that it will occupy a unique position in the
American Pottery world and eventually abroad.

Mrs. Saidie Wood Safford exhibited the flame colored vase with gold
fish, which attracted much admiration at the Pan. Am. We were disap-
pointed not to see more new work from her busy and artistic brush.

Mrs. Mary Alley Neal showed some successful vases with new color
effects of lustre over gold, recalling the Favrile glass.

Mrs. Anna S. Leonard devoted her exhibit to the exposition of table.
ware decorations in simple designs. It was one of the educational features
of the exhibition.

Mr. Franz Bischoff sent several large vases, in his usual strong style and
fine technique.

Mrs. L. Vance Phillips showed an original study of a Madonna, delicately
executed and bearing a strong resemblance to Mrs. Safford. Her exhibit of
figure work on a gold ground, in the Louis XV style, was well done but
seems a rather dangerous example for amateurs, for while this treatment has
many artistic possibilities in a decorative way, it needs a strong and cultivated
good taste and careful study to manipulate successfully.

Mrs. Church’s portrait work in Meissen Brown was especially fine. She
also exhibited a portrait of her daughter, decoratively treated on a bronze
and gold ground, which was very attractive. Mr. Collins also showed some
good figure work.

Mrs. Rollins’ exhibit of figure painting and a set of plates in grey blue
from her successful design in the Dow class last winter were also a worthy
addition to the exhibit.

Miss Elsie Pierce’s work consisted chiefly of bronze, gold and lustre
work, some of the darkeffects being very artistically designed. She is one of
the promising young members of the society.

RERAMIC STUDIO

Miss Cora Wright too,
shows work in the right di-
rection, though as a rule too
vivid in color. It is the first
fascination of lustre work and
will modify itself in time; a
few small vases in greys were
better, and a little cup and
saucer in yellow brown lustre
and gold with white snow
drop decoration was dainty
and effective.

In fact there was hardly
a member of the society
that did not show at least a
few pieces worthy of praise.

Many designs from the
K ERAMIC STUDIO were
worked out for the exhibi-
tion and we felt thankful
that we had _ contributed
somewhat to this forward

EXHIBIT OF MISS M. M. MASON

EXHIBIT OF MISS ELIZABETH MASON

EXHIBIT OF MRS, SADIE WOOD SAFFORD

movement, both in advice
and example. The most
prominent and _ successful
members of the _ society
showed the most results of
the last year’s study of
decoration with Dow and
elsewhere, and especially the
original thought and study,
expended upon their work,
and even with those who
are stubborn about clinging
to old ideas, there was shown
more thought and study,
more refinement and _ rest-
fulness of color and design.
Altogether the exhibition
was one to make the New
York Society proud of its
existence and spirit of prog-
ress,

EXHIBIT OF MISS EMILY PEACOCK

RERAMIC STUDIO 223

PLACQUE FLEUR DE LIS—CORA WRIGHT

ee black portion of border, rich brown; leaves, light yellow brown lustre with brown over; drapery, light green
green lustre; flowers, violet lustre; dotted portion, lustre, put on very thin as shading; background, blue grey
gold; flesh portion of figures, padded brown lustre; hair, lustre, put on very thin; inner band and outlines, black.

Flar tNSIDE OF BOWL.

Files

ee ae

Md a
o*, 22s"
pote Pastas
a 2
o0g8 #64 30°

PUNCH BOWL—F.S.BROWNE

RERAMIC STUDIO

TREATMENT OF PUNCH BOWL
F. S. Browne
HIS design could be etched in gold and silver on a bronze
ih ground either with or without a black outline. The
inside tinted cream, and design in gold with brown or black
outline.

Monochromatic treatment in yellows, browns and gold
would also be agreeable or a matt brown ground with design
in purple and green lustre with black or gold outlines. Other
treatments will suggest themselves to the decorator.

ee
RASPBERRY PLATE
Mariam L. Candler

FTER sketching in the design, the first painting should be
A simple washes of light and shades, leaving the detail
work for the second firing. For the red
Deep Red Brown, Pompadour and Carnation.

raspberries use
Two or three

225

black raspberries are introduced for variety. For these use
Banding Blue and Ruby Purple in the light tones, addinga lit-
tle Brunswick Black for the dark effects.

For the foliage use Brown Green, Moss Green, Russian
Green, and Shading Green. The stems are Yellow Green,
shaded with Ruby Purple.

The shadow leaves and berries are in
Warm Grey and Violet Iron.

Wash in a background of Ivory Yellow, and Grey for
flowers around the blossoms, touching the petals with
Warm Grey on the shadow side. For the centers use Albert’s
Yellow, Orange Red and Brown Green, flushing the light
side of the plate daintily with Ivory Yellow, Pompadour and
a touch of Russian Green, blending in with Yellow Brown,
Chestnut Brown and Brown Green on the shadow side.

In the second painting strengthen the dark tones with
same colors, adding details. A little enamel may be used in
the high lights of the blossoms.

flat washes of

~
SS s
: R Wyre

RASPBERRY PLATE—MARIAM L. CANDLER

226

STUDIO NOTE
Miss Louise Angel has just held a successful exhibition
of miniatures and decorated China at her studio in Boston.
000

CLUB The California Keramic Club held their
annual reception the 11th and 12th of De-

NG AES cember in the maple room of the Palace
Hotel. It was the largest and best exhibit held by the Club

inmany years. The exhibits were very creditable and
showed much study of design and original work. The officers

RERAMIC STUDIO

of the Club are: President, Mrs. S. V. Culp; Vice-Presi-
dents, Mrs. L. Le Tourneux, Miss Clara Scott; Treasurer,
Miss Minnie C. Taylor; Secretary, Mrs. Lou Allis.

re)
[| FAGUE A communication from Mrs. L. Vance
NOTES Phillips, President of the N. L. M. P.,

gives hint of a very interesting meeting of
that organization on the evening of the 14th of January.
The details, however, are too late for this issue. Full report
will be given in the March number of KERAMIC STUDIO.

oak

DESIGN FOR HAND GLASS—H. BERTHA BONEBRAKE

HE general effect of this toilet set design is gold and blue
T except the background to the monogram, which is left
white, but a light tint of any color may be used. The flowers
are raised paste, covered with gold. The outer rim with dots
is gold, the large dots turquoise blue enamel, and smaller ones
gold covered paste dot. The dark rings are gold burnished
with an agate burnisher and outlined with a fine line of deep

red brown. The white ring is also gold, but this, as well as
the out rim, is burnished lightly with the glass burnisher, the
large dots are turquoise blue enamel and small ones white
enamel. The monogram is worked out with paste and
enamels. The handle also is covered with gold.

The Belleek China should be used for this design, it holds
the paste and enamel much better than others.

HERAMIC STUDIO 227

No. 1—Staffordshire, Black Print: N. Y. Hospital, Columbia College,
Court House, Boston.

THE COLLECTOR

A FEW ODD CUPS AND SAUCERS

ANY collectors, not having the desire or the means to
make an extensive collection of old china, confine them-

selves to some specialty, either some special ware, or some
special pieces, such as pitchers, cup plates, tea pots, cups and
saucers. This is a good policy and more collectors ought to
follow it. Nothing is more unsatisfactory than a collection of
perhaps 75, 100 or 150 pieces of all kinds and description,
while the same amount of money spent on pitchers for in-
stance, or cup plates, or tea pots, would probably make a
select and extremely interesting lot. The most valuable col-
lection for American collectors is now and will probably always
be the historical china, especially the dark blue plates and
platters; but this ware has already reached such prices that it
is impossible for people of moderate means to hope to ever
have anything like a large collection. Would it not be better
for them in such a case to confine themselves to a specialty ?
All the illustrations in this article except the pottery
Temperance and America cups, are from a very interesting
collection of cups and saucers made by Mr. A. H. Godsmark
of Rochester. Although Mr. Godsmark has practically all the
valuable dark blue historical cups, suchas Landing of Lafayette,

No. 2—Staffordshire, Black Print: Mount Vernon.

McDonough Victory, Boston Harbor, Mount Vernon, etc.,
we have left these well known pieces out of our article, and
give illustrations only of cups which may not all be of great
value, but are less known than the others and all make an in-
teresting addition to a collection of this kind.

No. 3—Staffordshire, Black Print: Temperance.

The first cup is considered by Mr. Godsmark as his best
piece and is undoubtedly very rare. On the saucer is a view
of Court House, Boston; on one side of the cup, Columbia
College; on the other side, N. Y. Hospital. The ware is
Staffordshire, although of asomewhat different paste from the
dark blue, the glaze being white with creamy tint instead
of the bluish glaze found on the dark blue. The decorations
are printed in black.

No. 4—Bone Porcelain, Purple Print, Copper Lustre Bands: Temperance.

Of the same ware are our illustrations No. 2 and 3, also
printed in black. No. 2is a view of Mount Vernon very similar
to the view found in dark blue. No. 3 isa Temperance cup
bearing the same mottos and medallions as the little plate
illustrated on back of cover of “OLD CHINA,” bothtIplate and
cup being rather rare. On each side of a shield stand two
figures holding banners on which are written the words
“Sobriety” and “ Domestic Comfort.” Above the shield the
motto “Firm asa Rock,” and below “Be thou faithful unto
death,” On the shield itself are the words “Industry, Free-
dom, Plenty, Health, Wealth, Wisdom.”

The temperance cup No. 4 is of entirely different
ware, being a part of one of these porcelain tea sets dec-
orated with lustres, which have been supposed by some
to be of Swansea make, but are probably Staffordshire

228

bone porcelain, the glaze being of a pronounced creamy
color. On one side of the cup and on saucer there is, as in
the other cup, a shield and two figures standing and holding
banners with same mottos, ‘Sobriety’ and “Domestic Com-
fort,” and below again the motto, “ Be Thou Faithful unto
Death.” Above the shield a star with the word “Freedom.”
On the other side of the cup a star in the center of a flower
wreath, and the words, “ Temperance Star.” The decoration
is purple print with lustre bands.

No, 5—Bone Porcelain, Purple Print, Copper Lustre Bands: Faith and Charity.

Of the same porcelain body and purple decoration is our
illustration No. 5, the Faith and Charity cup and saucer.

No. 6—Dark Blue Staffordshire: Bridejof Lammermoor.

With Nos. 6 and 7 we come to two interesting cups in
dark blue Staffordshire, one being marked “ Bride of Lam-
mermoor,’ maker unknown. The other is listed as historical,
being the Chancellor Livingston steamboat, which at the
time of the landing of Lafayette was the largest and best
passenger steamer in the world. This view, the maker of which
is E. Wood & Sons, is never found marked. Two other views
of the Chancellor Livingston are found on dark blue, one on the
Landing of Lafayette plate by Clews, which shows the Ful-
ton steamboat on the left, decorated with a number of flags,

No. 7—Dark Blue Statfordshire: Chancellor Livingston.

RERAMIC STUDIO

this being the boat on which Lafayette made his triumphal
entry in New York after he left the Cadmus and which
was in reality quite different from the fancy drawing used by
Clews (see OLD CHINA); more on the right and in the back-
ground, nearly in line with Castle Garden, is the Chancellor
Livingston with three flags; at least it is supposed to be,
but old Staffordshire potters were not always very exact in
their reproductions of ships, buildings or views. Another
view of the Chancellor Livingston is found, according to Mr.
Halsey, on the Highlands, Hudson River, platter, shell
border, by Wood. In the collection of Mrs. Fred Yates, of
Rochester, is a fine platter with same view of Chancellor
Livingston and same border as on our cup.

No. 8—Staffordshire, Blue and White: America by T. F. & Co.

No. 8 isthe “America” cup and saucer, by T. F. & Co..
probably Thomas Ford & Co. of Hanley. The original of
our photograph is blue on white ground, but the blue,
although quite deep, is not of the dark blue printed from
copper plates. This cup belongs to the later period and will
probably be found in other colors. Stamped on the back ina
blue printed ornament with eagle is the word “ Excelsior.”

No. 9—Dark Blue Staffordshire: so called B. & O. R.R.

No. 9 is a dark blue cup, make unknown, which is called
by collectors and dealers B, & O. R. R. cup and saucer. See
OLD CHINA for article on this cup and on the series to which

it belongs.
@

List of China for sale and an article on English Views,
by Dr. Colles, will also be found in February OLD CHINA.
@
Subscribers to KERAMIC STUDIO are entitled to OLD
CHINA for 50c. a year additional, making the combined
subscription $4 00.

RERAMIC STUDIO

229

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PYROGRAPHY

DESIGN FOR PORTFOLIO (Page 230)

IN APPLIED LEATHER COMBINED WITH STAIN AND PYROGRAPHY
Maude Crigler Anderson

All designs for Pyrography should be sent to Miss K. Livermore, 1010 Chapel St.,
New Haven, Ct., who has charge of this department and will answer inquiries
in the Magazine.

es, 24-9 2) v7. ay . . 5
BUNGE LAVENOE RACE design carefully on white leather, shade with the
needle and stain with leather stains in natural colors,

HESE ornamental fragments are taken from books of de-
almost as though you were painting in water colors. Care-

sign by Kramer & Lienard and are especially well

adapted to fire etching. The upper one is an admirable sug-
gestion for a chair-back, either carving the head, then burning
it or leaving it flat. Carry out entirely with the point. Burn
it deep and strong, touching the deepest shadows with walnut
stain if necessary to give the necessary depths of tone. If
stain is used the parts stained should be touched lightly with
light shelac before waxing, otherwise the stain will discolor

fully cut the design from leather and apply with weak solu-
tion of white glue to leather of darker harmonious color.
Keep in press until dry, then carefully burn around edges of
design. Touches of gold for leather may be applied to flower
centers. This can be applied to many articles, pillow tops,
book covers, library table mats, etc., etc. For another treat-
ment use pale pink leather for roses, pale green for leaves,

touch up with leather stains where deeper tints are required.
Conventional designs are well adapted to applied leather.

the lighter parts when rubbed with the brush to polish.
The other designs require a similar treatment.

ANSWERS TO INQUIRERS

Miss 8. M. McK.—The first thing to be done with your point is to inspect each part of your outfit
very carefully—as you say there seems to be no escape for the air; remove the rubber tubes and
blow through them; see that there is no stoppage in the cork handle (I keep a pipe-cleaner,
procurable at a cigar store, for this purpose,
> ae rn as it can be easily inserted and cleans the tube
j ill } thoroughly), insert a fine needle in the hole in
the side of the point, then blow through it,
some times a tiny cinder here will cause all the

trouble.

If all this is of no avail you may conclude
the trouble is with the benzine—too strong,
too weak or too much in the bottle ;—get paint-
ers’ benzine at a paint store; if the point cools
off entirely after removing from the flame, you
may know the benzine is too strong, pour out
until only a few drops remain in the bottle.
If the point comes to a red, but nota white
heat, the benzine is too weak; some times
shaking the bottle sightly will cause a circu-
lation and start the gas to forming more rapidly ;
if this does not do it, add a little fresh benzine
or a few drops of naphtha.

A new point is apt to bother until the thin
plating over the platinum is burned off.

INI, )

=!)

= CM ll

230 | AERAMIC STUDIO

LEA THER — (Continued)

Maude Crigler-
Anderson

EATHER STAINS. A knowledge of

water color will greatly aid one

in staining leather, especially in the

application of flat washes. Every color

of stain can be obtained and each made

darker by adding black, or paler by
diluting with water.

Before applying, burn all outlines
to prevent stain from running and do
all desired shading, otherwise the point
will sink through stain and show origi-
nal color of leather. Fill, but do not
overload the brush with color. Begin
at one end of design, carry color rapidly

from left to right with wave-like motion to prevent hard lines, and con-
tinue in same manner until entire space is filled. Several washes will
be necessary to produce even tint. If hard iines remain after several
applications of color, turn your work and wash in opposite directions.
For pale tones, dilute with water and secure evenness of tone and desired depth of color with
successive washes, allowing each wash to dry thoroughly. Color cannot be judged until thoroughly
dry, as some leather has a blotted appearance when moist.

For blended grounds, add clear water with brush as tint grows paler. For petals of flowers a
shaded effect can be obtained by additional washes of color gradually blended by lessening pressure
of brush or blending with clean brush and water while stain is wet. Stains appear in their true
colors on white or cream leather only, colored leather beneath the stain will effect final result of
color. For example, flesh tones are composed of pale yellow stain with a tiny bit of pink, and
the mixture diluted with water, but should your leather be yellow, omit the yellow stain in flesh
tint, or if leather be pink, omit the pink stain. Care must be exercised in thoroughly cleaning brush
after using each color, or work will look muddy.

PAINTING AND STAINING WITH OIL COLORS. For staining use transpar-
ent colors only, diluted with alcohol or benzine, which are not apt to spread like
oil. Leather can be painted like canvass, but is not advisable for large spaces
onaccount of liability to crack. Painted leather can be varnished with any
good high glaze pyrography varnish.

LUSTRES. These can be obtained with the oil for mixing in gold,
silver, green, fire, blue, copper, lemon, dark copper, carmine, violet, lilac
and steel. They dry quickly after application and require rapid handling.
Beautiful and striking effects may be obtained with lustres alone, or
in connection with color. Burned lines or grounds hold lustres as well as
the leather in its true state. Lustres can be glazed as in
leather, but large spaces in lustre, especially if glazed, are not
advisable for articles much handled or pliable, on account of
liability to craze or scale off. This style of decoration is
suited to tightly stretched pieces, such as chair bottoms, book
coverings or wall panels.

AERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list.
do not send stamped enyelopes for reply.
in this calunim.

Please
The editors can answer qiestions only

5. F.—You do not say what new blue you used for your violets, Possi-
bly the mistake is not yoursin painting. It may be simply that the color
is naturally too blue. Tf so, retouch the painting with Purple, and it will
probably come out the right color.

C. B.—It is a very dificult thing to remedy a painting that is chipped.
There will always be a roughness and a slight difference in color on the
chipped place. The trouble was withyour make of Ruby. ‘These colors are
not reliable. In the future use the Ruby of Fry or Mason and we think you
will have no trouble, The only thing possible to do to your injured piece is
to remove as much of the color as shows any tendency to scale and retouch
with a good make of Ruby and whatever other colors are needed.

H. B. H.—We will try and find you a reliable recipe for liquid bright
gold and give it inthe next number if possible. We do not understand your
question. “Could you name a material to put on glass, to be fired and
after the firing washed off, then apply liquid bright gold, in order to make
it adhere to the glass properly after firing?”’ Liquid bright gold applied
directly to glass and fired should adhere if fired properly without any further
manipulation.

Mrs. L. M.—You will find an answer on firing the Revelation Kiln in
this number. Gold should have a medium hard fire, Usually it takes two
fires and two coats to make it rich enough. When once it is right it is best
not to fire again as it will burnish offa little. If refired it should havea
thin coat of gold added.

The plain shapes in china are more called for now than those having a
raised design. For table china it is always in best taste to have some of the
white show, as centers of plates, insides of cups and outside of saucer, or if
these are tinted, the design onthe outside of eup and inside of saucer should
be on a white ground. Ifa dish has a very conspicuous portion of outside
showing it is always in good taste to put a narrow design along the rim in
color or gold. Flux is used only to give colors a better gloss in the kiln;
too much weakens the color. Asa rule, use one-quarter flux for painting,
one-third for tinting, except apple green, pearl grey and mixing yellow
which do not need flux at all.

We are not acquainted with the particular make of colors you mention,

but would think them good and any good make of colors ean be used with,

any other make.
- We have heard the tube with point for laying raised paste well recom-
mended, hut have never used it ourselves.

An under-fired test can be used again fora higher fire but not otherwise.

Lustres are used quite extensively at present, especially in decorative
pieces.

If you use a design for wild roses for a chocolate set we would prefer it
conventionalized, in which case any desired color scheme would be appropri-
ate. A harmony in yellows and browns would be especially nice. Pink
and greys or browns would also be dainty. For asmoking set, red and
gold with a touch of black is always good,

K,. McC.—You are right in understanding that in figure painting the
reflected lights are only on shadow side of figure and that the modelling on
the light side should be painted with tender shadow and pompadour rather
than the darkertones. There is no medium that prevents dust collecting on
the painting, The only way to prevent dust is not too use too much oil or
medium so that the color will blend fairly dry and any dust collecting will
not adhere. The flesh tone being composed of an iron red and yellow is
very liable to fire out if put on too delicately. The only remedy is to re-
paint with flesh without deepening the shadows.

There is no real scarlet in china painting. The nearest approach to it
is orange red; blood red is darker, pompadour or carnation not so bright,
but by contact with browns or greens they look quite vivid.

R. R.—Use just enough tar oil and fat oil of turpentine—half and half, to
make your pennyweight of powder gold mix to the consistency of a stiff
tube color.

A, M. H.—It is impossible to say off hand whether your modelling clay
will fire hard or not, it is doubtful if it can be fired hard enough in an over-
glaze laln to glaze afterward but may harden sufficiently to be left in the
biscuit state without crumbling. Try the pyrometric cones in your kiln,
with samples of your clay; if it fires hard enough to resist cutting with a
steel knife it is all right, and will glaze at the same or lower temperature; if
terra cotta, it sught tofire at a low temperature, but doubt if an overglaze
kiln will do it. About cones, see article on firing. Your vase with gold
lustre had more than it could carry. Lustre always rubs off when put on
too thick, two coats at one time would have been too much even without
the two former fired washes of lustre.

Mis. N. A. W.—The cause of your fired gold being brown is due to the
red precipitate alloy you use, you say you use coin ‘gold which is already

231

alloyed, In the article given in Stupio for making gold, the ribhon gold is
used which is pure; the flux for which recipe is given is the safest and all
that is necessary, and gives better results than any other. The eoin gold is
also used, but that has one-ninth alloy, all that you need without adding
more,

When making the coperas solution, it is hetter not too strong, add eare-
fully to the chloride, stir slowly until cloudy, then stop and allow the pre-
cipitate to settle. The more carefully these details are attended to, the finer
is the quality of gold.

H. BE. B.—The whitewash for kilnsismade of plaster of Paris and water
and will not injure the china, neither will lime,

Fusible rose is not a reliable color and very likely was affected by your
iron fire pot. You may get a glaze by firing very hard, or dusting some other
color over it, such as green which is well fluxed.

T. A, G.—It is the nature of the gold colors to separate and look
“orainy’’ if not well ground with sufficient oil. Rub them down with a
muller on a ground glass slab adding a drop or two of fat oil of turpentine.

Mrs. T. T. R.—See article on firing the Revelation Kiln. Glass cannot
be fired with china, as it is fired before the china is half fired, and would
melt at a greater heat.

Mrs. C. D. W.—To transfer designs for china to the China itself, rub the
china with a couple of drops of fat oil and a rag wet with spirits of turpen-
tine, rub it evenly over the surface and rub off the surplus so there is only a
“bloom” left on the china, make a tracing with tracing paper and a soft
pencil, lay it on the china and go over the lines with a harder pencil and
the lines will be transferred to the china. You will find directions in
KERAMIC STUDIO article on tulips for fitting designs to different plates and
shapes, also in last article on Columbine, if you cannot hold the tracing
firmly with your fingers use the gummed edge of postage stamps or any
gumimed paper. There are banding wheels for making bands and lines on
plates, cups and saucers, etc.; also Mr. Hasburg advertises a very good de-
vice for the same purpose.

Mrs. L. M.—To fire a Revelation Kiln properly, each one must make
one’s own trials; for though there are general rules to follow, the conditions of
the draft, etc., vary in almost every instance, and the results to be obtained
require experimenting , as there is as much individuality in a kiln asina
person. You will have to make the acquaintance of your kiln through your
own efforts, afew suggestions in the way of intr oduction being the only
instruction possible. In the first place, ‘do not use too much oil; begin
slowly, the oil coming in drops only, and watch your chininey. As the kiln
begins to warm up, let the oil flow a little str onger; if you see smoke com-
ing from your chimney in any quantity you are using too much oil; shut it
offa little; you will get just as much heat without clog ging your kiln and
chimney with soot. Do not bein a hur ry; the china will come out better if
fired slowly and cooled off not too quickly, As the kiln gets hotter you can
turn on more oil till it flows in a steady stream, always watching your
chimney to see that there is not too much smoke, and your basinto see that
the oil does not cover the whole surface of the basin, and that it does
flow strong enough to keep a steady fire. The bottom of the basin should
not be entirely covered. Through the little mica door in front you can see
the first faint glow of red at the base; when this shows all the way round,
you can push the fire. When the kiln shows a dull red glow half way up,
glass would be fired; but for firing glass one should make experiments with
broken pieces for two or three fires to be sure of the exact amount of color
necessary in the kiln.

To fire china, put a piece in direct line of vision from peep hole, decorated
with color. When this shows a uniform gloss from top to base, it is fired
sufficiently. It would be well to have the pyrometric cones as suggested in
last number's Answers to Correspondents, and experiment till you know
which cone melts at the amount of heat for the desired effect and afterward
fire by the cones. The color of the kiln when well fired is usually a bright
orange. Hold the fire for five minutes after reaching the desired color, then
turn out. If you have large or fragile pieces in the kiln, light the oil again
before the kiln begins to turn black and let it drip for about half an hour so
that the kiln will not cool off too rapldly. Ifbreakage occurs it is always
when the color in the muffle passes from red to black, ‘This transition
should be slow.

We cannot tell you which pyrometic cone to use, as that you must find
out by experiment, different wares firing to a gloss at different heats. Fire
your Belleek alone or all in front of kiln; as your cone should be in front of
mica door you will get only the temper ature of the front of your kiln, you
may know that heat at back of kiln is greater. To find this out you must
experiment with cones at front and back of kiln. So Carmines, Rose, Bel
leek will usually be fired in front of the kiln while harder colors are fired at
the back, gold about the middle, although it will usually be fired anywhere
except directly in front. Get pyrometric cones 010 to about 05 to experi-
ment with. In ordering from Prof. Edw. Orton, jr., University of Ohio,
Columbus, O., mention that you wish them for overglaze decoration and he
will send the proper cones. The kiln opens with a door in front; the china
is placed on stilts or platten, the former, three pointed pieces of unglazed
clay; the latter, sheets of heavy asbestos or clay composition. No two
pieces should be ‘allowed to come in contact as this might cause chipping or
particles of color might be transferred to the wrong piece.

Overglaze firing in a Revelation Kiln can be done in 1% hour, the muffle
beginning to show color in 35 or 40 minutes. Butwe advise a slower start.
It is better if you begin to see only color afterthefirsthour. Then your firing
willlast about two hours. Start slowly, but toward the end it is good to
push the firing as much as it will stand without clogging your chimney
with soot, or ~ filling your bnsin with oil, which is always. unnecessary.
Cool off slowly if you have pieces which you think liable to crack.

232 RERAMIC STUDIO

EGYPTIAN DESIGN FOR BORDER
Ethel Pearce Clements

HE Egyptian lotus from which this de-
T sign is drawn is usually executed in
red, yellow and blue, sometimes green.
The natural flower had the outer row of
sepals dark green, inner row light green,
petals purple and heart yellow.

In conventionalized form the sepals
are sometimes green, sometimes blue;
petals red outer row and yellow inside
row, or the natural color is followed.
The base of calyx is often painted yellow,
and marked with red; buds and stem
green or blue. If the Egyptian coloring
is departed from, any desirea color scheme
can be used.

ESTABLISHED 1789.

MARSCHING’S GOLD .-.
Costs more because worth more
than others

It is endorsed by all leading china painters and
: by A. Lacroix, of Paris, the famous chemist and
— S authority on china colors and gold.
R s 7 wee i ld everywhere, because it is in demand
R SALE BY ALL It is so ‘ ;
san ee ART DEALERS. ~ everywhere, Lacroix Colors and Marsching’s
SS ee — Gold for sale by all dealers in Artists’ Materials.

IMPORTED BY

The F. W. Devoe and C. T. Raynolds Co., FAVOR, RUHL & CO. |
101 Falton Street, New York. STOLE RIGGING Naess
, Ruhl & Co.,
54 as ‘Now York. 54 Park Place, New York City. |

AND OTHERS.

4 eis 1g}

- CONTRIBUTORS

MRS. MAUDE CRIGLER ANDERSON
MISS ETHEL PEARCE CLEMENTS

_ MISS JENNIE E. HANSON* o& v
MISS KATHERIN LIVERMORE »
MRS. ANNA B, LEONARD#* &
ed

MR. A. G. MARSHALL* o&

‘MISS MARY ALTA MORRIS

MRS, L. VANCE-PHILLIPS # ot
MRS. ADELAIDE ALSOP-ROBINEAU
MRS. A. W.SLOAN # # # &
MISS CORA STRATTON # # &
MISS JEANNE M. STEWART «

~&eRERE oo ES & & SH

| (The entire contents of this Magazine are cobered by the general copyright, and the articles must not be reprinted without Ae Raab koh: hb

_ CONTENTS FOR MARCH, 1902

| ‘Editorial,
Prize Competition,
The Leagues’ 1902 Exhibition,

Plate Design,

Sweet Peas, |

A Suggestion for Mineral Painters,
Wild Cherries for Berry Plate,

: Design of Passion Flower,

Modeled Figurines and Animals (Copenhagen Porce ie

Leasue Notes, In the Studio, a the Ln le

Poe hinese: Plate,

Pitcher. Plenty cine
Buttercups, eile Ges
Narcissus Design for Salad Bowl,

: The Col lector—A Puzzling Series of Dark Blue,

| Sat Two Odd Teapots,
esa ee de Lis,
: | Leather (Continued),

Susp “Thistle. Design,
Treatment for Passion Flower,
Treatment of Rose. in Vase Sapplement)
Medium for Powder Gold, |
“<~ Answers to Correspondents,

233 ith
4833; hi6s

254;

PAGE -
. Mrs. fee Vanceehatine: piss 5
. Anna B. Leonard, f 235.
Adelaide Alsop-Robineau, 236-230
A. G. Marshall, aie 239-240:
Jeanne M. Stewart, so
Cora Stratton, 241
242-244
3 244.
Katherin Livermore, 245
“Jennie EB: Hanson, be Ns
Mary Alta Morris, 3 247
Rel eeaiee Clements, — 248-249,
: (249-251:
251
Katherin Livermore, 252,
Maude Crigler Anderson, |
Mrs. A. W. Sloan (treatment by Miss Liveraorey.. 253-254
Cora Stratton, (design by Miss Stratton on page 241) | 254:
- Rhoda Holmes Nichols, 254°
Anna B. Leonard, 255
255.

Shee fehding A senaies a eam Studio.

“We talte pleasuré in mentioning | a tew of the leading agenciés for the sale of the

KERAMIC STUDIO, where, also, subscriptions may, be placed:

Baltimore, Mdi—W. H. ‘Callimore, corner Lexington and Park Sts.
Boston—Miss EB. E, Page, 2\'Park Square. F
Brooklyn—A.D. Mathews & ‘Sons, Fulton Street:

Buffalo—Mrs, Filkins, 609 Main Street.

Chicago—A-C. McClurg & Co;, Brentano’ s} Burley & Co.; piareh & Chandler, :

: 148 Wabash Avenue; Av He Abbott &-Co., 48 Madison Avenie,
Gincinnati—Robert ‘Clarke: Col; Miss’ M: Owen, 134 West Fourth Street; A. B.

Closson, 4th Street near Race; Traxel & Maas, 4th ihe te near Elm. r
Denver, Colo—-B. Meininger, 807 16th Street. a oe
Detroit, Mich.—L, B. ‘King & Co.

- i Grand Rapids; Mich—G/ N, Miller & Co,

Indianapolis, Ind, —Keramic Supply Co., Lemcke Building.
Kansas City, Mo.—Emery, Bird, Thayer Co, P
: Louisville—Louisville Book Store,

“poeta: Wis.—Des Forges BOE Store, c corner Wisconsin St: aud Broad way.

- Minneapolis, Minn.—M, Etta Beede.

, New York City—Brentano’s, Union Square; M. Ty. Wyrine’s; 17 Er 20th
; St.; The Fry Art Co., 36 W. 24th Sty Wanamaker’s; aurghicea News Co

Oakland, Cal.—Smith Bros.

Omaha, Neb,—Megeath Stationery Co,’

Oxford, O.—A,. Beaugureau’s Emporium,
. -Philadelphia—Wanamaker's,

Pittsburg, Pa.—Otto Schaffer & Bro,; Kurtz, Langbein & Swartz.; R. &.

Davis & Co., 346 Fifth Avenue; John G, Yergan, 36 Fifth Street.
San Franciseo—Mrs, M. Bs Perley, 219 Post Street.
| ‘Sioux City, Ta.—J. K, Prugh, 312 Nebraska Street.
“St. Louis—PY Weber & Co,; A. 8. Aloe & Co.
St. Paul, Minn.—St. Paul Book and Stationery Co., Fitth and St. Peter Sta.

Syracuse—W olcott ‘& West; Bailey & Sackett; E. G. Wyckolf Co.; Doxee &

Welch; W. ¥. Foote; W.H. Wood,

i ) Poroxuto.—The Art Metropole,

Vancouver, B. C.—Drainie & Co. -

) The Magazine may also be ordered from any epaeeter in this country, who

can BRO IES it through the EN News) poet neh New York, or its branches.

NEW YORK AND SYRACUSE

March 1902

OTHING reveals the individual more than the
taste displayed in the decoration of table
china, whether it shows the tendency for the
practical, for the artistic or for the over-
loaded. The average student of decoration

seems utterly incapable of combining or condensing the three
characteristics, or separating and using properly one or the
other. The one idea seems to be to get an effect with quantities
of gold, high color, combined with paste and enamel, regardless
of any thought or plan, to say nothing of fine technique,
which is absolutely essential in exquisitely decorated table
ware, where richness and elegance are combined.

There are occasions when an elaborate decoration may be
necessary, and there surely is a demand for it from people
who entertain lavishly and have other table appointments to
correspond, such as linen, glass, silver and gold, with cor-
respondingly handsome furnishings. Porcelain decorated in
this style may be as elaborate and rich as can possibly be
desired, and yet it must be so elegant, dignified, and ex-
quisite in design, color and execution, that the severest critic
could not call it overloaded, nor approaching vulgarity.
This is a point that but few understand; and the lack of that
knowledge has led the art into dispute.

For less pretentious occasions, the table ware may be
equally as beautiful, but in much more simple lines and color,
which often require more thought and study than the
elaborate decorations, even though it requires but little time
for execution. There is always elegance in simplicity ; it is
something to be encouraged and cultivated. Decorators
from the very beginning may make beautiful things if they
attempt only the simple things; but at first the taste is
unformed, the china is fairly overloaded with decorations that
almost shriek at one; but in time he or she learns more and
more to tone down colors and design, unconsciously realizing
the necessity to do so.

If that feeling does not come as one studies and ob-
serves, then there is no hope for better things, and the
decorator may well turn attention to other things, as his or
her work will never be a success, and the cry will arise,
‘China painting (horrid word) is going out.” There is
always a market for thoroughly good work. Blue and white
decorations, or blue and green are always in good taste, no
matter upon what occasion they are used; they have a cer-
tain style and individuality all their own, but it is very im-
portant to know just how to use the combination. Nothing
could be more appropriate for a breakfast or luncheon
service, or a dinner service where the desire is to have
artistic effects in quietness of tone. China in this style may
be lived with.

The KERAMIC STUDIO has given some excellent designs for
flat washes of enamel witha dark outline. They are practical
and artistic, and may be more or less elaborated upon. Plates
decorated in this style may be more rapidly executed than
when paste covered with gold is used, thus making the plate

less expensive, not only in the time saved, but also in the gold
and number of firings.

One question is asked very frequently, ‘“ Shall we make
one set of plates all alike?” By all means do so, as a con-
glomerate set of plates in different designs and colors gives a
tone of unrest and shows a lack of dignity. A set of retain-
ing plates may be different, if they are sufficiently interesting
or beautiful, as in that case remarks are sometimes called
forth, which make entertaining conversation, and it is a little
compliment to the hostess, especially in these days when the
study of porcelains and old china is so generally taken up.
Also if one has an interesting set of tea cups or after dinner
coffee cups that are used in a drawing room, and not at table,
a variety of styles is agreeable, and always appeals to a lover
of beautiful china. It relieves monotony to have a different
style of decoration for each course, although it is not
necessary to have the decorations proclaim what is on the
plate.

A woman who can decorate her own table ware certainly
has the advantage over one who is dependent upon shops,
as the former can give to her table a delightful individuality,
and to her entertainments an original tone that brings out
originality or good taste, if she has any, giving much pleasure
to those who are fortunate enough to enjoy her hospitality.
It is quite surprising that more china is not given as wedding
presents ; certainly nothing is more appreciated and nothing
more needed; whereas such quantities of silver are given that
most of it has to be kept in the safety deposit, unless used
for very large entertainments. One cannot have too much
china, not only because so many sets are needed, but to one
who loves beautiful things it is a delight to use sometimes one
set and then another. There surely is something lacking in a
woman who does not try to have her table always beautiful,
whether elaborate or modestly simple.

x
PRIZE COMPETITION

For Black and White Designs and China Panels in Colors

E call the attention of subscribers to our prize competi-
W tion for designs, as fully explained on back cover of
this number. It will be noticed that this year we will give
the same prizes for three styles of designs, modern conven-
tional, naturalistic and historic ornament.

We will also give prizes to the two best china panels to
be reproduced in colors. ,

After prizes are awarded, mentions will be given to the
designs which seem worthy of a mention, and we will be will-
ing to buy and reproduce in the Magazine all that we can use
to advantage,

re
AN ERROR

The illustration of Passion Flower on page 241 is by Cora
Stratton instead of Mary Stickney, and on page 254 will be
found the treatment by Miss Stratton.

234

THE LEAGUE'S 1902 EXHIBITION A COMPARATIVE
EXHIBITION

T the January meeting of the Advisory Board the follow-
A ing points were decided:

Mrs. Vance-Phillips was elected Chairman of the Ad-
visory Board.

Each board member representing a club was appointed a
special messenger to create, if need be, and to sustain in his
club, interest in this comparative exhibition. Clubs not rep-
resented will find in their presidents especially appointed
messengers from the League.

Mrs. Wagner, of Detroit, Chairman of the Paris exhibi-
tion, had sent to her, for all her splendid efforts in behalf of
the League, a letter of thanks and as a token of appreciation
a check for one hundred dollars.

The bills of Pan-American Chairman, Miss M. H. E.
Montfort, were honored in full and a vote of thanks given her
for valuable services rendered.

Medals were ordered to be delivered May tst, and an
estimate on dies to be made from medal monogram was re-
quested.

A complete list of League members is to be prepared.

While the general plans for the year were made in De-
cember, it was at the January meeting that the details were
carefully taken up.

The Advisory Board believing that the greatest benefit
of the Exhibition lies in the comparison of ideas has chosen
to call this a Comparative Exhibition.

Designing and painting on porcelain or Belleek articles
conforming to plan prescribed by the Educational Committee,
is the League’s course of study for the year ending in May,
1902.

Pieces conforming to prescribed course of study are, if
worthy, eligible to receive in

First Class: The Gold Medal, tst Honorable Mention,
or 2nd Honorable Mention.

Second Class: The Silver Medal, 1st Honorable Men-
tion, or 2nd Honorable Mention.

Third Class: The Bronze Medal, 1st Honorable Men-
tion, or 2nd Honorable Mention.

Katharine Corbell Church, member for San Francisco,
made the motion providing that work done could be entered
marked, “ Not for competition.” Such pieces will become a
part of the exhibition, and will therefore go with the exhibi-
tion to all points scheduled.
number of pieces being entered, and makes the exhibition
primarily a comparative one.

Mrs. Fanny Rowell, representing the Jersey City Club,
led the way in helping the Board to decide upon a single
shape and size of vase. It was thought that this plan would
greatly aid the judges in rendering a just judgment; and
that all who viewed the vases presented would find the com-
parison of ideas more interesting and of greater educational
value. The Board was unanimous in its decision that a vase
of American manufacture be used. The selecting of a shape
was intrusted to Mr. Marshal Fry, Jr., and Miss Maude
Mason, who, assisted by Mr. Arthur Dow of Pratt Institute,
and his assistant, Mr. Fralick, decided upon No. 405 Ceramic
Belleek. This shape was suggested by, but not copied
from a Doulton Form. It was first modeled in Trenton and
has been since copied by some French potters. The vase
was chosen for the Gold Medal class, not because it repre-
sented a superior or more important line of painting than the

This provision assures a greater

KHERAMIC STUDIO

other classes named, but because the variety of treatment
possible under the given conditions would include the largest
number of workers. It will be noted that even figures and
geometric ornament come within the given conditions.

Miss M. H. E. Montfort led the way toa rendering of
the decision that in all cases designs for table service be ap-
plied to plain rim plates, Ida Johnson, Chairman of Educa-
tional Committee, giving a little latitude by not restricting
the size, in order that dinner plates or even bread-and-butter
plates could be submitted,

Mrs. Sara Wood-Safford made a motion relative to the ap-
pointing of judges which is incorporated in the letter from
the Educational Chairman. The judgments rendered in San
Francisco, Denver, New York and elsewhere will each have
equal weight, for when the sealed envelopes prepared by the
judges are opened at the close of the exhibition by the Ad-
visory Board, there will be a summing up of the points given
to each piece entered in competition. This composite opinion
of the judges will be the final judgment,—the one which will
place the award.

On a motion made by Mr. Marshal Fry, Jr., all transpor-
tation expenses, both ways, for individual and club members,
were assumed by the League, thus making it possible for all
League members far and near to contribute. The only ex-
pense to be borne by a club is in the event of its desiring to
receive the exhibition, in which case the sum of ten dollars
($10), shall be paid into the League treasury and a promise
given to see that the pieces comprising the exhibition are
carefully packed and shipped to their next place of exhibi-
tion. No club and no individual member can afford not to be
represented.

It would be difficult to estimate the educational value of
seeing in a single exhibition three classes of work only, with
each class restricted to a certain form. Should the contribu-
tions include not only work from all sections of the country,
but from the brushes of the very best American mineral
painters, it seems safe to say that this exhibition will be the
most interesting one yet planned by any club. The Board
feels already greatly encouraged at the interest shown.
Some of the foremost mineral painters in New York have
promised to contribute. One enthusiastic club has ordered
three dozen vases for members to work upon, and they are
planning to have the vases presented at their April meeting.
After being criticized by their special critic, those deemed
worthy will be sent to the League exhibition. The prize to
be given at the annual exhibition of the Du Quesne Club in
April, as noted elsewhere, will be seen to fall in line with the
League’s plan.

Miss M. T. Wynne has shown great interest in the forth-
coming exhibition and has offered to receive all articles sent
and to display the same in her place of business.

Reported by L. VANCE-PHILLIPS, President.

The following letter has been sent to each member of the
League and is authority for all work contemplated. Copies
may be obtained from the Corresponding Secretary :

NATIONAL LEAGUE OF MINERAL PAINTERS.

The National League of Mineral Painters haying instituted a medal
competition, the following plans have been adopted, the suggestions from
the various clubs having been carefully considered, and what might be
called a composite result chosen.

This competition will constitute the League’s course of study, and the
pieces sent will form the exhibition for 1902, which may be called a com-
parative exhibition,

AWARDS.—There will be three medals awarded, gold, silver and
bronze; and there will be first and second Honorable Mention in each

RERAMIC STUDIO

class. For the latter it is hoped a sufficient number of scholarships may
be secured.

GoLtp Mepau.—For the best original design applied to a vase—No.
405 Ceramic Art Co. See illustration page 255.

The following points are to be considered: 1—Design; 2—Suitability
and adaptation of the design to the chosen form; 3—-Drawing; 4—Color
scheme; 5—The technical execution. The decoration may be conven-
tional, realistic or figures.

SitvER Mepsu,—For the best portrait head.

The points to be considered are: 1—Dyrawing; 2—Color; 8—The
technical execution.

Bronze Mepau.—For tableware.

Plates for any course. One plate or the entire set may be sent. Plates
must be plain, with rim. The points to be considered are: 1—Design;
2—Adaptation; 8—Drawing; 4—Color Scheme; 5—Technical execution.

Each point scores ten. The person receiving the highest total is en-
titled to the reward.

EXAMPLE.—The highest possible score for a portrait is 80 points. A
competitor may receive for drawing 5, color 8, technical execution 6,
making a total of 19,and he thereby learns his weakest and strongest points.

Pieces conforming to the requirements may be sent for exhibition
only, by being plainly marked ‘* Not in competition.”

The League in order to make this exhibition of educational value, has
decided that it should be sent to each club that is willing to pay $10.00

235

into the League’s treasury, and assume the packing and shipping to the
next place of exhibition. The League will pay all transportation expenses.
JUDGES.—Hach club shall choose three judges from outside their
membership, who shall pass upon the work, their decisions remaining
sealed until the circuit has been completed. These sealed letters are to
be sent to the Corresponding Secretary, and at the close of the exhibition,
to be opened at the Advisory Board meeting, and the awards announced.
The ultimate judgment will be a composite one, or a consensus of the
opinions of all the judges. All competitors will receive from the Corres-
ponding Secretary, their score, which may be considered as a valuable
criticism, and one of the chief benefits of this comparative exhibition.
MARKING.—As the identity of the artist will be a matter of great in-
terest to the League members, and of no weight with the judges, who are
outside of the clubs, each piece must be plainly marked on the bottom,
with the name and address of the artist and of the club to which the artist
belongs. If for sale, state price. Articles sold will be subject to delivery
after the League clubs have had an opportunity to see the exhibition intact.
All articles must be sent to M. T. Wynne, 11 East 20th street, New
York and be in New York by May 5th, 1902.
The League will pay express charges on all articles sent for this com-
petitive exhibition and will prepay charges in returning them.
Myra Boyp, IpA A, JOHNSON,
Corresponding Secretary, Chairman Educational Committee,
Penn and Murtland Aves., Pittsburg. 193 St. James Place, Brooklyn.

PLATE DESIGN—ANNA B. LEONARD

HIS design is used on festoon edge plate. After the
T panels have been spaced and drawn, outline the whole
design in black mixed with a little red, enough to give a
warm brown tone. The flowers and buds are in pink enamel.
Make a body enamel of Aufsetzweis one-third, Hancock Hard
Enamel one-third, adding to this amount one-eighth Flux.
Make three shades of pink, by toning this body enamel with
Hancock Carmine, remembering always that the color fires
stronger when mixed with the enamel.

For the green leaves, add to the body enamel tones of
green obtained by mixing Apple Green, Mixing Yellow (equal
parts) and a little black for the lighter greens. Darker greens

are obtained by using Apple Green and Mixing Yellow (equal
parts), Brown Green, Chrome Green 3b, and a little black.

The wider band on the edge is the paler green, and the
very narrow band next to it is gold. The two narrow bands
outlining the panels are of gold and the darker green. The
two narrow bands inside the shoulder of the plate are gold,
with the design of leaves in the dark and light green. The
panels containing the all over design of buds may be filled in
gold or left perfectly white. This same design may be
carried out in flat gold outlined with red or black on a white
ground, or a ground of color or lustre. A gold design looks
well on Yellow Brown Lustre.

236 KERAMIC STUDIO

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POND “Oa.

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SWEET PEA BORDERS—ADELAIDE ALSOP ROBINEAU

HERAMIC STUDIO 237

SWEET PEAS
Adelaide A. Robineau

VERY decorative flower and one found in al-
3} most every tint isthe Sweet Pea. It should
be handled delicately as its chief character-
istic is daintiness. We regret that repro-
duction necessitates a strong contrast of
black and white, as a heavy effect is neces-
sarily given which by no means belongs to

the designs. In the chocolate set we have suggested several
treatments of the same design, which should, of course, be
made uniform on all the pieces. The saucer design has the
stems spread, which gives quite a different effect, but in mak-
ing the set all the stems should be the same way, either par-
allel or spread.

Carry out this design in Copenhagen Blue on a white
ground, or Copenhagen Grey with slightly darker outlines of
the blue—or treat the design in flat enamels ona gold ground,
using any of the sweet pea tints—or ivory and Yellow Brown
or two shades of green on Gold would make a dainty effect.
Any of these color schemes would be effective in the plate de-
sign, but we would suggest using your fancy in making new
combinations.

The page of borders can be adapted to any shape or size
of dish, remembering always in adapting to a curve, to trace
one section only at a time, directly parallel to the edge and
exactly upon the division mark, making any necessary changes
in connecting the design after the separate sections are all
drawn; there will almost always be a larger space, at top, be-
tween sections and the lower portions of design will be drawn
closer together. The last three borders are almost exactly the
same with different color treatments to illustrate the variety
of effect to be obtained simply by changing the arrangement
of masses of color, reversing the dark on light, etc. For tall
pieces a subordinate design of the same character can be added
either in a narrow edge or lines running up and down the
piece.

HERAMIC STUDIO

a
—__ ~~

CHOCOLATE SET—ADELAIDE ALS

KHERAMIC STUDIO

259

PLATE DESIGN—ADELAIDE ALSOP-ROBINEAU

A SUGGESTION FOR MINERAL PAINTERS

A. G. Marshall
HILE collectors are paying for old plates, decorated with
W prints of historical buildings, more than the origina]
cost of the whole service of which they are fragments, it seems
a little singular that no one seems to have taken the hint and
gone to painting similar subjects existing to-day. There is
no lack of interesting and picturesque material for such pur-
poses; and the work, if artistically and technically well done
would possess a high value at once, a value certain to increase
as years pass, and to render such pieces in time either precious
heirlooms of intrinsic worth or treasures commanding high
prices from future collectors. Many buildings already histo-
tically famous will at once occur to the painter, the list start-
ing of course with the National Capitol and the White House,
Washington’s Home, Mt. Vernon, Va., Independence Hall,
Philadelphia, Faneuil Hall and the Old South Church, Boston,
the City Hall and St. Paul’s Church, New York, all stately
and picturesque edifices. Besides these world renowned
buildings scores of others, of almost as great celebrity, may
easily be found. In this list would be Fraunce’s Tavern and
the Jumel Mansion in New York, Washington’s Headquarters
at Newburg, N. Y., the Witch House at Salem, Mass., the
mysterious old “Stone Mill” at Newport, the birthplaces and
homes of our earlier poets and statesmen, old Spanish missions
in the south and west, revolutionary forts, aboriginal cave and
cliff dwellings and other early structures or ruins, some of

which are to be seen in almost every part of the country.
Passing to the recent period, there are hundreds of beau-
tiful buildings scattered through numberless cities and towns,
which, though now lacking the romantic glamour of the past,
will sometime become as interesting and rich in history as
many that are now redolent with memories of thrilling events.
Such are the new Library of Congress, the Boston Library,
the Albany Capitol and City Hall, the permanent memorials

of our great expositions, and many magnificent church and
college buildings. Fine keramic paintings of these would
surely grow in value with years almost like old wines. Then
there are the local churches, the school houses, town halls,
wayside inns and the old homesteads, all endeared by personal
history. What a treasure to one’s descendants would be
plaques and plateaux, cups and vases, bearing in imperishable
enamel the pictures of these? An interesting personal set
could be made including one’s birthplace, all other houses in
which one has dwelt, the churches and schools one has at-
tended, and even the barns, orchards and other familiar or
favorite scenes and haunts. A family or ancestral set would
show the birthplaces and dwellings of as many of one’s for-
bears and near relatives as possible. Again, a delightful
memorial of travel could be compiled in china, of scenes and
buildings visited in one’s own and other lands. The possibili-
ties in this way are not easily catalogued, but will readily
suggest themselves after the hints given and the production
of such works is well within the ability of any good mineral
painter. If desired the frames of borders of the scenes could
be designed from flowers gathered in each locality, or the
favorites of the persons associated with the houses depicted.

Asto treatment: It should first be noted that by far the
greater number of scenic porcelains, even though commanding
fabulous prices by reason of rarity, are decidedly unworthy of
imitation in the style of their decoration. Usually the scenes
are treated realistically, and they are not always correctly
drawn at that. The borders are often poorly adapted, imper-
fectly matched ‘‘repeats” of realistic flowers and leaves; or
perhaps banners, eagles, cannon and other insignia of national
or warlike significance. Made at a period of the lowest deco-
rative taste, they served their purpose at the time, and are
now of great interest historically, but not as models of artistic
treatment.

The study of old Dutch, Spanish and Chinese pieces will

240

give a hint of a better though often clumsy style. But frankly,
the work should be done broadly in flat tints, as is now so
familiar in the work of the best European and Japanese, as
well as recent American decorators. Not that the way of
drawing should be an imitation of some foreign style—to look
Japanesque or French posteresque, for instance—but the de-
sign should be kept to the surface of the china, should be
agreeably composed and handled with simplicity. Buildings
are peculiarly adapted to such treatment, and all trees and
masses of foliage can be beautifully suggested by the large
outline forms, filled in with either plain tint or a texture of
conventional leafage. Do not regret your pretty technique
of realistic modeling and minute drawing of all the accidents
and phenomena discoverable in a week’s scrutiny of your sub-
ject. Great art in any line more often consists in leaving out
than inlugging in. When great men like Puvis de Chavannes
and Sargent glory in sacrificing all the sweet little technical
perfections so easy to their brushes, in order to concentrate
upon grand harmonies of line and space and color, in colossal

RERAMIC STUDIO

mural compositions, we can be content to refrain sometimes
from displaying our skill in realism out of respect for the
thing we are decorating.

If the painter does underglaze work, nothing could be
better suited to it than the designs suggested. Whether
under or overglaze, monochromatic treatment, in blue, gray
or maroon, will be effective and of course comparatively easy.
If a color scheme is adopted it should be in quiet, secondary
or tertiary tones. Outlining may be delicate or bold, as best
befits the design and quality and style of dish. If gold or
lusters are employed confine them to the borders.

If, in spite of all said above, you must paint realistically,
put the pictures upon plaques or panels, and hang them on
the wall. I trust that these suggestions will stimulate many
to originality in lines indicated. If you do not draw from
nature, the subjects can be adapted from photographs or en-
gravings. The designing and execution present no special

difficulties, and should prove a wholesome variation from roses
and violets perennial forevermore.

WILD CHERRIES FOR BERRY PLATE—MISS JEANNE M. STEWART

ARY the colors of cherries from a light green shaded with
Ruby Purple toa dark blue the color of blue grapes.

Use Ruby Purple, Banding Blue and Brunswick Black, with
Ruby Purple the predominating color. Show very decided
light and shade in each cherry with a very thin wash of Band-
ing Blue over the lightest lines of the riper fruits to represent

the “bloom.” Show reflected lights strongly in the first fire,
and if too light go over with a thin wash of Ruby Purple or
Yellow Brown in the second fire.

Keep the leaves strong in color around the most prom-
inent bunch of fruit, shading to delicate blue greens and
greys at end of twigs. Background should be applied in

RERAMIC STUDIO

second fire with Ivory Yellow and Turquoise Green, shading
to green greys and a dark green around stems at the edge
of dish.

A dash of bright yellow under the leaves directly to the
left of large bunch of cherries will greatly improve the back-
ground, as will also some of the cherry color thrown over the
shadow bunch above, In third fire strengthen shadows, add
detail and darken background.

Co
EXHIBITIONS

HE exhibition last month of flower studies by Mrs. Rowan
it attracted much merited attention. During the brief
period they were shown at the Claussen galleries, No. 381
Fifth avenue, they drew many visitors. It was not alone
from the artistic, but from the scientific standpoint that Mrs.
Rowan’s work attracted attention. She has traveled in many
countries and visited many lands almost unknown to ordinary

241

travelers, and the result of her journeyings was displayed in
her careful studies of the flora of the world’s strange places.
In many cases plants and flowers were reproduced with
microscopic detail, showing a great deal of work. Such a
collection as Mrs. Rowan’s properly belongs to a natural his-
tory museum or to the great universities.

The annual exhibition of paintings by Chicago artists
has commenced at the Art Institute.

An exhibition of recent works of Monet was held at the
galleries of Messrs. Durand-Ruel.

The second annual sale of antique Chinese porcelains
from the art house of Thomas B. Clark commenced February
12th. Rare examples of Han, Sung, Ming and Corean pot-
teries were sold.

The first portion of the rare collection of old china and
antiques formed by the late Arthur True will be exhibited at
the Knickerbocker Auction Rooms February 2oth, the sale
commencing on February 24th.

TREATMENT FOR PASSION FLOWER—MISS MARY H. STICKNEY

OR first wash of flowers use Violet No. 2 and Baby Blue
EF for light shades, for deeper tones use same color, but a
little heavier. Calyx, Royal Green with Lemon Yellow on
ends. Forsecond fire use Royal Purple with Banding Blue for

dark tones of flower. For leaves use Royal Green, Brown
Green, Lemon Yellow with Violet No. 2, for darker shades.
For background the same colors can be used with good
effect.

242

RERAMIC STUDIO

ROYAL COPENHAGEN

MODELED FIGURINES AND ANIMALS
COPENHAGEN PORCELAIN.

Vee modeling of figurines, ornamental pieces, etc., has been
attempted by many important factories both on the
continent and in England in the eighteenth and nineteenth

centuries. The old figurines of Dresden, Sevres, Chelsea,

Mr. C. J. Liisberg

ation about this modeling work which brings the potter’s art
close to that of the sculptor and is a pleasant diversion from
the decoration of vases. Here decoration is nothing, the
charm lying in the delicacy of the modeling, the expression
of the lines and the faithfulness to life. Among the modern
factories which have revived this.special art, Sevres comes
first with the reproduction of the famous old biscuit figurines

ROYAL COPENHAGEN Mr. Chr. Thomsen

Derby, Bristol porcelain command to-day very high prices
and even the cruder ornamental pieces of the common Stafford-
shire pottery of the last part of the eighteenth and beginning
of the nineteenth century are much sought by collectors.

For the skilled potter artist there is evidently a fascin-

ROYAL COPENHAGEN

Prof. R. A., Arnold Krog

ROYAL COPENHAGEN Mr. C. F. Liisberg

and the addition of many new charming models by celebrated
sculptors of our time. In a different style, but not less at-
tractive, are the exquisite modelings of animal forms made at
Copenhagen, which are the subject of our illustrations. The
body is that fine hard porcelain with touches of color, mostly
different shades of blue, green and grey, which is so charac-

Mr. C, T. Bonnesen

ROYAL COPENHAGEN

243

STUDIO

RAMIC

Mr, J. Dahl Jensen

Nielsen

Mdme, A. M, Carl

Ingeborg Plockross

Mr.

GRONDAHL

BING

Mr. J. Dahl Jensen

RONDAHL

244

ROYAL COPENHAGEN Mr. B. Nielsen

teristic of the Copenhagen ware. The few illustrations we
give show how these litile ornamental pieces are true to life.
Some come from the Royal Copenhagen Works, some from
Bing & Grondahl. Both potteries have been mentioned
before in this Magazine and their porcelains illustrated, but
it is the first time that we give reproductions of these unique

Mr. Theodor Madsen

ROYAL COPENHAGEN

ornamental gems. While the modeling of human forms is
occasionally attempted, especially by Bing & Grondahl, animal
forms are evidently the favorite study of the Copenhagen
artists, and in the perfection of workmanship their produc-
tions remain unsurpassed.

Over seven hundred bottles and vials were taken from an
apothecary shop that was unearthed in the excavations in
Pompeii recently. Most of them were of singular form, some
being fashioned to resemble certain animals, and it was
thought they were used to contain drugs or potions as-
sociated with the animal portrayed. In one which was her-
metically sealed, there still remained about a gallon and-a-half

RERAMIC STUDIO

of a dark liquid which was turned over to chemists who are
now making an analysis of it.

F
[FAGUE At the annual election of the New York
NOTES Society of Keramic Arts at the Waldorf-

Astoria on the third Monday in January, the
officers of the previous year were re-elected with the excep-
tion of the exchange of the name of Mrs. T. M. Fry to that
of Mr. Marshal Fry. The following is the list of officers:
Mrs, L. Vance-Phillips, President ; Mr. Chas. Volkmar, First
Vice-President ; Miss M. Mason, Second Vice-President ; Mr.
Marshal Fry, Jr., Third Vice-President; Mrs. Lois Andresen,
Recording Secretary; Mrs. Elias S. Osborn, Recording Sec-
retary; Mrs. Evelyn S. DeWitt, Treasurer.

At the quarterly meeting of the Duquesne Ceramic Club
of Pittsburg, it was decided to award the three medals an-
nually given by the Club as follows: Gold—To conven-
tional design (plate border), based on original drawing from
nature of Morning Glories or Cyclamen. Silver—Best head
or figure. Bronze—Best flowers from nature. The annual
exhibition for 1902 will be held in the Carnegie Art Gallery
in April. Opening reception on the evening of the 23d, exhi-
bition to remain open during the week.

The February meeting of the Brooklyn Society of Min-
eral Painters was held on the 5th of the month at the resi-
dence of the President, Mrs. Worth-Osgood, 402 Madison
street. The subject for papers was ‘ Emphasis and Cen-
tralization.” Mrs. J. H. Havens made some very interesting
remarks on the subject. The club has just begun a course
of drawing under the instruction of Miss Cornell, Mr.
Arthur Davis, assistant. This club is not limited to club
members, and is proving of great interest and instructive
value to those engaged in it. Miss Johnson of the National
League of Mineral Painters, with which this Society is con-
nected, explained more fully the plan for the medal competi-
tion, which has already been noted in the KERAMIC STUDIO.
At the January meeting, Miss Montfort of the National
League, addressed the club on the subject, “‘ Keramics at
Buffalo,” illustrating her talk with specimens of the new
Rookwood, also specimens of Grueby, and the underglaze of
Miss McLaughlin, and some pieces of Mexican and Indian
ware.

@
JN THE Our subscribers will be sorry to hear of
STUDIOS the heavy loss which our friend and contribu-

tor, Mrs, Maud Briggs Knowlton, has suffered
in the fire of the Kennard Hotel, Manchester, N. H. She
was the oldest tenant of the Kennard, and her studio was filled
with choice china, water colors and bric-a-brac. Not only was
her insurance very small, but even if the lost articles had been
fully covered, the loss would remain very great, as many could
not be replaced, the sketches made during her trip abroad last
summer, the designs which were the accumulation of ten
years’ work, her pictures exhibited in New York and else-
where, and the many things which every artist prizes much
above their money value.

2
JN THE We have just received the complete and
SHOPS interesting catalogue of A. Sartorius & Co. for

colors, lustres and all material needed both by
overglaze and underglaze decorators.

SUPPLEMEN 4 RHODA HOLMES NIC. ILLS ERAMIC STUDIO PUBLISHING OO,,

SYRACUSE, N. ¥.

KERAMT

ART COLORTYPE

HERAMIC STUDIO

245

CHINESE PLATE—KATHERIN LIVERMORE

HIS is very effective carried out in pink and green enamels.
First fire—Outline the design in Gold, either using
raised paste or a flat outline. Second fire—For the lightest
green use Aufsetzweis and one-eighth Flux toned delicately
with Apple Green, Mixing Yellow and a touch of Black.
Darkest Green—Apple Green, Mixing Yellow, Brown
Green and Black with one-eighth Aufsetzweis, an intermediate
tone is obtained by mixing the two shades.

For the flowers use three tones of pink, using Hancock’s
Carmine for toning the enamel, as this is the on/y carmine
which gives the yellowish pink used by the Chinese.

Introduce a little of the light green around the edges of
the little inner petals and the center form.

When covering small surfaces—as in the green scroll
forms—thin with turpentine only; but for large spaces—as in
the flower petals—add a little Copaiba.

KRERAMIC STUDIO

246

PITCHER (PITCHER PLANT)—JENNIE E. HANSON

RERAMIC STUDIO

PITCHER (PITCHER PLANT)
Jennie E Hanson

HIS curious June plant whose leaves are often found by
ii its admirers filled with water, and in whose depths are
found the drowned insects who ventured in, is worth study-
ing. Beautifully red veined leaves are the rule, though some-
times it is seen all green. The stems have more of the red
toward flower end. The petals are quite dark on outside,
needing Ruby, Deep Red Brown and Brown No. 4. The
inner curved petals are lighter, omit the brown. The inside
of all petals is of a cool light green.

So much for the colors of nature. For

conventional

247

treatment, one of many ways would be to use deep rich blue
greens. Say top band, front panel and handle of Night
Green and Dark Green No. 7 or of Shading Green put on
rather heavily with a brush. All other spaces of Night
Green put in evenly with pad.

Letters, bands, top and bottom of border and around
panels of Platinum, fora change. ,Continue the monochrome
effect in flowers by using varying tones of colors mentioned,
preserving the same relative values as in design.

For a warmer scheme, warm browns worked up lightly
and put away a few hours to set a little and then dusted all
over, fired and same colors used in second fire, would have a
pleasing effect. Use no metal in this treatment.

BUTTERCUPS—MARY ALTA MORRIS

HESE flowers are quite yellow with very glossy petals.
Paint in with Albert Yellow, shade with Yellow Brown
and Brown Green in center; using more Yellow Brown for
flowers in shadow. The stamens are in Yellow Brown; take
them out light against a dark petal and paint them in
darker in contrast to the light petals.
The back view or under side of petal is much lighter; use
Lemon Yellow, shade with Grey for flowers. Keep high
lights on main flowers sharp and clear. For the leaves use

Moss, Brown, Shading and Deep Blue Greens. Blending
background from a ivory yellow into violet above the flowers;
into the greens and browns at the base.

In retouching use Grey for flowers for some of the more
delicate shadows on petals. Strengthen shadows in center
under stamens. Adda touch of Violet of Iron with Yellow
Brown for strongest accents on stamens. Keep the main
flowers bright and clear in color, and those on the outer edges
light, melting into the background as it were,

SLNAWATD SSIIA—TAOd GCVIVS AOA NOISHA SNSSIOUVN GAZITVWNOLLNAANOD

RERAMIC STUDIO

TREATMENT OF SALAD BOWL
Miss Clements

HIS design is very pleasing carried out in Copenhagen
Blue on a white ground. Another appetizing treatment
would be to make the flowers in Pale Yellow, the leaves in
Grey Green. To accomplish an even flat tone blend the color
with a silk pad, cleaning out the design with a bit of cotton
wool ona stick. This design would also be effective in differ-
ent shades of gold on a white or cream ground, with or with-
out outlines in black or brown. Any monochromatic treat-
ment would be suitable.

One hundred and ten of the three hundred and forty
costly reproductions of Pompeiian bronzes recently presented
by Andrew Carnegie to the Carnegie Institute have already
arrived in Pittsburg. The rest are being made by a firm in
Naples, who expect to complete the set in the course of the
next year.

249
THE COLLECTOR

A PUZZLING SERIES OF DARK BLUE
HE maker of this series is unknown. So far as we know
il, no maker's mark or names of views have been found on
pieces with this border design, and it remains one of the most
puzzling series of dark blue. Pieces have a soft, fine glaze and
are of a rich dark blue.

Our illustration No. 1 is generally called “Cadmus.” Mr.
Halsey, speaking of this plate, says: ‘Another view evi-
dently showing the Cadmus while lying off Staten Island. In
the distance appears a boat dressed with flags in honor of
Lafayette.” Mr. Barber does not seem to consider the plate
as an American view, as we find only the three Cadmus plates
with shell border in his list of historical pieces. Unlessa
mark is found there will always be much doubt and discussion
about this view, as about all the other views of this series, but
collectors will undoubtedly keep calling it “‘ Cadmus.”

No. 1—9-inch plate known as ‘‘ Cadmus ”’
From Early New York on Dark Blue Staffordshire by R. T. H. Halsey.
By courtesy of Dodd, Mead & Co.

Our second illustration is a cup and saucer called by col-
lectors and dealers “ B. & O. R. R. Cup.” We do not find it
either in the Barber or Halsey lists of historical pieces, and
they evidently consider it as simply a view of an old locomo-
tive and car, probably English.

Illustration No. 3 isknownas ‘‘ Fulton Steamboat Plate,”
nobody knows why, and it is considered to-day as an English
view, not only by authorities, but by most collectors.

Are all the views of this series views of American or Eng-
lish boats, locomotives, etc., are some of them American,
some English? The safest solution of the question is un-
doubtedly that adopted by Mr. Barber, who leaves the whole
series out of the American list. The so-called B. & O. R. R.
cup for instance may have been intended to represent an
American railroad. But who can say so positively? We re-
produce here some views of the first railroads in this country.
It will be noticed that the passenger car on the cup bears a
close resemblance to the car of the Mohawk & Hudson R. R.
However, the first English cars had also the stage coach shape
and the carrying of baggage on top of the coach was
as much an English as an American custom. The loco-
motive on the cup is of the English type, but the
first locomotive used in this country, the Stourbridge Lion,
was English. On the B. & O. R. R. plate with shell border
by Wood, the locomotive is also of English type and has not
the slightest point of resemblance to the ‘Tom Thumb” used
in the B.& O. R. R. experiments. However this plate was

N
wal
eo)

THE “Stovkbxivce Lion.”
First locomotive used on an American track, imported from England,
tried on August 8th, 1829, near Honesdale, Pa., upon the first
tracks of the Delaware & Hudson R. R.

marked on back by E. Wood & Sons, “Baltimore & Ohio
Railroad ” and is not a matter of discussion.

It will be well to remember that drawings used by old
Staffordshire potters were often inaccurate. We find many
proofs of this in the dark blue ware, and it seems to have been

“THE Tom THUMB

Trial of Peter Cooper's locomotive ‘‘ Tom Thumb” on the horse car tracks of the
B. & O. R. R. on the 28th of August 1880. From “ History of the First Loco-
motives of America from Original Documents, by Wm. H. Brown.”

especially the case with views of old steamboats, railroads and
ships. A striking example of this inaccuracy is found on the
Landing of Lafayette plate by Clews, which we do not repro-
duce, as every collector knows it. On August 16th, 1824,
Lafayette made his triumphal entry in New York on
the steamboat Fulton escorted by a fleet of boats, among
which was the famous Chancellor Livingston. The two steam-
boats with three masts shown on the plate were then probably
intended for the Fulton and the Chancellor Livingston, the
Fulton being the boat on the left of the plate, dressed with a
number of flags. A look at the illustration we give of the
real Fulton, which had only one mast, will show how inaccu-
rate were the drawings used by Clews. The small steamboat
without masts in the foreground of the plate, ahead of the
Fulton, shows another incorrect drawing, as there were at that
time no American steamboats without masts. This boat is
generally supposed by collectors to be the Nautilus, but the

No, 2—Dark Blue Cup and Saucer, called “ Baltimore and Ohio Railroad.”

KRERAMIC STUDIO

Locomotive and part of first train of passenger cars eyer run in the State of New York on the
Mohawk & Hudson Railroad. First trip August 9th, 1881.

From ‘ History of the First
Locomotives of America from Original Documents. by Wm. H. Brown.”

Nautilus, the first experiment of Robert Fulton, was built in
France and tried on the river Seine on August 8, 1804. We
find no record of an American built Nautilus. The fleet of
steamboats on the Hudson comprised in 1816, besides the
Fulton and Chancellor Livingston, the following boats, all
built under Fulton’s supervision: Car of Neptune, Fire Fly,
Hope, Perseverance, Richmond, Olive Branch and North
River; the latter was formerly the Clermont, built in 1807,
Fulton’s first American steamboat. In 1821 the Connecticut
was added to the Fulton and Chancellor Livingston for packet
service on Long Island Sound, and in 1826, the Washington.
All these boats had masts, most of them two masts. The
Boston, which was the first steamboat built without masts,
was put in service only in 1831.

This shows that not only during Fulton’s life, but many
years after his death, which occurred in 1815, before the Chan-
cellor Livingston, his last and greatest effort, was completed,
the use of masts and sails was considered necessary to accele-
rate the speed of steamboats. It is then difficult to see why
collectors have called our illustration No. 3 ‘Fulton Steam-

No. 3—10-inch plate known as * Fulton Steamboat” from the collection of
Mrs. Fred Yates, Rochester. N. Y.

boat plate.” There is a strong objection to classifying this
view as American. The landscape looks suspiciously English ;
nothing in the high cliff surmounted by a lighthouse suggests
any part of New York Bay or Long Island Sound. The boat
does not even fly the American flag, which has been so freely
used by makers of dark blue ware, and in so many unexpected
ways, that its absence on a boat which would have been in-
tended to be American looks remarkable. However, it must
be said that altogether too much importance has been at-
tached by collectors to the meaning of the American flag
found on so many ships on dark blue Staffordshire. This

KRERAMIC STUDIO

ware, English as well as American views, was almost exclu-
sively made for the American market, and the Staffordshire
manufacturers were naturally anxious to make it as attractive
to the American public and as salable as possible. In most
cases the American flag has probably no other significance.
Not only is it found on many views of ships in foreign ports
(View of Liverpool, View of Dublin, Yarmouth, Christiana-
burg, Gold Coast of Africa, etc., shell border, by Wood), but
on views in which the presence of an American ship seems
impossible, for instance, the York Minster plate with fruit and
flower border, which will be illustrated in one of our next
issues. A steamboat is shown in the foreground flying the
American flag. Whatcould an American steamboat be doing
on a small inland river, in the center of Northern England, far

from the coast? And how shall we explain the flags on the lot
of small racing boats shown on the Wood piece called ‘‘ East
Cowes, Isle of Wight,” long before Americans thought of
challenging for the cup. No less strange is the flag in the
view reproduced on cover of February OLD CHINA. “A ship
of the Line in the Downs.” If it was not for this flag nobody
would hesitate to interpret the expression ‘Ship of the Line”’
as applying to an English war-ship. But even if the flag
stamps this war-ship as American, is this a reason to place
the view in the American list? The Downs are in England
and the view is English, whatever the nationality of the ship.

THE FULTON, 1814
Reconstructed from original documents.

From ‘ Past and Present of Steam Navigation on Long Island Sound,” by Henry
Whittemore, author of “ History of Steam Navigation in America,” and
other historical works.

THE CHANCELLOR LIVINGSTON, 1815

In the absence of marks, and in view of the inaccuracy of
drawings used by old English potters, it is a hopeless task to
try to give names to all views of this kind. It is more than
probable that in most cases no special view was intended.
Ships, steamboats, railroads were used for decorative pur-
poses ; they had of course the general features of ships, steam-
boats and railroads of the time, and these features were prob-
ably made as American as possible, but there does not seem
to be the slightest reason to believe that special well known
boats or trains were meant. If such had been the case, we
would find more of these views marked. In dark blue the
B, & O. R. R. of Wood remains an exception to the rule and
is marked, probably because it was exceptionally intended to
be a special view; in light blue the Schenectady & Albany
R. R. illustrated on our cover is another exception.

All these unmarked views have their historical interest,
and their place in a collection, whether American or English.
But they ought to be listed apart as general views of early
steamboats, ships and railroads, until marks are positively
found to identify them. Chances are that marks will never be
found for most of them. In this special list it would seem
wise to include the three so-called Cadmus plates with shell
border by Wood. It is claimed that one of these plates has
been found marked, but to our knowledge no positive proof
of the fact has been produced so far.

251

Leeds Tea Pot, by courtesy of Arthur True & Co., New York.

TWO ODD TEA POTS

In connection with the preceding article, the reproduction
of these tea pots with views of old boats may prove interesting.
The first illustration is of a very fine Leeds tea pot, which
we reproduce by courtesy of Arthur True & Co. of New
York, the owners, who think it represents the Fulton
Steamboat. Anyway, the steamboat flies the American flag,
and on this ware which was not specially made for the Ameri-
can market, and on which American subjects are only occa-
sionally found, the presence of the flag may have more signifi-
cance than it has on the dark blue Staffordshire. It will be
noticed that what appears to be a second mast is in reality
the smokestack, judging from the volume of smoke which
pours out of its top. So that the boat has only one mast,
and has at least this exceptional feature of the Fulton. The
tea pot shows unquestionably all the characteristics of the
Leeds paste, quite different from the Liverpool and Stafford-
shire pastes, but who can say positively what special boat, if
any, the view was intended to represent ?

The Chinaman who decorated the Lowestoft tea pot, our:
second illustration, did probably his best to give a reproduc-
tion of an American ship, but we will leave to some imagina-
tive collectors the task of naming the ship. The only thing
which is easily recognized is the American flag. It isa fine
specimen of so called Lowestoft, one of the many interesting
pieces in a collection of over 1400 tea pots.

Chinese Lowestoft Tea Pot. from the Collection of Mrs. H. PF. Brownell,

Providence, R. I.

PYROGRAPHY

All designs for Pyrography should be sent to Miss K. Livermore, 1010 Chapel St., New Haven, Ct.,
who has charge of this department and will answer inquiries in the Magazine.

TREATMENT FOR FLEUR DE LIS
Katherin Livermore

URN outlines—For lower background burn deep lines, following general
B outline of ornament, upper background stippled. Stain upper petals of
fleur de lis a blue purple, the lower ones red purple (Mr. Aulich’s flower sup-
plement in September number is an excellent guide). Stain leaves green.
Keep the coloring very delicate.

Maude Crigler-Anderson

ERFORATED LEATHER. Striking effects in perforated leather are gained

by cutting out design with sharp pointed knife and burning edges.

This requires a ground of another color beneath open spaces, which may

be another shade of leather, velvet, felt or lustre on leather. The top or per-

forated piece may be left plain or decorated with many background strokes

or a small repeat in conventionalized ornamentation, or very small perfora-

tions made with tiny punch. It can be lined, stippled, dotted or finished in

endless ways. Perforated leather is especially adapted to pillow tops, library
table covers and mats and opera bags, or monograms.

APPLIED LEATHER. This is leather cut in various designs and applied
with glue toa leather of another shade or kind. Stamp or trace desired design
upon your leather, proceed to stain, paint or burn it (according to direction
given for each), let work thoroughly dry, then cut out design with sharp
scissors to insure clean cut edges, and apply to ground of another leather
with glue. Should the design be simply burned and applied, burn over the edges
again after glue is set and dry, allowing the point to touch the ground leather as

”)

HERAMIC STUDIO

you proceed. If flowers are used for the design, they may be
stained in natural colors by using white leather, or the blos-
soms cut from a leather their natural shade, leaves the same.
For example, cut geraniums or poppies from red leather,
shade with point or stain as desired, cut leaves, stems, etc.,
from green leather, shade as desired, then place all together
on the ground leather, joining carefully. Conventional de-
signs in one or many colors, shaded with paint and applied,
make a gorgeous treatment for an endless variety of articles.
Flowers simple in form, as the single rose, poppy, fleur de lis,
dogwood, pansy, geranium, or nasturtiums are good examples
for this style of work. Monograms can also be beautifully
applied. Flat articles are best for application of ornament to
leather.

HELPFUL HINTs. Brown India ink (liquid) may be used
to advantage for very fine lines, closely resembling those
burned with the point. Black, red, purple, blue, gold or sil-
ver ink can be used with beautiful results.

oO,

There is also a white ink which can be used for decorat-
ing dark grounds, or for the little figures stained in black,
when some special feature or cross line must be designated.
Heads with flying hair or masks stained solid black and traced
here and there with white or gold ink are very effective for
small articles.

The tube water colors can also be used for small spaces
and may be finished when thoroughly dry with a thin wash of
Pyrography Varnish to prevent scaling.

Water color is not practical for large spaces or pliable
articles—rather for book-backs or articles tightly stretched, as
wall panels in leather.

Twisted and plaited cords, tassels and fringes can be
made from odd scraps of leather or felt. Wooden moulds in
various shapes serve as top piece of tassels when wound with
finely cut strips of leather.

Punches, pinking and various shaped cutting irons and
metal stamps are useful in the making of small leather novelties.

Treatment page 254

THISTLE DESIGN—MRS. A. W. SLOAN

254 KERAMIC STUDIO

CO @Qarat

Dao
Sul

HEIN h

THISTLE DESIGN—MRS. A. W. SLOAN

TREATMENT OF THISTLE DESIGNS
K. Livermore

HESE graceful thistle designs should be carried out as rep-
AP resented, burning the outlines, then putting in the back-
grounds; in the dark ground use any of the heavy background
strokes—in the lighter, simply stipple with sharp point; next
add the delicate markings in the blossoms. If color is desired,
keep the leaves in grey-green and the blossoms in red-purple
tones.

TREATMENT FOR PASSION FLOWER (Page 241!)
Cora Stratton

HE outer petals of the flowers alternate light green with
il creamy white showing through a fringe of Violet No.
2. For centers use Violet No. 2 for first wash, and second
firing wash lightly with Royal Purple. Stamens, Royal
Green. Pollen, Lemon Yellow. Leaves, Royal Green and
Brown Green with the strongest touches of Shading Green.
Background, Brown Green and Royal Purple blending into
Violet No. 2 and Lemon Yellow,

TREATMENT OF ROSE IN VASE—Supplement
Rhoda Holmes Nicholls

TTHE study of a white rose in a vase, although primarily in-

tended for a water color study, can also be used for
china work. The delicate colors of which the white rose is
composed can be used with almost any background. The
same thing can be said of the leaves. There are few colors
that do not harmonize with green—a dull greenish blue would
be especially beautiful. The colors to use in painting the
rose are Lemon Yellow, Black, a little Rose Madder, a
very little Cobalt Blue, and a sufficient quantity of water in
the brush is a necessity, as dry painting will never give the
thin full quality of the petals. For the vase use Anbucy’s
Blue, Hooker’s Green No. 2, a little Emerald Green, and in
the light, Cobalt Blue and Rose Madder. The high lights are
better if lifted out with blotting paper when wet, and deep-
ened in the darker side as it begins to dry a little. The hori-
zontal lines in the vase should be put in as the color begins to
settle with rather a dry brush. The background is always
one of the most difficult parts of the picture. It should be
kept wet until the desired color is found, and if it is necessary

KERAMIC STUDIO

to retouch it, it should be allowed to dry first and then with
a soft brush pass over the surface. The colors to use are
Indigo, Brown Madder and Raw Sienna.

er
MEDIUM FOR POWDER GOLD
Anna B. Leonard

SE equal parts of Balsam Copaiba, Lavender oil and Tar
U oil; add twenty-five drops of oil of cloves to every
ounce of this mixture. (This is also a good medium for
powder colors). If gold is used, add two drops of this mix-
ture with two drops of Dresden thick oil, thinning with
turpentine, This is all that is necessary when covering paste
or for ordinary gold work with liners or with pen, but when a
larger surface of the china is to be covered the gold must be
held open a little longer, therefore a drop or two more of the
mixture is required, just as tinting oil is used, the object of
the medium or mixture being to keep the gold open long
enough to put on without the brush marks showing. When
powder gold is of the best quality it must be used very thin,
as thin as a flat wash of paint. Follow these suggestions and
there will be no trouble, and if this is not plainly understood
write to the KERAMIC STUDIO.

Vase No. 405 Ceramic Art Co, for League Competition,

ANSWERS TO CORRESPONDENTS.

This column is only for subscribers whose names appear upon our list.
do not send stamped envelopes for reply.
in this column.

Mrs. M. C.—The only possible method of blending a tinted color into
a dusted color is to take some of the same powder color used in dusting
and rub into the tinted color with a brush before it is quite dry. Ruby
purple should always be rubbed thoroughly on ground glass before using.

A nick in a piece of china will not develop further in firing unless a
weight is placed on either side and possibly not then. You could fill the
nick with Aufsetzweis, using one-eighth flux, possibly it will shrink enough
to require a second filling up. To mend a broken piece use same Aufsetz-
weis on broken edge, press firmly together and bind with asbestos cord: if
possible, do not wipe off all the enamel that oozes out on the under side
as it helps hold. We consider the Aufsetzweis in tubes best for this work,
that in powder is not so reliable, we can not explain why, as we do not
understand the chemical composition of colors, but possibly the reason is
that the proportion of oil is always the same in tube, while the powder is
at the mercy of the decorator.

Ordinary white wash is all right for your iron fire pot. No gold put

Please
The editors can answer questions only

up for the market is absolutely pure, in fact it wears better with a /ittle
alloy. We can not say how much alloy any particular make has. You
must judge by the color, which should be quite yellow, and by the
amount necessary to make a good appearance; one to two coats, if rightly
applied, should be sufficient. In using lustres the brush is dipped into the
bottle, otherwise much would be wasted Wood alcohol is only fit for
washing brushes; lustre can be put on and fired at the same time as color,
but can not be put on over unfired color. A matt effect is the result of
putting lustre over fired color; lustres should have a hard fire. If lustres
are used on the same piece with painted violets or roses they should not
be too brilliant, light or dark green, yellow, brown or grey blue would be
best; flowers do not look well painted in lustres unless treated conven-
tionally.

Your suggestion of a colored study of wild roses or larkspur violets is
a good one, unfortunately we can not always get the studies we would
like, however we expect to give a color study of wild roses by Miss Jen-
kins some time in the next four months.

Explain clearly what you wish to know about the charcoal kiln and
we will give you all possible information. You will get good brushes
from any of our advertisers of art material, They all keep about the same
stock,

Mrs. H. VY. B.—The recipe for gold is in the September, 1901, number
just before Answers to Correspondents. Glass for firing should be Bohe-
mian or Baccarat to be most reliable, though other glass will fire but must
be tested before decorating, to make sure.

Mrs. W. A. R.—Moss green is very unreliable on Belleek, firing brown
or yellowish, rolling up or cracking if put on thick, and losing its gloss.
We gaye a very good study of strawberries by Miss Stewart in the May
number, 1900, of KeRAmic Stuprio. Cannot say whether we shall have
one in pen and ink later. Hyen if your painting oil dries quickly you will
find quite a little powder color will adhere if rubbed into the painting
thoroughly. Flux used with color gives a higher gloss, too much would
fade the color. The ivory glaze and azure glaze are simply colors highly
fluxed, which, when dusted over a painting, give a higher finish and
hold all together by the uniform tone they give.

We have never heard of egg yellow, if used purely, turning grey or
green in the Kiln, Mixing yellow sometimes fires grey green under ex-
treme heat. Would judge that impure color had been accidentally used,
or else gases had formed in the Kiln.

To decorate a dozen, tea cups with little work but effectively, the best
suggestion we can make is to uss lustre bands with a design in flat gold
over. The lustre in itself is very decorative and easily put on—a light de-
sign in flat gold to finish this edga would be all the work necessary. We
would prefer ourselves a design in blue monochrome similar to those in
Miss Peacock’s exhibit in February Keramic Srupio.

Bands of yellow brown lustre with design of some flower taken out in
white and outlined in gold would be dainty.

A. A. L.—If you wish to make your fired gold band narrower it would
be best to take it off with acqua regia or hydrofluoric acid, first dipping
piece into melte1 wax and cleaning off portion of gold to be removed. It
would not be safe to cover band with color. You could cover it with
green lustre but. of course, the gold effect would show through. Usually
the charge is higher for firing English plates, as great care has to be taken
and the risk of breakage is much greater than with French china.

M. P. D.—The reason your paint chipped in the third fire was uo
doubt on account of its being heavily put on, though why it should chip in
the third fire and not in the second is one of those problems of firing not
yet explained. It would be dangerous to retouch and fire it, as it would
probably then chip in another place. About drying pieces in the oven—it
is rather risky when quite wet if the color is heavily put on, otherwise
not—but care must be taken that the oven is quite clean, as the moisture
or grease from cooking will sometimes settle on the piece and cause the
‘“weeping’’ of which you speak.

M. H.—You say part of your yellow brown lustre came out light
green. The only possible explanation is that in some way your brush
must have had light green in it, either it was dipped into the wrong bottle,
or was not thoroughly clean. If the fault was with the lustre, it would
have all come out light green.

Mrs. L. C. K.—To get the dark metallic effects in lustre, you must
rely on two or three fires—dark green, light green or yellow over purple
or black or ruby—will produce most of the iridescent colors. To get a
bronze effect, the lustre is used over fired and scoured gold. To make an
even tinting on a large piece you will have to use a little oil of lavender to
keep the color open till it is padded all around with a silk pad. You will
have to rely on repeated fires for depth of color if you wish it eyen. To
use raised gold or enamel over the lustre, it is safest to have the lustre
finished first, but not necessary. You can work oyer lustre as over a tint
of color.

256 RERAMIC STUDIO

A. Sartorius & Co.|/POTTER’S
46 West Broadway, NEW YORK WHEEL

MANUFACTURERS AND IMPORTERS OF

POTTER'S
WHEEL

FOOT REST

GLAZING
CONSTRUCTION

CHINA AND GLASS COLORS

Gold

Relief Paste
Relief Enamels
Fine Brushes
Oils and

Mediums ¥ Write to us for prices

Keramic Studio Pub. Co.

Syracuse, N. Y.

eee
FRR HOR OK OK

Write for a copy ofour NEW CATALOGUE of Artists’ Materials

ESTABLISHED 1789.

“FOOTPRINTS »7%e SANDS or

* MARSCHINGS =
ue ROMAN GOLD -

ee pees. Pe

MARSCHING’S GOLD .:.

Costs more because worth more
than others

It is endorsed by all leading china painters and
by A. Lacroix, of Paris, the famous chemist and

OLOURS Most Permanent,\ \N THE MARKET.

He tls Most Brilliant, : : authority on china colors and gold.
FOR SALE BY ALL It is sold everywhere, because it is in demand

HIGH CLASS ART DEALERS. everywhere. Lacroix Colors and Marsching’s
’ = Gold for sale by all dealers in Artists’ Materials.

IMPORTED BY

The F. W. Devoe and C. T. Raynolds Co., FAVOR, RUHL & CO.
101 Fulton Street, New York.
i WHOLESALE AGENTS,
Favor, Ruhl & Co.,
54 Park Place, New York. 54 Park Place, New York City.

AND OTHERS.

FASC RES spo -a eee’ oe SS pee

CONTRIBUTORS _

MISS NORA D, ADAMS # #
MR, CHARLES BABCOCK re wt gt
MISS ETHEL PEARCE CLEMENTS

MISS MAUD DRAGO ee

MISS MABEL €) DIBBLE. oe s

MR, W. P, JERVIS # we ete
MISS KATHERIN LIVERMORE
MRS. ANNA B. LEONARD»
h MISS EDNA E, LA GRANGE

fe)
a
| MISS MARY ALTA MORRIS. a
a

MRS. L. -VANCE-PHILLIPS 2

MISS EMILY PEACOCK 2 on

o e & & ess .

MRS. ADELAIDE ALSOP-ROBINEAU
MRS, FANNY ROWELL ek

_ MISS JEANNE M. STEWART

SH", MONTHLY: 2
: ‘MECHZINE:

<hue e S oe & &

[ The entire contents of this Magazine are cobered by the general copyright, and the articles must not be Reneiiea without seth permission. |

CONTENTS FOR APRIL, 1902

ESO

Editorial
Peach Blossoms ~
Raspberry Dish
Florian Ware
Pate Sur Pate
Bleeding Heart Designs
Treatment for Plate (Supplement)
Design for Bowl
League Notes”.
Club Notes—In the Studio
Currant Fruit Plate
Orange Bowl |
Design of Bonbonniere
Recipe for Liquid Bright Gold
Cracker Jar
Cup and Saucer
. Birthday Cup and Saucers
The Collector—Order of the (Shannen China
Lowestoft Decoration on Old English
Porcelain.
Pyrogt aphy—J onquils
Chiseled and Repousse Leather
Pulip yup 20 nets ae
Answers to Correspondents

’
Some Leading Agencies of Keramic Studio.
We take pleasure inumentioning a few of the leading agencies for the sale of the
KERAMIC StubIo, where, also, subscriptions may be placed:
Baltimore, Md.—W. H, Cullimore, corner Lexington and Park Sts.
Boston—Miss E..H. Page, 2.Park Square. .
Brooklyn—A.D, Mathews &.Sons, Fulton Street;
Buffalo—Mrs. Filkins, 609 Matin Street.
Chicago—A.C. McClurg & Co\, Brentano's; Burley & Co. Thayer & Chandler,
148 Wabash Avenue; AWH. Abbott & Go., 48 Aeadiagt Avenue.
Cincinnati—Robert Clarke Co.; Miss M, Owen, 1384 West Fourth Street; A, By
, Closson, 4th Street near Race; Traxel'& Maas, 4th Street near Bln,
Denver, Colo.—E, Meininger, 807 16th SirREES F
Detroit, Mich.—L. B. King/Ss' Co. :
Grand Rapids, Mich.—G: N: Miller & Co,
Indianapolis, Ind.—Keramic Supply Co:, Lemcke Building.
Kansas City, Mo.—Emery, Bird; Thayer Co.
Louisville—Louisville Book Store. aD
Milwaukee, Wis.—Des Forges Book Store, commer Wiseonsin St. and Broadway.

Guede te dics Whaky

bey Alta Morris PM nares: ae 258
Jeanne M. Stewart ai) . . | : 259

W...P. Jervis : bay 260

pee : | 261

Adelaide Alsop-Robineau | | 262

; Anna B. Leonard ue ba Vaptiatt TS

Mabel C. Dibble | 263

Mrs. L. Vance-Phillips ~ tN 264

Z 265

“Maud Drago i | 265

Anna B. Leonard i ; 266
Ethel Pearce Clements. M4 . ore yan

Emily Peacock . 267

‘Edna B. LaGrange ~ tity : Ua ais 268

Charles Babcock Es Sub | 269

Fanny Rowell Raa eS 270

? ? 271

272

Katherin Livermore . Be peeea73
274-275,

Nora D. Adams cae:

: . 276

Minneapolis, Minn.—M. Etta Beede. y a4

New York .City—Brentano’s, Union Square; M. T. EAE: 11 #H. 20th
St.; The Fry Art Co., 86 W. 24th St.; Wanamaker's ; American News Co

Oakland, Cal.—Smith Bros. . $ :

Omaha, Neb.—Megeath Stationery Co.

Oxford, O.—A. Beaugureau’s Emporium.

Philadelphia—W anamaker's.

Pittsburg, Pa.—Otto Schaffer & Broi; Kurtz, Langbein & Swartz.; K. Ss.

“> Danis & Co., 346 Fifth Avenue; John 'G, Yergan, 36 Fifth Street.
San/Francisco—Mrs. M. BE. Perley, 219 Post Street:

Sioux City, la—J. K. Prugh, 312 Nebraska Street.

St. Houis—F. Weber'& Col; A. S. Aloe & Go. .* ;

St. Paul, Minn.—St, Paul Book and Stationery Co., gee and St. Peter Sts.

} As ean ees ae é& West; Bailey & SRE E.G. Wyckoff Co.; Doxee &

) Welch ;W, ¥. Foote; WH. Wood.
Toronto.—The Art Metropole.

Vancouver, B. C.—Drainie & Co.

The Magazine may also be ordered from any newedealerin this dota who

can procure it through the American News Company, New York, or its branches,

om
AL

NEW YORK AND SYRACUSE

April 1902

GAIN we call attention to the designs for keramic
forms made in the art schools or under the in-
struction of teachers of design, and ask a study
of the different character of overglaze and
underglaze decoration. While the same przn-

é ciples of decoration apply equally to all articles

to be decorated, whether rug, table, book cover or vase, the

medium of expression is so different that a closer study should
be given to the materials, surfaces and tools, as well as the
purpose for which the object was made.

For instance, many of the designs that we have seen from
art schools to be used on glazed porcelain, would be charming
in underglaze decoration, on heavy pottery, where the design
should be broad and effective, and where the fire aids the
decorator in causing the colors to run and blend, producing
effects chemically that cannot possibly be produced in an
overglaze decoration.

When the students work these same designs over the glaze
they are confused and disappointed, wondering wherein lies
the trouble.

The fault is that the designer has seen in his mind’s eye
a finished effect on pottery and not an effect on porcelain.

The possibilities of porcelain decorations over the glaze
are not understood and the designer must become acquainted
with the materials to be used, and express the same ideas ina
different way.

There is the greatest variety of tools and materials to
form any effect or combinations of effects in overglaze so that
the same design may be carried out in many ways, giving the
idea of an entirely different design each time.

There are all the colors for washes or tints, which give
transparency, and there are the matt or dull colors for certain
other effects. There are all the colors in lustres, bronzes aud
gold, which give the metallic and iridescent effects, either
dull or brilliant, and then there are the enamels with no limit
to their possibilities (and failures), both in flat washes and in
high relief.

Then there is the paste for raising gold, which is suscept-
ible of the finest modeling and which can impart to a design
the acme of refinement as well as the greatest vulgarity of
taste, when not used understandingly.

Therefore in designing for keramic forms we urge a study
not merely of the design in black and white on paper, but of
the way in which these materials should be used. The result
will surely be a wider and more intelligent range of decorations.
of

The KERAMIC STUDIO also calls attention to the coming
exhibition of the National League of Mineral Painters, and
urges each club and member to take an active interest in it,
and to send fine representative work that will do credit to
themselves and to the League.

The offer of prizes is an inducement to send good designs
(March, 1902, KERAMIC STUDIO), and we hope to see the
best exhibition that the League has held. That the com-

petitive work must be on certain forms leads us to expect an
educational feature hitherto lacking.
ofo

We congratulate the Pratt Institute of Brooklyn on its
progressive movement in opening a department in keramics.
Under the instruction of Mr. Volkmar, Jr., a class has been
formed for the making and modeling of pottery, each member
making the forms to be decorated. With Mr. Volkmar’s
practical knowledge, and with his clay, glazes and pottery
works at command, this is an opportunity for those who
are near enough to take advantage of it. Mr. Volkmar, Sr.,
takes the greatest interest in any attempt to further the art
of pottery making, and in him students find every possible
encouragement. His Pottery is open to students for a sum-
mer term.

ofo

The competition for designs in black and white is now
closed but there is still time to send us china panels in color.
We offer for the best two Naturalistic Color Studies, on China
Panels 7 x 9, the following prizes: First Prize $25. Second
Prize $15. Competition closes May tst, 1902.

In an auction sale at Christie's (London), on November
14th, we notice the following prices for china:

A Dresden porcelain group, six inches high, 437, 16s.
Another Dresden group of Lady and Gentleman lovemaking,
£84. At Foster's, of Pall Mall, the same day, a pair of fam-
ille verte vases, 22 inches high, enameled, panels of equestrian
and other figures, £102, 18s., and a pair of Chelsea vases, 13
inches, painted with foliage on red ground, £57, 15s. At
Sotheby's, on November 12th, a unique Worcester transfer
mug decorated with Masonic emblems, date about 1760,
fetched the small sum of 46, 5s. (From the Connotsseur.)

Of important sales made lately by private treaty, the most
noteworthy is the sale to Mr. Morgan of the collection of Ma-
jolicaand Limoges enamels formed during many years by Mr.
Gavet of Paris. When the famous Spitzger collection was dis-
persed some ten or twelve years ago, the collection of Mr.
Gavet became first in importance for really fine specimens of
fifteenth and sixteenth century Majolica and enamels. Mr.
Morgan has lent the collection to the South Kensington
Museum (London) until its removal to America.

* ¥
A WARNING

We wish to warn all would-be subscribers to KERAMIC
STUDIO against placing any business in the hands of one
Benjamin Johnson, a swindler, who has been working around
New York and Boston and vicinity and who is falsely claiming
to represent us, collecting money whenever he can do so and
making absurd offers of extra color studies and free advertis-
ing. Do not place subscription and money in the hands of
any but our authorized agents or people whom you know.

258

RERAMIC STUDIO

PEACH BLOSSOMS—MARY ALTA MORRIS

RERAMIC STUDIO

PEACH BLOSSOMS
Mary Alta Morris

SE Deep Carmine No. 3 for the very pink blossoms, or
al those not yet full blown, shade in dark part with Ruby.
In light flowers add a little flux to Carmine or use No. 1 or 2.
Apple Green mixed with Carmine No. 3 will give good grey
tone in shadows of light flowers.

The buds are darker than the flowers, and for the calyx
use Brown Green in light part, shading into Violet of Iron,
then Finishing Brown for the strongest touches and for stems.

The light green leaves should be very fresh and tender
looking. Yellow Green, adding Lemon Yellow in lighter
tones; Brown Green for shadows, using Shading Green in
some of the larger darker leaves.

For the background use Lemon Yellow at top, shading

ah)

into Deep Blue Green as it approaches the flowers; blending
into Moss, Brown and Shading Green on the left side and
about the stems, on the right the Lemon Yellow and Blue
merges into Violet, or use Ruby with Blue, taking out the
shadowy flowers in the wet tint with the same color. Avoid
separate patches of color, but blend the whole harmoniously,
dusting Brown Green over Ruby in background if too bright.

In retouching use same colors for main part, and in last
painting use a little blue in some of the flowers to vary the
pink and white tone. Glaze some of the leaves with Moss
Green if too light.

It is always best to keep the greens light in the first
painting, and in fact all the high lights of the design, using too
little color rather than too much.

Remember delicacy of tone in these fragile blossoms is
preferable to heavily painted effects.

TREATMENT FOR RASPBERRIES—JEANNE M. STEWART

HE same colors are used in black raspberries as in black-

berries, Banding blue, Ruby purple and Brunswick black

with Yellow green, Lemon yellow and Ruby purple in the ber-
ries not ripe.

For first fire, wash in berries simply, paying special
attention to light and shade, wiping out high lights very
carefully. The ordinary green should be used in the leaves
with exception of the most prominent leaf, in which the

yellow and reddish brown tones should predominate.

The background, applied in second fire may shade from
an ivory yellow to a light grey made of yellow Green, Rose
and Banding blue, with a dark green made of Shading green
and Brown green in the darkest tones.

Use a little Pompadour with grey in the shadows in
third fire. Strengthen background and add detail in third
fire also.

260

ARERAMIC

STUDIO

FLORIAN WARE

[From the advance sheets of ‘‘ The Encyclopedia of Ceramics,” by W.P. Jervis.]

HIS is an arbitrary name given by the manu-
facturers, Messrs. MacIntyre & Co., Burslem,
to the pottery designed by Mr. W. Moor-
croft. In its manufacture there has been a
return to first principles, as it is all made by

x the old process on the potter’s wheel and the

turner’s lathe, the more mechanical method of moulding hav-

ing been rejected, on purpose that as far as is practicable in a

commercial project, the individuality of the designer should

be preserved, nor is there any use made of other mechanical
aids, such as printing the outline, each piece being entirely
done by hand. The body is a fine earthenware and on this
the artist sketches the design in the raw clay with slips mixed
with various metallic oxides, capable of standing the heat of
the biscuit kiln. Whilst this means a very limited palette the
ware seems to have gained rather than have lost from its
limitations, the greys and blues, with their outlines of white,
being most satisfying, especially when the coldness is relieved
by a few touches of orange. Students from the Burslem
School of Art, of advanced experience, are trained to carry out
Mr. Moorcroft’s designs under his immediate superintendence,

and no piece is allowed to be fired that has not passed his
critical judgment. There may be sometimes a slight depart-
ure from the lines laid down, but such departures if artisti-
cally conceived are welcomed instead of rejected, and it thus
happens that no two pieces are exactly alike. Whilst the
methods employed have no elements of novelty, Mr. Moor-
croft has at the same time so used them as to produce some-
thing entirely new and of such a high order of merit as to
justify usin classing his work as a distinct advance in ceramics,
charming alike in thought and execution. Florian is the in-
spiration of an artist and the fulfillment of the dream of a
potter upon whom the beauties of the pottery of the far East,
of Greece and Egypt, had left an indelible impression, and
who has succeeded in giving expression with much humanity
tosome beautiful thoughts
in an imperishable mate-
rial. Our illustrations will
give a good general idea
of the forms and decora-
tion, but the unsurpassa-
bly beautiful colors with
their iridescence and
charm, their hidden depths

RERAMIC STUDIO

revealed by the fire of the furnace, can only be imagined.
Mr. Moorcroft is as yet but a young man, but this initial effort
with which his name has been associated leads us to hope for
yet greater things. For over one hundred and fifty years no

added precious in ceramics has been discovered.

secret
Florian ware suggests the question to our thoughts as to
whether the man and the time have arrived.

cr
PATE SUR PATE

TE process of decoration known as ‘pate sur pate”’ origi-

nated with the Chinese. A Chinese vase, with white
flowers in relief on celadon ground, induced the Manufacture
of Sevres to make experiments with the view of obtaining
similar effects. The result was a new style of decoration which
has been carried to a high point of perfection by M. Solon,
who studied the process at Sevres, but has been connected
with the Mintons of England since 1870. We have illustrated
in November, 1900, some of the fine vases made by that cele.
brated artist and reproduce here his most famous production,
the Queen’s Jubilee vase.

The process of pate sur pate differs completely from the
process employed for the production of Wedgwood’s jasper
ware, in which every detail is pressed separately into a mould
and subsequently applied to the surface to be thus decorated.
Pate sur pate is all worked by the hand of the artist. Bya
careful treatment of the various degrees of thickness of clay
applied on the colored body of the piece, the subjects are
modelled in delicate transparency, standing out from the

261

sround or gradually blending with it, recalling to the mind the
sharp cutting and the mellow tints of antique cameos.

On the plain ground the design is first sketched. Then
with a brush dipped in china clay diluted with water, a first
coating of white is deposited to delineate the subject. Gradu-
ally and always waiting until one coating is dry before apply-
ing another, the substance increases, the thinner or the higher
reliefs are obtained according to the fancy of the worker, who
must be somewhat both of a painter and modeler. He hasto
sharply mark the minute details which otherwise would be lost
under the glaze, to scrape, incise, cut out his work with the
metal tool of a chaser, and, before firing, the piece is a real
bas relief but without the transparency afterward produced by
virification.

The vases are formed of clay colored in its bulk by the
few metallic oxydes which will stand the high temperature to
which they are submitted. In this manner an original is pro-
duced each time, each piece of pate sur pate being unique.

The process used now by M. Solon at Mess. Mintons’
differs in some respects from the process used at Sevres, par-
ticularly in the variety of colored clays used for the body of
the vases, the bright red, the dark yellow, the deep black and
other colors having never been attempted anywhere else in the
bulk of the paste.

Original photographs of figures and landscapes by Mr.
Clarence H. White are on view in the art galleries of the Pratt
Institute, in Brooklyn,

RERAMIC STUDIO

262

(purlsugq ‘uangysv]q *D SSA Ag susisap wo. paydepy)
NVANIAONdOSTV ACIVTACV—IMOd WAONIA GNV SHLVId YOdA NOISAC LWA ONICHA TA

RERAMIC STUDIO

TREATMENT OF “BLEEDING HEART DESIGNS”
Adelaide Alsop Robtneau

HESE designs are adapted from designs for lace by Miss C.
Blackburn, of Engiand, and must be treated daintily.
For the plate design we would suggest a tinted edge of a soft
grey green using the color of that name or the grey shade of
celadon. Make the dotted background a delicate pink for
the space in finer dots anda pale yellow for the coarser dotted
space. Put in the leaves and stems with green gold; the
flowers with Roman gold. Outline all delicately with Brown 4.
For the finger bowl in glass, ground the dotted space zzszde
the bowl with ruby or green stain and carry out the design on
the outside in green and yellow gold with or without black
outlines. For the saucer or bread and butter plate, tint the
ground with Yellow Ochre %, Brown 4, %, adding ¥% flux.
Inside of design tint the white spaces ivory yellow, light,
coarse dotted spaces, Yellow Ochre, and finely dotted spaces,
Brown 4. Make the leaves a pale green, treat the flowers in
flat pink enamels and outline all in brown, or leave the ground
white, tinting inside with the Yellow Ochre and Brown 4 mix-
ture carrying out design in same way or with gold outlines.
The design would also be very decorative carried out in flat
blue and green enamels on a white ground.

TREATMENT FOR PLATE (Supplement)
Anna B. Leonard
HE turquoise color used in bands is composed of Deep
Blue Green one-third, and Night Green two-thirds. To
this mixture add one-sixth flux to insure a good glaze. Also
add a touch of black to tone the color.
For the shades of blue in the blossoms, the same color is
used, adding more or less Dark Blue (Lacroix.)

263

The blossoms, stems and leaves are enamel. First a body
enamel is made by using Aufsetzweis two-thirds, and Han-
cock’s Hard Enamel one-third, adding about one-eighth flux
to this mixture.

This enamel mixture is then tinted with the blue mixture,
making the different shades of blue enamel, according to the
quantity of blue used. It must be remembered that the blue
or color inenamel fires darker than when it is used alone. The
light and dark shades of green are obtained by adding the
greens to the mixture of enamel.

To color enamel for the light green shades use Apple
Green and Mixing Yellow half and half, then add Brown
Green and a very little Ivory Black.

When the darker shade is desired add to this more Brown
Green and Chrome Green 3B. Add this to the enamel mix-
ture until the desired shade is obtained, allowing always for
the darkening change in the fire.

The outlines are in Brunswick Black with a portion of
Pompadour red added, enough to give a warm tone of brown,
but not red.

This design may be varied, the small panels back of the
design may be of gold, or of gold dots. The whole design
may be outlined in gold instead of black. Any color may be
used instead of those given.

The plate looks well in red, black and gold, or entirely of
gold outlined in red.

The design may be in flat gold or raised gold on a lustre
background. The form, spacing and proportion are given, so
that the decorator may take any liberty with the color. The
plate, as it is, represents a copy from the original.

‘“Edouard Manet et Son Oeuvre,” by M. Theodore Duret,
will shortly be issued by Messrs. Durand-Ruel. The work
will be edited by M. Floury.

DESIGN FOR BOWL—MABEL C. DIBBLE

HIS design is much more effective on a celadon bowl,
alt the cool grey green making a charming background for
the blue and green enamels. Make the leaves quite grey,
using Apple Green, Mixing Yellow, Brown Green and Bruns-
wick Black, with one-eighth Aufsetzweis. The flowers are
dark blue—Dark Blue—with touch of Brunswick Black and
Deep Purple and one-eighth Aufsetzweis, let it be quite a
brilliant blue.

The row of white dots in the center of flower is the

white enamel—one-third Aufsetzweis, two-thirds Hard White
Enamel (Hancock’s.) For band at base—all the solid black is
dark enamel—All in the little blocks with green, and the two
oblong petals. Blue edge at top. The outline is black, two-
thirds Ivory Black, one-third Dark Blue.

If a celadon bowl is used, outline, dry thoroughly and then
lay in the Enamels, all for one fire. Be careful to float the
blue enamels on petals not quite to the outline. The soft
celadon color forms a pretty border to each petal.

264

[_EFAGUE All work presented to the League for ex-
hibition or in competition must reach M. T.
es Wynne, 11 East 2oth St., not later than May
5th. The exhibition will be open to visitors on Wednesday
morning, May 7th and remain open until Friday, May the
16th. Gratifying interest has already been evinced by a num-
ber of the League clubs. Several outside clubs are contem-
plating joining that they may have the exhibition sent to them.
At the March meeting of one League club, a design for
the border of a plain rim plate was the subject. The designs
were judged by a special teacher whom the club had employed.
In some instances, the members encouraged by the friendly
and helpful criticism, are preparing to present the same de-
signs more perfectly adapted and executed than were their
first efforts. This same club will have vase No. 405, Ceramic
Belleek, for its April meeting. A similar plan of judging will
be followed and the list of the vases presented will be sent to
the League’s exhibition.

Another club, finding it has but seven members who can
do original work, has decided to be represented in the League
by that number, believing that all work presented should be
in every particular the thought and expression of the painter.
Still another club has decided to hold a small exhibition early
in May showing the work done in accord with the League’s
plans. From this the club’s selected pieces will be sent di-
rectly to New York.

The following extracts from letters received by the Board
give pleasing evidence of interest in the League’s plans:

Tam very much pleased with the line of work for the National League
arranged for 1902, and am sure it must be a success, for it is admirably
planned. I earnestly hope our club may take part in the competition and
shall strongly urge it at our next meeting. We shall want the exhibition
sent, without fail, to Providence and hope you can arrange for us to haye
it in May. Eminty TYLER Hatt,

President Providence Keramic Club.

Tam delighted with the idea that the N. L. M. P. has proposed in this
comparative exhibition and think it one of the best schemes that could be
thought of. SUSAN R, RAWSON,

Secretary of Providence Keramic Club.

There is no plan the League could have thought out, to help in the
educational advancement of the individual clubs composing it, so productive
of surprising and gratifying results to separate members as this compara-
tive exhibition will be. Placing the exhibit on this basis is certainly a
happy idea and the fact that all clubs will contribute ought to be a power-
ful incentive to good work, and call forth the very best efforts.

MARGARET G. Ricu,
Chairman of Education, Jersey City Keramic Art Olub.

The coming exhibition of the N. L. M. P. impresses me as being one
of unusual interest to all keramic workers, in that it promises to be one of
comparison more than of competition, the individuality of the artist
through composition and technical execution, being an educational index
to all students. The plan seems to suggest the weighing of true talents
for the promotion of art interests through which fresh inspirations may
be gleaned as well as pleasure to all art lovers.

CaroLyn B. DorEmus, Founder of the Bridgeport Club.

I wish to congratulate you and the Board on the plans for the National
League exhibition of 1902. They are most complete and show plainly the
thought and the care expended on them by the committee. A ‘‘ Compara-
tive Exhibition,’ the name itself is attractive and interesting and should
appeal to every club and every League member throughout the country.
The efforts of a committee, however earnest and intelligent, are of little
avail unless supported by those for whom the efforts are made. With this
support (and it should be freely given), the exhibition cannot fail to be of
great educational value. It gives me pleasure to write that an unusual
interest was evinced by the members of the M, A. L. of Boston ata recent
meeting. While it is too early to say to what extent our club will be
represented, I can say definitely that it will avail itself of the opportunity
of receiving the exhibit, and if circuit arrangements permit, would be glad
if it could be seen in Boston early in June. Yours sincerely,

Enid A. FAIRBANKS,
President of Boston League of Mineral Painters.

HRERAMIC STUDIO

The Board desires each member of the League to feel he
or she has been personally invited to contribute to this exhi-
bition, and will use the utmost care to insure the safety of the
pieces entrusted to its keeping, L. VANCE-PHILLIPS, Pres.

The annual meeting of the Brooklyn Society of Mineral
Painters took place on Wednesday, March 5th, at the home of
Mrs. Knapp, Lefferts Place. After the regular business and
election of officers, an interesting program, consisting of
papers on the life and works of Puvis de Chavannes, by Miss
Ida Johnson, and John S. Sargent, by Mrs. Field, were read.
The date of the club’s spring exhibition, which will take place
at the “Dutch Arms,” Carroll St. and 7th ave., was fixed for
Tuesday afternoon and evening, May 6th. Pieces to be shown
at the National League’s exhibit, or entered in the medal
competition will lend interest to this affair. The calendar for
1902-3 contains many new and novel features, insuring for
each meeting an attractive program. The officers for the en-
suing year are: Mrs. Worth Osgood, President; Mrs, E. P.
Camp, Vice-President; Miss Ella L. Bond, Recording Secre-
tary; Mrs. James Mastarman, Corresponding Secretary; Mrs.
Theo. Field, Historian; Mrs. K. C. Gove, Treasurer.

®
CLUB The second annual exhibition of the
NOTES Providence Keramic Club was held in Decem-

ber last, opening witha private view to friends
of the club on the evening of the 11th, and to the public the
following days. The exhibition was largely attended, and
the club received high praise and generous support from the
public. The work was of a much higher quality than that of
the year previous, and showed earnest endeavor and a marked
improvement. The exhibition consisted of miniature and
figure work, underglaze, enamel and jewel work, and some
exquisite conventional designs, as well as flower decora-
tions.

The New York Society of Keramic Arts held its Febru-
ary meeting at the Waldorf-Astoria. The members listened
to an inspiring talk from Mrs, Ripley on the * Possibilities of
Porcelain Decoration.”

The following letter has been received from San Francisco:
“The California Keramic Club is filled with enthusiasm
over the prospect of having the Comparative Exhibition of
the National League come to San Francisco. China decora-
tors from British Columbia to Mexico are planning to be here
at that time. As soon as the date is fixed, arrangements will
be made to install the exhibit in the Hopkins Art Institute,
and we will advertise it extensively so that all on the coast
may take advantage of the opportunity.

The members of our club are all hard at work, and look-
ing forward to the great pleasure it will be to see work from
the best artists of New York, Chicago and other eastern cities.
It is without doubt the greatest educational movement made
by the league, and has awakened interest everywhere.

Mrs. Katherine Church has just arrived home from New
York and during her short stay here is filling us to overflowing
with good resolutions to work for an exhibit worthy of the
league.”

The regular monthly meeting of the “ Bridgeport League
of Keramic Art,” was held on January 20th, at the * Hall
Home.” The President, Mrs. Philip L. Holzer, presided, and
after’ a short business session, introduced Mrs. L. Vance
Phillips, president of the National League of Mineral Painters,

RERAMIC STUDIO

as the guest of the club. Mrs. Phillips interested the club in
the comparative exhibition of the League which is to be held
in May. After the informal talk she demonstrated the paint-
ing of a figure on porcelain, which instruction was appreciated
and enjoyed by the members. During the month the club
were the guests of the “Central Club” of Norwalk. The
afternoon was given to a parlor lecture on “Ceramics” by
Miss Maria A. Wilde and was richly illustrated by specimens.
The lecture was both entertaining and instructive and the
Norwalk Club furnished a treat for the Bridgeport Club.

®
JN THE Mr. Franz A. Bischoff has an interesting
STUDIOS exhibition at M. T. Wynne’s, No. 11 East

Twentieth street, New York, where he is now
having classes daily and meeting with his usual success. A
study of grapes painted on tiles and framed in black is attract-
ing attention for its color and tremendous technique. Mr.
Bischoff is a wonderful colorist and understands thoroughly
the glazes and chemistry of his materials. His small tiles of
birds are fascinating bits, and his large vases with flowers
painted on them, are studies in color, his leaves are always
so exquisitely painted. We hope that as many as possible
may see his exhibition before it is taken from New York.
Our space is too limited to go into full detail, which is not
necessary, as china decorators all know the artist by reputa-
tion at least, and there is only one Bischoff.

265

HE celebrated Garland collection of Chinese porcelains,
which has been for many years on exhibition at the
Metropolitan Museum of Art, in New York, has been sold by
the estate of Mr. Garland to Duveen Bros., the New York
dealers, and then resold by Duveen Bros. to Mr. J. Pierpont
Morgan. The exact price paid by Duveen Bros. is ad-
mitted to be close to $600,000, and there is no doubt
that they have resold the collection at a considerable advance.
This was considered as perhaps the finest collection of Chinese
in the world, not as large as the Grandidier collection in the
Louvre, but more select, and better than the Salting collec-
tion in London which ranks second; the best known speci-
mens which it was possible to buy had been secured regard-
less of price. It issaidthat the price paid by Duveen Bros. is
larger than the original outlay spent in forming the collection.
Among the many famous specimens of the Garland collec-
tion is the ‘‘red Hawthorne” vase, black ground, a unique
piece which Mr. Garland bought from Mr. Salting for $25,000,
and the Blenheim blue and white Hawthorne jar, which
would also bring many thousand dollars. Other fine pieces
are nine small eggshell porcelain plates of the famzlle rose,
called the seven border back-rose plates, for which Mr, Gar-
land must certainly have paid from $3,000 to $4,000 each.

It is gratifying to know that the collection will remain in
this country and will be on exhibition at the Metropolitan
Museum asbefore. Mr. Pierpont Morgan is already the owner
of the finest collection of old European faiences in the world.

CURRANT FRUIT PLATE—MAUD DRAGO

HE enamels are in reds, yellows and yellow brown. Apple
Green, Yellow, Moss Green, Brown Green and Shading
Green are used in the leaves, also Violet of Iron in some of

the shadowy ones. Washes of Silver Yellow or Albert Yel-
low, Yellow Ochre, Violet of Iron. Copenhagen under the
shadowy clusters of fruit and leaves.

davVNOWT “da VNNV—TAOd ADNVaO

DESIGN FOR PLATE—Mrs. ANNA B. LEONARD

APHIL, 1902.

4 Doryaicur, Hod.

Ss ay!

SUPPLEMENT TO EKERAMIC STUDIO PUBLISHING CO,,

KERAMIC STUDIO. SYRACUSE, N, ¥.

RERAMIC STUDIO

TREATMENT FOR ORANGE BOWL
Anna B. Leonard

HE design is first outlined with black and Pompadour Red ;
i just enough of the latter to give a warm brown color,
but not red. After the outline is drawn fill in the design with
flat washes of enamel.

To a body enamel (two-thirds aufsetzweis, one-third Han-
cock’s Hard Enamel, and flux about one-eighth of the mixture),
add the greens and yellows asthe tone is desired. To color
enamel for the oranges use Mixing Yellow and Orange Yellow,
and for a darker shade add Pompadour Red (German) and a
little black. To color the enamel green use a mixture of
Apple Green and Mixing Yellow, (Lacroix) half and half, ad-
ding a little Brown Green and Black to tone down the vivid
green, and for the darker shades of green use with this
mixture Chrome Green 3B, and more Brown Green and Black.

The wide band on the top and bottom is dark green, and
the narrow band is Silver Yellow with a little Yellow Brown
(German) and black added.

This same design looks well with a background of yellow
brown lustre with the leaves in bronze and the oranges in

267

gold. Wide bands bronze and the narrow band gold. In the
first treatment the background may be left white or it may
have a light tint of Yellow brown with a little black—to give
an old ivory color, But to leave the background white gives
a quaint appearance. The same design drawn larger looks
well on a punch bowl, more leaves could be massed at the
top to keep the right character and proportion.

er €

RECIPE FOR LIQUID BRIGHT GOLD
Miss Emily Peacock

ISSOLVE I drachm of gold in 34 oz. of Aqua Regia. Add
6 grains of metallic tin, using more Aqua Regia if
required to dissolve it. Pour with constant stirring into a
mixture of % drachm of balsam of sulphur and 20 drachms of
oil of turpentine; as it stiffens, add % drachm of oil of turpen-
tine and mix well. More gold gives brighter effect, and more
tin a violet tinge. Balsam of sulphur is made by boiling
together in a covered vessel 1 part flowers of sulphur and 4
parts oil of lavender until the mass thickens.

DESIGN FOR BONBONNIERE OR PLATE—ETHEL PEARCE CLEMENTS

ROUND should be a cream tint made of 24 Yellow Ochre
Cy and % Brown 4. Pomegranates same color darker, the
seeds of the pomegranates the same with additional touch of
Meissen Brown, Edge and leaves Brown Green 4%, and Grass

or Moss Green ¥%.
make it deep pink.

This design would be very appropriate for a plate, fully
as much as for cover of bonbonniere.

Petals Pompadour, painted lightly so as to

ce
DG
Cy

RERAMIC STUDIO

CRACKER JAR
Edna E. La Grange

FTER drawing the design carefully tint the background an
A even tint of Dark Olive Bronze Green, and the flowers
Black No. 1, Then outline in Yellow Gold. For the second
fire go over the Yellow Gold again, and vein the leaves with

269

Green Gold. This is also attractive in lustres. Paint the back-
ground Dark Olive Bronze Green and the flowers Violet, with
a few touches of Ruby Purple. Shade the leaves with Moss
Green, Apple Green and Shading Green. Outline with Yel-
low Gold. For the second fire cover flowers with Rose
Lustre, and the leaves Green Lustre. Go over the Gold once
more and paint the handle Yellow Gold.

SQUIRREL CORN DESIGN FOR CUP AND SAUCER—CHAS. BABCOCK

Oya two shades of cream; Squirrel corn, white with yel-
low tips; Leaves light green on darker green ground—
Outline, black.

white design with red jewel in center, green jewels between;
also green in small form inside of white design, white or pale
yellow ring around red jewel, finish inside rim of saucer with

Narrow edge—Two bands of gold, pale blue ground, gold line. The narrow border alone makes a good decoration.

270

BIRTHDAY CUPS AND SAUCERS
Fanny Rowell

,HE jewel of the month, supposed by all
heathen and some Christians to be the
lucky stone, should be used in the decora-
tion, wrought out, cleverly, of course, by

EY SS skillful handling of enamels with tiny
gold settings on the china. Pearls and turquoise we have
suggested in ornament times without number. Now try the
emerald, the ruby, the garnet and the sapphire. Mix the
color with hard enamel, so hard that it must be fired enormously
hard to glaze. Then it will not snip off. The tendency to
snip in enamels is brought on by too much oil, in conjunction
with soft enamel powder. Mix a tube of Aufsetzweis with
two bottles of powdered relief white. Use only clear turpen-
tine, no more oil. The Aufsetzweis in tube is splendidly
hard, but is oily enough for three times its size. Oil is not
needed to make enamels hold together in the firing, but blisters
them and makes them frail. The same proportions could be
mixed in smaller amounts.

The flower of the month should be used as the first
scheme of the decoration. Let the body coloring of the cup
and saucer be the favorite color of the owner of the birthday,
who is to own the cup, or the color of the birthstone may be
used. As there is no doubt about who is to own the cup, put
on the monogram. In the monogram comes a fine opportu-
nity to use the jewel effect.

The combinations of jewels and flowers suggest a wealth
of ideas. They go most exquisitely together and should
make the least original people strike out strongly with strokes
in a new direction.

g ~

faa

a OG __X (7
aye | AME
vS ‘) J Gate

JEWEL, FLOWER.
January, Garnet. Snowdrop.
February, Amethyst. Primrose.

March, Bloodstone. Violet.

April, Diamond. Daisy.

May, Emerald. Hawthorne.
June, Pearl. Wildrose.

July, Ruby. Lily.

August, Moonstone. Poppy.
September, Sapphire. Convolvulus.
October, Opal. Hops.
November, Topaz. Chrysanthemum.
December, Turquoise. Holly.

JUST A FEW IDEAS THAT MAY BE ELABORATED.

For January birthday cup and saucer, use the deep crim-
son, garnet color for grounding, under a design of pure white
snowdrops, painted naturally, with their surrounding leaves.
The cream white snowdrop, with its tender gray shadings, is
a very decorative idea, and conventionalizes well, very much
as one could arrange the December Holly. The monogram
could be at the side of the saucer in raised paste and enamel
effect to imitate the garnet.

For february. Paint the primrose against a white ground
with jewelled chain work of raised gold and amethysts in the
design, or a border on cup and saucer may be painted with
primrose design, and the rest of the china decorated with vio-
let lustre, afterwards partly or lightly colored with yellow
lustre, which contains a great deal of the coloring of the ame-
thyst stone. Violet lustre may be used without yellow, but
intensified in parts by a second application of violet. Flat
gold work is the best finish for body coloring of lustres.

RERAMIC STUDIO

For March, use the violet. Hundreds of designs that
have been published of this popular flower would be appropri-
ate for this. Let the flowers blend towards the crimson color-
ing of the bloodstone, and have a border of the jewels against
gold.

For the Aprz/ lady, the daisies may be placed on the china
in a conventional design that brings in the shape of diamond,
and let them be surrounded by gold and paste asa precious
jewel would be set. These birthday cups may be very elabo-
rate, not every day affairs.
tional ornament.

The daisy is fine for conven-

May abounds in ideas and possibilities. The hawthorne
is such an exquisite flower for dainty decoration. The emerald
as a jewel may be used, or for color (grounding or tinting)
emerald green dusts on well, or it may be used in narrow bor-
dering inside the cup, Besides painting the May Hawthorne,
the shape of the flower in flat gold and silver and paste may
be used as borders on outside of cup, and on the saucer or
around panels of the painted hawthorne.

For /une, pearl color and pinkis charming. Havea pearl
cup ora pink one, with wild roses arranged in a design, and
have a wealth of pearls around the edge of cup and saucer, so
perfectly placed that they will last a life time of birthdays.

In splendid contrast for a_/wy birth gift is the lily, which
may be painted in miniature against a ruby ground. Or the
lily of the valley, prettily grouped against a light ground, and
the ruby brought in only asa border. With all of these de-
signs there is great opportunity for clever monograms.

For August the moonstone could be set in heart shapes,
and masks of the lion’s head could hold the shapes together,
for the lion is also the emblem of August. The poppy could
intertwine and hold the shapes. Pink or crimson or yellow
poppies suggest great variety to choose from for coloring.

For September the convolvulus or morning glory sug-
gests strength of colors, and delicacy, and the sapphire tones
in well, either for a tint or for a jewel. Where the cup flares
a great deal, follow the English custom of painting the inside
of the cup and the saucer alike, giving a solid tinting or differ-
ent decoration, paste on jewels to the outside of the cup.
Rhymes, appropriate inscriptions, etc., may be placed on
the base of the cup, or around the inside band of the cup,
where the good wish or the toast isappropriate. It should be
well lettered, not written, but in a style to suit the character
of the decoration.

October birthday is supposed to be the only lucky one for
the opal stone, so try to give the idea by opalescent coloring
in lustres, with a conventional design of hops as a border, a
design three times repeated, with a centre space for mono-
gram.

The November chrysanthemum in miniature, as a paint-
ing on the cup, or in spaces, with the topaz as an ornament,
may be graceful, but we like the flower better as a border,
with a chain of topaz stones to finish.

Turquoise and holly for December should have some tur-
quoise grounding, and some dainty holly berries in design.
The leaves surrounding the berries could be of dark green
lustre, and the berries of mineral colors. Dignity and sim-
plicity should be regarded in large cups. Horns of plenty,
garlands, and classic ornament are always appropriate. Per-
sian designs could be best carried out with the chrysanthemum
colors for November, with a topaz set in certain places. Many
of the flowers and jewels suggest a French style of decoration.

RERAMIC STUDIO

271

Small platter, 105g x 814, from the set of Canton china decorated with the insignia of thé ‘‘ Order
ot the Cincinnati,’’ once the property of Gen. George Washington.
In the collection of Chas. L. Hamilton, Wm. Penn, Pa.

THE COLLECTOR

“ORDER OF THE CINCINNATI” CHINA

y courtesy of Mr. Chas. L. Hamilton, of Wm. Penn, Pa.,

we are able to give a reproduction of a small platter

from this famous set, once the property of Washington. Mr.
Hamilton writes to us:

“Some time since I promised you a photograph of small
platter, one of a set given to Gen. Geo. Washington by officers
of the French Army about the year 1784, commemorative, as
I understand it, of the event of their joining the ‘ Society of
the Cincinnati.’ JI purchased it from the estate of the late
J. Colvin Randall, to whom it was presented by Mrs. Robert
Colton Davis.”

The platter is 105g by 8% inches, of Canton china, white
with rather bluish cast; the oval bottom of the back is rough
and unglazed.

The border is quite a dark deep blue; about % inch from
the edge is a narrow band of gold partially worn away. The
inner circle of arrow heads is of gold and quite perfect.

The central decoration represents the insignia of the
Order of the Cincinnati, consisting of the figure of Fame with
a gold crown. The trumpet is gold, except at the extreme
end where there is some shading of brown. Fame wears a
bright green gown and a glowing scarf of royal purple. Her
wings are brown with indications of gold. The bow or rib-
bons from which the eagle is suspended are lavender, and be-
tween the lavender ribbons and the head of the bird is a short
bar of gold. The eagle has black head and feathers, and a
light green wreath around the neck; the wings are gold and
perfect, the legs and claws also gold. The tail is brown, white
and gold, and the olive branches in each claw are light green.
The narrow rim of the medallion is light green and men
therein are brown with indications of gold.”

It will be seen that Mr. Hamilton is among those who
believe that the set was given to Washington by officers of the
French army. Opinions on this point are conflicting. The
Custis family who inherited it believed that it had been given
by the members of the Order of the Cincinnati, yet the records
of this Society do not mention the fact. Mr. R. T. Haynes
Halsey, after careful researches, has come to the conclusion
that this set was made in China under the direction of Capt.
Samuel Shaw, a Bostonian, who, with Gen. Knox, had organ-
ized the Order of the Cincinnati, and was trading agent for
the owners of the “‘ Empress of China,” the first vessel to hail
from this country directly to Canton, then the only open port
of China. In his journal Capt. Shaw relates how he wished
to have the insigna of the Order of the Cincinnati reproduced
ona set of china, and how his wishes were gratified only in
part, as the Chinese painters who had charge of the work, and
who were excellent copyists, were unable to combine the
figures, separate engravings of which had been given to them,
with the least propriety.

This was in 1784 and additional evidence that the set was
made at that time is the fact that Gen. Knox owned some
pieces of it with his initials; also that an advertisement in the
Baltimore American of Aug. 12th, 1785, announces among the
numerous varieties of china which formed the cargo of the
“Pallas,” just arrived from Canton, “blue and white stone
china cups and saucers, painted with the arms of the Order of
the Cincinnati.”

If the manner in which Washington came into possession
of this set of Canton china is not clearly established, there is
no doubt that it belonged to him, as it is mentioned in the
will of Martha Washington, and pieces of it long reposed at
Mount Vernon and Arlington among the relics collected by
Washingtons’s grandson, George Washington Parke Custis.
They were inherited by the latter's daughter, Mary Custis,

272

the wifeof Gen. Lee, and on the outbreak of the civil war, were
seized by the Federal forces and now repose in the National
Museum at Washington. Pieces from that set occasionally come
up for sale. A plate last winter in New York brought $275.

or
LOWESTOFT DECORATION ON OLD ENGLISH PORCELAIN
W"° reproduce here two extremely interesting pieces of
early English porcelain, which on first examination

any collector would pronounce to be specimens of genuine
English Lowestoft. The shapes are evidently English, the

ware is of the soft bone body characteristic of the English
porcelain of a century ago, the glaze very white where not
discolored by age, although by comparison with hard porce-

Herculaneum Porcelain with Lowestoft Decoration—Marked.

lain it would probably appear to be a slightly creamy white,
the decoration is identical to that of the so-called Lowestoft
But on close examination, the impressed mark of
‘““Herculaneum”’ is found on both pieces, on the raised edge
of the base, in small capital letters more or less worn out, so
that in this unusual place it is difficult to find, even when one
looks for it, knowing that the pieces are marked.

The Herculaneum Pottery of Liverpool was established
in 1796 and closed in 1833. The production of porcelain ware
1800 and continued to the close of the
works. The mark most generally used was ‘‘ Herculaneum” in
capital letters impressed, although after 1822 this was generally
replaced by the mark ‘“ Herculaneum Pottery.” The decoration
onLiverpool chinais, asarule,more elaborate than the specimens
of ourillustration. On the other side it would not be safe to
conclude that all porcelains with somewhat similar decoration
must be Liverpool. In fact it is almost impossible to identify
unmarked specimens of these early English porcelains with so-
called Lowestoft decoration, and which have been supposed

ware,

was commenced in

Old English Porcelain with decoration somewhat similar to Lowestoft,
Unmarked. By courtesy of Arthur True & Co., New York,

RERAMIC STUDIO

to be genuine Lowestoft. A number of them will undoubt-
edly, after further investigation, be recognized as of some other
make, and it is probable that many are either Liverpool or
Bristol, the latter, if the body is hard porcelain. We under-
stand that some of the best authorities are beginning to be-
lieve that no porcelain whatever was made at Lowestoft, only
pottery with blue decoration. Mr. Barber is gathering data
and facts on the subject which will be published later on.

We will not venture to say what the fine pieces of our
second illustration are, as they bear no mark. The decoration
is not as truly Lowestoft as on the tea pot and creamer illus-
trated above, the festoon border being more elaborate than
the ordinary Lowestoft festoons. The porcelain is also white
and of course like any of the other English porcelains of
the time. But this set, of whatever make it is, and notwith-
standing the fact that the sugar bowl does not exactly match
the tea pot and creamer, is remarkably fine on account of its
excellent condition. This is not the case with the Liverpool
pieces of first illustration, which are somewhat chipped,
cracked and discolored.

@
HIRSCHVOGEL JUG

HE sale of the contents of the 11th Century Castle of
Mainberg (Germany) took place in Berlin last October.

It is owing to the death of the owner that this unique collection
came to the market, consisting of wood carvings, painted glass,
early German drinking vessels in stoneware, faience and
enameled glass, weapons and armour, pictures, metal work and

bric-a-brac. The c/ou of the sale was the unrivaled and highly rep-
resentative collection of early German drinking vessels of stone-
ware, faience and enameled glass, comprising specimens from
practically every known factory of importance, Cologne, Teer-
burg, Rouen, Fricken, Nassau, Nuremburg, Bayreuth, Alten-
burg and Kreussen. By far the highest price for an individual
vessel was £180 for the Hirschvogel jug here illustrated, the
finest known example of the work of the celebrated family of
that name who were master potters at Nuremburg from 1471
to 1564. This particular specimen is 20 inches high and deco-
rated with scenes from the life of Christ, notably the Cruci-
fixion, in bold relief, and was well worth the price paid for it.
Two Kreussener mugs sold respectively for £65 and £62, 16s,
and other drinking vessels of various makes fetched from £15
to £36a piece. (The Connorsseur.)

KRERAMIC STUDIO

273

PYROGRAPHY

All designs tor Pvrography should be sent to Miss K
St., New Haven, Ct..
in the Magazine.

O those interested in artistic work on leather the following
1 suggestions from ‘“ Leather Work,” by Leland, will be
of interest:

“There are in Saltzburg and also in the Vienna Museum,
folio volumes, the covers of which are decorated with dragons
and ornaments in cut leather.”

Anybody who can simply draw could execute these pat-
terns perfectly, but these covers are so curious and beautiful
that facsimiles of them are found in most European Museums.

000

Take a piece of fine hard saddle leather and draw on it a
figure in outline with the point of a penknife, cut a very fine
line just entering the surface, little more than a mere scratch.
When this is done apply a fize tracer, which is like a bent awl

. Livermore, 1010 Chapel
who has charge of this department and will answer inquires

Swf

or wire, and which may be made witha piece of knitting needle
setina handle. All the dampening required for this workisa
very sparing use of the sponge.

When the outlines are completed andthe work is quite
dry, take a fine water color brush and with care paint any
color you please into the lines. The ground may be slightly
matted or stamped if desired.

Form outlines in the usual way. Put in any background
desired, according to the object decorated ;
yellow, the leaves a yellow green.

stain the jonquils

Miss F.—We know of no work on the history of Pyrography and have
made inquiries at several publishing houses. The Butterick Publishing
Co. issues a small booklet on pyrography, but it can scarcely be called a
history as it refers only in a remote way to the early art.

If any of our subscribers know of any books, magazines or newspaper
articles on this subject we would be glad to have them inform us.

Fig. 1—Tools for relief work on leather.

CHISELED AND REPOUSSE LEATHER

[From an Article in Art et Decoration by E. Belville.]

N no country has artistic decoration of leather met with
more favor than in France. Among the many processes
used, vepoussé work and its variety, chise/ed work, are perhaps
the most resourceful, well worthy of tempting true artists.
We reproduce from the French Magazine, Art et Decoration,
some practical information and illustrations by Mr. Eugene
Belville, and we would advise those of our readers who under-
stand French to secure his recently published book ‘tLe cuir
dans la décoration moderne—Ch. Schmidt, Editeur.”

The words chiseled and repoussé indicate two phases of an
identical process. Cfzseled is applied to relief work obtained
by cutting out of the thickness of the leather. It is confined
to the outside part, and its highest plane remains that of the

HERAMIC STUDIO

surface of the leather before work, while refossé work obtains
the relief effect by pushing from the flesh side, which makes
the skin bulge out on the outside,

Both processes can be used on all kinds of tanned skins,
but not on skins which have been treated with fatty matters,
as the latter prevent absorption of water, which is an essential
condition for relief work on leather. As a rule pigskin is
either too dry or too fat; oxskin, which is sometimes used, is
too hard; sheepskin, very easy to work, is not solid enough
and does not stand incising; maroquin or goatskin has a
coarse grain which retains too much the marks of the work.
The different grades of cow and calfskins remain the most
useful material.

Tools are simple. They might be confined to a penknife
and a metallic chisel, but there are a few other very conve-
nient tools: The straight chisel (Fig. A) in metal and the
tracing point (Fig. B) can be on the same shaft. The point
must be dull; vertically applied, it must make a slight cavity
but not go through. The chisel must be of a long oval form,
the sides and end must not be sharp. The penknife may be
of any shape, but it must cut perfectly and not be flexible.
The thickness of the blade is a matter of taste, as also the
way to use the knife, some preferring to push the point for-
ward, others to cut backward.

The curved chisels (Fig. C, D, G, H) may have various
forms and sizes. The deer foot (pied de biche, Fig. E, F), is
useful for fine detail work. The da// (Fig. J and L), mounted
on staff, is a most useful tool. Held vertically above the
working table by a special vise (Fig. K), it is used to distend
the leather for high relief. Mounted on a handle for hand-
work, it is used to soften the modeling. It is advisable to
have two sizes, one about one-eighth inch diameter, the other
one-quarter or a little less.

Then comes the outfit of stamps and indenters (Fig.
J, M, N) which are metal staffs, the ends of which are
made so as to leave an impression on the leather by beat-

Fig. 3.

Fig, 2. : ,
with the point,

Beginning of incised work. The outline
eut with the knife has been opened

with the point,

Begining of chiselled work. Design traced
The background is lowered
by a slanting furrow all around the motif.

Fig. 4, The lower part ‘shows the background

lowered with the indenter. The motif is
modeled with the ball and the chisel.

RERAMIC STUDIO

ing with a hammer. The most classical indenter ends
with a finely striped platform which is used to smooth the
surface of lowered backgrounds (Fig. 5.) Others of different
sizes leave impressions in shape of pearls (Fig. 6.) Manufac-
turers have unfortunately a tendency to multiply the designs
on ends of indenters. The simplest are the best.

One can work on a wooden table, but it is more pleasant
ta use a marble, or hard stone or glass table. A vase full of
water, a sponge, brushes and a little wax will complete the
working outfit.

The design to be used is first traced on tracing paper with
a soft pencil, and the paper applied to the leather. By rub-
bing it lightly with the chisel or any hard body, the pencil
will leave the design clearly marked on the leather. If a
piece of oil cloth has been placed over the tracing paper, the
latter will be protected and kept intact, which might not be
the case if the rubbing is done direct on the tracing paper.

Then comes the wetting of the leather. For sheep,
goat or calf skin, a wetting witha sponge or brush is sufficient.
For cowhide it is sometimes necessary to dip the leather in
water for about 10 minutes, letting it dry for some 12 hours
before using. After the leather has absorbed the water, the
pencil marks which had at first disappeared, are again visible
and they must be gone over with the point.

Then the first operation is the lowering of the background
by means of the chisel, which is held in the right hand like a
pencil, but is directed and given strength with two fingers of
the left hand applied near the tip. The design is thus out-
lined with a slanting furrow (fig. 3.) The position of the
chisel must remain the same, it is the piece of leather which is
moved and brought in a convenient position under the tool.

The flowers should then be modeled with the straight
and curved chisels, the point, the deerfoot, and ball. No
technical instruction can be given here, Practice and taste
will be the best teachers.

The first method explained above gives very soft effects.

275

[netsed work will give more strength, when strong rather than
soft effects are desired, It must be done before wetting, fol-
lowing the outline with a penknife (fig. 2), cutting the leather
about one-third deep. When two lines cross each other, the
incision must be stopped before the point of contact. After
wetting, the incision should be opened with the tracing point
first, then the straight chisel should be used to bring down
the sharp edge on the side of the background and lower the
latter. On the side of the relief design, the edge only must
be softened, either with the chisel or the shaft of the point.
Then the modeling can be done as in the first method, and
indenters should be used on the background to hide the
leather flaws or imperfections of the work, thus giving value
to the main motif, but being careful not to make the indent-
ing decoration of the background so conspicuous as to de-
tract attention from the motif. This decoration by indenters
is very simple; it consists in hammering the indenter making
the impressions more or less close, according to taste.

For repousse work (fig. 6 and 7) the preliminary operations
are the same as described before, up to the modeling part.
The leather must be made to bulge out by rubbing it vigor-
ously on the flesh side with the curved chisel. For large
surfaces and high relief, the ball held vertically by a vise will
be found convenient. The leather held with both hands
rather close should be rubbed on the ball with a circular mo-
tion, until the desired distension has been produced. A dull
point may be used in place of the ball to further distend the
leather or accentuate the edges.

The reliefs thus produced should be filled with wax or
any other malleable material. It is best to fill heavily, small
scattered balls of wax will not hold the relief well, except on
thick leathers like cowhide, on which part of the relief can be
left empty. When the work ts finished and perfectly dry, the
wax may be replaced by a mixture of sawdust and starch
paste, or four and gum, or any of the commercial products
sold for this purpose.

Pig. 5.
brought down, the background is lowered
with the indenter,

Incised. The edges of the incision are Tig. G, Repousse.

c . The three buds and the carna- Pig. 7.
tion are filled with wax and modeled with the
chisel, the background is lowered and

Repousse over incised. The three buds and
the carnation are filled.

beaten with different stamps.

TREATMENT FOR TULIP CUP
Nora D. Adams

Gees the design with black and fire. Then apply a

rather dark tint of Brown, 4 or 17, to the lower part of
Tint the cup inside with a light
tone of the same color in order to do away with the cold

cup and middle of saucer.

Wares Adams.

white of the china. Rub the borders perfectly clean with
alcohol and paint in the background with Red Gold Bronze.
Paint the tulips with thin Ruby Lustre leaves and stems with
Yellow Lustre, and fire. The bronze should be applied very
carefully and evenly, so that it can be burnished after this
firing. For a third firing go over the Yellow Lustre with
Light Green Lustre, retouch the outlines if necessary and
paint in the narrow edge design below the borders with
black. The handle should be bronze. Cup and saucer may
have a narrow rim of Yellow Gold.

Among the interesting bits of old pottery in the Metro-
politan Museum of Art is an exquisite Chinese porcelain vase,
upon which appears a quaint portrait of George Washington.
The portrait of the great American shows that even a hun-
dred years ago his fame had traveled far. The Chinese touch
will be recognized in the slanting eyes and eyebrows and in
the semi-Chinese, semi-European dress, but the likeness is
very good and the work is esthetic as well as curious.

It is stated by the Roman writer Pliny, that the art of
making glass was accidentally discovered by some merchants
who were traveling with nitre, and stopped near a river issuing
from Mount Carmel. Not readily finding stones to rest their
kettles on, they employed some pieces of their nitre for that
purpose. The nitre, gradually dissolving by the heat of the
fire, mixed with the sand, and a transparent matter flowed,
which was, in fact, glass.

x *
To the N. L, M, P. Board of Managers:

The excellent circular of your educational committee has been read
in the Brooklyn Society, and I think you can safely count upon a fair
showing from our members for the Comparative Exhibition. They appre-
ciate your efforts to bring about this interesting exhibition, and are de-
sirous of sharing the labor involved in its being shown in New York.

Faithfully yours, Mrs, Wort#s Oscoop,
President Brooklyn Society of Mineral Painters.

KRERAMIC STUDIO

ANSWERS TO CORRESPONDENTS.

This column is only for subseribers whose names appear upon our list.
do not send stamped envelopes for reply.
in this column.

7 Please
The editors tan answer questions only

F. C, C.—If your blood red ground color chipped, it must have heen
laid too heavy. That is, too much oil, so that more color was absorbed
than the glaze could carry. If your paste for gold rubs off after firing, it
is underfired and hard fire will remedy it, or the paste may have been tco

fat. We prefer lavender to turpentine for thinning after the fat oil has

been rubbed in. Try one plate more with a hard fire and if itstill rubs off
you will have to take sandpaperand remoyeall the restand do it overagain,
For your soup plates (new shape) we have given many simple conyen-
tional borders which would be appropriate and decorative. The chief
thing is to use a simple design and we can suggest nothing better than
one in blue and white similar to the designs of Miss Peacock’s exhibit in
the January KrrAmic Stupro. Use a Copenhagen or greyish blue, or if
you prefer some other color, the monochromatic effect can be carried out
in green or any other desired shade.
Mrs. W. A. R.—You will findarecipe for liquid bright gold on page 267,
The only reasons we can suggest for your red brown and ruby purple
scaling is that the color was laid too heavy or too much oil used, or pos-
sibly the china was of a very hard glaze and the color was not sufficiently
fired. We do not understand just why it did not scale for several weeks,
it often happens so, we should say the color was ready to scale when fired,
but needed a little wear or exposure to the atmosphere to detach entirely.
Gold will fire properly at a much lower temperature than ruby purple.
A. B. C.—Royal Worcester colors are colors once very much used at
the Royal Worcester Works, England, they have a matt surface, that is,
they have no glaze or very little, and have a texture like cloth. They are
not so much used now, they are overglaze colors without a glaze and do
not wear so well as the glazed colors. They are only appropriate on
purely decorative pieces, as for table wear they show the grease and are
hard to clean. Gold is called matt when it has the dull finish of gold only
scoured, not burnished, this is often attained by burnishing and then re-
firing without burnishing or scouring. The matt colors are only appro-
priate for conventional work. The painting effect is not at all satisfactory.

B. McM.—We cannot satisfactorily explain the singular accident to
your tankard except by suggesting that your kiln may haye been damp
from standing so long; even so, if there is sufficient ventilation the mois-
ture should have been carried off instead of settling on the piece. Was
there any other piece in the kiln, and how did it come ont? We will re-
peat your description of your tankard in hope that some subscriber may
be able to give an explanation.

‘© A tankard came out of first fire right with exception of one place
where the paint, light blue, seemed to creep together and leave the china
bare; when it came from the second fire, it looked as if water had spat-
tered all over the top and run down the sides in streaks. The paint had
crept together all over the top. It was painted carefully, not too much
oil or medium, and had been standing in a warm room for several days.
It was not Belleek. Jt was fired in a charcoal kiln which had not been used
for several months and the weather had been very damp previous lo the firing.”

We should suggest a/mays firing up the kiln till red hot before using,
after it has stood so long, especially wheredamp. In factitshould always
be warmed up before using until hot enough to make any moisture evaporate.

Mrs. Waters.—The ribbon gold can be bought at any dental supply
establishment, and is the most satisfactory to use,

Do not use red precipitate for alloy, but the bismuth and borax, as
mentioned in the October, 1899 issue. Try using the Ferrows Sulphate
weaker, pouring it into the chloride of gold very slowly. It would not
hurt the gold precipitate to be dried quickly, but always coyer. Dres-
den thick oil is preferable to mix powder with, tar oil can also be used.

F. M. D.—The powder Dresden Relief White that you mention is
hard, and should be used with one-eighth fiux—first grinding with tur-
pentine and a very little Dresden Thick Oil. If you follow the directions
of KERAMIc Stupt10 in the articles on enamel, you will have no trouble.

BR. G. S.—In January number, 1901, you will find article on lustres.

H. B.—I¢f the oil was on evenly, your color should have been perfect,
unless you did not have enough on, You must let the oil take all the
color that it will hold, and then with the cotton filled with powder rab in
gently all over until no more will stick, then brush off all the superfilnous
powder, Unless the color now fired is very heavy, you can put another
tint over it by dusting on the powder—but if the color is thick, then go
over it again with a tint mixed with oil—not the dusting process.

H. E. J.—The Belleek tankards are apt to crack from the bottom un-
less fired upside down, or placed on a piece of Platten or unglazed tile.
The crack may hold together by using a soft enamel over it on the inside
of the tankard. The time of firing is too long (41s hours). Have you tried
using a larger supply pipe aud twenty light meter ? The black specks
were in the ware and no fault of yours.

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