Tiffany was conversant with glass (both mosaics and blown glass vessels) from different cultures and epochs, including that of ancient Rome. This miniature vase exhibits Tiffany's mastery of asymmetrical form (which recalls late antique glass as well as sharing in the aesthetic of Art Nouveau) and recalls the beautiful small bottles that contained perfumes or precious oils excavated from Roman sites. Tiffany's gorgeous use of color and iridescence in a small vase such as this also evokes the iridescence of excavated Roman glass--not an intended effect in the Roman work but a result of chemical changes in the glass as a consequence of contact with acidic and moist earth. In this small vase, Tiffany conjures up all the rich association of late Roman glass as well as the opulent color and lines of Tiffany's contemporary arts and crafts.
Label Copy
In conversation with Jennifer Perry Thalheimer, Collections Manager, Charles Hosmer Morse Museum, Rollins College, Winter Park, FL (6/27/06) comes the following information:
The label on the bottom of the vessel FAVRILE T G D CO stands for Tiffany Glass and Decorating Company and was added to glass works created between 1892 and 1900 (although a few were used after 1900).
Those works initialed with L.C.T. or in which Tiffany's name is written out on the base does not indicated that Tiffany himself was responsible for the creation of the work. Although he passed design ideas to his artists, he did not personally oversee the creation of all of his works. As other favrile glass artists began to compete with Tiffany, the initials may have been just to establish that the work came from the Tiffany company studio.
There is work ongoing about the numbers on paper labels or etched into the bases of Tiffany glass works to establish what they might indicate as to dating, style, inventory, etc.
Inscription
Initialed and numbered on base: L.C.T. G 2964 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Tiffany was conversant with glass (both mosaics and blown glass vessels) from different cultures and epochs, including that of ancient Rome. This miniature vase exhibits Tiffany's mastery of asymmetrical form (which recalls late antique glass as well as sharing in the aesthetic of Art Nouveau) and recalls the beautiful small bottles that contained perfumes or precious oils excavated from Roman sites. Tiffany's gorgeous use of color and iridescence in a small vase such as this also evokes the iridescence of excavated Roman glass--not an intended effect in the Roman work but a result of chemical changes in the glass as a consequence of contact with acidic and moist earth. In this small vase, Tiffany conjures up all the rich association of late Roman glass as well as the opulent color and lines of Tiffany's contemporary arts and crafts.
Label Copy
In conversation with Jennifer Perry Thalheimer, Collections Manager, Charles Hosmer Morse Museum, Rollins College, Winter Park, FL (6/27/06) comes the following information:
The label on the bottom of the vessel FAVRILE T G D CO stands for Tiffany Glass and Decorating Company and was added to glass works created between 1892 and 1900 (although a few were used after 1900).
Those works initialed with L.C.T. or in which Tiffany's name is written out on the base does not indicated that Tiffany himself was responsible for the creation of the work. Although he passed design ideas to his artists, he did not personally oversee the creation of all of his works. As other favrile glass artists began to compete with Tiffany, the initials may have been just to establish that the work came from the Tiffany company studio.
There is work ongoing about the numbers on paper labels or etched into the bases of Tiffany glass works to establish what they might indicate as to dating, style, inventory, etc.
Inscription
Initialed and numbered on base: L.C.T. G 2964 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This small bottle consists of iridescent glass with both a mirror-like quality and swirling leaf-like design the extends from the bottom of the vessel to the neck.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Label Copy
March 28, 2009
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Though Tiffany had been known for making leaded glass windows since the late 1870s, he only began to make blown-glass vessels in the early 1890s—not long after he completed work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a word derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of his Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art in New York. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch.
Inscription
Round sticker on bottom: Tiffany Favrile Glass Registered Trademark
Large upper case T with C and D at ends of horizontal ine and a C and O either side of the vertical line
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This small bottle consists of orange and green iridescent glass with a brown pointed leaf or blade design. The bottle has been pinched in at the sides.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Label Copy
IMarch 28, 2009
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Though Tiffany had been known for making leaded glass windows since the late 1870s, he only began to make blown-glass vessels in the early 1890s—not long after he completed work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a word derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of his Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art in New York. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This large vase consists of dark iridescent glass with diagonal swril pattern in the glass. The vessel has dark scalloped desgins cut into the surface.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Label Copy
March 28, 2009
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Though Tiffany had been known for making leaded glass windows since the late 1870s, he only began to make blown-glass vessels in the early 1890s—not long after he completed work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a word derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of his Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art in New York. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch.
Inscription
Signed and numbered on base: Louis C. Tiffany 09183 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
irridescent gold and yellow cylindrical vessel with wide mouth, slightly flared lip narrowing at base
Subject Matter
Tiffany was conversant with glass (both mosaics and blown glass vessels) from different cultures and epochs, including that of ancient Rome. This miniature vase exhibits Tiffany's mastery of asymmetrical form (which recalls late antique glass as well as sharing in the aesthetic of Art Nouveau) and recalls the beautiful small bottles that contained perfumes or precious oils excavated from Roman sites. Tiffany's gorgeous use of color and iridescence in a small vase such as this also evokes the iridescence of excavated Roman glass--not an intended effect in the Roman work but a result of chemical changes in the glass as a consequence of contact with acidic and moist earth. In this small vase, Tiffany conjures up all the rich association of late Roman glass as well as the opulent color and lines of Tiffany's contemporary arts and crafts.
Label Copy
In conversation with Jennifer Perry Thalheimer, Collections Manager, Charles Hosmer Morse Museum, Rollins College, Winter Park, FL (6/27/06) comes the following information:
The label on the bottom of the vessel FAVRILE T G D CO stands for Tiffany Glass and Decorating Company and was added to glass works created between 1892 and 1900 (although a few were used after 1900).
There is work ongoing about the numbers on paper labels or etched into the bases of Tiffany glass works to establish what they might indicate as to dating, style, inventory, etc.
Inscription
Numbered on vase: 04623 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Multiple layser of translucent glass in brown, green, and tan creates a rich texture of glass that resembles tortoise shell. The vessel has a very simple profile.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This oval-shaped vase has an irregularly shaped mouth. The decoration, which consists of numerous layers of glass, has green and brown glass in the bottom third; a swriling brown and cream glass the overlays from the foot up to the lip of the vessel, and finally a horizontal pattern of warm brown dots (which are pulled into bands around the widest part of the vessel) that begins at the top.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Label Copy
In conversation with Jennifer Perry Thalheimer, Collections Manager, Charles Hosmer Morse Museum, Rollins College, Winter Park, FL (6/27/06) comes the following information:
The label on the bottom of the vessel FAVRILE T G D CO stands for Tiffany Glass and Decorating Company and was added to glass works created between 1892 and 1900 (although a few were used after 1900).
There is work ongoing about the numbers on paper labels or etched into the bases of Tiffany glass works to establish what they might indicate as to dating, style, inventory, etc.
Inscription
Numbered on base: X 542 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
irridescent blue vase with large mouth and large flared foot
Subject Matter
Tiffany was conversant with glass (both mosaics and blown glass vessels) from different cultures and epochs, including that of ancient Rome. This miniature vase exhibits Tiffany's mastery of asymmetrical form (which recalls late antique glass as well as sharing in the aesthetic of Art Nouveau) and recalls the beautiful small bottles that contained perfumes or precious oils excavated from Roman sites. Tiffany's gorgeous use of color and iridescence in a small vase such as this also evokes the iridescence of excavated Roman glass--not an intended effect in the Roman work but a result of chemical changes in the glass as a consequence of contact with acidic and moist earth. In this small vase, Tiffany conjures up all the rich association of late Roman glass as well as the opulent color and lines of Tiffany's contemporary arts and crafts.
Label Copy
In conversation with Jennifer Perry Thalheimer, Collections Manager, Charles Hosmer Morse Museum, Rollins College, Winter Park, FL (6/27/06) comes the following information:
The label on the bottom of the vessel FAVRILE T G D CO stands for Tiffany Glass and Decorating Company and was added to glass works created between 1892 and 1900 (although a few were used after 1900).
There is work ongoing about the numbers on paper labels or etched into the bases of Tiffany glass works to establish what they might indicate as to dating, style, inventory, etc.
Inscription
Numbered on base: X 1229 Sticker on base: FAVRILE T G D CO
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This bottle has a tall neck and a body that swells out before tapering to a narrower base. The golden colored glass contains a design that extends up from the base in the form of blades or leaves.
Subject Matter
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Label Copy
March 28, 2009
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Though Tiffany had been known for making leaded glass windows since the late 1870s, he only began to make blown-glass vessels in the early 1890s—not long after he completed work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a word derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of his Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art in New York. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
59 cm x 19 cm x 19 cm (23 1/4 in. x 7 1/2 in. x 7 1/2 in.)
Label Copy
President's House object Summary
During the Meiji period (1868-1912), as Japan was increasing its involvement with Western European cultures, cloisonne became one of its major artistic exports. Although the cloisonne process originated in ancient Mycenae and Greece, it was virtually reinvented by Japanese artists in the 1830's and today is considered one of the traditional arts of Japan.
The process of cloisonne involves outlining a design in wires which are attached to an object, tamping enamel pastes into the cells, and firing the object in a kiln. A French term, cloisonne means "divided into cells." The term derives from the words cloisons and emaux which refer to the wire cells and the emamel that fill them. The Japanese word for cloisonne, shippo, refers to the "seven treasures": gold, silver, emerald, coral, agate, crystal, and pearl. The process epitomizes the artists' labor, patience, and painstaking attention to detail.
Japanese artists wishing to build upon the popularity of Chinese-style ceramics in the West used large copper vessels for cloisonne. Usually over 30 cm tall, the vases occassionally had a false Ming-dynasty mark added. Backgrounds are often dark and subtly shaded, and designs are frequently adapted from paintings. Red, Blue, Lilac, and white are common colors. During specific eras, artists used transparent enamels, experimenting with their light-reflecting qualities.
The naturalistic, garden imagery of many cloisonne pieces reflects the importance of the art of gardening and flower arranging within Japanese life. Many cloisonne design present full-face blossoms and depict few flowers in profile. Designs also include flowers of different seasons blossoming together. These strategies exemplify paradoxes between the artifical and the natural, and time immortality. The design on this vase, with its dark blue background and pictured chrysanthemums and wisteria, is characterisic of cloisonne work of the period.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Slender blue-glazed vase with a streamlined form that tapers to a base narrower than the shoulder of vessel. The work has a modeled and stylized motif of peacock feathers. Overall effect is of simplicity and refinement.
Subject Matter
Rookwood Pottery, located in Cincinnati, Ohio, was the premiere American fine arts pottery from its foundation in 1880 through the 1930's. The early works were hand-painted but in the early twentieth century the pottery introduced its line of production ware, of which this is an example.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Kawai Kanjirô was one of the leading figures in the Folk Art movement in twentieth- century Japan. As a teen he was a fellow student of Hamada Shôji at the Tokyo Technical College, where they both studied ceramics; after graduation, they worked together at the Kyoto Ceramics Research Institute, studying glazes. The two travelled widely in Korea and Manchuria, collecting cearmics along the way. In 1926, Kawai, Hamada, and Yanagi Sôsetsu met at the mountain temple of Mount Kôya and agreed to form the Japan Folk Art Association. They travelled to Korea again on a collecting trip, and in 1936 founded the Japan Folk Art Museum (Nihon Mingeikan) in a Tokyo suburb. Kawai's own work from 1929 through 1942 reflected the values of the Folk movement: he made sturdy, functional stoneware with decorative techniques taken from folk traditions in Korea, Japan, and England (the latter influence coming through Bernard Leach). During the 1930s he was especially known for his mold-made boxes or tiered containers with lids, imitating shapes in wood. He was an extraordinary master of glazes, and developed several new techniques. After the Great Pacific War, Kawai moved beyond his attachment to functional wares, and made more abstract and sculptural pieces; his designs too became more abstract.— abridged and adapted from Frederick Baekeland and Robert Moes, Modern Japanese Ceramics in American Collections (New York: Japan Society, 1993): 142–145.
This brown and white bottle was made using the neriage (meaning “kneading up”) technique invented in China. Neriage involves layering white and dark-colored clays, cutting the resulting slab into slices, and then layering the already-layered clay slices to create intricate patterns. In the 1950s, Kawai returned to this technique, first mastered during his youthful fascination with Chinese ceramics, after a lapse of twenty years. His later works, however, including this bottle, have a strong graphic quality that suggests a modern sensibility.
In the 1960s, Kawai also created a group of sculptural pieces with a splatter application of colorful glazes that recalled the drip paintings of Jackson Pollock. Even in these experimental works, however, he stayed true to the principle of utility by retaining the vessel form.
(Turning Point exhibition at UMMA)
Round bodied vase with neck and foot. Scalloped designs of iron red shades and off-white repeat, encircling the vase body and foot.
---
This brown and white bottle was made using the neriage (meaning “kneading up”) technique invented in China. Neriage involves layering white and dark-colored clays, cutting the resulting slab into slices, and then layering the already-layered clay slices to create intricate patterns. In the 1950s, Kawai returned to this technique, first mastered during his youthful fascination with Chinese ceramics, after a lapse of twenty years. His later works, however, including this bottle, have a strong graphic quality that suggests a modern sensibility.
In the 1960s, Kawai also created a group of sculptural pieces with a splatter application of colorful glazes that recalled the drip paintings of Jackson Pollock. Even in these experimental works, however, he stayed true to the principle of utility by retaining the vessel form.
(Turning Point exhibition, Spring 2010)
Label Copy
Kawai Kanjirô
Japan, 1890–1966
Ovoid bottle
Showa period (1926–1989)
circa 1950
Stoneware
Gift of Mr. and Mrs. Stephen H. Spurr, 2003/2.15
Vase
Showa period (1926–1989)
1960–63
Stoneware with off-white and colored glazes
Museum purchase, 1963/2.70
This brown and white bottle was made using the neriage (meaning “kneading up”) technique invented in China. Neriage involves layering white and dark-colored clays, cutting the resulting slab into slices, and then layering the already-layered clay slices to create intricate patterns. In the 1950s, Kawai returned to this technique, first mastered during his youthful fascination with Chinese ceramics, after a lapse of twenty years. His later works, however, including this bottle, have a strong graphic quality that suggests a modern sensibility.
In the 1960s, Kawai also created a group of sculptural pieces with a splatter application of colorful glazes that recalled the drip paintings of Jackson Pollock. Even in these experimental works, however, he stayed true to the principle of utility by retaining the vessel form.
(Turning Point exhibition at UMMA)
Round bodied vase with neck and foot. Scalloped designs of iron red shades and off-white repeat, encircling the vase body and foot.
---
This brown and white bottle was made using the neriage (meaning “kneading up”) technique invented in China. Neriage involves layering white and dark-colored clays, cutting the resulting slab into slices, and then layering the already-layered clay slices to create intricate patterns. In the 1950s, Kawai returned to this technique, first mastered during his youthful fascination with Chinese ceramics, after a lapse of twenty years. His later works, however, including this bottle, have a strong graphic quality that suggests a modern sensibility.
In the 1960s, Kawai also created a group of sculptural pieces with a splatter application of colorful glazes that recalled the drip paintings of Jackson Pollock. Even in these experimental works, however, he stayed true to the principle of utility by retaining the vessel form.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Vase has a rounded form and a matte green glaze. Molded and incised designs include a stylized peacock feather and zig-zag decoration on shoulder of vessel. Overall effect is of a simplified and sophisticated form.
Subject Matter
Rookwood Pottery, located in Cincinnati, Ohio, was the premiere American fine arts pottery from its foundation in 1880 through the 1930's. The early works were hand-painted but in the early twentieth century the pottery introduced its line of production ware, of which this is an example.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Vessel is a tall vase with a flaring lip and a slight flaring at the base. The overall glaze is a blue matte "vellum" glaze with underglaze decoration depicting a band of white peonies below the lip. The lip itself modulates to a rosy pink color.
Subject Matter
Although the Rookwood Pottery won its reputation on its hand-painted pottery, much of its later vessels were production ware to appeal to a broad audience. This work harkens back to the earlier painted wares; this one has the well-known "vellum" glaze that was introduced in the early twentieth century.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The exterior of this three-sided triangular based vase is decorated with lines that curve together from one edge of the vase to the next. The ash glaze creates a greenish brown color, which pools and creates darker tones in some areas. The edges are not straight, but rough and bumpy.
Subject Matter
This is a vase. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This vase has a wide mouth and the vessel tapers to a narrow foot. The glaze is an iridescent ochre with touches of a darker hue.
Subject Matter
The first quarter of this century saw the rise of a number of art potteries in the United States, a facet of the international Arts and Crafts Movement. Founded in Detroit in 1907 by Mary Chase Stratton (employing her married name of Perry at a later date) and Horace James Calkins, the Pewabic Pottery concentrated on hand-built vessels whose shapes were largely derived from traditional Asian ceramics. Under Marry Chase Stratton’s artistic direction, these refined forms were combined with a rich variety of iridescent glazes that became the Pottery’s hallmark.
Most of the works in the Museum of Art’s Pewabic collection come from Margaret Watson Parker, a Detroit-area collector and associate of Charles Lang Freer. Mrs. Parker’s bequest to the University of Michigan included numerous Pewabic works selected personally for her by Mary Chase Stratton for their quality and beauty. Several additional pieces of Pewabic ware came to the University from the collection of H.O. Havemeyer.
Inscription
Stamp on base obscured by glaze Sticker on base: PEWABIC DETROIT 30
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This small vase has a thick blue-green glaze that extends down about 3/4 of the vessel; the base remains unglazed, exposing the brownish clay body.
Subject Matter
The first quarter of this century saw the rise of a number of art potteries in the United States, a facet of the international Arts and Crafts Movement. Founded in Detroit in 1907 by Mary Chase Stratton (employing her married name of Perry at a later date) and Horace James Calkins, the Pewabic Pottery concentrated on hand-built vessels whose shapes were largely derived from traditional Asian ceramics. Under Marry Chase Stratton’s artistic direction, these refined forms were combined with a rich variety of iridescent glazes that became the Pottery’s hallmark.
Most of the works in the Museum of Art’s Pewabic collection come from Margaret Watson Parker, a Detroit-area collector and associate of Charles Lang Freer. Mrs. Parker’s bequest to the University of Michigan included numerous Pewabic works selected personally for her by Mary Chase Stratton for their quality and beauty. Several additional pieces of Pewabic ware came to the University from the collection of H.O. Havemeyer.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This tall vase has a uniform beige glaze and a slender profile derived from vessels with Asian origin.
Subject Matter
The first quarter of this century saw the rise of a number of art potteries in the United States, a facet of the international Arts and Crafts Movement. Founded in Detroit in 1907 by Mary Chase Stratton (employing her married name of Perry at a later date) and Horace James Calkins, the Pewabic Pottery concentrated on hand-built vessels whose shapes were largely derived from traditional Asian ceramics. Under Marry Chase Stratton’s artistic direction, these refined forms were combined with a rich variety of iridescent glazes that became the Pottery’s hallmark.
Most of the works in the Museum of Art’s Pewabic collection come from Margaret Watson Parker, a Detroit-area collector and associate of Charles Lang Freer. Mrs. Parker’s bequest to the University of Michigan included numerous Pewabic works selected personally for her by Mary Chase Stratton for their quality and beauty. Several additional pieces of Pewabic ware came to the University from the collection of H.O. Havemeyer.
Inscription
Partially legible stamp on base: PEWABIC D...ROIT Stickers on base: PEWABIC DETOIT 35 PEWABIC DETROIT E-2
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
