With the emphasis on pottery, the 11th annual New York Ceramics Fair welcomed more than 4,000 collectors and curators to its lavish quarters in the National Academy Museum for four days, beginning January 20.
Although the fair, produced by Caskey Lees, featured ceramics, glass and enamels †all things fired †the emphasis this year was on pottery. The theme began with the Chipstone Society’s charming loan exhibit titled “Art in Clay, Masterworks of North Carolina Earthenware,” which featured the animal form earthenware bottles of the Moravian potters.
From there, it was but a small leap of faith to embrace the many ways in which artisans, from the archaic to the contemporary, have interpreted the natural world in form and decoration.
This was particularly evident in the decorations of the Eighteenth and early Nineteenth Century English ceramics on display at Leo Kaplan Ltd of New York City. Glass cases hugging the walls of the large corner booth displayed first period Worcester pieces, salt glazed stoneware, agateware, creamware and more. While sales were brisk, the coup of the week came when authors Janine E. Skerry and Suzanne Findlen Hood passed through the booth and recognized the pattern on a rare shard shown in their book Salt Glazed Stoneware in Early America . Within minutes, the salt glazed piece had been scooped up on behalf of Colonial Williamsburg.
Other exhibitors displaying early English pottery included London dealer Gary Atkins, who sold an exceptional English delft plate with a portrait of King George.
Meanwhile, John Howard, proprietor of John Howard at Heritage, of Woodstock, England, called the fair “the best show here in 11 years.” His specialty is rare Eighteenth and Nineteenth Century British pottery, so it was no surprise to see a fine collection of ceramic and porcelain stirrup cups in the form of foxes, dogs, stags and fish. Among Howard’s other rarities was a large cow on a base adorned with acorn bocage. The circa 1825 piece bore all the features associated with the Enoch Wood factory. A Scottish period pig was also a rare sight.
First-time exhibitor Philip Carrol of England sold a fine and rare Leeds creamware teapot, circa 1770.
Majolica made a strong statement at Charles L. Washburne Antiques of Solebury, Penn. Among the Palissy lobster plates and Minton rococo-style sconces, a pair of tall heron and fish ewers appeared almost contemporary. A well-worn gentleman’s shoe with a mouse emerging was described by the dealer as a commentary on working life in the late Nineteenth Century.
Since the New York Ceramics Fair kicks off American Antiques Week in New York, it was quite fitting that the Stradlings, Garry and Diana, led with an historic figural work of Senator Charles Sumner. The Parian porcelain piece patented by Boston sculpture John D. Perry depicts the abolitionist politician seated at his congressional desk. It is one of only four known pieces. The highlight of the Stradlings’ weekend, though, was the sale of a Moravian bottle bear.
Several dealers in Chinese and Asian porcelain and pottery exhibited early master works from the inventors of porcelain. Among them, Peter Rosenberg of Vallin Gallery, Wilton, Conn., who returned to the show after last year’s absence, dazzled with an outstanding collection. Among his sales was an imperial rouge de fer dragon bottle with the Guanzo mark, circa 1875‱908.
Thomas K. Libby, also from Wilton, featured Japanese Awaji pottery. The brightly glazed and flambed items, particularly a pink tea set, clearly foreshadowed the Art Deco movement in England. Integrating nicely with later Modern forms, the pottery attracted a constant flow of shoppers
Ita J. Howe, who hails from Bethlehem, Penn., displayed early Kangxi blue and white chargers and vases. From the Wan Li period came fine examples of delft and delft-influenced Chinese items. A small collection of silver mounted porcelain with the enhancements added when the export items reached the Netherlands and England demonstrated the Western flair for improvement.
Over at Polly Latham Asian, Jeff Brown said that the fair had been a wonderful experience. “We saw serious, interested people who were a pleasure to deal with,” he said. Latham’s collection was representative of Chinese Export ware from the Seventeenth to Nineteenth Centuries.
Skipping ahead to Twentieth Century masters, Sylvia Powell Decorative Arts, London, offered the finest of art pottery. While a unique carved polychrome tile panel modeled in relief, designed and made by Halsey Ricardo, captured the essence of the Arts and Crafts movement, it was the collection of Picasso ceramics that stopped traffic. According to Mark Powell, at least two were artists proofs: a large Candy Stripe vase (the reference refers to the striations on the main face), one of only 25, that featured an erotic image and a demonic face as well, and an Aztec vase, one of 100, with four faces. “It’s a fun field,” Powell stated. “A wonderful way to get into the world of Picasso.”
Meanwhile, a contemporary of Picasso, Clarice Cliff, was drawing interest at Cara Antiques. Dealer Constance Aranosian explained that the brightly colored offerings had seen renewed popularity during the show, perhaps due to the fact that one of the pieces had been featured in The New York Times . Aranosian said that Art Deco pieces by the Belgian maker Boch Freres Karamis and Dutch Gouda from the early Twentieth Century and influenced by Japanese art, Cubism and African tribal art were also returning to popularity.
A profusion of art glass †the other fired art †also inspired and stopped shoppers. Ian Simmonds, down from Dobbs Ferry, N.Y., exhibited American luxury glass. Opening a vitrine, Simmonds removed and commented on a pair of 9-inch cut and engraved glass wedding vases that held a striking resemblance to the presidential service. It carried the presidential seal as well as the monogram of its owners, Russell and Annette Alger of Michigan. Mr Alger, orphaned at an early age, made his fortune in time and went on to be governor of Michigan and then President William McKinley’s secretary of war. The pair was descended in the family until recently and by end of show had seen strong interest.
Christopher Sheppard of London showed antique and ancient glass dating from 500 BC to the 1880s. Among his offerings was an eye bead pendant, circa Sixth to Fifth Century BC, Roman glass from the First to the Fourth Century, and Islamic glass from the Twelfth Century. In case any collector wanted to forego the practical glass for something more regal, Sheppard also offered the personal goblet of King George I.
Glass Past was a lesson in Italian luxury, circa 1920 to 1960. Sara Blumberg explained that one gold leaf and pigment example of Barbarcio was formed by blowing and rolling. The result was nothing short of outstanding. Yet another piece, this one by Fulvio Bianconi †fasce (bundles) brought blue, green red together in a 17-inch-tall vase.
Among the contemporary designers and makers, Paul J. Katrich sold out his line of luster pottery in just days.
Michele Erickson, who works in the manner of the Moravian potters and gave a lecture on their techniques, sold her large “Killer Squirrel” bottle to the Chipstone Society. Erickson’s pieces, while reminiscent of the earlier models, reflect today’s world and can, in no way, be mistaken for their inspirations.
For information, www.caskeylees.com or 310-455-2286.
