Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-11-23
INDUSTRIAL ART IN AMERICA
PROGRESS OF FINE POTTERY
MAKING IN UNITED STATES.
Story of the lockwood and Other
Wares Made From Beautiful
Native Clays..
Clara Ruge. in the Independent

rope was from the fourteenth W tlle SCN
enteenth century. America was not discoV-
cred until 1902, SO that up to that time
only the Indians could have exploited
the natural resources of the country. Inc
development of European immigrants into
American citizens was contemporary
with the development OF machinery, ana
the products OF the soil. aside from their
agricultural uses. were principally en-
ployed for industrial purposes, involving
the use of machinery, in consequence OF
which there was no handicraft, or at
least almost none.
In Europe there was a decline in the
excellence of industrial art when ma
chnery began to replace hand work, but
after the middle of the last century there
was an art revival At first old styles
were infused with new lie, but after
ward new styles sprang into being. In
England, France, Germany, Austria and
! Holland a modern spirit began to influ-
ence the arts and crafts. and artists of
repute, as in the age of the. renaissance,
worked in that branch.
1t was not until Americans had mad
frequent opportunity in Europe to OBJ
serve what marked success had been
achieved by other countries, much less
favored than their own. that they began
TO perceive what treasures they had
left undeveloped. Travelled Americans
brought back inspiration from Europe.
and many European artists also who
came to this country exercised a bene-
fetal influence on the development Of
industrial art.
The French or German artist who con-
tributed to the world reputation of the
firm by which he was employed by en-
lowing its productions with artistic per
lection and the stamp of originality
established the reputation of the firm
only. Not until after an American fol-
lowing had grown up in local art schools
the ST. louis Exposition for the first
time did We see the name of the artist
recognized by the firm for which the
work was produced. This naming of the
artist has since been occasionally on-
served also in the exhibitions of the
Architectural League in New York,
which. except for a few club exhibits,
has hitherto offered the only opportunity
in New York for showing individual art
industrial productions. A new society
was organized something over year and
a half ago, however. the object of which
is to provide opportunity for individual
artists to exhibit and sell industrial art
objects. The National Arts Club. which
institutes exhibitions and lectures and
tries to bring patrons and artists together
to their mutual advantage, has already
been in existence for several years, and
out Of this National Arts Club has arisen
the National Society of Craftsmen. which
has rooms with the National Arts Club.
where it maintains a standing exhibition
and sells the objects exhibited
Both societies held a joint exhibition
in November and December last. which.
although it could not compare with
European exhibits of this character. yet
afforded a comprehensive view of indus
trial art in America such as We have not
hitherto seen in New York. 1t is true
that all branches were not represented.
But beginning was at least made.
The Ceramic Industry.
The Oldest art industry of America is
the ceramic. the beginnings of which
were without doubt stimulated by the
works of the aboriginal Indians. This
industry had not become widely ex-
tended until within the last few years.
although the red-brown lockwood ware
of Cincinnati enjoyed general recognition.
1t was Mrs. Maria Longworth Storer who
first used the beautiful Cincinnati clay
for artistic purposes. and the lockwood
ware was named after her estate.
The deep reddish pottery with glossy
surface. decorated with flowers or heads
of Indians, first created the fame OF the
in relief in the Indian manner came later.
At the Columbian Exposition in Chicago
the sea-green type was added, and beau
tiful examples of tiger-eye and goldstone
shown. The crystalline glazes observable
in goldstone have since been developed
in other forms by great European fac
tories. but the fact remains that they
originated with the lockwood potteries.
The iris ware is the result of expert
ments to obtain beauty In light gray and
pink tints. These and the first matglaze
potteries, the credit for which largely be-
longs to Harriet T.. Wilson and Mari
anna Mitchell, were features at Paris in
1900.
The latest lockwood invention is the
"Vellum" ware. It stands between high
glaze and matg!aze. and presents both to
the touch and to the eye the qualities Of
old parchment.
The architectural faience is another
lockwood achievement. 1t is executed
in matglazes with brilliant colors. Deco
rative modelling is employed great deal
tablets for the stations of the New York
underground railroad are done In this
faience The modern feeling begins to
prevail in lockwood ware. especially in
the faience The signatures of the artists
appear on the productions.
these potteries are Carl Schmidt. Ed
Diers. f. T. Hurley. Hattie E. Wilcox.
Wareham, Lenore Ashbury, F. Rothen.
busch. X Shiriyamadani. Sara Tokey
and the excellent sculptor, G. ]. Barn
| holm.
American Porcelain Clay.
| 1t is interesting to note that the Amer
! lean porcelain clay was originally applied
! to artistic purposes by women. Louisa
! McLaugheim. in Cincinnati, first OBJ
! tanned good results from it, and durirg
| t!e last few years Adelaide Alsop- Rob n
! eau. in Syracuse, has won recognition
| with her porcelain ware. which secures a
very striking effect, with its wonderful
| play of color. Her work seems fitted to
/ place the reputation of American porce-
| lain on a level with that of Europe and
| China The color variations are obtained
| by metalline mixtures.
Ceramics have developed so rapidly III
| the last decade that it would be imposs-
| BILE to enumerate all of the producers III
| this field. Among the best are the Grue-
| by pottery and faience works in Boston,
| with their products. The subdued tones
| in green. ivory. gray blue and old rose
excel in richness and depth any 10 be
| found in any other pottery. The vases
are all Of one solid color. The texture has
rough look. but on touching IT one finds
that il is entirely smooth. Light -colored
vases ornamented in modern style have
been lately introduced
Charles Nolkmar's beautifully toned
vases. made at Metuchen, y. J.. betray
| the temperamental artist. The Van Brig
gle potteries. in Colorado Springs. de-
serve mention. Highly artistic objects
are produced there, the red earth of
| Colorado having furnished Van Briggle
| with raw material with which to carry
out his ideas He sought TO revive the