Julia Edna Mattson - Univ. of North Dakota American Art Pottery Vase circa 1913-20
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Julia Edna Mattson – Univ. of North Dakota American Art Pottery Vase circa 1913-20
JULIA EDNA MATTSON (d.1967) Grand Forks, ND
UNIVERSITY OF NORTH DAKOTA Grand Forks, ND
Vase c. 1913-1920
Earthen-ware with blue-green glaze, incised with lime-green linear decoration
Marks: University of North Dakota, Made at School of Mines, Barclay, Grand forks, ND (Cobalt blue seal), JM (Julia Mattson)
For more information see: Barr, Paul E. North Dakota Artists. Grand Forks: University of North Dakota Library, 1954; Miller, Don. University of North Dakota Pottery: The Cable Years. Grand Forks: University of North Dakota Visual Arts Dept., 1999; Palmer, Bertha Rachael. Beauty Spots in North Dakota. Boston: Bruce Humphries, Inc., 1939
H: 3 5/8″ x Dia: 5 1/4″
Price: $3,250
Julia Edna Mattson worked as an instructor and later as Assistant Professor in the University of North Dakota’s Ceramic department between the years 1924-1963. Her designs reflect an interest in the Arts and Crafts movement in America and American Indian pottery. Early UND pottery is characteristic of the Arts and Crafts and Art Nouveau movement. The decoration of this vessel recalls the graphic designs found on Indian basketry as well as the Prairie School windows of Frank Lloyd Wright.
Christopher Dresser / Linthorpe Art Pottery Rare Aesthetic Movement “Gourd” Vase 1879-1882
CHRISTOPHER DRESSER (1834-1904) UK
LINTHORPE ART POTTERY, Middlesbrough
HENRY TOOTH Artistic Manager Linthorpe (1842-1918) UK
“Gourd Vase” 1879-1882
Glazed Earthenware
***Extremely rare Dresser / Linthorpe model.
Marked: LINTHORPE, Chr. Dresser (facsimile signature) HT, no. 326
Illustrated: Christopher Dresser: Truth, Beauty, Power exh. cat. (New York: Historical Design, 1998) p.75; illustrated in two drawings for gourd vases in Dresser’s 1881 design and account book under heading “Aug. 29, 1881. Sent to J. Harrison Esq. 41 Designs for Linthorpe.”
H: 7 3/4″
The contrasts in Dresser’s designs for different materials showed how his approach to design was also shaped by the properties and nature of a material. In 1879 Dresser was appointed art director at the newly established Linthorpe pottery, near Middlesbrough. Founded by John Harrison, a local businessman, the pottery’s aim was to use local clay to provide jobs for local men. Dresser’s design for the moulds for the pottery were inspired by a wide range of cultures from Japan, Peru, Mexico, Morocco and Ancient British forms. These very striking pieces, with the metal oxides in the complex and innovative glazes providing the only decoration. All of his designs were impressed with a facsimile signature. When Linthorpe closed in 1889, its moulds were acquired by a rival, Ault Pottery in Derbyshire. In 1893, Dresser signed a contract with Ault for new designs specifying that each pot should be marked with his facsimile signature.
Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail
Signed: GP 2000-68
H: 9 1/4″ x D: 6 1/2″
Price: $5,500
Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.
Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.
The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.
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