New York’s Leo Kaplan Ltd. (4)is showcasing an English pearlware Toby jug that personifies
Bacchus. This important specimen is decorated in underglaze Pratt colors and dates
from around 1790.
Specialists in American pottery, porcelain and glass, The Stradlings Antiquarians
(17)of New York are highlighting an Indian-corn-design pitcher by Charles Cartlidge
of Green Point, NY.It is 11 inches tall and was made around 1854 for Edmund Jones’s
Claremont resort hotel, which was popular with pleasure-seeking New Yorkers of the
era. The pitcher’s mate was featured in an exhibition at the Metropolitan Museum
of Art in 1989.
Ian Simmonds American Glass (17) of Carlisle, PA. throws a spotlight on an 11-inch-tall
crystal covered compote, or sweetmeat dish, that was made in New York City sometime
between 1850 and 1860.
Kinghams Art Pottery (3)-leading international dealers in British art pottery, including
Martin Brothers, Wedgwood Fairyland and William De Morgan-is drawing attention to
an arresting Martin Brothers stoneware face jug dated 1903.
Earle D. Vandekar of Knightsbridge (16), experts in 18th- and 19th-century English
and Chinese export pottery and porcelain as well as vintage Fornasetti ceramics,
is drawing attention to a 13-inch English Delftware Adam and Eve dish made in Bristol
circa 1700-20. The plate is decorated in polychrome with a sponged blue border and
a central scene of the Edenic couple with the serpent entwined around a tree and
with an apple in its mouth.
Baltimore’s Moylan-Smelkinson The Spare Room (24), known for its authority on Georgian
and Victorian jewelry, 18th- and 19th-century English ceramics in Japan patterns,
whimsical figurative collectibles and decorative objects, is accentuating a vibrant
Worcester soft-paste porcelain dessert dish from the Flight and Barr period, circa
1800.
From London comes a late-18th-century Staffordshire English slipware oblong dish
that is 17 inches long and is the highlighted specimen on view from Rodney Woolley
(15), leading professionals in ceramics and works of art.
Maria and Peter Warren Antiques (23) of Wilton, CT., is giving prominence to a cylindrical
polychrome English cream-ware teapot in the Chintz pattern, with beautifully entwined
rope handles and knob, both ending in foliate terminals. Made in Staffordshire or
Yorkshire around 1790, this beautiful creation has a spout that is molded at the
base with acanthus leaves.
Hailing from Boston, Katherine Houston Porcelain (14),which focuses on 18th-century
techniques to create 21st-century porcelain objets d’art, is drawing special attention
to oneof her singular creations: a stunning gourd decorated with organic motifs
inspired by 18th-century lacquered panels in the Ca’ Rezzonico museum in Venice.
Jeffrey S. Evans & Associates (13) of Mount Crawford, VA., is shining light on a
12-inch-tall Eagle-decorated stoneware jar, circa 1815. Crafted by James Miller
of Alexandria, VA, the piece comes from the collection of the late John and Lil
Palmer of Purcellville, VA.
Putting front and center a rare, circa-1745 blackware bowl with Jacobite interest
is Garry Atkins (21)of London, a leading authority on early English pottery.
London’s Roderick Jellicoe, specialist in 18th-century English porcelain, is beckoning
appreciative eyes to a Chelsea plate, bearing a red anchor mark, from the Duke of
Cambridge service circa 1763-65, made for Prince Adolphus, Duke of Cambridge (1774-1850).
A large part of the service was passed down to Prince George, 2nd Duke of Cambridge
(1819-1904), upon whose death it was sold at Christies in 1904.
Coming to the Ceramics Fair from Virginia is Michelle Erickson (12),whose artist
in residency at the Victoria & Albert Museum, gave her the opportunity to bring
elements of the city into her practice. Rake’s Progressis the culmination of that
exploration and experimentation that includes life-casting specimens foraged in
the early hours at Billingsgate fish market and shells collected while mudlarking
on the Thames. Inspired by a trip to William Hogarth’s 18th century home in Cheswick
references to artifacts owned and used by the satirist are woven into a portrait
bust of a character from his series of the same title.
Martyn Edgell Antiques Ltd. (11), specializing in British and European ceramics
and centered in Cambridgeshire, England, has a real showstopper: a unique and important
pair of Dublin Delft slippers, circa 1755.
Christopher Sheppard Glass (10) will showcase an Islamic mould blown glass jar of
blue tint found in a Chinese junk off the Vietnamese coast, circa 12th century AD.
Master potter Cliff Lee (9)of Stevens, PA is accentuating a pair of striking yellow
prickly melons, which are also on view at the Metropolitan Museum of Art.
John Howard at Heritage (8), coming to the show from Woodstock, Oxfordshire in England
and bringing expertise in 18th- and 19th-century British pottery, is directing a
focus to an 18th-century Wedgwood surface-decorated agateware 12-inch vase and
cover, dating from 1775. Its serpent-shaped handles terminate in Bacchus masks.
Santos London (7) is inviting scrutiny to a very rare pair of Chinese export porcelain
candlesticks of European silver form. The stem rises from a tray supported by two
iron-red dogs, decorated in opaque enamels from the famille rose palette, circa
1770. They originate from the Qianlong reign during the Qing Dynasty.
Ferrin Contemporary (6) of Pittsfield, MA, has a mirthful plate that calls to mind
the classic Blue Willow motif. Titled Scott’s Cumbrian Blue(s), After the By-Pass
(Wild Rose) and by the artist Paul Scott, this 2012 creation was realized by placing
an in-glaze decal collage featuring a station wagon and minivan onto an earthenware
plate that dates from around 1850.
Concentrating in English and Continental table glass from the 18th-through 20th–centuries,
Mark J. West (20) from Redhill, Surrey, England, is pointing up an eight-inch Belgian
blue-over-topaz glass vase designed by Joseph Simon for Val St. Lambert.
From Shelter Island Heights, N.Y., a large dimpled stoneware pinch pot, made in
2013 by John Pagliaro (19), takes center stage at this stand.
Sylvia Powell Decorative Arts (5) of London gives prominence to a ceramic plate
by Jean Cocteau, signed and dated by him in 1957 and inscribed “Villefranche.” Issued
in an edition of 25, the plate is entitled La citadel de Villefrance and is 11 inches
in diameter.
Philip Suval Inc. (18) of Fredericksburg, VA., calls attention to a very fine and
rare Chinese porcelain vase and cover in famille rose and dating to around 1735.
Continuing on the 5th Floor of Bohemian Hall and starting at the gallery entrance
from the right:
Lynda Willauer Antiques (27): will feature a Chinese export porcelain underglaze
blue octagonal deep dish with arms of Proctor, circa 1740, together with a pair
of Chinese export porcelain underglaze blue and overglaze famille rose Mandarin
flute vases, circa, 1770.
Based in Gilford, N.H., Mark and Marjorie Allen Antiques (33),specialists in tin-glazed
pottery, are underscoring the rarity of a late-17th-century Bristol straight-sided
small posset and cover. This exquisite object is decorated in the transitional Ming
style in blue and manganese on a robin’s-egg ground.
Front and center at Haggerty Ceramics (32)is a work entitled Rainbow Luster Bowl,
crafted by James and Linda Haggerty, proprietors of the Santa Barbara-based kiln.
The foot-wide bowl is terra cotta and was multi-fired in heavy reduction, and it
features eucalyptus-wood accents.
Aytek USA (31) specializes in the redesign of antique Iznik and Kutahya ceramics
and tiles. Playing a leading role in its offerings is a replica of a 14th-century
Seljukian star with Rumi center design (a symbol of eternity) and is in the classic
blue and white of the early Iznik style. It was crafted by Nezihe Gulec of Kutahya,
Turkey.
Martin Cohen (30)of New York, who concentrates on glass and ceramics from the 15th
century through the 21st, has a contemporary focus with his iCup and iPlate series,
made in 2013 by José Arias, a Dominican artist whose work is influenced by Surrealism,
Islamic Art, animals and the interpretation of his dreams.
Anavian Gallery (28)of New York will feature an Achaemenid bull’s head rhyton that
was made sometime between the 6th and 4th century BCE.