No comments about Price Guide to Holt-Howard Collectibles and Related Ceramicware of the 50s & 60s.

3 comments about Collector's Encyclopedia of Howard Pierce Porcelain: Identification and Values.

1. This encyclopedia created an incitefull look at a great mans work and an intersting look at his life. Great photography.



2. This book was a wonderful look at Mr. Pierce's personal background and his pottery



3. wonderful insight into his personal life and his potter

No comments about The Character Jug Collectors Handbook.

No comments about Thai Ceramic Art.

No comments about Wall Pockets of the Past: Collector's Identification and Value Guide.

No comments about Charles Fergus Binns: The Father of American Studio Ceramics Including a Catalogue Raisonne.

3 comments about St. Ives Artists: Bernard Leach (St. Ives Artists).

1. It is interesting that in today's day and age there are still so many people who would defend the Old Man (Leach) to the death. In doing some research on Bernard Leach, I cam across De Waal's publication. He offers a healthy, dissenting view to the norm that Leach contributed so much to today's pottery. Will Leach's devout followers also tell you that he hardly ever threw his own pots, but rather had them made for him to decorate? That he dismissed traditions with the flick of the wrist, that didn't fit into his concept of ceramics, such as those of France, Italy or Scandinavia? Or that he preached humility, but was himself quite an autocratic character? That he had an exhibition in Seoul, while it was under Imperial Japanese occupation? That many people thought (and still think) his work to be quite bland? That ceramic sculpture was as good as non-existent to him?

   At least De Waal's book offers another view than that usually propogated by the 'Leach School of Thought'. I would say that it was quite an objective one, in contrast to the review by that reader from Sussex, England. Don't be fooled, unless you are a die-hard follower with a Leach altar in the corner of your studio, this is certainly a valuable book on Leach's lifes work. In contrast to that other review, I would also say that De Waal's book is not all critical. It takes you through Leach's various stages in life fairly objectively. Actually De Waal could have been much more critical (if not scathing) of some of Leach's idiosyncrasies.




2. Having been a pottery student, who then found a niche in the pottery world, De Waal has chosen to write a bitter attack on the man who was solely responsible for the renaissance of the pottery movement in Britain at the early years of the century! There have been few books that so arbitrarily set out to mock the artistic talent of Bernard Leach, a clear-sighted Edwardian man, born in the Victorian era, and who was to live through further reigns of another three monarchs. The pottery of De Waal has little connection to that of what Leach was trying to achieve, and yet De Waal has managed to make a name for himself, with virtually no nod of head towards the man who he chose to follow initially.

   His book lacks any sympathy, courage, or honesty. It bears no relation to the pottery world that Leach was promoting, instead his book seems to be nothing more than a catalogue of the latest fashions in the present domestic ceramic world. He has no taste, and his trite, simplistic pieces of moulded clay insult the great artistic legacy that Leach had initiated. But for Bernard Leach and Shoji Hamada, for instance, the method of "feathering" designs on slipware pottery would have been lost for another hundred plus years..

   Do not waste your money on the De Waal book, instead, buy the book [by Sara Hogben] on The Art of Bernard Leach, which can be found via the net. A far superior book.




3. As I dove into Edmond De Waals book on bernard Leach, my interest was captured immediatley. Leach's early history and experiences in Japan were exciting. Even though I struggled with the pronunciation of Japanese names and places I found the historical accounts were well written. When reading this book I couldn't help but imagine myself making pots in Japan experiencing Japanese tradition, culture, and the arts.

   I thought it was interesting to see the transition in Leach's work as he moved from Japan to St. Ives England. I like how Leach tried to gain local character in his work after moving to England. This is something that is important to the Japanese and their tradition of local potteries. Leach's ability to adapt to his environment while making pots made him successful as an artist. This book clearly shows the distinct adaptions Leach made to suit his clients needs without loosing his artistic touch.

   I especially enjoyed the last chapter of this book. In my opinion it is an excellent summary of Leach's life and his accomplishments. I really like where the author talks about "Leach Style" and how people categorize it as "muddy colors, unarticulated forms, indeterminate orientel-ish burshwork and a certain modesty of ambition." I agree with the the author that Leach was more diverse than that. From 1920 and in to the 1960's he did everything from "drawing, engraving, etching, painting, slip-decorating, combed decoration into clay, sgraffitio, fluting and so on." In my opinion Leach is the father of modern day studio ceramics. This book is inspirational for anyone pursing the field of functional ceramics. I would recommend this book to anyone studying or enquiring of Bernard Leach.

3 comments about Collector's Encyclopedia of Figural Planters & Vases: Identification & Values.

1. This book has good pictures but does not help much at all. Too many planters listed as unmarked, if you want a book to identify the unmarked planters go to another book. When it list a maker the piece is already marked by the maker. If you want this book don't pay too much for book under 8.00 would be ok.



2. This book has good pictures but does not help much at all. Too many planters listed as unmarked, if you want a book to identify the unmarked planters go to another book. When it list a maker the piece is already marked by the maker. If you want this book don't pay too much for book under 8.00 would be ok.



3. This book is full of large color pictures. Unfortunatly few pieces,that are not already Marked by the maker are identified. I also found the values did not run true to other reference material. There were several misidentification of pieces the even an amateur, like myself, could spot. Good photography-as a reference and value guide poor.

2 comments about Ceramics in America 2001 (Ceramics in America).

1. "Ceramics in America" is a wonderful publication. For the first volume of this journal, it is very well put together. The journal has lots of information on ceramics made and used in America. It is very helpful to those who are not very familiar with American ceramics.



2. This book is a must-have for ceramics enthusuasts! Having worked with historic ceramics for several years, I was familiar with many of the authors selected to write for the first "Ceramics in America" monograph. As much as I eagerly anticipated the work, I was not prepared for the level of excellence which has been achieved here. This volume contains cutting-edge ceramics research, illustrated with the latest in pottery technology and documentary history of the field. I was particularly impressed with two articles highlighting pottery techniques: the submission by Don Carpentier and Jonathan Rickard on annular or "dipt" wares, and also the work of team Michelle Erickson/Rob Hunter, who demonstrate early English slipwares production. This is yet another triumph for the Chipstone Foundation, who has successfully sponsored Luke Beckerdite's "American Furniture" series for years. This book is very highly recommended for archaeologists, collectors, curators, and other material culture specialists.

No comments about Udaya Journal of Khmer Studies, Issue No. 1: Khmer Ceramics.