146 
KERAMIC STUDIO 
by w. p. Mcdonald. 
AMERICAN INDIAN WARE DESIGN, MATT GLAZE. 
used, giving a feeling of rest and satisfaction that all the rich 
jewelling and gilding and elaborate figure or flower painting of 
Dresden or Sevres fail to give. 
The Dark Iris is similar in general treatment but the 
colors are much darker, the ground sometimes being a rich, 
luminous black. 
The Sea Green ware shades from light yellow to dark 
green, all the colors being softly toned with grey and none of 
them crude. Somewhat similar to the Standard Ware are the 
Goldstone, Tiger Eye and Mahogany, but with distinctive 
and extremely interesting features. One piece of the Gold- 
ROOKWOOD AT THE PAN-AMERICAN 
HE Mecca of all lovers of decoration in keram- 
ics was the Rookwood exhibit at the Pan- 
American, and to those who were capable 
of absorbing the best in art, a day with their 
latest work was more inspiring than a 
year's study anywhere else. We have a 
rare right to feel proud of this American achievement in 
pottery. There is no foreign ware that can compare with it. 
The Royal Copenhagen is the only manufactory which sends 
out ware that appeals so to appreciation of mellowness in 
texture and color, and when we reflect that the Rookwood 
achieves its results with faience while Copenhagen relies on 
the natural texture of porcelain, we feel that our American 
pottery has achieved the greater triumph. Our illustrations 
but faintly indicate the beauty of the work and a description 
helps but little more. We would advise all to see for them- 
selves, though we will endeavor to give some sort of explan- 
ation of the charm to those who found it impossible to 
go to the Pan-American or who live out of reach of any art 
dealer having Rookwood pottery on exhibition. 
To most people the name Rookwood brings up the familiar 
ware in rich browns, reds and yellows, which is being so exten- 
sively imitated with more or less success — usually less. But 
by far the larger part of the exhibit is so absolutely different that 
one would hardly credit it with being the same ware, though 
examination will show here and there the familiar style of 
many of the old designers. The Standard 
ware, as it is called, is still as good as 
ever, and the Indian heads which started 
the present craze for things Indian, are 
as effective as ever, but the new work, to 
our mind, so far surpasses the old that 
comparison would be unfair and unkind. 
In the new ware the possibilities of grey 
will be a revelation to many, in fact to 
most Keramic artists. Such delicious 
greys — pink greys, blue greys, green stone valued at $r,ooo, a large jar in reds and brown with an 
greys, yellow greys and indescribable incised design of dragons having a very Japanesque effect, 
greys, so mellow and alluring. If the seems to have a fine shower of gold streaked through or under 
vases had nothing but the color it would the glaze from top to bottom. It puts to blush all other ab- 
be sufficient. The design is a very second- tempts at gold under glaze, especially the tawdry effects of 
ary matter though it adds to the pleasure Brouwer. The gold seems a part of the whole just as the 
of a closer examination. This is as decoration should be. glints of gold in the goldstone. 
The Iris ware shows the greatest play of color and is well There are some remarkable reds, underglaze, not like the 
named, for rainbow tints seen through a mist best describe peach blow or sang de boeuf, more on the mahogany tints, 
these same indescribable greys. The decorations, whether of but real reds. It is said they were made by a man who made 
flowers, fish, birds or what not are simply drawn and sparingly only a few pieces and has since died. Mr. Philip Smith, a 
Bv M. A. DALY. 
STANDARD WARK. 
Standard Wa 
Sturgis Laurel 
