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KERAMIC STUDIO 
NATIONAL ARTS CLUB. 
ECIDEDLY the most interesting exhibition this 
year has been the exhibit of American potte- 
ries at the National Arts Club. The walls of a 
green gray, the wood work of green oak, the 
fine lighting from above, made an ideal place 
for such an exhibit and brought out every 
possible beauty. 
The most interesting exhibits were those of the Rook- 
wood Pottery, Grueby Faience, Volkmar Ware, Newcomb 
Pottery, Dedham Pottery and the superb lustres of Clement 
Massier. Brouwer of the Middle Lane Potteries, showed some 
interesting effects in imitation of the ancient iridescent wares, 
which looked as if they had been through the fire of ages and 
come out burned and blistered, but the attendant iridescent 
effect was interesting. His attempts to use gold leaf under 
the glaze, or rather under transparent enamel were cheap and 
tawdry looking in the extreme, but we presume they were 
simply initiatory experiments. 
GENERAL VIEW OF POTTERY EXHIBITION AT NATIONAL ARTS CLUB. 
George H. Ohr, of Biloxi, Mississippi, showed some 
quaint potteries that reminded one of the ancient Aztecs. 
But the quaintest thing about him is his huge conceit. He 
adds a card with some legend inscribed to every piece, one of 
which describes himself as the only one and greatest variety 
potter in the world, or words to that effect. 
The Rookwood Pottery's exhibit was extremely interest- 
ing, showing every style of glaze and decoration of the Stand- 
ard ware, so well known with its rich reds, yellows and browns. 
A vase with tulips in pale mahogany tints on a warm grey 
yellow ground, another of thistles, and a big luscious pumpkin 
color vase with dandelions, were the most striking in decoration. 
Of the "Sea Green Ware," the gem of the collection was 
a large jar in dull green grey, with brown poppies clustered 
around the neck, the stems making wavy longitudinal divisions 
all around the vase from neck to base. 
A waterlily vase, tall and slender, had a grey green body 
and one lily in brown at the top, the stem reaching down to 
and encircling the base. A stunning vase was one in greys 
with a fish darting across the base. 
Of the Iris ware, whose tones remind one of the faint 
reflection of a rainbow, the most unique was a decoration 
with a crane in low relief on the shoulder of the vase, and a 
vase decorated with waves. 
VOLKMAR 
NEWCOMB COLLEGE 
BROUWER 
Two other pieces quite unlike what one usually expects 
from Rookwood are in highly modelled form, one with three 
white fleur-de-lis raised in bold relief around the neck of the 
vase, and one vase, which at first glance seemed a piece of 
melted half opaque grey glass, resolved itself into a quaintly 
modelled mourning nymph. 
The Grueby faience has a refined and restful effect, 
though seeing so many pieces together gives a sense rather 
of monotony. The decoration is in form and color only with 
a restricted range of both. The forms are very simple usually 
representing over lapping leaves. The colors range from 
greyish yellow to grey browns, grey greens and a few grey 
blues. The finish is a dull satiny effect and each piece by 
itself is a marvel of quiet, unobtrusive beauty. No collection 
would be perfect without a piece of this ware. 
Mr. Charles Volkmar had two fine landscape tiles painted 
in the underglaze, framed artistically in black. They showed 
by their broad and bold treatment, the artist in pictorial 
effects as well as in the fine simple color work to which he 
has confined himself of late. 
MASSIER 
ROOKWOOD 
VOLKMAR 
The Dedham Potteries showed some interesting plates in 
various shades of blue and white modern decorations, with the 
glaze crackled and color rubbed in to represent age. Their 
