KERAMC STUDIO 
**7 
THE GRUEBY POTTERY 
C. Howard Walker 
THE art of pottery has been little known in our midst until 
within recent years. The delicate bisques of Germany 
and France and the rich glazes and coloring of Japanese wares, 
while found within the cabinets of collectors, have had few im- 
itators, and it is only within a decade that the art of the potter 
has been considered above the mere utility of the ware by our 
potteries. The first impulse naturally led to actual imitation 
of foreign wares, — seldom with success ; but recently forms, 
colorings and quality of glazes have been studied with care, 
with the result that the individual qualities have appeared in 
some instances. Amongst these the Grueby pottery of Boston 
has developed distinctive glazes and forms. It has, in addi- 
tion to full, rich glazes of great brilliancy, a dull or lustreless 
glaze, which is an enamel not produced by acid or sand blast, 
and which is unique to this ware; old Corean pottery pre- 
viously possessing it. The quality of this glaze is that of 
great delicacy ; it has that peculiar softness that invites the 
touch and satisfies it as it does the sight. Mr. Grueby has 
also succeeded in obtaining a remarkable crackle which is 
equal to that of the best old Chinese and Japanese crackles. 
The glaze is strong and fine, and the crackle does not pene- 
trate to the clay. 
This pottery is made from designs by Mr. George Pren- 
tiss Kendrick, who has aimed to use the glazes and enamels 
discovered by Mr. Grueby, on forms both useful and decora- 
tive. Here is found again the unique quality of the ware, 
not only in the appreciation of the delicacy of line that is 
peculiar to Mr. Kendrick, but in the fact that, excepting in 
Japanese pottery, nowhere are natural forms more justly con- 
ventionalized than here. There is in the unfolding leaves of 
the lily and plantain and mullein, not only the suggestion, but 
the actual representation of the natural form and color, yet so 
restrained by arrangements of line and surface that the forms 
are firm and conventional. With the advent of machinery the 
intimate relation of the potter to his ware disappeared. Here 
it has been resumed. Instead of the mechanical formality 
which has so often been mistaken for precision, every surface 
and line of this ware evinces the appreciative touch of the 
artist's hand. As in the old wares, there are no two pieces 
that are exactly alike, for while the general form may be 
maintained every detail is a matter of individual regard. The 
gamut of color is large; the greens are especially soft and 
rich, while there are also golden yellow and russet, deep 
browns and reds, and velvety blues. Both in conception and 
design, in glaze and color, each piece of the Grueby ware is 
individual and of unusual merit, and deserves to take a prom- 
inent place among the best known wares. 
