Vol. IV, No. 8 
NEW YORK AND SYRACUSE 
December 1902 
QUESTION of location for exhibitions seems 
now to concern many of the leading Ker- 
amic clubs. The general trend of things 
has naturally led to this question, and 
it is a sign of progress. No longer are 
keramists contented to have exhibitions 
in hotels, (which gives the character more 
or less of bazaars) but they are now eager 
for art galleries where they may stand shoulder to shoulder 
with other art exhibitors and be recognized as having the 
right to take their places in the art world. There is no reason 
why this should not be a settled fact, if the members have 
reached a certain proficiency. It would seem that the sales 
also might be better in the gallery, and that the exhibition 
would command more respect from artists and also from the 
press, in the way of notices. 
To strive for the highest ideal will always help the mem- 
bers more in the end, even though the experiment at first may 
seem doubtful. This we say to those who would like to keep 
the bazaar effect, and who think that the buying public is 
more attracted in this way. 
We sympathize with those who are dependent upon the 
result of immediate sales, but our greatest sympathy is with 
those who are trying by their own study and efforts to raise 
the standard of keramic art in this country, and who are more 
' or less dragged back by the element who are contented to let 
things go on as they are. It has always seemed creditable in 
one way, that the advanced workers and thinkers have been 
so patient and exceedingly charitable and unselfish, but no 
doubt they have hoped by their example to help and encour- 
age others and to bring up the standard of the weaker mem- 
bers, even if by so doing they have had to suffer themselves. 
Now if there were clubs of higher standards, that admitted no 
members unless their work passed the strictest jury, we would 
soon see a wave of improvement, for instead of a discouraging 
effect, there would be numerous, eager and ambitious appli- 
cants for a membership which would really mean a recognition 
of merit. 
Now this idea leads quite directly to gallery exhibitions, 
and it would mean something in the keramic world, and give its 
members a standard of work. Such a member could feel 
proud of a membership, as it would place him or her in an 
assured position in the art world. 
This idea need not discourage the forming of other clubs 
with less strict ideas, on the contrary it would be an incentive 
for less advanced workers. It would give them something to 
work for, and in the end to be attained. Let the exhibition 
and sales move a step higher. 
We call attention to the articles of Mr. Charles F. Binns 
on "Clay in the Studio." The first appeared in the last 
issue and one will be published in each number until the whole 
field of practical instruction for the manipulation of clays, 
their glazing and firing in the studio, has been covered. We 
beg our readers not to believe that these attempts at pottery 
work by individual workers and this growing desire for a 
change in the standard of keramic work outside of the fac- 
tories, are temporary fads. The movement is serious and it is 
easy to predict that it will grow rapidly. Keramic Studio 
will encourage it as much as possible, and hereafter articles 
of practical instruction for pottery work will be a regular 
feature of our Magazine, side by side with the instructions 
for overglaze decoration. 
Besides Mr. Binns' contribution, we will begin, probably 
with January 1903 number, a series of ten articles by Taxile 
Doat, of the Manufacture de Sevres, whose beautiful porcelains 
and gres have been illustrated and commented upon in July 
1902 number. Mr. Doat is a great partisan of the high tem- 
perature firing, which Frenchmen call grand feu in opposi- 
tion to the ordinary faience and porcelain firing. Experiments 
in grand feu wares are practically a new field in this country 
It will be remembered that the reputation of Taxile Doat as 
an artist potter is due fully as much to the work and experi- 
ments he has made in his own kiln, at his residence, without 
any assistance whatever, as to his 25 years of work at Sevres. 
His success is a striking illustration of what can be done indi- 
vidually, and his articles will undoubtedly be full of valuable 
information. 
Mr. Doat writes to us : " I will be glad to leave the chisel 
for the pen and to take from my active work the necessary time 
to help to propagate my art. I will write for your Magazine 
a series of ten articles, three of which will treat of the keramic 
movement in Europe and in France, which I have closely fol- 
lowed in the exhibitions ; the other seven will be of technical 
instruction. As I am exclusively devoted to the grand feu 
hard porcelain and gres, I will write only on this subject. 
The articles will be simple and condensed, so as to be under- 
stood by the simple artisan and of value to beginners and I 
will use scientific language only when obliged to do so. I will 
not mention the products of muffle kilns, which do not interest 
me. The Chinese have triumphed by their grand feu keram- 
ics, and it is only at high temperatures that these captivating 
gems can be obtained. All the Western fabrications have 
so far been the more or less brilliant steps toward this goal. 
You are right to encourage in your Magazine a change in the 
processes of decoration. With the enterprise and risque 
tout of the American character, in a few years the beautiful, 
the true keramics will produce fine works of art in your country, 
and those who, standing still, remain outside of the irresistible 
movement toward grand feu decorations, will be left hopelessly 
adrift." 
-p >p 
THE NEW YORK EXHIBIT 
The New York Society of Keramic Arts will give an ex- 
hibition and sale at the Hotel Majestic during the second week 
in December. The members at first thought of a salesroom 
on Fulton Ave., but after all things were taken into consider- 
ation, it was decided to make no change from former years. 
