[p)~LJ~[R1~ ffi\~[Q) [R1~~[Q) . ffe\ lr1] lQ) ~ffe\[N]~ ~(Q)UU~[R{~f ~)A~~~~~[NJ(C(E THE PETERS AND REED AND ZANE EXPERIENCE

DOES NOT CIRCULATE

Jeffrey, Sherrie and Barry Hershone July 1, 1990 PROPERTY OF , ZANESVILLE ART CENTER NO. ~,~i - INTRODUCTION II I I m b ored, I'm bored tak collectors have heard' th te me h~me!" ~ow often we unwilling offspring as t~e p!:nt1ff wa1l from our in-tow, obsessive quests for "t Y e dragged along on our reasures" Poor - no choice, he was caught u . · ~l~e year old Jeffrey had established for us when w pin the tradition our parents had advan tage we didn't hav etwhe:e young. But Jeffrey had an ea 1s age- he 1 d . sort of! Sherrie had wis 1 was oa ed w1th money- allowances and such unti~ s~~ed all of Jeff's birthday monies, egg . Y e age of ten he had a nice nest

As we lived in Philadel hia Esther and Martin Myersp Th, t~e t~ree of us regularly visited Pottery, helping us to iear~y ad i~troduced us to American Art our own collection, for whi about it, and helpi~g ~s to start through the Myers' "p tt ch we are most appreciative. Wandering he liked- the o er~ menagerie"' Jeff spied several pieces Reed of y ~ere masculine, unmarked and cheap! Peters and Reed' d ~ourse. The then relative obscurity of the Peters and a~ ane po~tery, with their lowish prices, encouraged Jeff t o b eg1n collecting these lines.

Jeff:ey began to correspond with Norris Schneider in 1981. This a~az1ngly foresighted gentleman has, as we all know, almost single-handed preserved the legacy of the Zanesville area . Hi: was an endeavor for which we are all grateful and be~ause of ~hich we ~r: blessed wi!h extensive knowledge of a unique American tradition. He provided Jeff with many articles price lists and finally a copy of the only known Peters and Re~d catalog. Attending the Pottery Lovers' Festival, and meeting Alice and Lewis Bettinger, advanced the P and R "habit". The Bettingers greatly encouraged Jeffrey, and Alice and Lewis spent many hours sitting and discussing pottery with Jeff. The clincher was a stay at the Bettinger's home, and exploring the famous "basement". During that same summer we accumulated additional information with a lengthy visit to the library of the Ohio Historical Society in Columbus, Ohio. The search became a quest, and resulted in Jeff's collection of Peters and Reed and Zane currently containing almost three hundred pieces. We had within just a few years met many wonderful fellow pottery collectors with whom we shared our love; exchanging ideas, buying and selling pieces, and enjoying the special camaraderie that "fanatics" develop . Nance Darrow is one of these special people, and she was soon scouting and finding pieces for Jeff. Nance a l most gave Jeff a juvenile heart attack when, for his Bar Mitzvah gift, she gave him one of the rare, marked Peters and Reed commemorative medallions made in 1915.

3 . telephone friendship soon developed . A long-distanceb gan seriously researc h'ing Peters and RWlth Al Wunsch as d w~ f~ and planted the idea for a book, Whi ~ed . Al encouraget. el with the publishing of Al ' s reprint ocf becallle more prac ica Al the Z Pottery catalog #22. Thank you . ane . hr came during the 1989 Festival in Zanesvill The c 1Mincree preferred that if we would seriously conside. First Moses es h t . 1 er wr. ' "the book" he would loan us t. e ex ens:ve co lection of Pete lting and Reed and Zane artifacts given to him by Norr~s Schneiae/s epted the offer, and were amazed at the quantity of mat : (~ a Cc . . 1 . t t 1 er1a1 Moses shipped us, including price is s, ca a og pages, salesman's photos, and more.) Then, at the show in Zanesvill acquired a complete Zane salesman's sample book, and fe1 t the we finally has enough material to attempt this book. at We our thanks to the many authors and other collectors whose work advice helped up so much; including: Susan Cox and the American°r Clay Exchange, Deb and Gini Johnson who "pioneered" the literature on Peters and Reed, and Bob Bettinger and Al Wunsch for sharing their knowledge and their counsel. We certainly hope that our fellow pottery collectors and readers understand from our tone and comments that our goal for this book is to open the door to further exploration of the Peters and Reed/Zane experience. It is our fervent wish that others will come forward to provide additional information and insights into this historical perspective, be they collectors or simply interested friends with additional knowledge to contribute. Should such information become available, please contact us by writing to: Jeffrey Hershone, P.O. Box 950670, Lake Mary, Florida 32795.

And finally, we lovingly dedicate this book to Alice and Lewis Bettinger.

A THE PETERS AND REED POTTERY COMPANY THE ZANE POTTERY COMPANY THE HISTORY

th By e middle of the 189O's , many potteries in Ohio such as R~okwo~d, Weller and Roseville had become well established financially successful and nationally prominent Th • ' encouraged ma~y other potters, most of whom had.war:~~ ~~~c~::se larger_potteries , to go out on their own and establish their own potteries.

~oh~~ - Pet:~s and Adam Reed were working for the Weller Pottery in u nam. 7n Weller appeared to be concentrating more on his art potte~y lines, Peters and Reed decided to go into a business partners~ip together and formed the Peters and Reed Pottery Company in about 1897. They hoped to fill the apparent void in pottery_production that Weller would leave by discontinuing the production of flower pots.

Legend has it that Peters and Reed found a suitable lot in South Zanesville'. fil1 7d their wheelbarrows with tools, pushed them down Maysville Pike and built their first pottery shop. History, howe~er, tell~ us that they in fact went into operation in 1897 by renting the Linden Avenue pottery built by the Clark C~mpany some six years before in South Zanesville, Ohio, a small village south of Zanesville.

Their resources being fairly limited, they started production limited to flower pots of red earthenware, the product they had envisioned would be in demand as Weller's production diminished. Although the company is reported to have done well from its start, Peters and Reed did not have quite the demand they anticipated for their products as Weller proceeded in 1899 to purchase the old American Encaustic Tiling Company plant on Marietta Street and resumed producing flower pots, cooking utensils and other similar items.

Norris Schneider reported that Frank Ferrel recalled that Peters and Reed found operating a business did not bring the instant wealth they had imagined. Ferrel later heard them discuss their optimistic plans to have a turkey for their first Christmas as entrepreneurs, then changing their choice to beef, then chicken, and finally eating white bacon. However, they persisted and kept the pottery going, and soon added the production of jardinieres which they decorated with cold colors, or house paint, to their line.

Peters and Reed displayed their imaginative talents as businessmen from the onset of their business. There was no transportation available for those of their workers who lived in Zanesville to get to the plant in South Zanesville when they started their business. So they bought an old "bandwagon'' and proceeded to provide two way

5 transportation to "Southtown" for these workers. They al wagon to haul goods to the railroad stations for So Shipment . Used ti.,,e Although they had an option to buy the Linden Avenue 9 Peters and Reed could not yet afford such a p Pottery . 189 , . h b G urcha ln property was instead boug t Y eorge Young f or his R se. 'I'h pottery leaving the Peters and Reed Pottery without osev1 lle e then proceeded to purchase a pottery, the ol d South Za home. 'I'he · th 1 1 · anesv · 1 Y Stoneware company, 1n e same genera oca t 1on in South l le Zanesville. A Zanesville Times Signal article of September 15 , 1957 b Schneider indicated that the Peters and Reed Pottery CompY Norris incorporated in 1901 for $25,000, with Adam Reed as presi~ny w~ Pletcher as vice president, Harry S. McClelland as secreta;nt, S,T, John D. Peters as treasurer. Y ana

The Zanesville article locates the plant as "a little ou tside th city limits, but in easy access to the railroads, three of the e being within a stone's throw". Illustrations of the plant wer/ included with the comment that back of the plant was an inexhaustible deposit of the best clay, obviously containing the red clay which became their "trademark" for over twenty years.

THE GREAT STANDARD GLAZE MYSTERY-----SOLVED???? For many years we collectors of Peters and Reed have been faced with a dilemma as to who truly manufactured the beautiful high glazed, brown, sprig decorated Standard Glaze pottery attributed to Peters and Reed. These authors currently are not aware of any authentic documentation (no original articles, no ads, no pictures nor any catalogs) which supports the premise that Peters and Reed made the brownware. However, numerous knowledgeable individuals within the pottery "circles" have reported discussions with "old timers" who worked in the various potterieS, or had knowledge of Peters and Reed, who have confirmed Peters and Reed as the manufacturers of the Standard Glaze. As we have sorted through and studied the various articles, price lists, bills of lading, customer orders catalogs, etc., a threhad f · ' · e 0 circumstantial evidence appears to have emerged supporting t contention that the Standard Glaze art pottery was indeed mad~I by Peters and Reed Pottery Company. As Holmes said to Watson, th1nk we're on to something!".

Here is the ev idence- draw your own conclusions! Thfe ma~or potteries had been fabulously successful with the sale o their brown L huda and L ware- Rookwood's Standard Glaze Weller's on ked with ~uwe 1sa, Owens' Utopian among others Ap~arently Reed 100 covetous eye at th. . ttempt to produce simil _is production and decided to a . on ar ware. Abigail E. Foster noted in her article

6 Peters"dl and Reed that "business was good from h rap1 y and the company was incorporated in 19t0e1 start, and grew short time they to o b egan making art pott ery. " . In a sur pr1s1ng· ·

Glassthat Petersand Pottery and Reed World had i th October 1901 edition, r eported "occasional" artware desia r~a Y begun the production of other ev idence seems to g~e a nd modeled by Reed. However, joint effort of Reed andpAol1bnt tto the Standard Glaze being a er Radford.

Ainl bert1862 Radford. He was wasa masteran Engli mo~ h ~an , born in Staffordshire, England with many generations spent: e~hand potter coming from a family migrated to the United Statelni ebceramics industry. Radford successively in Baltimore ts n a out 1882, and worked Trenton at the Eagle Pott a the Haynes Pottery and then in Ohio, where he manufacturery. In 1893 Radford moved to Tiffin, Jasper, in his Radford Ar~dph~s finest ~rt pottery, known as Radford made in England the . 0 tery. Similar to the type sprigging Ther~ made in Tiffin was decorated with h · d were no other potters in the country at that time w o_appdeare to have the knowledge and skill to produce this spr1gge -on ware. Radford moved from Tiffin to Zanesville, Ohio, about 1898 where he was employed at various times at the Weller Pottery, the Zanesville Art Pottery and at the Owens Pottery, where he most likely designed Owens' Wedgwood Jasper line. Lucile Henzke, in Art Pottery of er1ca,• repor t s II Some of the early specimens of Peters and Reed are decoratedAm with sprigged-on cameos and garlands of flowers against a dark brown background, then covered with a gloss glaze. The high glaze tends to hide the fine detailed workmanship of the cameo work. We feel it almost a certainty that Radford did these fine pieces". Radford did not open his own pottery, the A. Radford Pottery Company until about June, 1903, The jasperware made at that time had molded decorations, often with an applied overcoating, and did not resemble the standard glaze with sprigging attributed to Peters and Reed. By the end of 1903 he moved his pottery to the new facility which he had constructed at Clarksburg, Virginia. It is difficult to attribute to only coincidence that Radford produced his unique sprigged-on cameo ware in Tiffin, Ohio, and that a similar ware was produced shortly after Radford moved to Zanesville, This especially since he was reported to have had an interest in a Southtown pottery. A very interesting letter exists which was sent to Peters and Reed Pottery company, South Zanesville, Ohio, by Weir Brothers, "Dealers and Jobbers in Peddler Supplies", on their letterhead. The Weir Brothers were located at 920 and 922 Hancock Street, Sandusky, Ohio, In the letter, dated October 5, 1903, this line appears : •we note your notation, on invoice, that you have sold

7 ·treasonable to assume that this 11 Jazed ware". rs l the standard Glaze made by Peters gla2ea the g . ht have been and Re ware" m1g bout peters and Reed by Marv Pott er . ect?· . allY an article a April 1983, states "Despite seve l n the AmericanFin ' c 1 ay Exchange,. d no assurance spr1gge. d ware was made r ba 1 a rtic1 I •ve read I . can ::ndid require particular skill and the Rax Peters es and Reed. since 1 bl to find skilled workers, I fee l it _ford 's themselves were unda ~here" ( at Radford's plant). Po t ter gl s unl1'k e lY it was mad ite is only a guess, wou 1d b e that the i noet s on, "MY own guesS , an to have in a "Southtown" pottery could ha erest A Radford was k~o;~ed plant. All were former employees of S.A ve been the peters atnl there was no other art pottery plant in South We ller and apparen Y . Zanesville at that t1me. These authors are reasonably convinced that ~eters and Reed did indeed produce the standard Glaze wares ~ttr1buted to them . We bel ieve that Albert Radford cooperated with Peters and Reed to roduce the art pottery from 1901 through 1903. Radford possi bly ~ad a financial interest in Peters and Reed, and was merely working for other potteries during that period, not then operating his own pottery. We of fer the above scenario as a "case based upon circumstantial evidence". However, it is our hope that probing the Standard Glaze controversy will encourage further investigation, and perhaps bring someone forward with more conclusive evidence to confirm our hypothesis or provide proof that Peters and Reed Pottery was not the manufacturer, and who was, if not them. Evans reported that the major production until 1903 consisted of flower pots and jardinieres, with cooking ware introduced in 1903. The cooking ware is described as having a body of "~eathe:ed shale" with a white clay lining, but the line was d1scont1nued in 1906 . ~everal ~ld orders on the buyers' letterheads give us further nformation about Peters and Reed's production during 1903 1904 and 1905. In oc t O b er, 19 03, Weir. Brothers in Sandusky Ohio' sizesor d ered and "kettle t " in· various· sizes,· "pudding pans" in ' various' October w~ ~~z~s of hanging baskets. A purchase order on confirmed26 ~n orderr~m9 Joseph Horne Co., Pittsburgh, Pa., dozen, given to "M oTr three dozen 3 pint teapots , at $3, a r. renner".

Musk~gon,An order wasMichigan received fo~n1June 9, 1905, from S.H. Knox and companY, # 27 Jardinieres Th" gross of #16 cuspidors and 1/2 gross of ~nd ~eed price iist1:h~~~er_was written on the back of a peters ~spidors, jardinieres h li~ted the sizes and prices for ~n~s . On October , 2 , :nging baskets and red burned flower r 3 i90 Company, Columbus d~ an °rder was recieved from A. P , carte11 2 ' 1 n iana for 1/2 gross #16 cuspidors and

0 gross #70 jardinieres.. . This order was written on the b ack of a one page a d vert1sement p1cturing an a 1/2" • #60 j ar di niere· which who l esa 1 e d f or $ 10.00 per gross, and "retails at 15 cents". Peters and Reed expanded their plant in 1907 ti i flower pots with saucers, hanging baskets pa,incotend ~u dngi tio produce · th 1 · d . ' Jar n eres, fern pots w1 iners, an cuspidors. Advertisements and price lists around 1909. showed these products hand painted i n various· sizes· and sty~es_1n red and green, and blends with gold bands and floral var1ations. F~ank Ferre~ left the employ of Sam Weller in 1905 after spending five years in the art department. Peters and Reed had been anxiou~ to_begin producing art pottery, and saw the opportunity to cap1talize on the extraordinary experience that Ferrel had acgu~red in the designing and manufacturing of art pottery work1ng for Weller. Ferrel at first provided artistic drawings and "ideas" for an art pottery line for Peters and Reed. Ferrel later modeled the drawings for them, and finally was hired to work for them full time as a designer and salesman.

Ferrel had designed a green and red line known as "pinecone" for Weller during his employment there which was rejected by Weller. Although the samples had been destroyed by Ferrel, he quickly redesigned the line and production was started and the new line was quickly successful. Some of the pieces in this line bear Ferrel's signature incised in the mold (spelled FERREL). However, it is not clear from the literature exactly when production began, and if the new line was called "Pinecone" immediately, or "Moss Aztec" as is indicated in all the brochures and such we have seen.

Several writers indicate that Moss Aztec was first produced (or introduced) about 1912. This late introduction seems illogical in light of Peters and Reed's desire to manufacture art pottery, and the design and modeling of Moss Aztec by Ferrel between 1905 and 1907, before he went to the J.B. Owens Pottery. Also, could it be another of our coincidences that the plant was enlarged in 1907- just about the time the "Moss Aztec" line could have been ready for production. It certainly seems safer to say that between 1905 and 1912 Peters and Reed introduced a new line, named Moss Aztec, which enjoyed enormous success. Pricing the Moss Aztec wares became a challenge for the_com~any. Peters and Reed were fearful of pricing the wares too high 1n comparison to their utilitarian lines, and so deferred to Ferrel and Frank Wiles. Since Ferrel was selling as well as designing, he had a better feel for the market place and priced the line as art pottery. The partners had nothing to fear, for from the outset the line was an excellent seller, with popularity that allowed the prices to be raised within a year. Peters and Reed marketed Moss Aztec widely by advertising in

9 magazines and publishing numerous brochures and pamphlets. An early brochure described Moss Aztec as follows: "We take pleasure in placing before you reproductions of a few designs of the Moss Aztec Ware created in our studio and of clays discovered on our private clay preserve. It is original not only in design but in texture and color as well as in the method of manufacture. Produced to harmonize with all schemes of house decorations and at a price within the reach of all. In color it is the rich red brown of the Historic Aztec with a green deposit as of a touch by nature through countless decades of exposure. In texture it has the pleasant softness of velvet and in artistic beauty unsurpassed". With this kind of appealing mass marketing, Moss Aztec soon became the best selling art pottery line Peters and Reed produced. This is reflected in the availablity of these pieces to collectors. The success of Moss Aztec encouraged Peters and Reed to produce other art pottery lines. A Peters and Reed catalog, donated by Norris Schneider, is in the Library of the Ohio Historical Society. The cover of the catalog is printed as follows:

POTTERY DECORATED AND PLAIN MOSS AZTEC, PERECO, LANDSUN PERSIAN, MONTENE AND CHROMAL DECORATIONS THE PETERS AND REED POTTERY CO. SOUTH ZANESVILLE, OHIO U.S.A.

This catalog appears to have been issued sometime around 1919 to 1921, because an original price list dated March 1, 1921 by the Zane Pottery Company contains the prices for all of, and exactly the same pottery pieces, in the catalog under Moss Aztec and Landsun. This information confirms which art pottery lines, in addition to the utilitarian and garden wares, were being made by Peters and Reed before becoming The Zane Pottery Company in 1921. This same price list also included prices for the Wilse Blue line , indicating that it may have been introduced shortly before , or at approximately the same time that Peters and Reed became renamed . Harry S. McClelland had worked for Peters and Reed since 1903 and had become the company secretary in 1909 . McClelland had moved to Zanesvil l e with his family at the age of five, and had worked part time for Peters ·and Reed through his high school years. He went to work full time for Peters and Reed upon graduating from

10 Zanesville High School in 1903. In 1920, Peters retired became president. In Jan:~~ McClelland bought his stock, and Reed Pet7rs and Reed Pottery Comy~n1921, the name was changed from the retired in early 1922, and ~ie~ io the Zane Pottery Company. Reed became the sole owner of th ater that year, and McClelland reorganized with McClellande Zane Pottery Company, which was then as president.

pic!uredMcClelland in went the aheadZanesville with ;~o!~~r expansion of the plant which was article stated that the z g in March, 1923. The accompanying Ernest Murray had been pr~~~t~~t~ery then employed a hundred people. been placed in charge of ad ti O ceramist and C.W. Chilcote had had just been published. ver sing and design, and a new catalog

ZaneIt is pottery interesting had raised to note the that ion t~eir March 1, 1921 price list wholesale thirt to f pr ces or all their items, at Peters and Reed ~rice ~~!i above 1the prices1 shown in the price increases occurred when the ~~:;~~y ~a!! !~ss~~~~ !~e:~ Zane, after McClelland bought out Peters' stock, we won~er if the nambe change_was part of an effort to remarket the pottery to obtain a etter price, and enhance profits. This possibility of a new marketing scheme being the motivation for t~e name change becomes more real in light of a few situations. First, In 1921 Reed and his family still remained active partners in the pottery, and it is not customary to drop founders' names until ~uccessors acquire a business totally - ego you know! secondly, it is rather unusual for a company which has been thriving for over fifteen years to change its name or the "trademark" by which it is known to its customers for no apparent reason. Finally, the possibility that the pottery name was changed to Zane as part of a new marketing plan is strongly supported by the situation which Duke Coleman explored in a scholarly article in the February, 1979, issue of American Art Pottery. Coleman noted that in a 1921 catalog of Brush McCoy products, several pages of items were offered which were identical to those produced by Zane, carried the same catalog numbers and were priced exactly the same as the same items in the March 1, 1921 Zane Pottery company price list- at the newly raised prices. Coleman speculated that both potteries cooperated either in the manufacture and/or the marketing of the Zane pottery items. Brush McCoy was one of the most successful potteries at that time, and had a vast marketing network, We believe that Zane and Brush McCoy entered into an agreement to allow Brush McCoy to market some of the Peters and Reed products, including Moss Aztec, Landsun, Pereco and chromal ware, This greatly increased the potential market for Zane pottery products. The pottery was probably made by Zane to

1 ] r

fill Brush McCoy's customers' orders, and shipped t O customers as if it came from Brush McCoy. This is the Br arrangement used even now by many manufacturers wh~ conunon ~Sh Mee 0 for other compani es which they mark with the other Produce 1~l:' keti Y and ship to the other companies' customers direct 1 y ~ompany , s ~~llls Ilg

The Zane Pottery Company continued to produce and add to th. utilitarian and garden ware lines. The production of stand elrrd Glaze had been short-lived, but Moss Aztec continued to bea produced until the company changed from the red clay to a wh· clay body in about 1926. Many new art pottery lines were add~~eb the Zane pottery in subsequent years, as well as continuing th Y Peters and Reed lines. However, there is no documentation to e indicate when the other lines were added or discontinued .

Zane produced the largest line of gardenware in the country. Called Graystone or Greystone at first, it was later renamed Stonetex wh~ Weller obtained the copyrights to the Greys tone name. A price list of "Garden Pottery and Florist Supplies" dated January 1, 1931 , lists over 100 different Stonetex i terns and many other "decorative garden pottery" products. Some of the i terns listed in the Stonetex finish are: gazing globes, lawn vases, oil jars, bird baths, sundials, garden seats, jardinieres and pedestals, window boxes a~ palm pots. Also listed were hanging baskets, Roman pots, Italian pots and saucers, cut flower vases and straight fern liners.

"Decorative Garden Pottery" was offered in "green glaze colors", and included: bird baths, strawberry jars, and frogs for lawn use and planting. Many kinds of vases and palm pots were offered in "blue, green and crystalline colors". Ivory ga:d:n and porch pottery was available in figures, bowls, urns, jard1n 1 e~es and pedestals, and window boxes. Figures, tigers and bowls an pedestals were available in "bronze", and animal figures of rabbits, ducks and pelicans in "Florentine". d ontinued The art pottery lines produced by Peters and Reed an c NE and by Zane were: MOSS AZTEC, PEREGO, L~NDSUN, PER~IAN, ~ONTEof the CHROMAL . New lines added by Zane wh1ch appear in various ars Zane Pottery Company catalogs discovered in the paSt fewc~~ MAROON ; were: WILSE BLUE; MARBLEIZED; MIRROR WARE and MIRROR BLAD sroNETEX· VELVET MATT; EGYPTIAN WARE; SHADOW WARE; MOTTLED BLUE AN . h'ch manY Zane produced a number of other art pottery lines w 1

12 c"oldtimers"ould not bed and co 1 lectors referred to b "new" lines, s~~:m~ted: We wer e excitedyt~e;~:i ption only , but products by ear ly 17hich were recognized or 1 l ly document many had been mentioned co ec::tors and local "ex ert~"ai med to be Zane pottery. This infor~rt~ictured in any previous 1itbut none of which sets of salesman's cati~n about these lines was ob:ratu~e about Zane generally in excellenata og ~a~es which were well maarkinde from two condition. e and

WePottery acquired Lovers' the Festivalfirst salesma in Zn ' s p~oto catalog book at the 1989 was ~he extensive collectio anesv~lle. The second batch we obtained N~rr is Schneider had assemb1~dmen~ioned in the introduction, wh ich k~ndly loaned these materia an passed on to Moses Mesre, who pictured in the photo t · ls to us. The newly identified lines FLORENTINE; IVY CREAM;;~ ion, are: ITALIA ANTIQUE; IVORY AND ' WARE; PEASANT POTTERY-HAN~SH; MATT GREEN FINISH; MODERNE; OZANE VICTORIA WARE. TURNED; TINTED MATT; VELTON WARE; succeededHarry McClelland to the diedpresid in 1931 f a nd his wife. Mabel Hall McClelland Zane pottery until earl;n~i4~ i~neh Mrs: McClelland op:rated the thirties had reduced sales t .th t ~t time t~e depression of the e . . 0 e point that it was no longer operation, so she discontinued the pottery

On December 8, 1941, Lawton Gonder bought the Zane pottery and s~ortly ther:after reopened as Gonder Ceramic Arts, Inc. Gonder did not continue to manufacture any of the former Peters and Reed or Zane pottery items or lines. After World War II the Gonder plant became one of the largest art potteries in the country.

THE ART POTTERY In an attempt to describe the Peters and Reed/ Zane pottery, we realized that a description authored by Peters, Reed, McClelland et al would give greater insight to their philosophies and goals. Since the advertising material they published was obviously a reflection of these principals' thoughts, we herein offer statements from their catalogs; from the Zane Pottery company catalog #22, reprinted"Art by Alpottery Wunsch: is a luxury no one can afford to deny themselves---it has become an essential part of the decorative scheme of Zaneevery ware home. adds charm to any home and is a delightful asset to any decorative arrangement either interior or exterior, The crying need at all times is for ideas that are new and unique, and years of experience in the manufacture of pottery enables us to know the needs of those whom we serve, and endeavor to constantly present the trade som:t~ing ~ew an~ different . zane ware is unique and original in design, is of a high artistic character, strong and durable in finish, and meets

13 most satisfying manner". every demand in a dover a span of years which saw a h These potteries operatet·on from the conservativism of thee ange · h t les of decora i · f A t N 1n t es Y h the transition o r ouveau and fi Victorian era, thr~u~he arts and crafts movement into Art :al1y 0 0 to the emergence th e years reflected the changes in PUbl ·co. ucts over es . t. . h le Th e pr Od f' d a fascinating varia ion int e proctu t demand, and s~ we fi~eters and Reed until the demise of theczs from the opening O ane Pottery Company. ablished that from its inception Peters we have a 1 rea dy est . d . ana Reed · 1. d red clay for the body of their pro ucts, changing to White ult1 ize eti·me around 1926. This is often very confusing as one examinesc ay som the art pottery beca~se typica· 11 Y there d cayl is· completely covered by the various glazes, except Standard Glaze and Moss Aztec. There are also frequently one_to three white marks on the bottom of the pottery from the kiln prongs which hold the pottery up in the kiln, leading collectors to assume the body is white clay. These authors can attest to a number of confusing characteristics of Peters and Reed pottery that Deb and Gini Johnson explored in their excellent articles about Peters and Reed pottery in the April, 1975, Antiques Journal, and their Beginners Handbook. One of these is, as stated above, that the white marks from the kiln prongs are especially disconcerting when found on pieces with a light colored glaze on the bottom. This is very often a source of confusion among new collectors since so many of the lines had cream colored bottom glazes. As novices we also carefully examined pieces of questionable origin for nicks and chips which might disclose red clay under the glaze.

The Peters and Reed and Zane potteries created many original designs and unique items for their own lines. However, they often acquired molds from other potteries for their own use by purchasing them when other potteries closed, such as in the cases of Owens and McCoy. Occasionally potteries would be willing to share their designs to ~et the use of another pottery's designs. And obviously, in many instances, one pottery would "lift" or "reinvent" another pottery's successful design or even adapt a new concept, as happened with Standard Glaze. Many of the Peters and Reed/Zane shapes are from Weller's ~ouwelsa line, Dickensware II, and Lonhuda. The Peters and Ree~ v7rs1on of Standard Glaze was frequently referred to as a varia~ion of Turada, even though it was probably Radford's creation.

It is ~lso very : 0 mmon to find the same shape or configuration in many different_l1nes, with different catalog numbers, usually because of a different glaze treatment. In some cases similar shapes had the sa~e.number in different lines. Many, many of the molds from the or1g1nal Moss Aztec line were used in later Jines such as the St t rd Florentine. Sio1;1emilarly ex ga numbereden ware, items Pereco, f Persian and Ivory and in the Matt Green Finish line. rom the Landsum line appeared

althoughPeters and there Reed are pottery several was i!ar: 1 Y marked with the pottery name, of Al Wunsch and Bob Betting P ivate collections, including those medallion was issued in e~. t~ addition, a commemorative 1915 herein) which was modeled and~ e_Moss Aztec line {pictured and Reed Pottery company In ~n~cribed as a product of the Peters have Ferrel's name on th~ir s1dditihoni, some of the Moss Aztec pieces e, w ch was impressed in the mold.

After.the potter~ name was changed to the were impressed with the followi·ng mark on Zanethe bottom: Pottery, some pieces ZANE MARK #1 f£k~ 'ZA~1rWA*lr MAllf 111/~6,_ Otherfollows lines: were ink stamped on the bottom und er the glaze, as

ZANE MARK #2

Finally, some pieces with cream colored bottoms had their catalog shape and/or style number written in pencil, by hand, on the bottom under the glaze. The Chromal ware and Landsun lines often were marked this way. Standard Glaze. This brown ware was produced in a variety of Victorian shapes. Some of these are rather simple but many of the pieces are quite complicated and convoluted such as the Aladdin's lamp, the "donut vase", the pinched vases and the loving cups. Art Nouveau was obviously the major influence in the design of these pieces, as evidenced by the shapes and hand1es, many of which are quite ornate. Some of the shapes and designs seem to have been acquired from Owens and Weller; there have been reports that Peters and Reed actually purchased blanks from these other potteries in these early years. The entire line tends to be quite feminine, unlike most of the later lines of both Peters and Reed and Zane, which tend to have a "strong" and "stolid" (not a misprint) look. These pieces are mostly curvaceous and delicate, even when large, and often give a "swirling feeling" especially when handles are present. The use of the appliques, also referred to as "sprigging or cameos", enhances this styling.

15 The appliques (cameos or sprigging) used o~ the Standard glaze similar to the type designed by Wedgewood ~n England but many Were original designs . This is und7rstandable since we assume that Were Radford was somehow involved in the manufacturer of these Produc The appliques were hand modeled and then a mold was made in Pl ats. e appliques were then cast by hand and when firm Ster and c 1 ay . Th t f . d enou h to handle were "sprigged on•: to the we un ire c 1 ay bo~y . This wg delicate and tedious work since once the cameo was commi tted t 0 as greenware it could not be move d again· . The "mar rie· d" p iec· e was ththe fired , and finished with a high gloss amber glaze . en

There were many different appliques made, and on many p ieces sev different appliques were used in uniso~ to create pleasant , styl~:~ and "draped" effects popular at that time . Spriggings are found which are grape motifs~ wo~en's and men's heads, cavaliers' head, leaves, garlands, lions heads, f lowers scalloped and geometric designs, and American President's busts'. The appliques were used very generously on many pieces , especially the larger tankards, creating "luscious" effec ts with bands of flowers and garlands encircling the pieces and draped down the sides . The brown coloring of the Standard Glaze pieces varies greatly, from very dark to mahogany to reddish brown and all shades in between . Pieces may have shading from the lightest brown to darkest brown on the same piece, frequently shading from a light brown top to a mahogany bottom . The colors from the spriggings frequently run down the brown glaze creating irridescent streaks in green , yellow, blue, red, white and variations of these colors. The total effect gives a dazzling, sparkling depth to this high glazed brownware .

The gla~e has been applied very heavily and thickly in an almos t extravagant and cavalier fashion, in order to sufficiently cover t he medallions and still create a surface which is reasonably smooth and even overall . The glaze was applied so thickly that it usually ran down under the bottom of the pieces, creating a thick "gloppy" coating on the bottom of the pottery.

16 The thick glaze also er t d Th: b~ttoms of these pi=~e: ai~eh~~usual visual depth of this line. grinding wheel until flatte d to be ground or shaved on a . ne enough that the ld sa f e 1 y. This grinding resulted in a dist.1 . y cou stand erect texture out of keeping with the hi ~tive, rough bottom pottery. Despite the grindin th g~ qualit~ of the rest of the st confusing three white marks ~r om ethpiecf:s·e 1r1ng illprongs. retain the often MOSS AZTEC. Norris Schneider des · Aztec was made with a green clayc~i~edh~oss Aztec as follows : "Moss designs on which green color was sor~ ~ghly m~deled in various embossing. It was glazed inside f~ ~e ~n~_wiped from the coal oil to give it a surface It ire an ipped in parafin and green in the low places and A~tec wbaecs callFed Mosls because of the . tt • ause erre had seen some Idn ian po ery with the brown shade of red clay". M~st of the Moss Aztec pieces are heavily modeled. on some of the pie7es there are depressions on the interior which match the design,· t · t andh occurred• when the mold absorbed part of th e s 1·1p poured 1n o i sowing th: detailed design area. The mossy effect was ~reated by_the residu~l green left in the low crevices and valleys n the relief decorations, with the interior clear glazed to make it7 wate:proof for use with floral decorations and plants. At a la~er time a_white coati~g was applied over the red clay with the switch to white clay coming around 1926, about five years after the company became the Zane Pottery Company in 1921. Moss Aztec actually came in over one hundred different choices, made up of many dissimilar items in a variety of sizes. The line ranged from large umbrella stands and jardinieres and pedestals to small, and somewhat fragile vases and jardinieres. The line included fern pans with liners, hanging baskets, cuspidors, cemetery vases, wall pockets, window boxes with liners, garden vases and pots, a four piece garden set, and more. To emphasize again, the entire line was highly modeled and decorated in many patterns and designs. These included: Indian and/or Aztec designs, many floral designs and garlands, berries and grapes, pine cones and needles, many trees and other woody representations. Many pieces carried classical designs and "grecian women". The patterns were very often very intricate and covered the entire surface, especially when geometric designs were modeled. The popularity of the Moss Aztec line was no doubt due to this wide variety of different items offered as well as the many different designs available. PERECO. This line was named for the company, PEters and REed company. The Peters and Reed catalog in our possession sta~es that Pereco ware comes in a "beautiful matt glaze finish, made in green, blue and orange". The later Zane catalog describes Perec? as follows, "The Pereco ware has a semi-matt finish, in plain green and cream colors, which harmonize with any scheme of decoration, and

17 makes a very neat and attractive as well as serviceable line" collection contains a piece marked with Ferrel's name in the ~ol~~r The Pereco ware was produced in cream, green which was a soft brownish-green or olive, orange and blue which was a dark muted peacock or teal color. Although the overglaze is indeed semi-matt the body of the pieces is often grainy with the red clay body col~r showing through the glaze, with the interior the same color and finish as the body. Many of the pieces in the Pereco line are identical to the Moss Aztec line, even carrying the same catalog numbers as appear in the Moss Aztec catalogs and price lists. The duplicate items were available in plain shapes as well as the se intricately modeled designs. The Pereco line contained many jardinieres, vases and bowls. Some of these were highly modeled with classical grecian women, garlands I flowers, berries, draped effects and many geometric designs, often similar or identical to Moss Aztec. There were many plain items produced as well, including many vases. Several sets of bookends were produced as was a well-known "cat" door stop. PERSIAN. The Persian line is being introduced here because most of its items were identical to the Pereco or Moss Aztec lines. The Zane catalog describes Persian: "The Persian ware is made in blue and brown, plain semi-matt finish making a beautiful serviceable line". The line contains bowls, jardinieres, vases, large umbrella stands, cuspidors and more. The Persian ware is finished in medium brown or medium to midnight blue, and appears slightly irridescent. The color was applied evenly .and is not streaked, with the matt finish much thicker than on Pereco. Many of the photo pages from the salesman's catalogs which we examined and appear to be "Moss Aztec" pottery instead show the items listed on the back with separate and different prices for both Moss Aztec AND Persian, but with the same catalog numbers. Interestingly, the prices for the Persian pieces run 30% to 40% higher than the Moss Aztec for smaller items, and up to double or more the price for large items. For example, the 20" #168 Moss Aztec umbrella stand costs $36.00, the 20" #168 Persian umbrella stand costs $84.00. The 21'' #500 Moss Aztec umbrella stand costs $48.00, the same item in Persian is marked $96.00. LANDSUN. Peters and Reed described Landsun- "the Landsun ware is finished in blended effects of different colors, which makes many very beautiful pieces, each piece being different, --by allowing one's imagination to work many beautiful effects can be seen in each piece". The Zane catalog goes on: "Landsun is a most pleasing line, the beautiful color effects being acquired by brushing on by hand the various harmonizing colors, softened by a clear matt glaze of exceptionally fine texture".

18 The Landsun line caused much f . several catalogs were unearthc~n u~1on among collectors until in the line. The Johnsons at~ which documented which pieces were to have simply lumped all t~osy :~mmented that th: company appeared finish. One part of the line ce i_e~s together which had a blended holders which have geometric d~~~1s s of vases, bowls and flower effects in various combinations ~in~i andbp~aid and herringbone green over a solid color background uTeh, e1~e, brown, yellow and · · t · · ese pieces are very 1mag1na 1ve and modernistic in styling and decor.

Other pieces have bands of color swirling horizontally around varying from top to bottom. Some pieces• were splotchy and even them "spe:kle~ or mott~ed" in blues and creams and the other color combinations mentioned. Other items appearing in th 1· . ·ars hair • d e 1ne are. rose J . , . re:e1vers, iscs, trays, frogs, lily leaves, mushrooms, ginger Jars ~1th lids, candlesticks, ashtrays, ring holders, cigar and to~acco J~rs ~nd strange triangular bud vases. The background color 1s 7arr1ed into the interior, and the bottoms are often cream colored with the shape or style number marked in pencil under the glaze.

CHROMAL. This line is similar to the Landsun line, and the early catalog states: "the Chromal ware resembles the Landsun line with the exception that beautiful scenic effects are portrayed in a very effective manner". The Chromal line was listed as Chromart Ware in the 1921 Zane catalog, but the pieces are often referred to as Scenic Chromals or just Chromals. The graceful pieces that make up this line are vases of various sizes and shapes, some lidded. The pieces in this line have actual landscape scenes or scenic effects which are quite impressionistic with the "details" showing through a soft matt or semi matt glaze. The "scenes" were created by decorating the lower one quarter to one half of the pieces with a "foliage-like" design in earth tones of brown, yellow, blue and green. In some pieces the on the lower part of the pieces was very thickly applied and creates a "heavy", rough texture. The simple chromals have general "scenes" of sky and additional foliage over the top one half or so of the vase, and were often referred to as stylized chromals. In the true "scenics" approximately the middle one third of the vases depicts complete scenes which often encirle the piece. The scenics we have seen had scenes of farms with farmhouses, fences, homes, bridges, individual trees, mountains, the_s~n an~ Moon, and roads The bottom of this line has a light tan f1n1sh with red clay showi~g through, and are often marked with the shape in pencil under the glaze. MONTENE. The Peters and Reed catalog describes the line: "The Montene ware is made in two decorations. The rich Copper Bronze irridescent and the Green variegated semi-matt finish. The beauty of

19 appreciated by seeing the actual pieces" this ware . can . be pictured in the cata 1og Wl· th Jar· d inieres• . · Th e Montene 11ne is vases It must be noted t hat all of thana t_a 11 ish ' curvaceouse line are identical. to t h e Ch romal line sha e plece,. 1~ the M~nten l a few exceptions from other lines . P•s and sizes, with on Y b onze version is irridescent with a deep patin Thed c~pper-la~ge variety of styles. The green Montene is va:.and _, ma e 1n a f B 1 ega t with a mottled finish and an une~en slur ace. t hrown' green ana Wh7d . r the entire surface, with arge paces of white lte sw1rdistributed 1 ove over the entire piece.. The green Montene has only been found in the bulbous shapes. ARBLEIZED, No documentation can be foundt in· l any· thof the· Peters ana MReed and zane catlogs, nor any ot h er ma er1a e1 er 1dentifyin naming this line. However, experts and :ollectors h~ve long g or recognized Marbleized as a separate, uniquely beautiful line, but without any real knowledge as :o w~en the lin7 was first produced . The pieces in the 1 ine are var 1ed 1n shape, size and type, and com from many other lines with the bodies made of red clay and a finai' clear high glaze. combinations of brown, black, yellow and blue colors were thickly applied to produce a "herringbone" or swirled effect over the entire surface of this pottery often resembling the patterns found 11 in marble, hence the name "marbleized • The pieces first had one of the primary colors applied all over the surface, creating usually a brick red, yellow or bright blue background. Then a combination of the other colors was dripped or brushed over the surface, giving the variegated effect of lattices, swirls, horizontal bands, stripes, mosaics, herringbones and geometric designs. Many of the pieces are done in combinations which result in dark effects. Observations of various collections, including our own, indicate that the line contains a variety of quite disparate items, including: tall, fluted sand jars; jardinieres and pedestals; umbrella stands; vases; bowls; tobacco and cigar jars; rose jars with lids; candleholders; bud vases; teapots with lids; wall pockets and figural frogs. W~LSE_BLUE. As mentioned earlier, this line appears for the first time :n a Zane catalog marked March 1, 1921. The Zane catalog explair:s the line thusly: "Wilse Blue is a delightful shade of the old Chinese powder blue, profusely sprinkled with minute black spec~s, and finished in a clear gloss. A rare line of extraordinarY quality". This line also contains shapes and designs from manY 0ther earlier lines; including the Moss Aztec dragonfly bowl, L~ndsun's odd bud vases, and several unique shapes Most of the pieces in the line seem to have been designed or s~lected from 0ther lines to achieve an oriental look throughout. nd SHADOW WARE. The Zane catalog- "Shadow Ware is decidelY unique a

20 pleasingobtained byin drapingcolor effect the ~olo;th blend of various colors being background. Every piece is diff e top into a harmonious also furnished in the mirror bler:nt: All the shapes in the line are been referred to as sheenware acd finish". This line has often seen this line with the red °r brip ornd drip line. We have only on the bottom with the zanew~ 1ay okdy a some pieces are impressed re mar ( #1).

We have only seen this line in short ones. However, as usual, ~::esh usuallynd t~11, and only several many other lines. The Shadow wa : apes a sizes were common to background in almost any color r7 pteces have a solid color and green. Usually two other c~linc uding peach, yellow, tan, brown entire outside, and part way downorsthwerie :dhen dripped down the o · 11 · e ns 1 e of the vase ccasionad bl Ya 11single color was dripped · The dri·p co 1 ors · 1nc· 1 u d e d go , ue, ye ow, green and brown with hi h 1 · · thel entire vessel. ' a g gaze f1n1sh over

MIRROR WARE, The Zane Catalog- "Little can b 'd · · · Mirror Bl ac k • It mu~t been.seen to appreciatee sa1the wonderful1n Just1ce depth to of t~e black and_the m1rror-11ke quality of the crystal clear glaze. ~irror b~ack 1s unequalled in the market". Short of any other 1nformat1on, we are assuming the Mirror Ware was the solid black ba:kground with green irridescent glaze dripped over the black. By th1: same 1og7c_we assumed the Mirror Black to be simply a plain solid black f1n1sh. These pieces were all finished in a clear high glaze. MOTTLED BLUE. The Zane catalog- "Rich and deep in color, with a fine clear gloss. Deeper tones of blue predominate with a mottled effect in mulberry. A most desirable and artistic finish". This line is pictured on one of the salesman's catalog pages, and appears to have a high glaze finish. EGYPTIAN WARE. "This line was produced to meet the present popular demand for things Egyptian. In design it is authentic, being reproduced from historical wall paintings of the early Egyptians depicting events in the lives of the ancient Kings found on the walls of the ruined temples and tombs that have been buried for centuries- It has strong appeal for the artistic inclined and will find general favor in satisfying the desire for something different," This line was obviously produced in response to the interest in Egyptian artifacts created by the discoveries in the ancient tombs, especially those of King Tut. The pieces we have seen are matt green or cream "washed" over the red clay body resulting in the red showing through at the high points of the mold, There are jardinieres and pedestals, wall pockets, vases, urns and bookends in this line,

VELVET MATT, "Velvet Matt is correctly named owing to th715 wonderfully soft velvet texture of the glaze. The color a deep

21 easing and appropriate for use with any sea green. verYThe Psame l shapes 1iste. d in• th e l rne· are also fus che_ me· of decoration- olor" AlthOugh we have never seen the Ma rnlshed . t he new_Ma~~onv~1vet Matt group are exactly as depicted iroon line'" p1ecels ,n / are rich looking with a smooth, soft feel t/ththe Zan~ cata og, an e se . matt finish- ml MAROON- "Maroon is a delightful new sh~de recently added and refined in appearance, and pos:essing a charm ~nd ap~e:ie~ant desire something more quiet and subdued in color · or those w o . . ff d . ing . Finishedh in semi gloss this llne o ers many ecorative possibilities"• The following lines had not been named_or descr~bed in any of th documentation we had found up to the tlme of this publication e of them haVe occasionallY been alluded to or "identified" by ~t~~•e collectors and experts, and we had seen ex~mples or owned pieces r Victoria ~re, Peasant Pottery and a quantity of Florentine. U ITALIA ANTIQUE- This line consists of mediterranean styled po tte which is lavishly incised in intricate patterns and designs of ry flowers, garlands, leaves and vines. Many of the pieces in the lin are gracefully shaped vases with affixed, delicate handles. These e vases appear to have horizontal, concentric circles on the surface leading one to believe they may have been hand thrown. other items in the line include wall plaques, jardinieres, wall pockets, candleholders and covered jars, many of which have bands of embossed decorations at the tops and bottoms. It is not possible to tell what colors this pottery may have been, but the line appears to have a matt finish- Also, the similarity of the photo's markings with the Peasant Pottery catalog pages (included herein), a line marked as Zane, appears to authenticate the line's origin as Zane, or at least a line Zane salemen were selling. This logic also applies to the Moderne line which is introduced and shown further on. IVORY AND FLORENTINE. This is an extensive line of mediterranean- looking wares. The pieces are called Florentine, when painted, and Ivory, when plain. The line was unusually varied in the decorative effects, the shapes and the selection of items. There are hand thrown items which are unique to the line and others which are from0 the M?ss Aztec line. Many of the items ar~ heavily modeled, and • ~• hav~ intricate shapes and affixed handles. Other items are simple w design but with extensive slip decorations in bright pastel colors on th e ivory· background of the pottery body. Colors used' include yellow, blue, green and red, and some are finished in a high glaze.

In Fiorentine the items which are hand thrown and plain are usthua lyf highly decorated with painted flowers leaves and berries, d pieceser areloral deco desi gns an d many circular horizontal' bands- The_m od•l• 0 rated with flowers, stems, leaves, berries, pine

22 cones, geometrics and cameo eff t hi h raised reliefs The line . 1 dee s w c are a l so painted on the jardinieres, c~ndleholder1nc u es: many flower pots, fan vases, and unique "trash cans" :• budfva~es, _cups and saucers, spittons bottom with the z · any O t e pieces are stamped on the ane ware mark (#2).

~VY ?R~AM FINISH. This line consists of footed low bowls J~rdinieres, wall poc~ets and vases modeled with ivy lea~es and vines on the ~op portion. The pieces are obviously finished in a cream color with what appears to be matt glaze.

MATT GREEN FINISH. The catalog page shows the line to consist of sha~:s_and styles from other lines, with many Landsun vase shapes. ~ar 7n 7eres from the Ivy cream finish line appear as does a Jar~iniere and pedestal from the Egyptian line. The line name o~viously tells us this is a matt green finish, but somehow different from the Velvet Matt line. (or was it?)

MODERNE. This line would appear to be an attempt to capitalize on the success of Weller's Lorbeek and Roseville's Futura lines a practice_which most potteries did not hesitate to pursue. Th~ pottery is art deco and "MODERNE-istic" in styling with distinctive geometric and angular shapes. We have not been able to'determine how these items were decorated.

OZANE WARE. This line consists of a number of vases almost all of which are identical to the Landsun vases in the Zane Pottery Company catalog #22. In our catalog sheet of Ozane Ware the pieces are marked with the same number as the Landsun pieces in the #22 catalog. The Ozane pieces are, however, decorated differently. The middle one third of the Ozane ware is decorated with a colored stippled band of gray alone or gray and blue or gray and pink.

PEASANT POTTERY, HAND TURNED. Our own examples, and the catalog pages, reinforce the idea that Peasant Pottery was intended to create a line with a "country" look, having a hand-turned surface. Most of the pieces do in fact appear hand thrown with simple handles affixed. There are many vases, with and without handles, low bowls, bud vases, handled baskets, strawberry jars and several unusual pinched-top vases. Some of the ware appears to have a high glaze exterior, but most seem to have a matt or unglazed finish.

TINTED MATT. The catalog page merely shows the shapes and catalog numbers of these pieces. There is no indication of finish or decorations, although all of the shapes pictured are vases only.

VELTON WARE. The catalog page for this line is in color and dep~cts a variety of vases only of typical Peters and Reed/Zan7 shap7s 1n many different sizes and shapes. The finish on these pieces is mottled, with several light colored combinations. Some hav7 a peachy-pink top half and a gold bottom half, others a fuscia top half over a blue bottom, and others a blue top over a gray bottom.

23 We cannot determine the surface glaze.

VICTORIA WARE, The several catalog pages in this 1 . showing the pottery in solid blue, pink, yellow ~ne are color is made up of simple shaped items with plain so/~1 White, Thee1 ~, The items are: low bowls· with1 flower frogs ' candle hcolorOlde dee orat 1· ne vases, wall poc k ets, s1mp e vases and console sets. rs, buct ~ Price List--Landsun Ware JANUARY I, 1919

Per Doz. No. Per Doz. No. 1 Tray . . . • ...... 1.5-0 o vase 4" .. ; ..... $ 6.0 0 2 Tray ...... 2_00 1 Vase ...... 6.60 3 Tray ...... 3_00 2 Vase ...... 9.00 4 Tray ...... 3_60 3 Vase ...... 9.00 1 :vrushroom 4_50 4 Vase ...... 12.00 1 Lily Leal' . : : : : : : 4.00 5 Vase ...... 16.80 2 L!Jy Leaf ...... 6.00 6 Vase ...... 13.20 1 Turtle ...... 3.00 7 v·ase ...... 18.00 2 Turtle ...... 4.00 8 Vase ...... 24.00 Minnow ...... l.50 9 Vase ...... 21.00 30 Jar ...... 4.80 11 Vase ...· ...... 24.00 33 .Jardiniere 7 in. 18.00 23 Vase ...... 13.20 33 .Jardiniere 8 in. 24.00 24 Vase ...... 36.00 33 Jardiniere 10 in. 36.00 25-A Vase ...... 24.00 18 Hair Receiver . . . 6.00 2fi -B Vase ...... 36.00 14 Rose Jar ...... 12.00 25-C Vase ...... 42.00 1 Disc ...... 1.50 27 Vase ...... 36.00 2 Disc ...... 3.00 28 Vase ...... 30.00 Frog ...... • . . . 5.00 29 Vase ...... 24.00 50 Vase ...... $13.20 34 Vase ...... 4.50 51 Vase ...... 14.40 ~5 Vase ...... 4.50 !'i2 Yase ...... 21.00 3fi Vase ...... 4._50 53 Vase ...... 21.00 37 Vase ...... 6.00 54 Vase ...... 21.00 38 Vase ...... 13.20 55 Vase ...... 24.00 43 Vase ...... 4.80 ;';6 Vase ...... 27.00 45 . Vase ...... 6.60 57 Vase ...... 18.00 4 7 Vase ...... 6. 6 O ii8 Vase ...... 18.00 40-A Vase ...... 4.80 59 Vase ...... 12.00 40-B Vase ...... 7.2 0 60 Vase ...... 13.20 40-C Vase ...... 10.80 61 Vase ...... 18.00 40-D Vase ...... 14.40 . 62 Vase ...... 18.C O 1 Bud Vase ...... 4.00 63 Vase ...... 18.00 2 Bud Vase ...... 5.00 64 V ase ...... 21.00 3 Bud Vase ...... 7.20 6 5 Vase ...... 2 1 • Oo 4 Bud Vase ...... 9.00 10-A Jardiniere & Liner 5 Bud Vase ...... 9.00 . 5% in ...... 12'.oo 6 Bud Vase ...... $12.00 10-B Jardiniere & Liner, Rose Jar . . .. .'.. 6.60 6 ½ in...... 15.00 1., Ros ) Jar ...... 27 .00 10-C Jardiniere- & Liner ( l 1 Vase with cover . ) 7½ in ...... 21'.oo JO Bowl fi in ...... 9_00 10-D Jardiniere & Liner 00 Bew! 8 in ...... 12 .C O 9 m...... 27.00' 000 Bowl 9· 1·n · · • • • . 1a- .00 81 Fern & Liner O Bowl 10 fn ...... 24 00 5¼x4½ high '. ... 12.00 1)1) Bowl 12 in ,, · X Bowl . . . . " 6· 00 83 Fern & Liner, XX Bow · · · · · · · · · • 9.00 ox~ high ...... 15.00 12 J l · · · · · · · · ·, 10 80 8 5 Fern & Liner . ard)n!ere 6 In .. 12·00 7½x6 high : ... 21.00 12 Jardmiere 7 in 18.00 No. Per Set. l 2 Jardinlere g • · · · m. • 2 4.00 Dresser Set 3.00

Two per cent 10 days. 30 da Pack ys net. ages. charged at cost F. 0 . B. Factory The PETERS & REED POTTERY (; South Zanesville • 01.\10 o •

24