QUESTION: What books do you consider essential to my personal library?

Your first "must-have" reference book should be Lehner's Encyclopedia of U.S. Marks on Pottery, Porcelain & Clay, published by Collector Books. For a survey of the American potteries, the most highly recommended sources are, unfortunately, out of print... Kovels American Art Pottery, and Paul Evans' Art Pottery of the United States. You can sometimes find a used copy on the Internet. Another choice is Art Pottery of America, by Lucile Henzke, available from Schiffer Publishing. Roseville is plentiful throughout the U.S. and has a major following among collectors. If you buy only one book on the company, you should own  Introducing Roseville Pottery. When you're ready to learn more, buy  Roseville in All Its Splendor (from L-W Books) and Understanding Roseville Pottery.

 

QUESTION: Can I use the Internet instead of buying books?

No. Not if you want to learn about your subject in any detail.  There are exceptional resources on the Internet! (For recommended sites, visit the Links page.) There are also some very unreliable Internet sites. For example, I have read dozens of inaccurate summaries of Roseville's history on the Internet--most of which were based on a combination of reports in books and general hearsay, with an old wives' tale thrown in once in awhile. (My apologies to the senior spouses!)  Caution: Ebay auction listings can be accurate, or inaccurate--just like books can range in quality. Challenge authority!

 

QUESTION: When will my copy of your latest book arrive? I mailed you an order several weeks ago.

Thanks for your support of my research! They're ready to ship on receipt of your check!  About 50% of what I earn from the books comes from buying them wholesale and then selling autographed copies by mail or at antique shows. When you buy your copy anywhere else, I only earn royalties... about 25 cents to $1 per copy.  <>My shipping/handling fee does not fully cover the cost of Media Mail and packaging. Media Mail is slower than First Class, but it keeps your costs down. NOTE: I usually sell the books for less than the cover price.

 

QUESTION: Why do I need to know who made a piece of pottery if I bought it to sell on eBay?

Because you will lose money if you don't.  To maintain good relations on Ebay and enjoy higher final bids on your items, take time to complete the ABOUT ME page too.  Explain your return policies, pack fragile items with care, and keep shipping costs low.

 

QUESTION: May I please send you a photograph or JPEG of a piece of pottery? Maybe you can tell me who made it or how much it's worth (or both).

Sorry, but the answer to this question is "No." NO! N-O, no! My income is derived solely from my antiques business and from writing books. I have no staff.  This busy schedule does not usually allow me to answer this type of inquiry--neither by email, nor phone, nor letter. Sorry, but NO! The answer is "NO."

 

QUESTION: If a piece of pottery is not marked, how can its maker be identified?

Ahh, the national pottery lovers' sport. Sometimes it can't be done. But the probable makers can usually be narrowed down to a small handful. (There is always the possibility that the maker was a company that has been forgotten!) Some potteries marked over 90% of their output, including Fulper, Grueby, Newcomb College, Rookwood, Teco. Caution: Reproductions are usually marked too--with fake marks! Clay color is a major clue. Most Zanesville (Ohio) firms used buff clay (although white was used with lustre glazes). Other companies using buff clay for some of their production include Camark, Rosemeade, Shearwater.  White clay was the norm at Abingdon, AMACO, Ceramic Arts Studio, Cowan, Hampshire, Monmouth, Wheatley. For molded shapes, you then identify the company that produced a mold of that identical shape and size. Caution: No author is infallible. Weigh archival evidence more heavily than photographs of someoneâs collection. Other clues include method of manufacture, quality of execution, surface decorations, glaze, etc.

 

QUESTION: Does a damaged piece of pottery still have any value?

Yes, but a damaged example never has as much value as one in "mint" condition. (The term "mint"  means "factory new"--or in the same condition in which it was originally offered for sale at the factory.) The value of a damaged item depends partly on the extent and location of the damage, and partly on the item's rarity, aesthetic or decorative appeal,  and current market demand. These variables make appraisal a challenging process.

 

QUESTION: Should I buy damaged pieces for my collection?

As mint examples of a rare shape become scarce, most collectors learn to be more tolerant of minor damage, such as small chips and losses, or a drill hole in the base (to allow a vase to be used as an electric lamp base). Hairlines are more bothersome. Beginners should avoid buying damaged examples when they start their collection. After a year or two, they will know their collecting area well enough to reconsider that subject.

 

QUESTION: Should I have a damaged piece of pottery restored?

Experts differ on this score. Some believe that a pot should be left in its original condition as much as possible. Others prefer a "cosmetic" restoration for display purposes. For posterity's sake, all restorations should be fully removable ("reversible"). The restorations most widely accepted (by museum curators) can be removed completely with acetone. These are usually made with the use of epoxy cement and acrylic paint. More aggressive measures are seldom necessary; some think them unethical.

© 2006 Mark Bassett
Updated 05/10/06