Rochester Institute of Technology
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Theses
Thesis/Dissertation Collections
5-1-1986
Porcelain tableware
Geoffrey R. Flickinger
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Recommended Citation
ROCHESTER
INSTITUTE
OF
TECHNOLOGY
A
Thesis Submitted
tothe
Faculty
ofThe
College
ofFine
andApplied Arts
in
Candidacy
for
the
Degree
ofMASTER OF
FINE ARTS
PORCELAIN
TABLEWARE
by
Geoffrey
R.
Flickinger
TABLE OF CONTENTS
Page
APPROVALS
i
THESIS
PROPOSAL
ii
LIST OF
ILLUSTRATIONS
iii
TEXT
1
CLAY,
SLIPS AND GLAZES
12
KILNS
13
GLAZE
RECIPES
15
BIBLIOGRAPHY
16
APPROVALS
Advisor:
Robert D. Schmitz!
Robert D. Schmitz
---Date:
S
·
~
.
11
-
¥-?-Associate Advisor:
Kris G. Nelson!
Kris Nelson
---Date:
Associate Advisor: Michael E.
Taylorl
Michael Taylor
Date:
Special Assistant to the
Dean for Graduate Affairs:
Phillip
w.
Bornarth!
Philip W. Bornarth
Dean,
Date:
S-h1
;(7
College of F
1T:·n::-:e:--:a-=n~d~A~p:-:p:-;l"7i~e~dlr,A'!-r:-:-t-s-:---Robert H. Johnston/
Dr. Robert H. Johnston Ph.D.
Date
...:::'Tt!....f.I---a.~----I,
Geoffrey R. Flickinger
, hereby deny permission to the
Wallace Memorial Library of R
IT,
to reproduce my thesis in whole or in
part.
THESIS
PROPOSAL
For
my
thesis
I
will make porcelain tableware anddeal
withits
relationship
to
use.The
functional
forms
mugs,bowls,
pitchers,
plates,
etc.,
will express an exuberant attitude towardslife,
yet reflectstrength and elegance.
I
willfire
at stoneware temperatures and useLIST OF
ILLUSTRATIONS
1.
Pitcher
(porcelain)
12"h
2.
Covered
Jar
(porcelain)
15"h
3.
Drinking
Glass
(porcelain)
7"h
1.
Covered Jar
(porcelain)
16"h
5.
Coffee
Mug
(porcelain)
6"h
6.
Bowl
(porcelain)
9"-
1
-I
enjoy
the
discipline
ofbeing
a production potter.The
act ofcreating
pottery
requiresdaily
interaction
withmy
tools,
the clay,
theglazing process,
firing
and enormous amounts ofthinking.
It
is
all apart of
the
processthat
resultsin
the
creation ofhundreds
offunc
tional pieces and what
is
sorewarding is
that
each one growsfrom
the
last.
Each
potbecomes
astatement,
looking
to
thefuture
with astanding knowledge
ofthe
past.I
became interested in functional pottery
whenI
wasworking for
aproduction
potter,
Jack
O'Leary,
in
Meriden,
New
Hampshire.
His
workgrew out of a
strong
Bernard
Leach tradition,
which was rootedin
thediscovery
of traditionalJapanese
potsin
terms
oftexture
and style.Jack's
intuitive
sense ofbrushwork,
along
withhis
excellent sense ofform
wasclosely
allied with the works and perceptions ofLeach.
This
early
beginning
in
utilitarian workleft
me withstrong
feelings for
themerits of such
art,
andis
still with metoday.
"A
Potter's
Book," writtenby
Bernard
Leach,
deals
withthe
cultural
relationship
between
theEast
andWest.
Mr.
Leach,
who wasborn
in
China
and educatedin
London,
spenttwenty
five
years ofhis
life
in
theFar
East
wherehis
experiencesin
China,
Japan
andKorea
left
him
with astrong
desire
to communicatethe
traditions
ofthese
countries and their
influences
to
the people of theWest.
Leach discov
ered the ways and values of the
Orient
at atime
whenAmerica
wasturning
away from
handmade
goods andprogressing
aheadinto
a period
-2
Mr.
Leach's
foundations
in
art and ceramics grew out ofhis
respect
for
the
Chinese
Sung Dynasty
period,
atime
that
he
felt
wasthe
greatest ceramic periodin
terms
of work produced.The
harmony
with nature and
knowledge
ofworking
materialsthat
theChinese
achieved
in
the
Sung Dynasty
period was unmatchedin
subsequentgenerations.
These Chinese workshop
traditions
werehanded
down
to
the
Korean
andJapanese.
The Japanese
mastered these traditions and continueto
practicethem
today.
The Japanese believe in
a sense ofimaginative
beauty
and a morepeaceful
way
oflife.
Theirs
is
aZen
aestheticway
oflife,
whereevery
duty
ofthe
day
is
treated
with much respect and care.They
are conscious of
daily
details
and arevery
attunedto
nature.These
theories
oflife
are carriedforward
in
thepottery
they
make.There is
a
simplicity
andunassuming
quality
toJapanese
traditionalpottery
that
make
it
so appealing.The
pottery
is
created with anunderstanding
and respect
for
the materials usedto
create the works.They
alsowork with an aesthetic
sensibility that
comesfrom
age oldtraditions.
Japanese
craft objects are often consideredfine
art.Very
few
people
in
the
West
think ofpottery
asfine
art.The
Japanese
teaceremony
has
been
aleading
force
in
the
development
of respectfor
ceramic objects.
The
teaceremony
is
avery
slow anddeliberate
sequence of motions and thoughts.
Simple
ceramic shapes arebest
for
usein
the ceremony.Anything big
or excessiveis
counterproductiveto
the
methodic and spiritual actions ofthe
ceremony.Without
clutter3
-comes
through
with more strength.Through
this
tea
ceremony, thereis
a synthesis oflife
and simplebeauty.
"The first
principleis
utility
and
the
adornment oflife
with refinement.Not
beauty
for
beauty's
ownsake,
but
beauty
answering
allimmediate
needs oflife
that
is
theessence of
the
ceremonial tea."(p.
8
B.L.)
1:8
These
werethe
things
that
Mr.
Leach
waslearning
andknew
that
the
West
neededto
know.
At
this
time
in
the
West,
people werelosing
track
ofthe
importance
ofhandmade
goods andbecoming
enthralled withthe speed
in
whichthings
couldbe
produced.This
Industrial
Revolu
tion
took
the
country
by
storm.The
importance
of the craftsmanhad
vanished.
Leach's desire for quality
work andrelatively
slow production
was scornedby big
city
industrialists
whohired
thousands
ofworkers
to
do
slow,
boring
tasks
in
their
factories.
America
and allthe
eastern world wanted thousands ofitems
madein
short periods oftime.
This
newindustrialism
threatened the practice ofthe
craftsman.In
Japan,
thoughts ofthe
credibility
ofthe
craftsman were opposite.Select
great pottersin
Japan
are given thetitle,
"National
Living
Treasure"
by
theJapanese
government.The
potter'sdesire
for
anoutpouring
ofhimself
into his
work wasgreatly
respected and rewardedby
those aroundhim
andhis
reputation washeld
in
deep
regard.His
individualism
andindependence
was second nature.To
putheart
and soulinto
his
work washis
driving
motivation.Everything
withinhim
wasfused
tohis
work.The very
personal expression of self was throughout
his
work.Leach
had
deep
respectfor
-
1
with
this
knowledge
he
could educatethe
Western
world andpossibly
save
the
dying
life
ofthe
craftsmanthere.
Leach
returnedhome
(England)
afterhis
studiesin
Japan.
He
then cameto
the
United States
andbrought
withhim
his
friend,
Shoji
Hamada,
the
founder
ofthe
Japanese
folk
art movement, and also aNational
Living
Treasure.
Together
they
travelled
around thecountry,
teaching
andgiving
demonstrations
aboutJapanese
pottery
andits
philosophy.
"Through
Leach,
American
potterslearned
of theOrient
in
a new sense.
The Oriental
aestheticis
that
beauty
derives
notfrom
the
victory
of science or craftbut from
the
sensitivity
ofevery
elementof the process
by
which an objecthas
been
made."(2:20)
Western
potters were
greatly
attachedto
this
Zen
aesthetic asthey
had
been
feeling
a great separationbetween
themselves
and their work.A
greatdeal
of theblame for
this
gap
had
tobe
put onWestern
society
itself
for
its
lack
ofintimacy
andsensitivity
to
domestic
rituals and utensils.Westerners
rarely
put greatmeaning
into
theireating
anddrinking
ceremonies.
Japanese,
however,
tend tobe very
sensitive to specificdetails
wheneating
ordrinking.
Through
thissensitivity
andharmony
with nature
they
achieve abond
with nature andbeauty
in
their
work,
pots,
andlife.
This
desire
for
a piece of the past and a channelfor
expressionbegan
a new phasein
American
ceramics and personal expressionbe
came
the
mostimportant
concernfor
potters.It
wasnecessary for
potsto
be
'alive'
-5
-People
have
adaily
relationship
withfunctional
objects.Every
day,
whether we realizeit
ornot,
we comeinto
contact with a myriadof
vessels,
i.e.
coffeecups,
plates,
bowls,
planters,
tea
kettles.
Handling
these
objectsdaily
wesubconsciously
remember thefeel
that
goes with
them.
People
oftenhave
a "favorite" coffeecup
orserving
piece.
They
love
these
piecesbecause
they
workfor
them andusually
associate a sense of
sentimentality
withthem.
I
makefunctional
piecesin
the
hope
that
people will appreciatethe
workevery
time
they
useit.
They
can appreciateit
in
avery
intimate,
physicalway
that
is
heavily
influenced
by
the
sensory feel
oftouch.
With
thepurely
visual arts weare
continually
being
told
notto touch.
It is
a visual/cerebral
appreciation
that
I
think
is different
that
the visual/tactile/functional appreciation of pottery.
My
work mustbe
functional,
for
I
mustfeel
that
someoneis enjoy
ing
it,
physically
drinking
from
it,
orfeeling
the
glaze.There
is
anunrivaled challenge
to
composing
functional
pottery.Each
piece ofwork must
function
and atthe
same timedeliver
more thanthe
function
to
the user.This
is
adifficult
challenge tomeet,
but very
rewarding.I
really
feel
thatthe
appreciation of a piece of artworkthat
oneholds,
is
nourishedby
andinteracts
withdaily
is very
satisfying.The
painter concerns
himself
with aesthetics.His
work need not pour properly.The
designer
who makesthe
moldfor
a productionline
mostly
worriesabout
utility
and worrieslittle
aboutthe
piece'sbeauty.
"The
art ofthe
craftspersonis
humanistic
andintuitive,
whilethat
ofthe
designer
for
industry
is
rational andintellectual...
the products ofthe
machine
-6
-intuitively
expressthe
spirit of a culture made visible throughthe
thoughts
of an individual."(3:28-34).
Functional
pottery
andits
never
ending
growth process remainsmy
main objectivebecause
ofthis
potentialfor
personal expression.I
enjoy
the
challenge ofbeing
afunctional
potter who mustsuccessfully blend
the qualities ofbeauty,
function,
and aboveall,
goodcraftsmanship into
all ofmy
work.My
pots arefirmly
rootedin
the ancient concept ofpottery
as container.This
primitive needfor
a vesselin
which tocarry
one'sfood
and water was abasic
requirementnecessary
for
life.
Today,
thetask
ofcreating
such vesselsis
an extension ofthose
earliestdays
andis
still asatisfying
accomplishment."They
(the decorative
arts)have
an awesome respect
for quality
and craftmanship.Their traditions
golegitimately
back
to thevery
beginnings
oftime.
They
relishbeing
eclectic.
And
they
arein
harmony
and at peace withhuman
beings."(4:29).
The
absolutenecessity for
such vesselshas lost
its
immediacy
today.
There is
still thefeeling
of satisfactionknowing
that
one's workis going
to
be
usedin
a personal,fulfilling
way
by
others.This
original purpose ofpottery
createsfor
me the goal of achieving
the
marriage ofbeauty
andutility
in
a single pot.Non-functional
pottery
candeal
with theissue
of utility, and can make referenceto
function,
but
the piecedoes
nothave
tophysically
pour,
therefore,
function
is
mostimportant.
The
criteriafor
"acceptable
levels"
of
beauty
andform
are nothard
fast
rulesbut
more of an aestheticjudg
ment on the part of the potter.He
mustdecide
whenbeauty
and
-7
-is
what makesevery
piece of a potter's workindividually
his
and setsit
apartfrom
others.In
orderfor
afeeling
ofliveliness
to
pass throughmy
pots totheir
users,
there
mustbe
something
intimate
generated through meinto my
work.That
something
is
afeeling
orlove
for
the workitself
and
to
really believe
in
my
work,
taking
all the time neededto
makeeach piece
the
best it
canbe.
"The best way
to
impart
character andpersonality
to
potsis
toturn
your attention to other matters;to
makethem
with as much concentration as you are capableof,
to enlarge yourskill over as wide a range as
possible,
to getto
know
your materialsby
living
withthem,
trying
to understandthem,
andfinding
outlittle
by
little
not with yourhead but
with yourbody
how
they
wantto
be
treated;
in
fact,
to
treat
them with proper respect as we would afriend"
(5:58).
This
pride,
dignity
and confidenceis
what makes apot special.
I
love
each pot thatI
make andtake time
withit
untilit
is just
whatI
want.I
enjoy
thehard
work and thegiving
of myselfto
a material that can
be
sharedby
others.The
person who makeshis
work with
feeling
andgenerosity
of spiritis
set apartfrom
the
personwho makes the average pot.
The
discipline
and challenge requiredfor producing
potshas
mademe
look
at myself andlearn
about the processesnecessary
to
achievesuccess as a potter
I've had to
solve problemsthat
have
comeup along
the
way
andhave
grownfrom
these experiences.This
questfor
-
8
-When
working
withclay,
I've
realizedthat
thereis
a 'groove' youmust establish and
this
frame
of mind or attitudeis
held
constantthrough
the
entire process.When
I'm making
clay,
I
like
to
have
thesame patience and perseverance as when
I
amthrowing,
glazing,
firing,
packing up my
pots,
orsetting up
a show.I
try
notto
be
hasty
withthe
clay
and never cut corners.Good
things
take time.
The
only
way
for
meto
keep
moving
ahead withmy
workis
to
keep
close concentration on whatI've done
and whatI
amdoing.
By
having
afocus,
I
am ableto
attunemy
senseto
quality.This
concentration
is
whatkeeps
me aware of subtle variations ofform,
color andsurface.
It
is
very satisfying
to makepottery
that
is
alwaysgrowing
and changing.
"In
using
your skillin
this
way
you alsobecome
morecritical of the
quality
of your own performances and youfind
youhave
to
be
alwaystaking
risks and alwaysliving
dangerously.
And
this
is
something
of aparadox,
because,
in
becoming
more skillful and moreexpert,
you think you shouldbe
making
pots moresuccessfully
andmore
safely,
but
as soon as you rest content withbeing
safe andsuccessful,
your potsbegin
to
be
static andbegin
to
be dead.
They
will
only stay
aliveif
they
are alwaysbeing
brought
tobirth
danger
ously."
(5:58)
Last
yearI
was uptight aboutmy
work andvery
unsure asto
where
I
washeaded,
thereforemy
work was erratic.Over
the
last
year
I
have become
more comfortable and relaxed whileworking,
andin
turn produced
better
work.I
workfor
thejoy
ofworking
andI
try
to
-
9
slow process.
The
evolution ofthe
clay
undermy
hands
cannotbe
forced.
The
emergence offorms from my hands
proceedsin
small stepsand
gradually
unfold.I
am alwayshappy
withthe
small gains thatI
make as opposed
to
sudden revelations.These
developments
in
my
work require
hard
work and concentrationbut
also relaxation, whichis
the
hardest
for
meto
achieve.I
find
myselftrying
too
hard
andthinking
too
much.You
can'tbe
over-anxious and youhave
to workwith a certain ease.
Patience is important.
When
making
my
pieces,
I
workin
a series of eight to ten pots.What
I'm
looking
for
in
the
form
ofthe
pieceis
anenergy
andfresh
ness.
My
slips are put on withdefinition
and speed.I
movequickly
to
maintainfreshness
andI
like
to
movefrom
one piece tothe
other,
doing
something
alittle
different
to
refinethe
form.
The
freshness
inherent
in
the
pot afterit is
madeis
important
to retain.Spending
too
muchtime
on one piecetends
to
takeaway
the
freshness
I'm
looking
for.
A
freshly
thrown potis
so wonderful withits
wetsatiny
sheen.The
key
to
a successful piecefor
meis
keeping
that
freshness
afterthe
piecehas
been
glazefired,
(see
photos5
&
6)
In
my
own work,I
have
sought outLeach's
foundations
in
my
owninterpretations.
Utilitarian
pottery
best
expressesthese
foundations,
as
it
canbe
truly
appreciatedby
a user whohandles
it
andlooks
atit.
Having
decided
that
I
wantedto
createfunctional pottery,
form became
-
10
Form
is
the
centralfocus
ofmy
work.People
tend
to
take
for
granted
the
shape ofthe pot,
whichis really
the strongest statementit
makes.
Form is
sosubtle,
whichis why it
tends
to
be
ignored.
I
canalter
the
lip
of a potto
my
liking
and willbe
disappointed
when no onenotices.
But it is
subtletieslike
this
that
help
compose atruly
strong
form.
"All
arts useform,
but pottery
tends
to
be
almost allform
theshape
is
aboutninety
percent ofthe
whole pot"(6:47).
Textures
on pots create anextremely
subtle additionto
form.
Leaving
behind
throwing
marks oradding
a mark to an otherwiseflat
surface of a pot creates another element of
form.
(See
photo#3
65)
Surface
texture
leaves behind
the
presence of the artist,(see
photo#3
&
6)
One
canimagine
how
certain markings were applied or can seethe
motion of the permanent mark.This
action thatis
left
behind
creates an
important
asset to the pot.My
workis
stillchanging
andsuffering
growing
pains.I
really
don't
wantmy
style to changebecause
it
is
an expression ofme,
but
I
hope
that
my
work will continueto
changein
shape and content asI
search
for
my
answerto
the perfect conjunction ofbeauty
and utility.Ceramics has
a uniquebeauty:
"The
specialquality
ofbeauty
is
. . .that
it is
abeauty
ofintimacy.
Since
the articles are tobe lived
withevery
day,
this
quality
ofintimacy
is
a natural requirement.Such
beauty
establishes a world of grace and feeling"(7:198).
The making
ofpottery is
avery challenging
adventurein
my life.
-11
-the
worldto
be
used and appreciatedfor many
years.This
daily
usecreates a warm
bond
that
makes mefeel
close to allthose
whobuy
anduse
my
work.I
enjoy
the
hard
work andthe
giving
of myself to workthat
canbe
enjoyedby
others.I'm
notinterested
in
becoming
famous,
rich or
in
allthe
right galleries.For
me thereis
great valuein
making
something
that
works and canbe
appreciatedby
others."I
presentthis
pot,
which embodiesmy
skill,
my
insight,
my
respectfor
the
material and
process,
my
sincere searchfor
form.
It
willbe
usefulin
the
kitchen
and onthe
table.
It
may
bring
a small touch of warmthand
beauty
to those
who useit.
Whatever
existsin
it
which mightbe
called 'art' will
function
through
daily
use,
throughtouch,
throughintimate
acquaintance"(8:237).
Pottery
making
is
alife
ofits
own and
-12
CLAY,
SLIPS AND
GLAZES
By
making
a versatile porcelainclay
body,
I
achieved avariety
ofresults
in
the wood,
salt and gaskilns.
Avery
kaolin
in
theclay
body
caused
it
to
blush
orangein
the
woodkiln.
I
found
theclay
body
to
be
easy
to
throw
large,
difficult
forms,
because
of thevariety
ofkaolins
andball clay in
the
recipe.Many
slips were used onmy
pieces.The white,
orange andblack
slips gave color and surface variations.
The
slips acteddifferently
depending
on whichkiln
they
werefired in.
Slips
werevery important
to the
freshness
ofthe
work.By
covering
the piece with aslip,
moredepth
and sheen resulted than on an unslipped pot.(See
photo#5)
The
glazesI
chosedepended
on the use of the piece.A
clean,
strong
glaze was used onthe
inside
ofmy
cups,pitchers,
coveredjars,
andbowls.
On
the outside of the pieces, matte glazes weresprayed on
achieving
total placement, control and variations of thickness.
(See
photo#1)
The
chance effects of thefire
and atmosphereof
the
kiln
make each piecevery
different.
Some
ofthe
matte glazesform
crystalline structures that wentfrom
matte to glossy.(See
photo#6).
To
have
experiments and testsin
eachkiln
load
wasthe
only way
-13
-KILNS
The
variety
ofkilns
atR.I.T.
gave memany
opportunitiesto
experiment with all
types
offiring.
Bisque
firing
wasdone in
a sixteenfoot
oval electrickiln.
Then
the
choice ofwood,
salt or cone ten reduction gasfiring
was availableto
me.The
two
chamber woodkiln
outsidetaught
me adiscipline that
wasvery
helpful
andsatisfying
because
of all the workinvolved.
The
gathering
ofthe
wood,
cutting
andstacking
wasthe
first
task.
The
preparation of
the
kiln,
rebuilding
ofbagwalls,
cutting
newdampers,
repairing
walls withrefractory
cement was the second step.Finally,
before
firing
there was thewashing
ofthe
kiln
shelves,
loading
the
kiln
andbricking
up
the
door.
The
processis
soinvolved
and mistakes
can notbe
made.The
firing
is
very
important
andtakes
any
where
from
twenty
four
tothirty
sixhours,
depending
on the size ofthe
kiln,
the
amount of workinside
thekiln,
andthe
atmosphere andtemperature outside.
The
techniques:(Proper
burning
of the wood[time
between
stoking],adjusting
thedamper,
properplugging
up
ofthe
holes,
and mostimportantly,
maintaining
a reduction atmospherefor
proper glaze control) are critical
in
woodfiring.
The
woodkiln
is
notfor
everybody,but for
methe
wood ash accentuatesmy
work,
gives mean appreciation of
the
process(using
wood rather than naturalgas,
electricity, or
propane),
andI
just
love
thehard
manuallabor
-
14
-The
sixteenfoot
gaskiln
inside
gave me quickerfeedback
on thefinished
workbecause
ofits
small size and ease ofloading
andfiring.
The
gaskiln
couldbe
loading
andfired
in
a week, whereas the woodkiln took
a monthto
finish.
The variety
ofkilns
atR.I.T.
wasinvalu
-15
-GLAZES
Ed's Green
Matt
White
Custer
51
Custer
978
Barium
21
Whiting
70
Ball
10
Kaolin
502
Whiting
18
Dolomite
448
Zinc
8
Tin Ox
.100
Rutile
12
ACopper
Carb.
4
A
B.S.
Temokou
Tosh Orange
Custer
217
Neph
Sey
468
Whiting
62
Flint
350
EPK
28
Ball
174
Flint
79.5
Zinc
Ox,
118
Red
Iron
40
Opax
A
118
Iron
Chromate
5
Rutile
Whiting
Bentonite
380
350
40
FLICK'S
PORCELAIN
CLAY
BODY
Tile
6/^.
50
Groll
J
20
Avery-^
10
Kaopaque
20
XX Sagger
20
Custerspar
40
Flint
40
100
Mesh Mullite
4
PyrophQlite
5
Macaloid
4
1
cup
Epson
saltsdissolved
in hot
waterSLIPS
Kris
Nelson's
Avery
Slip
Grolleg
55
Avery
30
Neph
Sey
15
Angela
Fina's White
Base
SIJR
16
-BIBLIOGRAPHY
1.
Leach,
Bernard.
A
Potter's
Book.
England:
Faber
&
Faber
Ltd.,
1940.
2.
Clark,
Garth.
American
Potters.
New
York:
Watson-Guptill
Publishers,
1981.
3.
MacKenzie,
Warren.
"Minnesota
Pottery:
A
Potters
View."Ceramics
Monthly,
May
1981.
4.
Hoving,
Thomas.
"The
Liveliest
Art."Connoisseur,
October
1985.
5.
Cardew,
Michael.
"Potters
andAmateur
Potters."Ceramics
Monthly,
February
1979.
6.
Cardew,
Michael.
"Why
Make Pots
in
the
Last Quarter
ofthe
20th
Century."
Studio
Potter, January
1979.
7.
Yanagi,
Soetsu.
The
Unknown
Craftsman.
New York:
Harper
&
Row,
Publishers,
Inc.,
1972,
p.198.
8.
Rhodes,
Daniel.
Pottery
Form.
Radnor,
Pennsylvania:
Chilton
A
3.
Drinking
Glass
(porcelain)
7"/
*