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Linn Phelan Vase, Early American Studio Pottery 1932
$740
$92520% Off
£564.42
£705.5320% Off
€642.74
€803.4220% Off
CA$1,039.93
CA$1,299.9120% Off
A$1,134.19
A$1,417.7320% Off
CHF 600.81
CHF 751.0220% Off
MX$13,597.27
MX$16,996.5920% Off
NOK 7,651.71
NOK 9,564.6420% Off
SEK 6,996.92
SEK 8,746.1520% Off
DKK 4,801.89
DKK 6,002.3620% Off
About the Item
Sculptural vintage vase features a bulbous body with pronounced wide rim; it is decorated in complex drip glaze in blue, teal, and green palette with beige pink accents. Parts of the vase near the bottom are intentionally left unglazed to accentuate the unpredictable nature of the drip glazes. The inner surfaces are decorated with the glazes in the same palette, and the inner part of the rim is done with the same drip glaze pattern as the outer surfaces, creating a continuous composition and guiding the eyes of the viewers along the lines of the piece.
The vase is signed and dated by the artist on the bottom, "Linn L. Phelan 1932", circling the base, and marked with that appears to be either model or glaze numbers in the center. The date corresponds with Phelan's training under Arthur Baggs; the vase is an important example of Phelan's early work and of early American studio pottery movement. While the form of the vase shows Art Deco style influence, the striking glaze on the piece points towards the distinctive works Phelan created later in his career. We are offering a large ceramic decorative bowl, created by Phelan in 1950s-1960s, in a separate listing.
Linn Lovejoy Phelan (1906-1992) was a renowned American ceramic artist, who operated famous Rowantrees and Linwood Pottery in Maine. He studied art in Bevier School of Art of the Rochester Athenaeum and Mechanics Institute (now Rochester Institute of Technology) in Rochester, New York, in 1928, and received his BFA in Ceramic Art in Ohio State University, Columbus, Ohio, in 1932. While attending Ohio State University, Phelan took "Ceramic Art: Survey of the Field" class, taught by Arthur Baggs. After Phelan left the school, he corresponded with Baggs, and in late 1930s Phelan wrote to Baggs of his experiences in helping to start up what becomes Rowantrees Pottery of Blue Hill, Maine. Arthur E. Baggs (1886-1947) studied at Alfred University in 1903-1905 and 1910-1911 with Dr. Charles F. Binns, who was considered "the father of American ceramic art"; Baggs worked at Marblehead Pottery and Cowan Pottery Studio, and became the head of the Ceramic Art Division of the Fine Arts Department at Ohio State University in 1928. Examples of Baggs work are in the collections of The Metropolitan Museum of Art in New York; Museum of Fine Arts, Boston; Everson Museum of Art in Syracuse, NY; and Columbus Museum of Art in Ohio. Baggs was an extremely influential figure in early American ceramics; he was given the Binns medal for outstanding achievement, made a Fellow of the American Ceramic Society and a member of Keramos. Through Baggs Phelan was exposed to the foundations of technical creativity and advancements in ceramic art in Alfred University, as well as the early 1900s studio pottery movement in America, linking the Arts and Crafts phase of studio pottery to Modernist movement.
In 1940s Phelan started teaching ceramics at School of American Craftsman (SAC), founded by Aileen Osborn Webb at Darthmouth College in 1944; SAC moved to Alfred University in Alfred, New York, in 1946, and to Rochester Institute of Technology (RIT) in 1950s. In 1940s SAC faculty included Edwin Blanchard Brown, Ernest Frank Brace, Laurits Eichner, Philip Morton, Charles Reese, Ethel Mitchell, Robert Savage, Thomas Mclure, along with Linn Phelan and another renowned ceramist, Herbert Sanders; in early 1950s new additions to the SAC faculty included Copenhagen-trained woodworker Tage Frid and metalworker John Prip, Danish silversmith Hans Christensen, as well as Olin Russum, Vienna-educated member of Austrian "Werkbund" Mitzi Otten, design teacher Fred Meyer, and Bauhaus-trained ceramist Frans Wildenhain; sculptor and woodworker Wendell Castle joined SAC faculty in early 1960s. Through his experiences with SAC Phelan participated in guiding and supporting a new generation of American artists, designers, and craftsman; many SAC students went on to achieve national reputation.
In 1950s, in years after SAC moved to Rochester, Phelan made a decision to return to Allegany County, where he bought a house while teaching at Alfred University, to continue his independent studio work. Phelan reestablished Linwood Pottery in Almond, NY, and continued to operate it for the rest of his life. He was involved in teaching art at Alfred-Almond Central School in Almond, NY, in 1950s-1960s, contributed to cultural initiatives in Maine and New York, and served as president of the New York State Art Teachers Association. Phelan's work can be found in both public and private collections nationwide.
- Creator:Linn Lovejoy Phelan (Artist)
- Dimensions:Height: 4.55 in (11.56 cm)Diameter: 4.5 in (11.43 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1932
- Condition:Wear consistent with age and use.
- Seller Location:Clifton Springs, NY
- Reference Number:1stDibs: LU4421146212292
Roman Erlikh
Roman Erlikh is a professional woodworker with over 20 years’ experience. Roman Erlikh Studio creates bespoke and limited edition contemporary furniture and art objects. His first furniture collections were inspired by traditional Art Deco and Biedermeier styles interpreted through a modern lifestyle demands. Stepping away from merely utilitarian view of everyday objects, his recent collections are filled with meaningful textual context while incorporating traditional and modern woodworking techniques. Roman is using practical function as a common denominator to create emotionally charged art objects, blurring the boundary between art and function. While appreciating possibilities of ordinary materials, Roman is developing new mixed media multilayered composite varnishes and utilizes decorative gilding and mica veneer to actively engage ambient light, giving an additional aspect to relation of his objects to their environment. The decision to work in custom format was based on environmental concerns and opposition to culture of mass production and pure consumerism. The choice of materials was heavily influenced by sustainability and environmental concerns. All objects are made locally in the Brooklyn Navy Yard workshop. Elimination of storage and transportation needs for mass-produced furniture in lieu of creating a custom made objects on demand allows us to reduce waste of materials and energy.
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