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NEWCOMB COLLEGE AMERICAN ART POTTERY IRVINE MEYER
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NEWCOMB COLLEGE AMERICAN ART POTTERY IRVINE MEYER
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is wonderful large bowl by Newcomb College in New Orleans, La. The design surrounding the bowl are pears. A great of the arts and crafts movement at the college. Marks on the base- nc, 267, NI66, S IRivne initials. Diameter- 11 inces, height 3 in. One minor factory glaze miss on the base. Artist Sadie Irvine, potter Joseph Meyer. Year 1923 - MX through NQ (1-100 numbered pieces for each letter combination. A rt pottery around the country was affected at the turn of the century when new design theories were published in Arthur Wesley Dow's 1899 Composition. Dow recommended simplification of compositions and elimination of naturalistic modeling or rendering. He used bold outlines to arrange and organize space, and chose palettes with close tonalities. Between 1900 -1906, some of Newcomb's most talented and prolific instructors and students attended Dow's Ipswich, Massachusetts summer sessions: Henrietta Bailey, Marie Levering Benson, Sarah Henderson, Harriet Joor, Roberta Beverly Kennon, Marie deHoa LeBlanc, Amelie and Desiree Roman, and Mary Sheerer. The Newcomb pottery color scheme was essentially unchanged, but the effect Dow's ideas had on decoration was pronounced. Designs were outlined in thick black lines of pigment and horizontal bands were added to make spatial divisions on the pots. Several years later, this outlining led to the second phase of pottery decoration at Newcomb, when both motif and banding were deeply carved into the pots in straight even incisions. Pottery production now had a unity of appearance and Newcomb emerged with a cohesive, recognizable line of work. Sheerer favored the outlining, feeling it accentuated the shapes of the vessels on which it was carved. Meyer continued to experiment with glazes and produced a stunning red lustre around 1903. Few Newcomb pots were actually finished with this glaze, perhaps because of the unpredictable firing technique required. The lustrous surface recalled popular English glazes, notably those used by leading pottery designer, William De Morgan, who worked at Morris' Merton Abbey. During this middle phase of Newcomb, Sarah Agnes Estelle, or "Sadie", Irvine joined the art program. Considered by ceramist Paul Cox to be the College's greatest designer, Irvine was active longer than any other member of the Pottery, serving for fifty-two years as student, decorator, instructor, and finally as the head of the ceramics department from 1942 until her retirement in 1952. Picture added showing the glaze miss could be a bubble pop from the studio.
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