Roseville Pottery Wall Pockets - Top 10 Most Sought After

Eileen in CA. is a new Roseville collector and who recently asked "what are most collectible Roseville pottery wall pockets?"  We try to maintain want lists for customers and the most common requests from Roseville pottery collectors has historically been from collectors seeking to complete wall pocket collections.  So in answer to Eileen's question here are our top 10 most sought after Roseville wall pockets.

1. Roseville Tourist
2. Roseville Chloron
3. Roseville Baneda
4. Roseville Sunflower
5. Roseville Velmoss
6. Roseville Ferella
7. Roseville Wisteria
8. Roseville Blackberry
9. Roseville Orian
10. Roseville Pinecone (Bucket)

 

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Greg Myroth - Just Art Pottery

Roseville Pottery Shape Numbers

As we have discussed in previous posts, the bottom marks on Roseville pottery vary over the company's many years of production.  For new collectors the numbers that appear on the bottoms of Roseville pottery often add to the confusion of identifying Roseville pottery patterns.  Shape numbers and sizes were used by Roseville throughout the years of production and were sometimes noted on the bottoms of the pieces even from the earliest days of the pottery. 

For early and middle period Roseville Patterns produced prior to 1936, it is not unusual to find three digit shape numbers in red or black crayon on the bottoms of pieces. Starting in 1936, Roseville began using the die-impressed trademark "Roseville" along with the shape number and size.  Beginning in 1940 the Roseville mark, shape number and size were marked with raised lettering. 

If you have any of the readily available Roseville Pottery reference guides the numbering system allows collectors and dealers to identify a Roseville pattern, size and style of piece (vase, bowl, wall pocket, tea pot, umbrella stand, bookends, basket, jardiniere, window box, etc) simply by knowing the shape and size number without even seeing the piece. 

For the most part, Roseville maintained a consistent shape numbering system that is relatively easy to follow. The marks are typically 2 or 3 digit numbers which indicate the pattern and shape of the piece followed by a dash and a one or two digit number which corresponds to the size of the vase, bowl, etc.

For example, if you have a piece marked "Roseville 35-9"  and you have your handy Roseville reference guide you can quickly identify the piece as a 9" vase from the Roseville Bushberry line.  For unmarked middle period Roseville it is possible to find pieces marked with the shape number in red crayon.  An example of this is shown in the photo to the right. The vase is marked 621 in red crayon. This shape corresponds to a Roseville Cherry Blossom vase. 

A few notes on the size notations for Roseville vases, jardinieres and bowls. A vase will in almost all cases be 1/4" to 1" taller than the shape number would indicate.  For example a Roseville Pine Cone vase shape 747-10 is typically about 10 1/2" tall.   

For Roseville bowls and jardinieres the size measurement is taken from the inside diameter.  For example, a jardiniere marked 657-8 is a Roseville Bushberry jardiniere.  The 657 refers to the shape and pattern, while the 8 indicates it is 8" diameter. The 8" is measured from the inside rim to the opposite inside rim.  Similar to Roseville vases, the inside diameter of an 8" Roseville jardiniere is typically going to be about 8 1/2".  A Roseville console bowl marked 294-12 can be identified as being from the Moss pattern with an inside rim to rim length of just over 12".

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Roseville Pottery Historical Marker

Roseville Pottery collectors may be interested in this video of the dedication ceremony of a historical marker commemorating the site of the original Roseville Pottery Company in Zanesville, Ohio. The historical marker was dedicated on July 17, 2007 during the annual Pottery Lovers Reunion in Zanesville. 

Our friend and Iowa Art Pottery Association president Ted Priester presided over the ceremony. The video includes remarks by the Mayor of Zanesville, our friend and president of the American Art Pottery Association, Arnie Small, our friend and president of the Pottery Lovers, Joe Tunnell and Ohio Historical Society curator, Stacia Kuceyeski. The video runs about 10 minutes and provides some interesting information on the original Roseville Pottery works, the American Art Pottery Association and the City of Zanesville.

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Greg Myroth - Just Art Pottery

Roseville Pottery Middle Period Patterns

Most Roseville Pottery collectors define "middle period" Roseville Pottery as the lines that were produced between 1920 and 1938. This time line for middle period Roseville patterns covers the years of the company presidencies of Russell Young and Anna Young.

The following Roseville pottery patterns are from the middle period of production and are organized in order of the year each line was introduced by the pottery.  Mark Bassett's Introducing Roseville Pottery provides the most accurate information regarding the year each pattern was introduced. 

Roseville Pottery middle period patterns introduced between 1920 and 1930

• Dogwood I (textured)           
• Rozane Patterns
• Sylvan
• Vista
• Rosecraft Colors
• Imperial I
• Lustre
• Volpato
• Corinthian
• Florentine
• Juvenile
• La Rosa
• Rosecraft Hexagon
• Victorian Art
• Dogwood II (smooth)
• Carnelian I (drip glazes)
• Rosecraft Panel
• Lombardy
• Tuscany
• Normandy
• Cremona
• Dahlrose
• Futura
• Carnelian II (mottled glazes)
• Savona

Roseville Pottery middle period patterns introduced between 1930 and 1938

• Imperial II (glazes)
• Earlam
• Ferella
• Sunflower
• Montacello
• Windsor
• Jonquil
• Baneda
• Blackberry
• Cherry Blossom
• Tourmaline
• Artcraft
• Falline
• Wisteria
• Laurel
• Topeo
• Luffa
• Russco
• Pine Cone
• Velmoss
• Morning Glory
• Orian
• Clemana
• Primrose
• Moderne
• Moss
• Thornapple
• Dawn
• Ixia
• Poppy
• Teasel
• Fuchsia
• Iris

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Roseville Jardiniere and Pedestals

Our friend Tom recently contacted us with some comments and questions regarding Roseville jardinieres and pedestals. The following is an excerpt of Tom's email:

I have loved and collected Roseville for a long while now. I have never been able to determine something about the Roseville jardiniere and pedestals. Especially as regards the middle period jars and peds, sunflower, blackberry and wisteria. If you consult the references (and I have all the ones you mentioned in your latest excellent article!), you will get conflicting information. Some list an 8 inch, 10 inch, and 12 inch jardiniere and pedestal. Some only list 8 and 10 inch jar and peds and a solo twelve inch jardiniere only. Having never seen the twelve inch jar in sunflower, blackberry, or wisteria I am wondering if it has its own pedestal that is larger than the ten inch jard's pedestal. Or if it was made without a matching pedestal like some of the smaller jardinieres? Or does the twelve inch jardiniere have the same base size as the ten inch jar? Or does it have a bigger base but still is able to sit on the ten inch jard's pedestal. In other words is the ten inch pedestal interchangeable with a ten OR a twelve inch jardiniere? I would like to get the largest jar and ped in the middle period patterns, but would love getting to the bottom of this question before seriously starting purchasing. I have a perfect ten inch jar and ped in the blackberry pattern and love it. But, I am thinking i have seen a larger set about twenty years ago. Or, was I just imagining it?

Tom brings up some very good questions; most of which I can't definitively answer.  And he is correct in stating that the available Roseville reference books contradict one another regarding jardiniere and pedestal sizes for various middle period patterns. 

I believe that I have seen 12" jardinieres in the Sunflower and Blackberry patterns but not in Wisteria.  I don't know the answer to the question of if the 12" jardinieres had their own pedestals or simply used the larger 10" pedestal.  My suspicion is that the 12" jardinieres were made without a matching pedestal.

I do not believe the 12" jardiniere has the same base diameter as the 10" jardiniere.  However, in my opinion, it is likely that 12" jardinieres were sold by Roseville with the larger pedestal.  I believe this because over the years we have purchased several estate collections with relatively odd sized Weller and Roseville jardiniere and pedestals where the family indicated the sets had been together since they were purchased in the 1920s or 1930s.  Some of these jardiniere and pedestal sets were so rare that I find it very unlikely the original owner married the pieces together later.

I'm sure some of our experienced Roseville collectors can help shed some light on these jardiniere and pedestal shape and size discrepancies.  Clearly the Roseville factory stock pages are incomplete and the available reference books inconsistent.

Greg Myroth - Just Art Pottery

Roseville Pottery Reference Books

A common request I get is for recommendations on Roseville Pottery reference books.  There are probably more reference books and price guides writtern on Roseville pottery than any other American or European art pottery. 

The Roseville price guides and reference books we refer to most frequently include:

Introducing Roseville Pottery by Mark Bassett

Quite simply, I believe Introducing Roseville Pottery is the most comprehensive Roseville reference book available.  The book includes a narative discussion on each Roseville pattern from A to Z.  Shape numbers and descriptions are provided as well as standard colors and typical marks.  The discussion includes multiple high quality photos of examples of each pattern.  The book also touches on experimental and trial glaze vases and factory marks and signatures. There is also a section on Roseville reproductions, fakes and fantasy pieces.

Understanding Roseville Pottery by Mark Bassett

Understanding Roseville Pottery is a great complement to Mark's Introducing Roseville Pottery book.  Understanding Roseville Pottery discusses in great detail Roseville's early art pottery lines such as Aztec, Azurean, Carnelian, Chloron, Creamwear (Juvenile), Cremo, Crystalis, Della Robbia, Matte Green, Mara, Modern Art, Mongol, Olympic, and Pauleo.  This reference book also includes the most detailed information you will find on Roseville trial glazes and experimentals as well as a detailed discussion on Roseville factory lamps.   

Roseville Pottery Collector's Price Guide by Gloria and James Mollring   

The Mollring price has historically been the price guide of choice for many Roseville collectors.  However, the latest edition left much to be desired in terms of the updated prices for Roseville.  While previous editions, may have simply overstated prices for some patterns there was at least some consistency to pricing.  Unfortunately the 2006 release attempted to update prices by making wholesale, across the board reductions in book values. 

The result is that some of the later floral patterns in the more desirable colors such as blue Bushberry and yellow Bittersweet sell at levels much higher than book value and some of the middle period patterns such as brown Cherry Blossom and brown Wisteria sell for less than current book values.  All of this has served to reduce the confidence collectors can place in the price guide.  However, that being said, the Mollring guide does as good of a job as any of the other price guides in terms of incorporating the impact of pattern color on price. 

Roseville Pottery in All Its Splendor by Jack and Nancy Bomm

This Roseville reference book is important in that it includes photocopies of literally 100s of reprints of Roseville factory stock catalog pages and related original records.  There is also an extensive listing of Roseville marks and artist names and monograms.  From time to time I still find myself referring to this important reference guide.

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Greg Myroth

Roseville Pottery Experimental and Trial Glaze Vases

Roseville pottery collectors have always actively sought after experimental and trial glaze pieces.  New Roseville collectors are sometimes confused by differences between trial glazes and experimentals. 

Mark Bassett's Introducing Roseville Pottery explains that many Roseville experimental pieces started with a common or classically shaped molded vase to which Roseville decorators would hand-apply sculpted flowers, leaves, and in some cases figures.  The common forms or classically shaped vases used by Roseville were most often not standard production molds. 

After hand-tooling by Roseville decorators, the vase became a one-of-a-kind Roseville experimental.  Most experimental Roseville pottery has hand-incised notations on the body of the vase that often provided the name of the design or flower and the glaze color.  In some cases, Roseville experimentals served as prototypes for normal Roseville production patterns. 

Unlike experimental pieces, trial glazes were used on standard Roseville pottery production forms.  In most cases, Roseville trial glaze pieces have markings (letters and numbers) on the bottoms of the vase to indicate glaze colors and combinations.  Similar to experimental pieces, trial glaze vases are essentially one of a kind; although collectors can find Roseville trial glazes with very similar or subtle differences from one another or even with colors that are very close to the standard production line. 

Due to the rarity and high demand for experimental Roseville pieces, prices tend to be significantly higher for experimental pieces than both regular Roseville patterns and even Roseville trial glazes.    Experimental Roseville vases will typically sell for several thousand dollars even with minor damage or repair.  Trial glaze Roseville vases will typically sell for 4 to 6 times the price of a standard production piece.  The rarity of both Roseville experimentals and trial glazes has historically made such pieces a sound investment. 

Similar to experimental Roseville vases, the more unusual the trial glaze the higher value collectors will place on the piece. Minor damage and repair on Roseville experimental and trial glaze pieces does not significantly impact the price and is often overlooked by collectors.

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Greg Myroth - Just Art Pottery

Roseville Pottery: Top 10 Patterns

Last weekend as I was thinking that I really need to start blogging regularly again, I decided that in conjunction with Just Art Pottery's 10 year business anniversary I would develop a top 10 list once a week between now and the end of July.

This week's top 10 list is the most popular Roseville Pottery patterns.  I'm basing this list on our Roseville pottery sales at JustArtPottery.com and a general evaluation of our customers' want lists.  The top 10 list isn't intended to represent the most expensive Roseville patterns or the rarest Roseville pottery but just what we see as the most popular in terms of sales volume.

1.  Roseville Sunflower - Historically Sunflower has been one of the more popular Roseville pottery patterns.  In the 1990s an interior decorating magazine featured a home decorated with examples of Roseville Sunflower vases and bowls.  Prices and interest soared to even higher levels and since then it has remained one of the most sought after patterns by pottery collectors.

2.  Roseville Pinecone - Many Roseville experts feel the highly collected Pinecone pattern was vital in keeping the pottery in existence during the late 30s and early 1940s.  The middle period Pinecone line was so popular that it was reintroduced in 1953 and appears to have been produced until the company was sold in 1954.  Both blue and brown Pinecone are highly sought after by Roseville collectors. 

3.  Roseville Baneda -  The arts and crafts look of green Baneda makes it a favorite pattern for many Roseville pottery collectors.  While both pink and green Baneda have their followers, there is more interest in green. 

4.  Roseville Bushberry - Over the last several years we have seen a dramatic increase in interest in this Mid-Century Modern pattern.  Both green and blue have strong collector interest and even brown has its followers in today's pottery market. 

5.  Roseville Ferrella - Roseville collectors have long been drawn to the exceptional art deco style of brown and red Ferrella vases and their narrow carved border and piercings.  This Roseville pattern is considered scarce and usually sells very well particularly when found in the red color.    

6.  Roseville Rosecraft Vintage -  This middle period Roseville pattern has a strong following from both arts and crafts collectors and those that appreciate the Art Nouveau style.  Vases in green are hard to find and tend to sell rapidly. 

7.  Roseville Futura - The Futura pattern is so popular with art deco pottery collectors that most vase and bowl designs have been given their own specific nicknames.  In addition, with the various geometric art deco shaped vases and diverse color schemes there is something that fits any decorating style or decor.

8.  Roseville Blackberry - This middle period Roseville pattern has been a collector favorite for many years.  Prices have stabilized in the last year or so but demand remains high for the larger vases, candlesticks, bowls, and wall pockets.

9.  Roseville Laurel - The Laurel pattern is very decorative because of its arts and crafts look. This middle period Roseville pattern is available in yellow, green and red.  All three colors have growing collector interest.  It is very likely that in the relatively near future prices for green Laurel will approach the prices paid for green Baneda. 

10.  Roseville Fuchsia - The bold colors and traditional styling give this pattern the classic Roseville vase look.  Over the last ten years, Roseville Fuchsia has continued to maintain a broad appeal to collectors.  While blue is still the favored color, you can find Roseville collectors for both brown and green. 

Wow!  My first top ten list and to think I was considering trying to do one of these every day for the month.  I still think I can get one a week. 

Greg Myroth - Roseville Pottery

Roseville Matte Green Pottery

It is often hard to distinguish between the early arts and crafts, matte green Roseville pottery patterns Chloron, Egypto, and Matte Green.  Positive identification of these popular Roseville patterns is made more difficult due to the fact that some of the shapes appear in all three lines of Roseville and relatively few examples were produced with factory trademarks.  Below are a few tips to help in the identification process of these collectible arts and crafts pottery patterns.

Roseville Chloron   

Roseville Chloron was introduced in 1905.  Many examples of Chloron are unmarked.  However, some examples are marked with "Chloron" trademark which is a script lettering ink stamp. Mark Bassett's Introducing Roseville Pottery indicates that the only known Roseville Chloron factory stock page identifies only 19 shapes.  Of these documented 19 shapes many were also produced in the Egypto and Matte Green glazes.  Other Roseville references such as Roseville In All Its Splendor lists additional Roseville Chloron forms.  Roseville Chloron was typically more Art Nouveau floral shapes.

Roseville Egypto

Roseville Egypto was also introduced in 1905 just after Chloron.   Like the very similar Chloron pattern, Roseville Egypto can be found both marked and unmarked.  Marked examples of the Roseville Egypto contain the Rozane Egypto trademark.  A review of the Roseville factory stock indicates at least seven shapes used in the Chloron line appear in the Egypto pattern.  At least 38 shapes have been identified in the Roseville Egypto pattern.   The Egypto glaze is typically a more complex, organic matte green than its Chloron counterpart.

Roseville Matte Green

  Roseville Matte Green was introduced by 1907 as an affordable alternative for arts and crafts collectors to the very popular Grueby Pottery.  Matte Green was produced at least until the early 1920s.  Roseville Matte Green was typically unmarked although a few examples have a die-impressed design number.  Matte Green can be found in lighter and darker shades of green as well as mottled and unmottled.  The Roseville Matte Green pattern contains over 300 shapes.   

Examples of Roseville Chloron, Egypto, and Matte Green Bottoms

Below are some photos showing the variations of the bottoms of unmarked examples of Roseville Chloron, Egypto and Matte Green. 

Greg Myroth - Just Art Pottery

Roseville Pottery Marks - Why the X?

I just received an email from a new Roseville pottery collector asking "Is this Roseville vase a factory second because it is marked with an X?"  While Rookwood pottery, some Scandinavian makers, and many other pottery companies including contemporary potters such as Ephraim Faience use an "X" mark to indicate factory seconds, at Roseville Pottery the letter "X" did not indicate a particular vase was of substandard production. 

It is believed by most Roseville pottery experts that the letter "X" mark on Roseville pottery was used to indicate a specific firing schedule.  As an example, the following photos show three Roseville Velmoss pieces each of which was marked from the Roseville factory with an underglaze "X".  None of these three examples exhibit any noticable factory flaws or irregularities.  Page 275 of Mark Bassett's Introducing Roseville Pottery provides an additional example of the "X" mark and short discussion of the theory that the letter designation indicates a specific firing schedule.

Look here for more information on Roseville Pottery marks.

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