Colorado Gallery

Broadmoor #403 Fluted Bowls

#67 2013-10-01

Our featured bowl this time is fluted with a nice green drip glaze. The glaze is ground off flat where it ran over the footed base.

Along with the Colorado Springs potters' impression it is incised C Jones (click).

We're not sure about this one. Its yellow glaze is just like Broadmoor's "Ming Yellow" so is probably Broadmoor. And the "no 1"  incision has yellow glaze in it, so wasn't scratched in afterward. The first trial for the bowl design?

Notice also the mold seam mark. Finished Broadmoors usually covered this seam up well and very seldom left it so badly exposed -- another reason it may be experimental.

And the clay is whiter than the usual buff we see on Broadmoor production pieces.

We think also Broadmoor at Colorado Springs, no?

Now let's turn to our many Broadmoor bowls made in Denver. We just show a handful as they are so plentiful.

We will discuss a few of their glazes.

Howard Lewis arrived on the Broadmoor scene in Denver in 1938, and among other influences introduced this purple-mauve glaze to the pottery. After graduation from Iowa State College he had worked for Niloak beginning in 1932, and modified a similar glaze at the pottery. His glaze was dubbed Ozark Dawn II at Niloak.

Note the glaze is also found after 1934, on Dickota Pottery where Lewis worked before it's shutdown at the end of 1937. Then when Broadmoor folded in 1939, he became plant manager at Rosemeade where we also find variations of the glaze.

As an aside, check out the early morning sky just above the horizons on a clear morning around 30 minutes before sunrise. You will often see this glaze exactly.

So at Broadmoor this is a Denver glaze. Not Colorado Springs.

Likewise our matte blue or periwinkle glaze was also introduced by Howard Lewis to Broadmoor at Denver. Its earlier incarnation at Niloak had beren "Peacock Blue".

This blue glaze is one of Broadmoor's most common.

Now this matte green is also found only in Denver. We're not sure of it's origins, but think we know it was a well known glaze of its time.

For example the vase below is an early-century undecorated Newcomb College piece thrown by Joseph Meyer.

Jonathan Hunt, Broadmoor's potter at Denver, was surely familiar with the glaze since he seceded Meyer and worked as Newcomb's potter for six years. JB Hunt thus likely at least had a hand in introducing the glaze to Broadmoor in Denver.

We personally like the Broadmoor matte greens and don't care for Lewis' glazes as much.

And a brief word about our one black-glaze bowl.

Broadmoor's black-glazed pieces are not so common. One might see when looking at the glaze along the edges or flute lines a green tint. That's a hallmark of Broadmoor's black glazes and perhaps others' black glazes as well.

Now compare the bowl bases. Colorado Springs pieces almost always have a more hand-crafted studio pottery look; this shot shows that difference (click).

Our only Colorado Spings bowl has the nice footed base, while most Denver examples have rather mundane ink stamped flat lacquered (or bare!) bottoms.

Now we turn to a final set of round bowls obviously from the same genre.

Peacock Blue, matte green and pink.

We thought pink was a Denver-only glaze before Nancy spotted a pink scarab paper weight from the Springs awhile back. But that's the only Springs pink we know of, so it is very uncommon before the Denver years.

So pink is very hard to find from the Springs and and too not difficult from Denver. Also we know Lakewood Pottery inherited the glaze circa 1940.

Finally our unmarked matte green bowl was probably also made in Denver.

It has a desirable unscoured lacquered base with a foil "Clay I Am..." sticker and with a nice ground off runny matte glaze.

We always prize these pieces (click).

Please contact us if you have insights on this or other topics. Thank you.