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The glazes in pottery went with fashion of the day, and trends can be noted, although there are lots of exceptions.

Roseville, for one, had both shiny and matte patterns side by side for many years.By 1947, most of their lines had gone to shiny glaze.The American pieces feel like they have "heavy bottoms" and often the walls are thicker than Japan and other foreign potteries. Georgia, Alabama, and North and South Carolina have available veins of red clay that are suitable for pottery, so consider makers in those geographical areas if you have a red clay pot to often red clay, and there are some North Carolina potters who used red clay. Of course there are lots more, but if you have a piece of pottery with a red clay base, this is a start. (A quick aside about Alamo and Gilmer: Alamo and Gilmer potteries were related companies and used many of the same designs — some originally from famous Texas potter Harding Black.These are numbers that are in the mold, not handwritten.

Just a glance at the foot shows the numbers on this Mc Coy or Brush pot (left). If you see three numbers at a slant on a yellow clay pot, it may be are routinely marked with numbers, and sometimes the name.Here's a good example of the American Bisque wedge foot (right).Companies using a dry foot include most of the Ohio companies and some used stilts for some of their ware lines.Some of the pieces were also marked with a letter, a dash, then a number – so items marked similar to "M-3333" are often Redwing (Murphy Era). Alamo and Gilmer often have a completely unglazed bottom, while Camark and Niloak may have just a dry foot.Compare these cups and saucers (left) with the Gilmer vase (above).The same general dating can be used for , and other American companies of the first half of the Twentieth Century.