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Figure 43. Nontraditional art pottery. (Photos by Robert Sayers, 1979.) 107 Figure 43a. Vase and pitcher made by Cheever in 1934 or 1935. Bristol Glaze and cobalt. Figure 43b. Roosters by Arie in 1969, Bristol Glaze and chrome oxide.
108 For her part, Arie Meaders has not been constrained in her work by any particular notions of traditional versus nontraditional ware. Never an active participant in the older industry (even though she was clearly influenced by the work of her husband, son, and their male coworkers), Arie was free to experiment widely in creating her novel art pottery. The fact that her active period from 1957 until 1969 coincided widi the growth of a collectors' market for "folk-art" doubdess added further impetus to such experimentation (fig. 43). At first, Arie fashioned simple wall planters —objects which to her had an important function in the home. Finding success widi diese, she graduated to making decorated jars, platters, sugar bowls, creamers, mugs, and clay pipe bowls. A clay menagerie of partly turned, partly hand-built pheasants, owls, roosters, quail, and chickens are among her best-known forms. Cheever even allowed his wife to embellish some of his tall vases. Arie would begin work by carefully cleaning her clay of pine bark, pebbles, sticks, and other matter—a fastidiousness foreign to Cheever. Figure 43c. Decorated vases turned by Lanier, circa 1964. Bristol Glaze and chrome oxide.
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CheeverMeaders, circa 1933. (Photo
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The publication of this monograph w
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Editor's Preface In 1978, the Smith
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when the pace of work and passage o
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Introduction This handmade pott'ry
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We made a commitment to document th
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E. Richard Sorenson seven months af
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pace. Thus, we arrived just as a ki
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them by pottery entrepreneurs. The
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ville to the lumber mill at Helen,
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well known to scholars, kindly prov
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The Meaders Family I remember very
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oad tunnel" kiln and a mule-drawn "
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Hall County, and several of the Whi
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crocks, cover them with a sheet, hi
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and the Meaderses. Around 1920, an
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to Arie and Cheever Meaders in litt
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Figure 6. Cheever Meaders and his c
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Joiirnal and Constitution mum i in
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Adanta and Asheville. Cheever's wor
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esiding in his parents' small cotta
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Work Processes Our approach to pott
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SHELVES o L WHEEL STORAGE TABLE WEb
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Figure 12. The pottery yard, 1967-6
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textured yellow clays in the other
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Figure 15. Lanier's electric mud mi
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^///M/M$zzzn ty/W'""/"PZa Figure 16
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Figure 17. Crib assembly, showing b
Page 57 and 58: vessels turned to the same height a
Page 59 and 60: Contouring tools. (Photos by Ralph
Page 61 and 62: Figures 21, 22, 23. Turning a six-g
Page 63 and 64: Figure 23a. Rejoining top and botto
Page 65 and 66: Metal pottery lifters. Figure 25a.
Page 67 and 68: would roll out short pieces of soft
Page 69 and 70: Like the Meaderses' treadle wheels,
Page 71 and 72: Figure 29. The bottom side of the u
Page 73 and 74: to handle the glazed ware very care
Page 75 and 76: the next (fig. 33). In general, the
Page 77 and 78: All of the traditional ware was pla
Page 79 and 80: from an earlier dollar-a-cord. As t
Page 81 and 82: squeeze the excess moisture out, an
Page 83 and 84: had been turned too thin for the cl
Page 85 and 86: while a prefired and hammered clay
Page 87 and 88: thin with a slight twist to one sid
Page 89 and 90: children would file out to the work
Page 91 and 92: with the previous night's whole mil
Page 93 and 94: Figure 39b. Bottom of the pitcher,
Page 95 and 96: Figure 40. A four-gallon churn comm
Page 97 and 98: 98 water and washed; then they were
Page 99 and 100: Figure 41. Three storage vessels: a
Page 101 and 102: 100 many as 300-400 stoneware fruit
Page 103 and 104: 102 large share of the potters' bus
Page 105 and 106: 104 form in White County is general
Page 107: 106 and the introduction of new lab
Page 111 and 112: Glazes A characteristic, though unu
Page 113 and 114: 112 Ash Glaze At one time, ash glaz
Page 115 and 116: 114 with this glaze, purchasing pre
Page 117 and 118: 116 melt at a relatively low heat
Page 119 and 120: 118 burns to a light or dark green
Page 121 and 122: 120 Figure 44b. Lanier's kiln, 1979
Page 123 and 124: 122 Lanier's kiln, 1968. (Illustrat
Page 125 and 126: 124 REBUILDING A KILN Pointing to h
Page 127 and 128: 126 With the supports in place, the
Page 129 and 130: 128 are kinds of people out there I
Page 131 and 132: 130 Cheever Meaders (1887-1967), th
Page 133 and 134: 132 1979 Cleveland, January 13 Robe
Page 135 and 136: 134 DIGGING THE CLAY View of clay p
Page 137 and 138: 136 Cheever throws, centers, raises
Page 139 and 140: 138 Lanier removes churn from wheel
Page 141 and 142: 140 Lanier pounds glass bits in oil
Page 143 and 144: 142 He bricks up front and builds u
Page 145 and 146: Glossary Albany Slip: A riverine cl
Page 147 and 148: 146 is tied around die charm to sec
Page 149 and 150: 148 simply an accumulation of broke
Page 151 and 152: 150 To "shut down" die kiln: To cea
Page 153 and 154: Bibliography: Published Sources on
Page 155 and 156: Notes Preface NOTES 1. Byington, Ro
Page 157 and 158: 156 2. John Ramsay, American Potter
Page 159 and 160:
158 Chapter III: The Ware NOTES 1.
Page 161:
160 8. This technique is mentioned
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