Question:
Al for a value. 5g jug with what looks like a 6” wing. Small chip on back side bottom edge. Couple of pictures attached.
Thanks,
Chris
Answer: this Red Wing 5 gallon Transion shouldr jug with the 6 inch wing has a value between $150 & $175. If it had an oval the value would be higher. al
Question:
My sister in law asked me to email you and get some information about theses crocks from the Hallstrom greenhouse salt glaze collection.
Answer:
This 5 gallon salt glazed churn is what is called a lazy 8 target design. The three small ribs in the lazy 8 is ussually seen on Western Stoneware pieces, but I have seen a 4 gallon crock (only one) with this design stamped Red Wing.
I myself would not purchase these pieces unless they are signed because of this. However, it is a sharp piece of salt glaze and therefore salt glaze collectors look at the beauty of the piece regardless of who may have produced it.
Produce in the mid to late 1800′s. Because it very well could be western, I have no idea of value. My opinion only. al
Question: 
I was wondering if you could give me some info. and value on this crock. its a 6 gal. salt glazed with a bird, one VERY small 2 inch hairline crack on one side that doesn’t go all the through other than that it’s perfect. It has been in my family for years and some people think it’s a Red Wing. has no marking on it. Thanks any any help you can give Chris
Answer:
this is a tough one. I (personally) think this piece is not Red Wing, but Ohio. I may be wrong on this one, but it is a piece that one would really need to see it in person to make a better call. I question the markings ex: the number 6, the cobalt lines under the 6, how the lazy 8 is drawn, the little brown spec’s in the clay and the cut line which goes through the number 6. These small details look Ohio to me.
Still a nice piece. Would guess, (just a guess) that the value would be $2500 to $3000. Again a piece that would need to be seen in person and by more than one strong collector. al
Question:
I acquired a partial set of red wing dinnerware, was told they may be the Contemporary style but could not find anything exactly like this. I have a cream, sugar, 3 tea cups, 2 small plates, 1 large salad bowl and 1 smaller bowl. I was just wondering what this style was called, year it was made, and if they have any value. One plate has a crack through it, otherwise a very nice looking set. Thank you! Brad
Answer:
Two Step is a hand painted pattern made in the Village Green shape. The colors are similar to Red Wing’s extremely popular Bob White pattern. Two Step and its sister pattern Picardy were introduced in 1960. Neither pattern sold particularly well. The 1961 dealer’s price lists includes both patterns with a full complement of available items. But the 1962 price list shows only a limited set of available pieces, as Red Wing focused attention on the new DuoTone (Cylinder) line introduced that year. Thus Two Step and Picardy were in full production for only a couple of years.
Two Step isn’t rare by any means but it is isn’t common either. It also isn’t especially popular with collectors, so values are no better than average when compared to other Red Wing patterns.
The following values are for Two Step items in excellent, undamaged condition; any damage reduces the value significantly.
Creamer: $10-15
Sugar with cover: $10-15
Tea Cup (without saucer): $5-10
Small plate (6” or 8”): $5-10
Small bowl (3 or 4 bowls fit this description): $10-25 depending on the bowl type
Large salad bowl (12”): $40-60
Larry
Question:
this is a long shot….attached vase has similarities to other red wing pottery:
color, base and top lip shape, bottom foot, side scrolls. it has USA and 864 or 664 in mold, very shallow and hard to see.
7 1/2″ x 7 1/2″ x 3″
could this be red wing? the side scrolls have a bit of a leaf contour in them. thank you so much…i’ve also checked camark and niloak to no avail.
thank you so much, jan.
Answer:
Hi Jan
it is similar to a lot of Red Wing, but the shape doesn’t look familiar to me, and the numbers don’t match anything in the books. I would have guessed Camark as well. sorry we can’t be of any more help. thanks, steve n rose
Question:
Hello,
I apologize if this message is coming to you in error, but this is the only address I could find on your site to send my question. I have a few typical red wing crocks, and today, I came across a much smaller crock without the traditional red and blue trademark stamp on the side. The bottom of the crock is stamped with Minnesota Stoneware Co. Red Wing Min. The crock itself stands 8 inches tall and the outer diameter is 8 1/4 inches (inside is 7 1/4″). I have attached a couple of pictures in case it helps you provide me with any more information like size or year.
Thank you so much for your time. I would not call myself a collector, but I have established a small collection of these things for someone who doesn’t claim to collect anything!
Happy Holidays and thank you!
Jody
Answer:
this is a one gallon bottom signed Minnesota Stoneware Company crock. Value is around $30 because of being bottom signed. If it had decoration or advertising the value would be much greater. al
Question: 
Hi we are hoping you can tell us the value this crock, a little history on it and perhaps where we can sell them? We have tried looking in the books about them and also online but havent found out much specifically. Thanks !
Kelli
Answer:
this is a 3 gallon birch leaf crock which was produced by the Minnesota Stoneware Company between 1895 & 1906. In perfect
condition, they have a value in the area of $60 to $70. al
Eva Zeisel, who designed and produced stylish but simple lines of tableware that were credited with bringing a sense of serenity to American dinnertime, died Dec. 30 at her home in New City, N.Y.
Mrs. Zeisel was 105 and had come to America just before World War II, after a harrowing series of adventures in the turbulent Europe of the 1930s.
(Cary Conover/For The Washington Post) – Eva Zeisel, shown in her studio in 2001.
Her daughter, Jean Richards, confirmed the death but said she did not know the medical cause.
Mrs. Zeisel was widely regarded as a master of modern design. Her salt and pepper shakers, creamers and ladles are included in the collections of the Museum of Modern Art in New York. Yet she resisted being characterized as an artist. “Art has more ego to it than what I do,” she once told the New Yorker.
What Mrs. Zeisel did was create everyday objects that fundamentally changed the look of American kitchens and dining rooms.
She brought “a trained designer’s eye and touch to the kind of inexpensive daily goods that were available to everyone,” said Karen Kettering, vice president for Russian art at Sotheby’s and a former curator at the Hillwood Estate, Museum and Gardens in the District, which featured a retrospective of Mrs. Zeisel’s work in 2005.
Mrs. Zeisel received artistic training in her native Hungary in the years after World War I. She moved to the Soviet Union, where she worked in a factory and, after building a reputation as a talented ceramicist, landed a job as art director of the state-run porcelain and glass industries.
While in that position, Mrs. Zeisel was falsely accused of conspiring to assassinate Soviet dictator Joseph Stalin. She spent more than a year in a Soviet prison, much of that time in solitary confinement. Her experience there would deeply inform “Darkness at Noon,” the novel about life under Stalinism written by a childhood friend, Arthur Koestler.
When guards called Mrs. Zeisel from her cell one day, she thought she was about to be executed. Instead, she was released. She fled to Austria, only to be forced to flee again when Adolf Hitler’s Germany annexed that country. Mrs. Zeisel went to England and then to New York, where the design community quickly recognized her talent.
Mrs. Zeisel often said that her work was about the “playful search for beauty.”
Along with some of her contemporary designers, Mrs. Zeisel replaced the florid, gilded style of earlier eras with simple colors. Her most famous table collection from the 1950s is pure white.
Her work often was described with words not usually associated with tableware: human, sensual, voluptuous. Many of her designs are curvaceous and reminiscent of the “feminine midriff,” Kettering said. Mrs. Zeisel designed flower vases with belly buttons. Her bowls were not meant to be stacked but rather to nestle together. Big spoons could be seen as protecting smaller ones.
“All of my work is mother-and-child,” Mrs. Zeisel once said.
Her work reached the height of its popularity during the Cold War. Art critics believe it helped provide a sense of tranquillity during the tensions of the time, Kettering said.
She added that critics have noted a resurgence in the popularity of Mrs. Zeisel’s work since the terrorist attacks of Sept. 11, 2001. A tableware collection from the 1950s was re-released several years ago by Crate and Barrel.
Eva Amalia Striker was born Nov. 13, 1906, in Budapest. She originally trained as a painter but pursued industrial arts, in part to avoid the fate of the starving artist. She was reported to be one of the first female members of the Hungarian guild of chimney sweeps, oven makers, roof tilers, well diggers and potters.
Once in the United States, Mrs. Zeisel broke onto the artistic scene in the 1940s when Castleton China invited her to design a table collection. It would later be displayed at MOMA.
Her first marriage, to Alex Weissberg, ended in divorce. Her second husband, Hans Zeisel, died in 1992 after 54 years of marriage.
Survivors include two children from her second marriage, Jean Richards of New City and John Zeisel of Montreal; and three grandchildren.
Mrs. Zeisel was the author of “Eva Zeisel on Design: The Magic Language of Things.” Her memoir of the Soviet prison is forthcoming, her daughter said.
“I search for beauty,” Mrs. Zeisel told The Washington Post in 2003. “I never wanted to do something grotesque. I never wanted to shock. I wanted my audience to be happy, to be kind.”
News Source: Washington Post
Article also posted in New York Times
Interview aired on Sunday Morning, on January 1, 2012