FROM
THE DESK OF OUR EDITOR
The
wintry winds haven’t yet made their way to
And
now. . .time to cozy up and enjoy. Happy Holidays!
REMEMBERING
GERRY
CAS
Collectors lost
a good friend and longtime member with the passing earlier this year of Gerry
Stoeberl. Gerry and his late wife Amber were regular Convention attendees, and
their knowledge of CAS (and many other collectibles) was unmatched. Gerry’s
upbeat personality and willingness to help out
whenever needed (for instance, with our annual auctions) were a joy to all of us lucky enough to have made his acquaintance. He will be missed! (In honor of Gerry, our “Chat Room” in this issue
is a reprint of an earlier interview with Gerry and Amber.)
AND
THE WINNER WAS. . .
In
the “Summer” edition of CAS Collectors Quarterly, our “CAS Trivia
Contest” posed the following question:
“Out
of the way, orchestra kids! You don’t know what real music is, until you’ve
heard us play. We may have blank expressions, but the 6 of us can jam with the
best of them. Who are we?”
The
first correct answer came from Jan Jaworski, who quickly responded “Perhaps. .
.the CAS Adult Musicians?” As the prize for his detecting
efforts, Jan chose the Spoon Rest from our 2016 Convention, which was
delivered to him “in person” at the WPA Show on August 24th. In his acknowledgement, Jan wrote: “Winner,
winner, chicken dinner! Speaking of dinner, I think that Spoon Rest will
come in handy. By the way, I have read and enjoyed the
newsletter. Another good one, with interesting history!”
Thanks, Jan – and congrats!
AND
THE NEXT CONTEST IS. . .
This
issue’s “CAS Trivia Contest” query is perfectly suited to Christmas. Here are
the clues.
“Lots
of folks say I have a radiant expression. Well, that’s how it is with new
mothers. I’m wearing my pink robe today, but sometimes I change to my white or
blue one. Uh-oh. Have to sign off. Time to feed the
Baby!”
Think you know the answer? Well,
of course you do! As always, you’ll find the solution included somewhere within the articles of this
issue. Once you’ve located it, rush your response to Editor Don Johnson (donaldbrian@msn.com).
The lucky winner will receive a Convention Commemorative of his or her choice.
(Check the Classified listings, to see what’s available.) Who will it
be? Maybe you!
MERRY
CHRISTMAS FROM BETTY
The card
shown on the front of this issue, of a snowman (maybe Frosty?)
exchanging Christmas gifts with a little mouse (maybe our very own Mr. M.?)
comes to us courtesy of B A Wellman. It’s one of the
many cards his good friend Betty Harrington sent him over the years, and we’re
pleased to share this yuletide treasure with you. Noted B A, “thanks for all
your efforts to honor Betty and her CAS.” It’s our pleasure, B A !
A
JON-SAN CHRISTMAS
As
all CAS Collectors know, Jon-San Creations was another Reuben Sand
operation which ran in tandem with Ceramic Arts Studio. The object: to produce
imaginative stands and shelves, which could be used for display of CAS
figurines.
Although
CAS and Jon-San never placed a major focus on Christmas-themed releases, there
were always ideas along the way. Here are two, which appeared in the “Design
Conference Notes” for March 5th, 1955:
- “Zona Liberace (Head
Decorator and Jon-San designer) presented a Christmas tree with strip
metal simulating branches held on a common stem. A suggestion was made
that the base could be three-dimensional to hold Christmas cards. Zona
designed this primarily to hang on a wall for use in small apartments,
where no room is available for regular trees. Mr. Sand injected a
suggestion that an item of this sort could also be made with a prong base
to be inserted in the ground at cemeteries, for florists to use for hanging
floral pieces.”
- “Zona also presented a
wire ‘Santa’ mobile, which was well liked by the Conference. However, she
is to hold this for the time being, as there is no immediate urgency.”
Well,
actually there was, since just a few short months
later, Ceramic Arts Studio closed its doors. There were no new additions to the
holiday line. . .but we can dream!
THE
ONE THAT GOT AWAY
Check
out that fellow in religious robes, on the cover of this issue.
This
St. Francis variation showed up in a recent online auction, and Your
Editor was eager to bid! The auction had been going on
awhile, and prices were extremely low. So why not start at $10, then come back
and check on increasing the bid as needed?
Except.
. .you have to remember to come back and check! Your
Editor remembered this. . .about an hour after the auction ended. Needless to say, the unique St. Francis went to
another bidder. For $11!! (Note to self and all: WHEN YOU PLACE A BID,
ALWAYS FOLLOW UP, OR THERE’LL BE TEARS BEFORE BEDTIME!) Meanwhile, another
“must have” has been added to my classified ad listing. (And if you run across
this particular St. Francis, be sure and let me
know!)
eBAY ODDITIES
What
will they think of next? Recently offered on eBay was
the item shown on our cover, with the following description:
“This
vintage figurine from Ceramic Arts Studio depicts a young Victorian girl
in a dancing pose. It’s signed “Arilla Ingham, 1971.” The piece is made of
porcelain and ceramic, with a height of 6”. It features a beautiful purple and
gold color scheme.”
Hmmm.
“1971.” “Arilla Ingham.” “Porcelain and ceramic.” “From Ceramic Arts Studio.”
What’s wrong with this picture? Plenty! No word on whether this non-CAS
figurine actually sold.
WE
WANT YOU!
You’ve
probably figured out by now that your CAS Collectors Quarterly doesn’t
write itself. We want (and need) you! Included with this mailing is a “Chat
Room” form. Just fill it out and send it (with a photo of your choice, if you
have one ), and we’ll feature you in an upcoming
issue! Plus, if you have a favorite antique mall or shop in your part of the
world, just jot down some notes about it, and send those (along with a brochure
or flyer, if available), and we’ll take it from there, for an upcoming “Antique
Mall of the Quarter” article. Emails can be sent to Editor Don: (donaldbrian@msn.com) or mailed to:
Donald-Brian Johnson,
We’ll
be crossing our fingers in hopes of your contributions, and
offering our thanks in advance!
FROM
A DECORATOR’S KITCHEN
A
highlight of CAS Collectors Quarterly has always been a mouthwatering
recipe from one of our favorite CAS decorators, Marlys Wilkinson!
During
their years at CAS, Marlys and her co-workers exchanged many recipes, which
we’ve included in previous newsletters. After awhile,
those ran out – but Marlys was kind enough to provide us with additional
delicious recipes from her own kitchen, plus tried-and-true recipes from
favorite cookbooks and magazines. For this issue, we’ve selected a
holiday
treat from one of her favorites, Dining With The
POPCORN
BALLS
1
cup Domino liquid brown sugar
1/2
cup light corn syrup
1
tsp. vanilla
12
cups warm popped corn (3 qts.)
Combine
brown sugar and corn syrup in heavy saucepan sprayed
with Pam Pure Vegetable Cooking Spray (or similar). Cook rapidly for 10 minutes
over moderate heat and stir while cooking. Stir in vanilla. Quickly stir syrup
mixture into warm popcorn. Stir over low heat a few minutes, blending well until
popcorn sticks together. Butter or spray hands with Pam. Take small amount of popcorn mixture and shape into balls, about
2 inches. Continue until all popcorn is used. Yield: 16-18 small popcorn balls.
Yumm!
We know Santa will be on the lookout for these. And now. . .it’s time to take a
few moments away from decorating, wrapping, cooking, and all the rest of your
holiday preparations, settle back with a cup of cocoa (spiked?) and enjoy your
“Holiday Edition” of the CAS Collectors Quarterly. Merry Christmas to
All!
Donald-Brian
Johnson
Editor
REMEMBERING REUBEN
By Donald-Brian
Johnson
Reuben Sand, founder of Ceramic Arts Studio, died on October 21, 2005 of double pneumonia. As per his wishes, Mr. Sand’s ashes were distributed in Half Moon Bay, near his San Mateo, California home. On November 4th, Reuben Sand would have celebrated his 90th birthday.
The story of Mr. Sand and the Studio has, over the years, been told so many times that it has assumed the status of familiar legend. How, in 1940, Reuben and potter Lawrence Rabbitt teamed up to turn a deserted lean-to on Madison’s Blount Street into the loftily-named “Ceramic Arts Studio”. How the Studio’s early hand-thrown pots met with little success (and how many of them leaked!) How a chance meeting in 1941 with the amazing designer Betty Harrington led Reuben and the Studio in an entirely new direction—the creation of figural ceramics. And how, thanks to Betty’s talent for design, and Reuben’s talent for production and marketing, the little lean-to in Madison soon became the nation’s top supplier of decorative ceramics.
What’s often forgotten is just how young Reuben Sand was when he embarked on his CAS venture—only 25. And, while collectors see the Studio years—from 1940 until 1955—as an endless source of study and enjoyment, for Reuben Sand this was just one stop along the way, in a long and successful life and career.
That may be why, for many years, Mr. Sand resisted the urge to reminisce about Studio days—he had, after all, done so much more! Collectors were overjoyed when, in 1993, Reuben agreed to travel to Madison for the first-ever comprehensive Ceramic Arts Studio exhibit, sponsored by the Wisconsin Pottery Association. A touching, final reunion between entrepreneur Reuben and designer Betty was a highlight of the occasion. Then it was back to California, and on with life.
When it came time to begin work on our book Ceramic Arts Studio: The Legacy of Betty Harrington, my co-authors and I felt it was extremely important to include current commentary by the man who started it all—Reuben Sand. We already had, thanks to Betty Harrington’s diligence, and the generosity of her family, extensive materials documenting her part of the story. Thanks to CAS researcher Roseann Lindner, we also had detailed recollections by Lawrence Rabbitt. We’d spoken with many past Studio workers. What we needed was Reuben.
Every several weeks, I called and left a message at the contact number I’d been given. For months there was no response. Then one morning, the phone rang. I picked it up, and a deep, somewhat gravelly voice said, “This is Reuben Sand. Why do you keep calling me?”
I explained who I was, and the project I was working on. There was a pause, then Reuben began to express his doubts. He’d “been interviewed before”; they “always got it wrong”; they “never asked the right questions” and “never let him read it first”.
This went on for awhile. When there was a lull, I assured him that we had something different in mind. We planned on using his comments in the first person, just as he conveyed them, editing only for length or repetition. He would see the material before it went to print, and would have the right to correct (or delete) anything inaccurate.
Another pause. I could tell he was considering the idea. Then he continued: “What if my comments don’t agree with what other people say?”
“Well,” I replied, “folks will have the opportunity to read both, and can make up their own minds.”
Whether that did the trick (or whether he was just tired of talking to me), Mr. Sand agreed. I was to send him a list of the questions I would be asking. He would call me at a set date and time, and answer those (and only those) questions. “And I want a transcript.”
“No problem,”, I said, (instantly hoping to avail myself of Roseann Lindner’s transcription talents).
And so it began. On the set day, at the set time, the phone rang. I switched on the recorder. “Hello. This is Reuben Sand. Question number one---Donald-Brian Johnson asks. . . . Question number one---Reuben Sand replies. . . .”
Oh boy, I thought. Is this going to be tedious. But I’d put together what I felt were some pretty good questions, and at least we’d have those first-person responses, even if they were being read from a carefully prepared script.
I tuned back in, just as Reuben was intoning a very lengthy explanation of how he met Larry Rabbitt, and determined to start a business. “We found an empty lean-to at 12 North Blount Street that was 50 feet long by 25 feet wide, and at the time was used for storing rebars. . .”
“What are rebars?” I interrupted, in spite of myself.
“That’s not on the question list,” said Reuben, and continued: “Lawrence wanted the name of the pottery to be called the ‘Ceramic Arts Studio’. . .”
“Why?”
“I answer that in question number 5.”
“Oh”.
There was a pause. “But I suppose I might as well talk about it now. Larry had been making a few items such as ashtrays and bowls and little pots, and fashioned himself to be working in a ‘studio’—had sort of a nice ring to it—an ‘arts studio’. I simply said, ‘if you think that is a good name, OK’. Later on, people wondered how this ‘arts studio’ was kicking out thousands of pieces—there must have been a lot of artists hard at work!”
He chuckled, off script, and enjoying the recollection. From that moment on, the question-and answer list was forgotten, and the memories poured forth fast and furious.
This was just the first of many wonderful phone conversations I had with Reuben Sand. Over the next several years, we’d talk on a regular basis. Sometimes I’d call, to make sure I was explaining a particular facet of Studio life correctly. Sometimes he’d call, to clarify or expand on a previous response, or to tell me to look for “a package on its way” (thanks to Reuben, original Studio catalogs, copyrights, photos, and the like soon added to our treasure trove of research material.)
Sometimes, one or the other of us would call “just to talk”. And, true to my word, I always kept a transcript.
When our book was ready for print, I sent Reuben’s sections to him, as promised, for his approval. He was effusive in his praise, offering few corrections, and asking only for the elimination of one brief anecdote. (An early CAS worker had an unhealthy fondness for knives and other sharp objects. Reuben had found the story amusing when he first told it to me, but now thought it might be best removed. “Who knows?”, he said, “that girl may still be around. And she may still have those knives!”)
Basking in Mr. Sand’s praise, I couldn’t resist adding, “and your words are just as you said them—I’m sure you checked the transcripts.”
“Oh”, replied Reuben, “I never read those. I just wanted to see if you would keep your promise.”
Reuben Sand was easily one of the most fascinating, entertaining people I’ve met in my life—and I never even had the opportunity to meet him in person! Imagine the response he must have evoked in those who knew him and worked with him first-hand. Over and over in my research for our book, I would encounter former Studio workers who would describe Reuben as “the best boss”, and CAS as “the best job ever”. Somebody was doing something right—and that somebody was Reuben Sand.
I once asked Reuben if he ever gave much thought to the Studio “legacy”. A moment or two went by, and then he said, “You know, one of my biggest worries used to be that two thousand years from now some geologist would be digging, and nothing could be found but Ceramic Arts Studio figurines. And the pundits of the time would say, ‘in the years 1940-1960 or so, this was the state of the civilization that existed.’ A pretty good state though. Better than a lot of things they could be digging up. You know, I have so many fond memories of Ceramic Arts Studio and those I worked with. They were all solid, wonderful people. I guess I am just one of the luckiest guys in the world.”
We were the lucky ones, Reuben. Our thanks, for a life well-lived.
