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Paul J. Katrich - Home Page
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"The Angelus"
Luster Vessel 936 (14-1/2").
 Paul J. Katrich
Positively Unique and Rather Extraordinary Luster Pottery
Home
A KatrichTreasury
EveryVessel
FeaturePresentation
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Welcome . . .
This website contains a complete visual archive
of the ceramic works by noted Studio Potter
Paul J. Katrich. His pottery is part of
important, public and private collections.
We hope you find the same delight
from these images and information
as was found in creating the pottery.
Sold at Benefit Auction
for $1,450 in Heated Bidding
In conjuction with the annual Craftsman Farms
"By the Light of the Silvery Moon Gala."
Saturday, October 4, 2008 at 6:00 P.M.
The Mountain Lakes Club, Mountain Lakes, NJ.
  
"On the Bridges of Paris"
Luster Vessel 1181 (Height: 12 inches).
Description of the Donation
Fine, Classical vase of important size. Rich sky-blue, midnight-blue and slate-blue lusters move in rhythmic oppositions between volcanic drips and streaks. The vessel is swirled round with frothing lusters, resembling an early morning mist.
The title is from the old French song, and recalls the artist's personal memories of a long-ago trip to the "City of Light."
   
A combined donation of the
American Art Pottery Association and the Artist.
All proceeds from the auction benefit the
Stickley Museum at Craftsman Farms.
Read about the Stickley Museum at Craftsman Farms.
To see a larger photograph,
please click on an image.
Next Exhibition and Sale of
Luster Pottery by Paul J. Katrich
We are delighted to announce
our participation in the
famous New York City
Pier Antiques Show.
November 15th and 16th (Saturday and Sunday), 2008.
We will be conveniently and appropriately located with
our colleagues on the main Pier 94, Booth 1207.
Read more information about this event.
Glazes of Glory
January, 2008 Article by Marilyn Fish
 
Condensed for information about Paul J. Katrich.
Art & Antiques Collector's Sourcebook is
included with Art & Antiques magazine.
Copies are available at larger book stores.
Click on image for a larger version.
The Showplace in Manhattan
Featured Vessel
Luster Vessel 1186.
A Select Grouping of Luster Vessels
by Paul J. Katrich is on Exhibition
and Available for Purchase at
The Showplace in New York City.
View luster pottery at The Showplace,
including the featured vessel for this week,
and their descriptions by Paul J. Katrich.
A Fine Gift
and a Special Possession
Photographic Edition Prints
Detail Pigment Prints
of Katrich Pottery,
Available for Purchase
  
"Procession", Print P1191,
and "Hudson River Valley", Print P1105.
View all images of Katrich Prints,
with details for purchasing.
![[<b>Katrich</b> Registered Service Mark]](http://www.katrich.com/sm_tran2.gif)
The Katrich Mark
What People are Saying...
"Katrich's work is quickly becoming part of
the permanent collections of many museums and
organizations ... Katrich vessels are known for
their brilliant lustre, texture, and elegant form."
(Antiques and the Arts Weekly - May 5, 2006)
"Today, his forms are classical with brilliant
colors in deep, thick numerous and
interactive glazes, ... none are duplicated."
(PBS Antiques RoadShow Insider - July, 2006)
"Innovative, yet evocative of past masters."
(American Bungalow - Issue #29, Spring, 2001)
"His pottery, his fellowship, and his philosophy
will captivate you."
(AAPA Journal - May, 2004)
"Paul Katrich ... has been busily rediscovering the secrets
of luster, lava, and volcanic glazes yet again,
and using them to spin his own ceramic fantasies."
(Style: 1900 - November, 2007)
"Rarity and Quality are assured."
(Style: 1900 - November, 2002)
The Talented Mr. Katrich
Style: 1900 - August, 2006
View more from Style: 1900, and how to subscribe.
Solo Show in
New York City:
"Luster Pottery of Paul J. Katrich -
Four Elements, Four Seasons"
Gala Opening, May 20, 2004,
YWCA-NYC Art Gallery,
610 Lexington Avenue (at 53rd St.)
View photographs of the Solo Exhibition vessels.
Living with Katrich Pottery
  
"The Right Side of Dawn" (1036),
"Music of the Spheres" (807),
"Spiral Galaxies" (812).
To see a larger photograph,
please click on an image.
Design and Lecture Services
Paul J. Katrich is a modern traditionalist.
He is also a degreed Art Historian
and frequent guest lecturer in the
fine and decorative arts.
An accomplished sculptor and artist in many media,
he offers a variety of professional design services.
"I am always delighted to speak to
you regarding your needs and interests.
I am pleased to discuss gallery and museum shows,
charitable events, commissions, lectures or
special purchases. You may expect a prompt
and polite response." - Paul J. Katrich
Your questions and comments
are gratefully received,
by sending e-mail to
Luster@Katrich.com
or by phoning (313) 359-3400
Fine Art Pottery
The pottery consists of fine,
hand-thrown ceramic vessels,
fired with rare colors and treatments,
including in-glaze iridescent lusters.
Each piece is utterly unique
in design and execution:
no repetition is possible.
Flawed or inferior examples are
destroyed: no second-quality Katrich
pottery is ever permitted to enter
the marketplace.
An artist-signed and sealed
"Certificate of Authenticity",
with the work's # and image,
accompanies each vessel.
To see a larger photograph,
please click on an image.
"Summer - August Dawn" (804),
"Autumn - When the Leaves Fall" (815),
"Winter - The First Snowfall" (810),
"Spring - The Winds Of April" (816).
An Interview with Paul J. Katrich
by George A. Lees
Q. How did you become a potter?
A. I actually started out with the intention of being a painter. I didn't much enjoy painting classes, but the required Art History college courses intrigued me. I decided to do something related, which might offer the chance of making a living - Art Historian or Curator.
I have always loved art, and even had my own "museum" when I was a child (coins, stamps, seashells, etc.). Museum conservation was a career choice I happened into; one which seemed to offer an acceptable compromise.
Q. What influence did conservation/restoration have in directing you towards pottery?
A. Through good fortune, I found myself working in the conservation studio at a local museum, where I learned a tremendous amount. We had very limited resources, and had to be highly creative to make things work. We restored everything from railway cars to grandfather clocks. I had the wonderful experience of learning from the skilled hands of several older gentlemen, who were among the last and best in their trades. With some left turns, and additional degrees, this job ultimately led me to start my own restoration business. I eventually began to specialize in the repair and conservation of antique ceramics.
Q. Why ceramics, in particular?
A. I had enjoyed antique ceramics and glass for a long time, collecting them myself in a modest way. There was a real need in my area for a skilled restorer - I had no real competition. I was actually sort of crushed by success, because I always had too much business and not enough help, once I became known.
Q. Why did you give up restoration?
A. I didn't plan to - it's an unusual business. People don't realize that as a restorer you pretty much have to accept whatever work comes your way. If you are going to spend months restoring a piece - living with it intimately, you had better hope it's something you can stand the sight of. A good conservator has to almost immerse his personality in the object he is working on: to become another artist and leave himself behind.
I restored some fascinating objects: 18th century Meissen figurines, American Arts & Crafts vessels, ancient pottery, marble statuary, among others. Frequently, I'd have to teach myself an entirely new technique, or buy equipment just to work on a single piece. In the course of this experimentation, I kept finding myself called back to my own art. I had an affinity for ceramics that I never had for painting. I decided to use my accumulated wealth of unusual skills and equipment, and see if something new could issue from my own hands.
Q. So then you were a success in pottery, overnight?
A. Any artist who is looking for an instant reward isn't very realistic. I have a very healthy ego, which has taken quite a beating. Persistence is almost more important than talent.
I made a brief foray into tile manufacture. I found all my time consumed with employees, bookkeeping and people wanting me to match glazes to their sofa cushions. It was obvious that this couldn't be the kind of fine art that I needed it to be. My energies were not being properly used.
Q. How did you begin to make lusterware?
A. I had been aware of iridescent glassware, such as Tiffany, Loetz and Steuben, for many years. Later, I saw fine antique ceramic pieces from the Art Nouveau, Art Deco and Modernist Movements, which astonished me.
I have never taken a pottery course nor had a teacher. With books, research, endless patience and frustration, I taught myself to throw vessels and compound glazes. With naievete' and the aforementioned healthy ego, I set out to learn about luster making. Darned if I didn't do it, because no one told me I couldn't.
Q. How do you view your work?
A. I'm like an actor who sticks to a classical repertoire, or maybe an opera singer. I'm an unrepentant classicist. Frankly, I didn't like much of what I saw in the contemporary ceramics scene, and felt there was no welcome for me there. The Bernard Leach school caused a whole generation of potters to fear color. The emphasis on large expressionist sculptural work struck few chords with me.
I want color back, I want beauty back, and I don't think that elegance is a bad word. I don't claim to have invented lusterware. Neither am I the only one to utilize it. I want to do things with it that have never been done -- through the constraint of well-crafted objects, pleasing to the eye, and refreshing to the spirit.
Q. What makes lusters special?
A. I don't confine my work to lusters. I like brilliant color generally, but lusters contain an evocation of alchemy, which really appeals, and which I can't let go. Many of the past ceramists have gotten the addiction; it's like gold fever. Part of the attraction is the difficulty and expense of the process; the endless trouble to achieve a fine piece, and the satisfaction when you are able.
Q. Which potters do you admire?
A. There are many. I love much anonymous work from ancient cultures: Egypt, Persia, Cyprus and Greece. Of course, the luster compulsion has moved a number of gifted potters: Beatrice Wood, Maija Grotell, Clement Massier, Gertrude and Otto Natzler, Jacques Sicard, and the Zsolnay Factory.
I really identify with an obscure potter from the turn of the century, named Theophilus Brouwer. He was a self-taught innovator, who made incredible and beautiful luster vessels. His work is very rare, and I have never seen a piece that wasn't exceptional.
Glassmakers are also very important to me. Louis Tiffany was, in my opinion, the greatest decorative artist since the Renaissance. The Art Nouveau Movement was a season of giants, producing many extraordinary talents. That Tiffany and Emile Gallé were alive and working simultaneously is comparable to the age of Da Vinci and Michelangelo. They were that good. A contemporary artist, whose work I find particularly exciting and beautiful, is glassmaker Dale Chihuly.
Q. Where is your work heading?
A. I want to explore colors in nature, to the farthest degree possible. I have never understood potters who insist on variations of brown as bringing them closer to the earth. The natural world is riotous with color -- organic and inorganic. I recognize no limits in this regard. Most of all, I intend to create beautiful, meaningful objects that bring joy to the possessor, in the same proportion as they did in the making. This is not a hobby or affectation: this is my profession. There is much left to do.
 
"Evening Star"
(from the Edgar Allan Poe poem)
Luster Vessel 951.
Read Edgar Allan Poe's poem, "Evening Star",
and view more images of the luster vessel in our
Park Avenue Armory (Seventh Regiment Armory),
New York City, show page.
Home
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Photography and website about Paul J. Katrich are by George A. Lees.
All text and graphics at this website are copyright protected.
The descriptions, designs and photography of the art, pottery and history of
Paul J. Katrich are copyright © 1995-2008 Katrich Studios, Inc., and all rights are reserved.
Individuals and entities may not reproduce, use, copy, plagiarize or otherwise
borrow anything without the express written permission of Katrich Studios, Inc.
Violators will be prosecuted to the full extent of U.S. and international copyright law.
The only exception is for limited, traditional "Fair Use",
where attribution to Paul J. Katrich must be indicated.
Additional text and photography with links about places, events and websites
are owned by their respective copyright holders. Katrich Studios, Inc.,
provides these links as a courtesy, and is not responsible for use of these
links or the content on other websites.
Your privacy: if you send us e-mail and paper addresses, they are only used to send tickets and information about Katrich Studios. We will not sell or give your addresses to others.
The Trademark of Paul J. Katrich,
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