Bennington Potters Pink Morning Glory Large 14x6 Baking Loaf Pan ~ Scarce Glaze!

Description

Loaf Baking Pan 14"Lx6"Wx3"H. Bennington Potters Pink Morning Glory (not Agate), both patterns have been retired.   This has some crazing, non-glazed spot at firing but it is a solid piece and no damage from usage. There is some discoloration on the base.  There may be some production flaws in the glaze (a few small dark dots and places where the glaze didn't cover completely). Please see photos.
This pottery piece was hand mademade by founder David Gil. The DG mark is very faint but it is there. I can only make out the G. Circa early 1960's.
This is a highly collectible scarce color/glaze that is no longer in production (production ended approx. 15 years ago) and most are signed DG (David Gill) or YA (Yusuke Aida), Aida today is a very famous Japanese artist in Japan. Yusuke Aida was at Bennington Potters from 1961 - 1964 and returned to Japan where he has earned world renown. While at Bennington Pottery, he designed what is now called the "Classic Bennington" line of dinnerware and accessories, of which these are examples.
No International sales. USA Buyers only.
Bennington Potters was the dinnerware Obama chose for the White House family dining in 2008.
David Gil, born David Goldfarb in 1922 in New York to immigrant parents, Gil grew up in Harlem, a multi-ethnic neighborhood in the New York City borough of Manhattan. He took art and pottery classes in high school and was soon producing ceramics under the auspices of President Roosevelt?s arts-friendly Works Progress Administration. Although still a teenager, he was hired to sit at a wheel and throw pots in public as a craft demo for visitors to the World's Fair in New York in 1939. He was enrolled from 1940 to ?42 and again from 1946 to ?48 at the New York State College of Ceramics at Alfred University. (In the intervening war years, he served as a merchant seaman.) With his first wife Gloria, he moved to Bennington after graduating, with plans to start a design studio. It was at this time that he changed his surname, perhaps to better blend into life in a traditional New England village. Design discovery through artistic collaboration was a driving force for Gil as he began his career, and in its first phase, the business (housed in an unheated barn) was the creative effort of a group of modern designers. They originally called the enterprise Cooperative Design, which Gil later changed to Bennington Potters. Gil won many national awards during the 1950s, and his works were exhibited internationally. In 1959 Gil's tableware lines were picked up by Raymor, a well known New York distributors of modern domestic products. (The company was also known as Richards, Morgenthau & Co.) Gil moved Bennington Potters to its current site on County Street, taking exceptional delight, recounts Harden, in rehabilitating forlorn wooden and brick supply buildings adjacent to a railroad spur. The complex grew to be a vast design showcase for Bennington's production wares.
In the mid-60s, Gil was still in the news in major art periodicals. He was producing affordable limited edition ceramic items designed by some of America's most famous mid-20th century artists. Despite little success with mass marketing the venture, Gil's creative concepts placed him among the design trendsetters of the day. By the 1970s, wares from Bennington Potters were coveted and in many ways already legendary. The range of items designed and created by Gil during more than a half-century in his studio including art pieces, prototypes, transition pieces and production runs of what would become Benningtons best sellers is nearly beyond cataloging. According to Harden, even the numbering system that the company began in the 1960s does not fully document or inventory the volume of work. Sheela Harden assumed her late husbands corporate role as president and CEO of Bennington Potters after his unexpected death seven years ago. Still adhering to his philosophy of collaborative design, Harden works closely with talented ceramic artists and designers who are, as is she, fiercely loyal to Gil?s purpose. It is very likely the reason behind their continued success.
The exhibition at the Bennington Museum brings to light lesser known and subtle aspects of Gil?s talent, confirming his significant role in the evolution of modern ceramics. Curator and exhibit designer Jamie Franklin includes Gil's slick designs from the early years. Franklin notes that some of Gil's biomorphic pieces' brought him national recognition; Gil was included in important shows such as the Good Design exhibitions, co-organized by the Museum of Modern Art in New York and Merchandise Mart in Chicago, as well as the Young Designer exhibition at Ohio's Akron Museum. Franklin opted to include Gil's whimsical tiles and animal-form banks from the 1960s and '70s. He also highlights the well-designed, exceptionally popular and highly functional sets of dishes, some artfully arranged on tables as if set out for dinner. The retrospective show reflects visually the words in Gil's death notice, which appeared in the New York Times in March, 2002, and summarized the artist's motivations: His satisfaction was problem solving, and his greatest pleasure was seeing his own designs out in the world, both in the marketplace and in people's hands being used every day. David's legacy is the Bennington Pottery brand, and his memory is an icon to craft producers; he was a man who made a business from his art.
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