[Luster Vessel 1675 -

Follow The Sun, Luster Vessel 1675
by Paul J. Katrich.

Katrich Studios Trademark.Paul J. Katrich

Positively Unique and Rather Extraordinary
Luster Pottery

(for Unique and Extraordinary People)

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
as was found in creating the pottery.


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This Weekend's Exhibition and Sale of
Luster Pottery by Paul J. Katrich


Pier Antique Show
in New York City


Saturday-Sunday, 10AM-6PM
March 28-29, 2015.

Click Here to View the
Luster Vessels at this Weekend's
Pier Antique (and Art) Show

[Pier Antique Show]

12th Avenue at 55th Street.

As Seen in the New York Times,
Paul Katrich Pottery in a Sunday
Full-Page Ad for the Previous
Pier Antique Show

[Pier Antique Show Ad with Paul Katrich Pottery]

Paul J. Katrich Holding the
Village Voice with His
Luster Pottery on the Cover

[Paul Katrich holding Village Voice with his pottery on cover]

Paul J. Katrich's booth is 2407, in Section 2400
for the March 28-29, 2015 Pier Antique Show

[Pier Antique and Art Show - 2400 section]

Luster Pottery by Paul Katrich
on the the Program Cover
for the Previous, November Pier Antique Show

Pier Antique Show - Program Cover

Click here for more details about the
Pier Antique (and Art) Show.

Click Here to View the
Luster Vessels at this Weekend's
Pier Antique (and Art) Show


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The Showplace in Manhattan


Luster Vessels by Paul J. Katrich
are on Exhibition and Available for Purchase at
The Showplace in New York City


[Iridescent Pottery by Paul J. Katrich (1614)] Spacer 500. [Iridescent Pottery by Paul J. Katrich (1604)]

Frost on the Window, Luster Vessel 1614
and Titan, Luster Vessel 1604.


Video with Paul J. Katrich Discussing
Luster Vessels 1604 and 1614
Created for The Showplace


Click here to view luster pottery at The Showplace


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Contemporary Art Pottery Collectors Association
Recent Journal Article: Paul J. Katrich

[CAPCA Journal - Paul J. Katrich article - page 1]
[CAPCA Journal - Paul J. Katrich article - page 2]

 Click here for the Contemporary Art Pottery
Collector's Association website.



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Detail Photographic Prints
Created from the Master Images of
Luster Pottery by Paul J. Katrich


Katrich Print 'The Burning Bush', P1035. Spacer 500. Katrich Print 'Escape At Bedtime', P0820

The Burning Bush, Print P1035
and Escape At Bedtime, Print P0820.


View all images of Katrich Prints.



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Special Video with Paul J. Katrich
and His Dog, Gershwin

Gershwin's Artistic Adventure

"Every artist needs a muse. My remarkable dog, Gershwin, inspires me each day.

"George Lees has produced this delightful film for your enjoyment. Like Gershwin himself, it cannot fail to bring a smile."

Paul J. Katrich


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American Art Pottery Collecting

Broadcast Television Interviews
with Paul J. Katrich

Collecting American Art Pottery



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Window On Collecting Art & Antiques

A Video Series by Paul J. Katrich

Episode #4: Theophilus Brouwer Pottery

Theophilus Brouwer's abilities were diverse in the extreme. He was a skilled carpenter and architect, as well as a sculptor of public monuments, living in the Long Island, NY, area. Brouwer also decided to create art pottery between 1893 and 1911, calling his studio, Middle Lane Pottery. He used some of the most unusual, complex and difficult processes possible. Brouwer developed a type of glazing which he called "Flame Painting." Remarkable iridescent flame-like effects appeared on the surfaces. A number of other complicated glazes and techniques were developed at his hands.

Episode #3: Vintage Books

Paul J. Katrich talks about collecting books, and he shows interesting examples. Vintage, rare and antiquarian books can often be found at very low prices. Compared to computer files, books can be collected as physical objects, to be held and enjoyed in many ways. Beginning collectors can easily start a personal library. Literature, nonfiction and instructional titles are shown. Book art is displayed, including Gustave Dore illustrations in a copy of Dante's Inferno.

Click Here to See More Videos with Paul J. Katrich.


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[Katrich Trademark]The Katrich Trademark

What People are Saying...


Please Like Katrich Luster Pottery on Facebook.

Please Share Katrich Luster Pottery on Twitter.


Paul J. Katrich
Facebook Page

We invite you to become an official "Fan" of
Paul Katrich Pottery, with all the rights,
benefits and privileges that this implies.

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"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)

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"Today, his forms are classical with brilliant
colors in deep, thick numerous and
interactive glazes, ... none are duplicated."
(PBS Antiques RoadShow Insider)

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"Innovative, yet evocative of past masters."
(American Bungalow)

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Antique Trader magazine interview with Paul J. Katrich:
"The Time is Right for American Art Pottery."

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"His pottery, his fellowship, and his philosophy
will captivate you."
(AAPA Journal)

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"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)

"Rarity and Quality are assured."
(Style: 1900)

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Glazes of Glory

Article about Paul J. Katrich.Article about Paul J. Katrich.


View the presentation ceremony
for Midwestern Summer at the
Everson Museum of Art.


Condensed for information about Paul J. Katrich.


Art & Antiques: Collector's Sourcebook is
included with Art & Antiques magazine.


Click on image for a larger version.


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American Bungalow Article:
Paul J. Katrich - Throwing Light

[American Bungalow magazine - Throwing Light article]
[American Bungalow magazine - Throwing Light article]

 Click here for the American Bungalow Website.



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Solo Show in
New York City:
"Luster Pottery of Paul J. Katrich:
Four Elements, Four Seasons"

Gala Opening, YWCA-NYC Art Gallery,
610 Lexington Avenue (at 53rd St.)


Solo Show for Paul J. Katrich in NYC.


View photographs of the Solo Exhibition vessels.


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The New York Ceramics Fair


NY Ceramics Fair - National Academy Museum

National Academy Museum
1083 Fifth Avenue (at 89th)
New York City.


Sold Out on Opening Night


Bloomberg.com mention of Paul J. Katrich at the New York Ceramics Fair:

New York's Park Avenue Set Ignores Dow's Slump, Shops for Art

By Lindsay Pollock

"Jan. 23 (Bloomberg) -- New York's Park Avenue set has begun buying art again -- battered stock markets be damned! -- judging from the buzz and sales Thursday at the opening night of the 56th Winter Antiques Show.

"Several other art souks have sprung up around New York, timed to coincide with the Winter Show, including the New York Ceramics Fair at the National Academy Museum & School of Fine Arts.

"While most of the ceramics fair seemed sleepy Thursday afternoon, Paul J. Katrich's shiny glazed vessels were a hot item. Katrich sold out a dozen within the first hour of the fair and stuck a handwritten sign in his glass vitrine reading "Sold Out! We Love New York." His work sells for $400 to $4,000.

""If you don't blow your own horn, who is going to do it for you," Katrich said."

Read the complete review of the New York Ceramics Fair and the Winter Antiques Show, at Bloomberg.com.


Iridescent Pottery by Paul J. Katrich (1405)

Infinite Meadows of Heaven
Luster Vessel 1405.


Katrich Booth at NY Ceramics Fair

Paul J. Katrich and George A. Lees
at the New York Ceramics Fair.



View Luster Vessels at the NY Ceramics Fair.



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Living with Katrich Pottery


Katrich pottery 'The Right Side of Dawn'.Katrich pottery 'Music of the Spheres'.Katrich pottery 'Spiral Gallaxies'.


The Right Side of Dawn, Luster Vessel 1036,
Music of the Spheres, Luster Vessel 807
and Spiral Galaxies, Luster Vessel 812.


To see a larger photograph,
please click on an image.


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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.
Mr. Katrich serves as Secretary on the Board of the
American Art Pottery Association.

"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
or by phoning


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Fine Art Pottery


The contemporary pottery of Paul J. Katrich
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.


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Iridescent pottery by Paul Katrich at 2004 Solo Show in NYC - Four Seasons grouping.

Summer - August Dawn, Luster Vessel 804,
Autumn - When the Leaves Fall, Luster Vessel 815,
Winter - The First Snowfall, Luster Vessel 810
and Spring - The Winds Of April, Luster Vessel 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 ceramics scene. The Bernard Leach school caused a whole generation of potters to fear color. 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. 


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Iridescent vessel by Paul J. Katrich, 'Evening Star', 0951.Iridescent vessel by Paul J. Katrich, 'Evening Star', 0951, Poem View.

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.


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All text and pictures at this website are copyright protected.

The descriptions, designs, photography and videography of the art, pottery and history of Paul J. Katrich are copyright © 1995-2015 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 pictures 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.

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The Trademark of Paul J. Katrich, shown on these pages and elsewhere, is registered in the US Patent and Trademark Office, and all rights are reserved.