A Katrich History
 
  All Vessels are Unique in Design and Execution
 
  Contemporary Art Pottery Collector's Association Journal article "Paul J. Katrich".
 
  American Bungalow article about Paul J. Katrich.
 
  Art & Antiques: Collector's Sourcebook article about Paul J. Katrich.
 
  The Everson Museum of Art presentation for Katrich vessel "Midwestern Summer".
 
  Antiques Roadshow Insider article about the unsung heroes of pottery, including Paul J. Katrich.
 
  Style: 1900 articles by and about Paul J. Katrich.
 
  Book with pottery by Paul J. Katrich.
 
  American Art Pottery Association interview with Paul J. Katrich.
 
  Press Release from May, 2004, for the Solo Exhibition in New York City.
 
  Solo Exhibition in New York City, May, 2004.
 

Katrich Studios Trademark.Paul J. Katrich

Positively Unique and Rather Extraordinary
Luster Pottery

(for Unique and Extraordinary People)



Archived Press Release
from May, 2004




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Trademarks of Paul J. Katrich and YWCA-NYC




Press Release for the
First Solo Exhibition in
New York City by
Paul J. Katrich


New Luster Ceramics at a Solo Exhibition in New York City

"The Luster Pottery of Paul J. Katrich:  Four Elements, Four Seasons"

Location:
        The YWCA-NYC Art Gallery
        610 Lexington Avenue (at 53rd Street)


Gala Opening:
        May 20, 2004, 5:30-8:00 (Tickets Required);
        Exhibition Continues for 2 Weeks


Media Contacts:
        Winston Tucker, YWCA-NYC  (212) 735-9759
        WTucker@ywcanyc.org

        Paul J. Katrich, Katrich Studios, Inc.  (313) 359-3400
        Luster@Katrich.com


For 1000 years, luster ceramics have intrigued and delighted many collectors of fine art. Lusterware was first created in mid-Eastern countries, and further developed in the Art Nouveau and Arts & Crafts periods of the early 1900's.

Both rare and lost techniques have now been updated and rediscovered by Paul J. Katrich. Masters-certified as an Archivist, and a degreed Art Historian, this self-taught ceramist has found an appreciative audience amongst antiques collectors and enthusiasts. Mr. Katrich considers himself a contemporary classicist. He has returned to the aesthetic of finely shaped and detailed vessel pottery, designed as one-of-a kind works. True in-glaze lusters impart unique and ever-changing hues for each piece. The colors and effects are deep within each work. These methods are far more time consuming and costly than common surface lusters.

The theme of this Katrich solo exhibition is based on the Four within Four motifs of ancient civilizations: the main points of a compass, the four elements, the four seasons, the four quarters of each hour, and so forth. Approximately 30 luster vessels will be shown at the exhibition, as well as related photographic and textual displays.

The exhibition occurs in conjunction with the annual Spring Benefit for the Craft Students League of the YWCA-NYC. The evening will also include honorees from the Museum of Arts & Design, and a live charity auction of donated fine art, including a Katrich work, run by an auctioneer from Christie's. The solo exhibition continues the YWCA-NYC's historic efforts to highlight emerging artists for New York City. A significant portion of proceeds from this solo exhibition is being donated to the Craft Students League. Tickets for the Spring Benefit, including the Gala Opening of the solo exhibition, are available from the YWCA-NYC.

More information is on the Web:
        www.ywcanyc.org
        www.katrich.com


The YWCA-NYC Spring Benefit is Listed on the Web:
        www.CharityBenefits.com for May 20, 2004

Press-quality photographs of Katrich Luster Pottery are available by CD (please e-mail Luster@Katrich.com)
and online at:

        www.katrich.com/press.htm
        [The Web-page you are now viewing]



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Ad for Solo Show in NYC; Gala Opening on May 20, 2004




A Personal Note from Paul J. Katrich



Dear Friends,

I invite you to join us at the Gala Premier of my first solo exhibition in New York City, May 20, 2004. This event is the culmination of many dreams and aspirations. I am intensely grateful for the support and encouragement of everyone who has helped us to reach this moment.

In conjunction with the Gala, a major piece of Katrich Pottery will be auctioned. All proceeds from the auction, and a substantial proportion of sales from my other work on display, will benefit the Craft Students League of the YWCA-NYC. This worthy organization provides arts education for adults, including those with therapeutic needs.

If you are unable to attend the Gala, the exhibit will remain on display until June 4, 2004, during normal business hours.

It is my great pleasure to share this experience with old friends and new, and I hope that you can be present. Feel free to contact me directly with any questions.

Best regards,
Paul J. Katrich

Phone: (313) 359-3400
E-mail: Luster@Katrich.com





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Luster Work Donated to the
2004 YWCA-NYC Spring Benefit,
for their Craft Students League


[Iridescent Pottery (0809)] [Iridescent Pottery (0809)]
[Iridescent Pottery (0809)]

"The Midas Touch"
Luster Vessel 0809
13" Tall

The Live Auction is During the
2004 YWCA-NYC Spring Benefit,
May 20, 2004




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Luster Work Donated to the
2003 YWCA-NYC Spring Benefit

[Paul J. Katrich and Luster Vessel 0678]
Paul J. Katrich with Luster Vessel 0678 (14-3/4")

This Luster Vessel was Donated
to the Live Auction at the
2003 YWCA-NYC Spring Benefit.
After Active Bidding, it Raised
$3,250 for YWCA-NYC
Craft Students League.



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Works by Paul J. Katrich for the
YWCA-NYC Solo Exhibition,
May 20 to June 4, 2004


[Iridescent Pottery (Four Seasons grouping)]

"Summer - August Dawn", "Autumn",
"Winter - The First Snowfall"
and
"Spring - The Winds Of April":
Luster Vessels 0804 (10-1/2"), 0815 (12"),
0810 (12-1/2") and 0816 (10-1/4")



Click Here to View More
Katrich Luster Vessels
for the YWCA-NYC Exhibition




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YWCA-NYC's Invitation for the
2004 Spring Benefit

[YWCA Invitation for Spring Benefit 2004]



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More Works by
Paul J. Katrich



Luster Vessel 0740
Luster Vessel 0740 (7-3/4")



Luster Vessel 0760
"Alpha and Omega"
Luster Vessel 0760 (12-1/2")



Luster Vessel 0796
Luster Vessel 0796 (14")



Luster Vessel 0800
Luster Vessel 0800 (9-1/4")

Donated to the 2004 auction of the
American Art Pottery Association
[www.amartpot.org]



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The New York Ceramics Fair


[NY Ceramics Fair - National Academy Museum]

Paul J. Katrich Will Exhibit
His Lustre Pottery at the
National Academy Museum,
1083 5th Ave. (at 89th St.),
During The New York Ceramics Fair,
January 19-23, 2005



Flyer and Photographs from the
2004 New York Ceramics Fair,
January 14-18, 2004

[Katrich at NY Ceramics Fair, 2004]



Click here to view the
New York Ceramics Fair website




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Review of the 2004 Ceramics Fair,
and Luster Pottery by Paul J. Katrich,
Posted in the April, 2004, Edition of
The Maine Antique Digest




The New York Ceramics Fair
by Lita Solis-Cohen

[Selected quotes - see below for complete article link]




NEW YORK CITY -- In five years the New York Ceramics Fair has become a traditional part of Americana Week in New York City. Since 2000, it has opened with a preview party the night before the Winter Antiques Show. When the American Folk Art Museum opened The American Antiques Show on the same night in 2002, some collectors rushed through one show to get to the other. To remedy that inconvenience, the Ceramics Fair opened on Tuesday January 13, this year. Everyone who read the ads carefully were pleased with the scheduling. Many arrived early and stayed and shopped.

Americans like this show because of its diversity. Robert Hunter of Yorktown, Virginia, sold a broad range of ceramics from English creamware to American salt-glazed stoneware. Teresa and William Kurau of Lampeter, Pennsylvania, jam their cases with English wares made for the American market, including historical blue Staffordshire. They have a following. The Stradlings of New York City sold a range of 18th- and 19th-century American pottery and porcelain to collectors and museums.

Despite the fact that the Museum of Arts & Design put together the loan exhibition, dealers in contemporary ceramics were disappointed with the amount of interest, with one exception. Paul Katrich of Dearborn, Michigan, who specializes in works with luster glazes in the tradition of 20th-century art pottery, brought 42 pieces to the fair and sold all but 12 of them for prices ranging from a few hundred dollars to $3000.




Click Here to
View the Complete Article
and Monthy Issues at the
Maine Antique Digest Website



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Another Review of the
2004 Ceramics Fair,
and Luster Pottery by Paul J. Katrich,
Posted at Antiques and the Arts Online,
February 2, 2004, Edition




Dishing Up the Best:
The New York Ceramics Fair
By Laura Beach


[Selected quotes - see below for complete article link]




NEW YORK CITY -- The New York Ceramics Fair expanded its fifth annual presentation to five days, opening a day earlier than in the past with a preview on Tuesday evening, January 13, so that collectors in town for Americana Week could more easily get around to all the shows and sales.

The 41-dealer fair managed by Caskey-Lees of Topanga, Calif., in association with Sha-Dor of Silver Spring, Md., continued at the National Academy of Design through Sunday, January 18. As in past years, pottery, both English and American, was a bestseller at this scholarly specialty event designed with collectors in mind.

The opportunity to meet outstanding contemporary ceramists or view their work is one of the New York Ceramics Fair's important innovations.

Organizers illustrated the 2004 show brochure with a luster encrusted vase by the talented contemporary artist Paul J. Katrich of Dearborn, Mich.

"I am one of the last studio artists working in luster," said Katrich, who arrayed his gloriously iridescent vases on tiered shelves. The potter sold all but 12 of the 42 vessels he brought to the fair. Katrich will be the subject of a solo exhibition in New York in May.




Click Here to
View the Complete Article
and Weekly Issues at the
Antiques and the Arts Online Website



Click here to
view the New York Ceramics Fair website




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Style: 1900
Article about Paul J. Katrich,
February, 2003



Paul J. Katrich: Master of Lustre



[Style: 1900 article in 2003]



The article was written by Marilyn Fish, the Editor of Style: 1900 magazine. This biography was from the magazine's website:

"Marilyn Fish is the author of The New Craftsman Index, Gustav Stickley: The Early Years, and Gustav Stickley: 1880-1900. Members of the Stickley family have declared her work the most accurate sources on their famous ancestor. A long-time contributor to Style: 1900 (formerly the Arts and Crafts Quarterly), Fish also writes for Art and Auction and has contributed to a number of museum exhibition catalogues for the Museum of Decorative Art of Montreal. She has also served as the director of the guide program at the Shelburne Museum in Shelburne, Vermont and as the historian on several National Register nominations."



Style: 1900 is available at
Borders Bookstores,
larger B. Dalton Booksellers,
and select European magazines merchants


Click here to
look at the Style: 1900 website




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Iridescent Pottery (Four Seasons grouping)
"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. 




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Internet Archive and History


We have kept this Internet archive since
the earliest existence of the vessels.
Believing Katrich Pottery to have permanent
value and historical resonance, we have
expended substantial resources, both material
and intellectual, to maintain this record.
In so much as possible, it is absolutely complete.

This documentation virtually assures the
authenticity and integrity of all Katrich vessels,
however far they may travel. Our collectors will
always enjoy total access to the true story of
their cherished pottery.

To our knowledge, no other studio pottery,
vintage or modern, can claim so sober and
comprehensive an account of unique work.
In the realm of ceramics, nothing comparable
has been attempted or so long preserved.

We welcome visitation from collectors, students,
scholars and pottery enthusiasts of every stripe.
Katrich Studios, Inc., is the ultimate authority
for the works of Paul J. Katrich.
We hope that you enjoy our efforts.


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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
Luster@Katrich.com
or by phoning
248-738-7720.


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






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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The Pottery Marks
of Paul J. Katrich


From 1997-2005
his Registered Trademark
(a Grecian Sphinx)
was glazed and fired
onto the bottom
of the vessels.

[ Trademark fired onto bottom of 2 vessels ]


Beginning in 2006
his "KATRICH" name was included
below his Registered Trademark
(a Grecian Sphinx), and then
glazed and fired together
onto the bottom of the vessels.

[ Trademark of Paul J. Katrich ]



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[Registered Trademark of Paul J. Katrich] The Katrich Mark

A Personal Description by the Artist


"A Grecian Sphinx appears on all authentic ceramic works of Paul J. Katrich. The Sphinx is a symbol shrouded in myth and antiquity; revered in many cultures.

"I adopted this signature to demonstrate respect for the artists of the ancient East, whose pottery is a constant source of wonder. For me, the Sphinx is a guardian of arcane knowledge and many mysteries.

"By tradition, the vessel held in her paws denotes life and special insight.

"She has faithfully served Katrich Studios, as a companion and good-luck token, for many years. May she do as much for the possessor."

Paul J. Katrich




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If an Image is Missing

If any images or graphics do not appear,
click in the frame with the right mouse button
(or hold down your Mac's mouse button)
and choose the option "Show picture".
A momentary problem with the Internet
may have occurred.



Largest Images

To see the largest images at Katrich Studios,
please click on a photograph or graphic.

Most images will open in a new window.
But, some web browsers will shink our large images,
to fit in the new window.

If the image is too small,
you can see the largest image possible in Windows:
1. Point your mouse at the image in the new window.
2. Click your right mouse button.
3. A menu will appear.
4. Left click on "Save Image" to download a file.
5. Then in your computer, double-click the image file.

This method works for most Internet images and graphics.


A free image viewer is IrfanView for Windows.
IrfanView opens most images and graphics.
It can also "capture" a picture of your Desktop screen,
when you can not save an image, for whatever reason.
Google "IrfanView" for the latest version.



Schoolzone, UK Approved by Schoolzone's team of independent education reviewers
Our web site is highly recommended by Schoolzone,
Britains' premier educational site.



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Free Computer Access for People who are Blind or Cognitively Impaired


If you know someone who is blind or cognitively impaired, our photographer, George Lees, who also was a Special Education Teacher, has written a guide on adapting Windows computers with free software.


Please download and share this document.



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