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Annemarie Davidson learned her enameling craft first from the great Doris Hall (1907-2001) in Cambridge, MA in 1957. In California she continued her studies with Curtis Tann. Her combination of geometric and organic form in her designs culminated in her most celebrated abstract designs, her Jewel line which features pieces of glass used to create free-form organic shapes which she calls Jewels. She also uses a sgraffito technique, incising straight lines from the center of her plate with the sharp point of a dart. This 11 1/4 inch plate, most likely from the 1961-1962 time period, is unusual for its size. It is scarce to find plates larger than her more standard 6-7 inches. This plate features 5 large light blue jewels, 12 smaller cobalt blue jewels . The underlying copper color can be seen near the edges. A prominent Palm Springs CA dealer James Elliot-Bishop on his website has named this pattern as Grooveline. What is interesting about this particular plate is the asymmetric placement of the jewels. Davidson was usually quite symmetric in her placement. There are few pieces where the smaller jewels appear singly as on this large plate. The back of the plate is signed with her charcteristic AD interwined intiails and her paper label which reads Annemarie Davidson handcrafted enamels Sierra Madre California. Every piece was handcrafted by her alone, from start to finish. Excellent condition. The work of Annemarie Davidson was included in the seminal exhibit titled Painting with Fire which opened in Jan 2007 at the Long Beach Museum of Art. She was one of 30 enamelists included with a one page entry on her life and work. Her page is page 266 of the catalogue.  Annemarie Davidson learned her enameling craft first from the great Doris Hall (1907-2001) in Cambridge, MA in 1957. In California she continued her studies with Curtis Tann. Her combination of geometric and organic form in her designs culminated in her most celebrated abstract designs, her Jewel line which features pieces of glass used to create free-form organic shapes which she calls Jewels. She also uses a sgraffito technique, incising straight lines from the center of her plate with the sharp point of a dart. Now in her late 80s, she no longer produces work today as of 2010 I have been told. This 7 inch plate, most likely from the 1961-1962 time period, is a good example of an earlier Ghostline piece. This plate features 3 large turquoise blue jewels and 6 smaller cobalt blue jewels, all symmetrically arranged, yet asymmetrically placed on the plate as the whole design is off center. The lines are under the Jewels. A prominent Palm Springs CA dealer James Elliot-Bishop on his website has named this pattern as Ghostline. The back of the plate still has the three large brown felt pads, the full gold paper label and is signed with her charcteristic AD interwined intiail. Her paper label reads Annemarie Davidson handcrafted enamels Sierra Madre California. Every piece was handcrafted by her alone, from start to finish. There are two tiny areas of some enamel loss to the rim.They are hard to see. One has to look hard to find them. It is in good vintage but not excellent condition, but it sure still looks great on a wall! The work of Annemarie Davidson was included in the seminal exhibit titled Painting with Fire which opened in Jan 2007 at the Long Beach Museum of Art. She was one of 30 enamelists included with a one page entry on her life and work. Her page is page 266 of the catalogue.  Prior to changing the name to Bennington Potters, David Gil's company was known as Cooperative Design. There, he and other Alfred designers fashioned all sorts of interesting Mid-Century items. Having trained at Alfred University, Gil came to Bennington in 1948. His designs are included in many Mid-Century exhibits and catalogues. This particular design is like Norman Bel Geddes famous Skyscraper cocktail shaker for Revere in that the cup has a dual purpose. In the Bel Geddes set, the top of the shaker is actually the same piece which forms the bowl of the goblet. In Gil's version, the sake cup doubles as the stopper for the sake bottle. This set was apparantly sold with 6 cups and the decanter as one can see still written in pencil on the bottom of this sake bottle. I don't know if there were seven cups or six in the original set. I do know I have seen it in this early Gil color and a deep brown glaze. I only had one extra cup so now this bottle has its stopper. I particularly like the unglazed portion of the neck which helps one grip the bottle when pouring. A great and early Gil design. The cup and the bottle are both signed David Gil Bennington. Add it to your collection of Mid-Century pottery today   

Annemarie Davidson 11 inch Grooveline pl

 

Annemarie Davidson 7 inch Ghostline dish

 

David Gil sake bottle and stopper

  


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