This is a perfect example of the early version of the coffee cup with its slightly bulbous bottom and our signature off-center saucer. These were made contemporaneously and have the same light color clay body and matching signatures. Both pieces have the deep flowing brown glaze and the saucer shows the aqua pearls where the brown flows into the white. Cup 3.75” height, saucer 5.5” x 6.5”.

Early Peter Pots coffee cups have a distinctive bulbous shape that is easy to spot, larger in diameter at the bottom of the handle than at the rim. This pair has the pale coloration that is so desirable in early Seagull Blue examples. Saucers are 7” x 5.5”, cups are about 5” in height.

Early Peter Pots coffee cups have a distinctive bulbous shape that is easy to spot, larger in diameter at the bottom of the handle than at the rim. This pair has the pale coloration that is so desirable in early Seagull Blue examples. Saucers are 7” x 5.5”, cups are about 5” in height.

Matched demitasse cup and round saucer in Mahogany Brown from the mid 1960s. We have a total of eight and are selling each cup and saucer set individually. These are quite rare individually and a larger set made at the same time is even more difficult to find.

Saucers: 4.25” diameter
Cups: 3” tall, 4 ounce capacity

Set of four wheel-thrown mugs by longtime Peter Pots potter Janet Pinsonnault, dated 1976. This set exemplifies her thrown and carved work from the 1970s. Each is about 3” in diameter and 3” in height with slight variations typical of handcraft. Each is signed Jan P. Pots, three include the date 76.

A pair of wheel-thrown mugs made by longtime Peter Pots potter Janet Pinsonnault, circa 1970. These mugs exemplify her unique style of thrown texture with carved and glazed decoration. Each is about 3” in diameter and 3” in height.

These were an early version of what later became our present-day Grandfather’s Cup and intended to be more of a tankard than a coffee cup. The straight-sided design was inspired by pewter tankards of early America and the thumb-rest on the top of the handle feels nice. 12 oz. capacity, 4.5” height.

These are the early style of tumblers, gracefully tapered and delicately proportioned. These are of 1960s vintage and both have nice drippy Mahogany Brown glaze. 5.5” height.

These tumblers were made for a while in the 1970s and the pieces in this set are dated 1977. Yikes! That makes them over forty-years old. The Ringed Tumbler fits very comfortably in the hand, with the digits resting naturally in the ring. Each holds 8 ounces with room to spare. Set of four, 4” height, 3 1/4” top diameter.

An extremely rare set of six small pinched tumblers from 1968. They are not dated, but their previous owner knew the purchase date. These were made contemporaneously and all have matching signatures, deep red clay body, and luscious flowing brown glaze. It is rare to find a pair, let alone a matching set of six . Shining, like-new surface. Each is just a little over 3” tall.

An extremely rare set of six small pinched tumblers from 1968. They are not dated, but their previous owner knew the purchase date. These were made contemporaneously and all have matching signatures, deep red clay body, and luscious flowing brown glaze. It is rare to find a pair, let alone a matching set of six . Shining, like-new surface. Each is just a little over 3” tall.

There’s no such thing as too much mahogany brown glaze, as evidenced by this early 1960s Peace Dale Pitcher in all its drippy glory. The sharply peaked handle, light clay body, and signature identify this as dating from about 1960, but the glaze overdose really makes this exceptional. A striking mid-century form for display. 10” height.

There’s no such thing as too much mahogany brown glaze, as evidenced by this early 1960s Peace Dale Pitcher in all its drippy glory. The sharply peaked handle, light clay body, and signature identify this as dating from about 1960, but the glaze overdose really makes this exceptional. A striking mid-century form for display. 10” height.

An early version of the Flair Pitcher marked “Peter Pots 77” and unusual because pieces rarely have a date. This is an inch smaller than the the present design and stands 6” tall. Very deep coloration to the Mahogany Brown glaze.

A perfect vintage creamer and covered sugar bowl set in Seagull Blue from the later 1950s or 1960s. We do not often find these together as an original set. Beautiful glaze coloration on both pieces.

sugar bowl 3.5” height, 4” diameter
creamer 4” height

Our Covered Sugar and Creamer in this style were our mainstream creamer and sugar in the 1960s, and this sets dates from the early part of the decade. Muted mahogany brown glaze. Both just under 4 inches in height.

The Chipmunk Creamer and Sugar has been in production since the 1950s and here is an original set with label from the late 50s or early 60s. Labels of this style were not used after the 60s; the early ones were brown and white like this one, later labels had a metallic foil. The early sugar bowls (before 1971) looked like this without a lip at the point. Perfect condition. Creamer 3.5” height, sugar 4.5” length.

A rare diminutive sugar and creamer that saw very limited production in the mid 1960s. Perfect condition with deep mahogany brown glaze coloration. Sugar 3” diameter x 2” height; Creamer 3” height.

The Chipmunk Creamer and Sugar has been in production since the 1950s and here is an original set with label from the late 50s or early 60s. Labels of this style were not used after the 60s; the early ones were brown and white like this one, later labels had a metallic foil. The early sugar bowls (before 1971) looked like this without a lip at the point. Perfect condition. Creamer 3.5” height, sugar 4.5” length.

These pitchers, along with a much rarer sugar bowl, were made in the mid 1960s as a promotional item for Gladding’s Department Store in Providence. The Gladding’s bunch of grapes logo was the longest continuously used trade sign in American history, from its beginning in 1766 until the 1970s. This one has nice, clear definition of the grapes and leaves. 3.5” height.

These pitchers, along with a much rarer sugar bowl, were made in the mid 1960s as a promotional item for Gladding’s Department Store in Providence. The Gladding’s bunch of grapes logo was the longest continuously used trade sign in American history, from its beginning in 1766 until the 1970s. Nice deep brown coloration and fluid glaze over the grapes. 3.5” height

A covered pot for storage or serving in matte gray glaze with the lid in the form of a bunch of grapes with stem and leaf. These were made in the late 1960s and were inspired by our collaboration with Gladding’s Department Store in Providence. Gladding’s used the bunch of grapes as a logo, one of the oldest logos in the country.

5” diameter, 5” height

These are our time-honored design Chick Salt and Pepper in perfect condition. Salt has two holes and pepper has one (but feel free to reverse that). Beautiful and lustrous mahogany brown glaze. Each is about 3” in height; new cork stoppers.

Peter Pots pieces are rarely dated, but these Entwined Salt and Pepper shakers are dated 1976. It’s hard to believe they are forty-four years old, but they are. We were surprised to see we were making these as early as 1976. Lustrous dark and drippy blue glaze. Perfect condition, 3.25” height.

Items stamped with the Rhode Island Red and “peter pots providence” are among the earliest and rarest examples of Peter Pots, and date to either 1948 or 1949, when the pottery was made in the Meeting Street studio by Oliver Greene, Mary Ryan, and a few RISD friends. We would not sell this unless we had another, which we do, in our museum case at the showroom. This example is among the earliest examples of what be later called Seagull Blue glaze and the glaze color transition that became the most recognizable feature of all Peter Pots that followed.

3” x 4”

Items stamped with the Rhode Island Red and “peter pots providence” are among the earliest and rarest examples of Peter Pots, and date to either 1948 or 1949, when the pottery was made in the Meeting Street studio by Oliver Greene, Mary Ryan, and a few RISD friends. We would not sell this unless we had another, which we do, in our museum case at the showroom. This example is among the earliest examples of what be later called Seagull Blue glaze and the glaze color transition that became the most recognizable feature of all Peter Pots that followed.

3” x 4”

Mid-century Ashtray Design in Mahogany Brown.

7.5” x 6.5”

A mid-century ashtray in a leaf shape with a stylized cat decoration chosen to fit the outline of the piece. Quite heavy and solid product of a two-piece mold. Deep mahogany brown glaze.

4” x 6.5”

Mid-century ashtray in Mahogany Brown with molded-in stylized owl decoration chosen to fit the shape of the piece. These are heavy and substantial pieces made with a two-piece mold.

3.5” x 6.5”

The Giraffe Ashtray was a gem of mid-century design, from the asymmetrical trapezoidal shape to the stylized giraffe happily munching a branch. This is in early Seagull Blue, which has a cool gray tone. The kiln shelf pattern on the bottom and the signature identify this as a mid to late 1950s piece. 5.5” x 7.5”

Mid-Century Modern design at its peak! This ashtray was made in the 1950s and is one of only two we know of - the other is in our museum case in the showroom. Stylized animals were a favorite decorative motif for early Peter Pots pieces and the giraffe is well suited to this tall ashtray design. Solid and substantial in weight, perfect condition.

Set of four individually decorated cup lids from the 1980s. This was the early version of the cup lid and it fits all our current cup designs except the tea cup. (The new version fits everything.) Deep blue glaze, each about 3 1/4” diameter.

An early version of the same Triangular Salad Set we continue to make today. Based on the signatures and clay body color we estimate this to have been made about 1960 but it may be from the late 1950s. The muted seagull blue glaze tone is indicative of the age. The owner from whom we purchased this set claimed it had never been used, and the absence of wear supports this. A fine example of real mid-century modern design and craftsmanship, not a modern re-creation.

Our Large Oval Salad Bowl with decoration. These were made for a while in the late 1980s and each was decorated in a foliate pattern with a calligraphic pen. This one is perfect and has deep, rich coloration to the Seagull Blue glaze. Includes the original shipping box with the Rodman Noka sketch of Glen Rock Mill. 11” diameter.

Our Large Oval Salad Bowl with decoration. These were made for a while in the late 1980s and each was decorated in a foliate pattern with a calligraphic pen. This one is perfect and has deep, rich coloration to the Seagull Blue glaze. Includes the original shipping box with the Rodman Noka sketch of Glen Rock Mill. 11” diameter.

While we occasionally find Large Oval Salad Bowls with decoration, we rarely find one that was decorated personally by Peter Pots founder Oliver W. Greene. This example is of a bunch of grapes in his very recognizable loose freehand style. The set is in Mahogany Brown glaze and includes four individual salad bowls found with it. Large bowl is 11” diameter, 4” height.

While we occasionally find Large Oval Salad Bowls with decoration, we rarely find one that was decorated personally by Peter Pots founder Oliver W. Greene. This example is of a bunch of grapes in his very recognizable loose freehand style. The set is in Mahogany Brown glaze and includes four individual salad bowls found with it. Large bowl is 11” diameter, 4” height.

A few of these were made in the early 80s but this design saw very limited production. The inscription on the back indicates this is the first one made. It is in mahogany brown glaze over gray with sgrafitto decoration. This measures 10 to 10.5 “ in diameter and 2” deep.

A few of these were made in the early 80s but this design saw very limited production. The inscription on the back indicates this is the first one made. It is in mahogany brown glaze over gray with sgrafitto decoration. This measures 10 to 10.5 “ in diameter and 2” deep.

The Fruit Bowl was the largest bowl we made until the recent Benefit Street Bowl, and this example is a one-of-a-kind example with radial sgraffito decoration. This example is thought to be about forty years old. 11 1/4” diameter, 4 1/2” height.

A fabulously fun, one-of-a-kind fish hotplate from the late 1960s. In matte gray glaze with flowers in signature brown and blue. Nice large size. 11 1/2”x 9 1/2”

Peter Pots fish hot plates (or cheeseboards) were a hot commodity in previous decades. No two are alike and each reflects the style of the craftspeople working here at the time. This a cute example with a big eye and flowing inscribed scales.

7.5” x 10”

Here’s a secret: fish hot plates were made from dinner or luncheon plates that didn’t come out of the mold cleanly and were cut to shape while the clay was still leather-hard. This one was made from a luncheon plate. Peter Pots is rarely dated, but this one is. Matte gray glaze with blue details, 6” x 7.5”.

Here’s a secret: fish hot plates were made from dinner or luncheon plates that didn’t come out of the mold cleanly and were cut to shape while the clay was still leather-hard. This one was made from a luncheon plate. Peter Pots is rarely dated, but this one is. Matte gray glaze with blue details, 6” x 7.5”.

The little secret is that when newly-cast plates have an issue, they become Fish Hot Plates. This one is from the 1980s or 1990s and is in our modern Seagull Blue glaze. It also has a hole to allow it to double as a wall hanging when not in use. 5.5” x 7.7”

The Hanging Ivy Planter was made in the 1970s, It was dipped in a matte gray glaze and the flowers were painted on using our standard blue and brown glaze colors. Signed “Peter Pots” by Janet Pinsonnault, a RISD grad who also did the distinctive brushwork. These originally had a rawhide hanger. About 5” tall, 3 1/2” diameter.

Hanging Ivy Planter in a matte white glaze featuring a hand painted floral decoration. No drainage hole, so it’s ideal for propagation or air plants. Rare!

5.5” tall x 3.5” wide

This rare design was a predecessor to the later hanging ivy planter with a flared top and is the only one of its kind that we know of. It is a simple egg shape with the standard Mahogany Brown over gray glaze. This example is perfect and retains it original rawhide cord.

3.2” diameter, 4.5” height

Grape Bunch Hanging Ivy Planter design in a glossy blue-white glaze. No drainage hole, so it’s ideal for propagation or air plants. 6.5” long x 3” wide.

An early version of our present-day Oval Planter, this design was made to also hold floral design foam when Peter Pots included the Warwick RI flower shop. This one is in a very rare low-luster matte gray-green glaze with a waxy feel. We have not seen another like this. Signed “Peter Pots Flowers”. 6.5” x 4.5” x 3.5” height.

An early version of our present-day Oval Planter, this design was made to also hold floral design foam when Peter Pots included the Warwick RI flower shop. This one is in a very rare low-luster matte gray-green glaze with a waxy feel. We have not seen another like this. Signed “Peter Pots Flowers”. 6.5” x 4.5” x 3.5” height.

This oval planter or flower container in Mahogany Brown was designed to hold flower-arranging foam but can also be used with a flower frog or potting soil. Note that it does not have a drain hole, so use gravel in the bottom with potting soil.

6.5” x 4” x 3.5” height

This floral vase flares gracefully from a rounded rectangular base to a full oval top. These were made in very limited quantity when the Warwick showroom also included a flower shop: naturally we had to make our own containers. This is the same matte gray glaze used on many of our banks of the period. Dates from 1971 or earlier based on the signature. 5 1/2” height, 6” top diameter.

The first generation of the Oliver Watson House Bank from the 1960s with matte gray glaze and the remnants of a Peter Pots label. These were petite, measuring 3.25” x 2.75” x 3.25” tall. The Oliver Watson House is the farmhouse that stands in the middle of the URI campus. The 140-acre farm and house were purchased by the state in 1888 for $5000 for the new agricultural college. We actually purchased the house in the early 1960s with the intention of moving to the pottery mill site, but the URI community decided to keep it on the campus and restore it.

Our splatterware glaze has become a mainstream item, but in the 1980s it was still in the early experimental stage. This Thumbhole Mixing Bowl features one of the first attempts at splatterware with a brown underglaze and blue and white splattered on. Certainly a one-of-a-kind example. 9” diameter, 5” height.

Dating from back when we were developing our current Spruce Greene glaze, a few variations of the new green were tested. This one was a darker green than we were hoping for, but it’s an interesting, one-of-a-kind piece. Unfortunately it developed a small crack (upper right) during firing. About 6 1/2” at its widest.

The Footed Bowl was nearly introduced about a decade ago, but since we already had too many bowls in the lineup, it was never put into production. Cute as it was, only two or three were ever made, making it an instant rarity. Mahogany brown glaze, 4” height, 4 1/4” top diameter.

The Gaspee Flask was made to commemorate the 200th anniversary of the burning of the British revenue ship HMS Gaspee in Narragansett Bay in June of 1772. This act of violent defiance of the Crown was one of the first hostilities of the Revolution and predated the Boston Tea Party by six months. The Gaspee Flask is in unglazed redware with a matte gray glaze ring at the neck. 6” height, 5” wide, 3 1/2” depth.

The Gaspee Flask was made to commemorate the 200th anniversary of the burning of the British revenue ship HMS Gaspee in Narragansett Bay in June of 1772. This act of violent defiance of the Crown was one of the first hostilities of the Revolution and predated the Boston Tea Party by six months. The Gaspee Flask is in unglazed redware with a matte gray glaze ring at the neck. 6” height, 5” wide, 3 1/2” depth.

This Gravy Set is comprised of a medium-sized Pitcher Bowl and Off-Center Saucer in a rare Birch Glaze. Circa 1950’s or 60’s. One and only one available!

Pitcher Bowl: 5.5” long x 5” wide, 3.5” tall

Off-Center Saucer: 7.75” long x 5.5” wide

Truly a one-of-a-kind rarity, this is our early style of scallop bowl made in a white porcelain clay body with an experimental green glaze. There were many experiments in green glaze over the decades, all of which were predecessors to our current Spruce Greene glaze. This example is the only combination of green glaze and white clay body in existence and dates from the 1990s.

5.5” across, 2” in height

Finished in a low luster matte gray glaze, this piece was held by the handle and dipped in glaze, which is why the handle is unglazed. The body of this piece is a deep red stoneware clay. We know this dates to 1971 or earlier by the signature on the bottom by Mrs. Carsten , who worked here through the 1960s until the 1971 fire. 5” height, perfect condition, new cork stopper.

The early version of our current celery dish was this remarkable example of mid-century modern design from the very early 1950s. This version was heavier and more rounded on one end and thinner and more elongated at the other, reminiscent of a sleek sailboat hull design. We believe this design was made at the current West Kingston studio during or after 1954, as it is not marked “peter pots of providence”, but it was out of production by the mid 1950s, when the more symmetrical design was offered.

11” long, 4” wide, 2” height

With its deep red clay body and deep blue glaze, this celery tray dates from the 1960s and is the same design we make to this day. This one has a nice early appearance to it with a gray underglaze and a charmingly textured surface. 12 3/4” long, 3 3/4” wide, 1 1/4” height.

An interesting concept that never made it to production, there was something intriguing about a dessert plate that was the same shape as its contents. It has a handle at the stern for easy piloting of the cargo. It may simply have been ahead of its time. 7.5” vessel length, 4.5” beam.

Once upon a time (about sixty years ago), Peter Pots casseroles were round instead of the familiar oval shape they have been since the later part of the 1950s. Surviving examples are increasingly hard to find, but we have been fortunate enough to unearth three in recent years. On each the lid has our familiar glaze pattern, the interior is gloss white, and the exterior is matte gray. We are not sure who signed them, but the same distinctive handwriting is found on each. This one has Seagull Blue glaze on the lid. 1 1/2 quart capacity, 7” diameter, 5” height.

Once upon a time (about sixty years ago), Peter Pots casseroles were round instead of the familiar oval shape they have been since the later part of the 1950s. Surviving examples are increasingly hard to find, but we have been fortunate enough to unearth three in recent years. On each the lid has our familiar glaze pattern, the interior is gloss white, and the exterior is matte gray. We are not sure who signed them, but the same distinctive handwriting is found on each. This one has Seagull Blue glaze on the lid. 1 1/2 quart capacity, 7” diameter, 5” height.

Once upon a time (about sixty years ago), Peter Pots casseroles were round instead of the familiar oval shape they have been since the later part of the 1950s. Surviving examples are increasingly hard to find, but we have been fortunate enough to unearth three in recent years. On each the lid has our familiar glaze pattern, the interior is gloss white, and the exterior is matte gray. We are not sure who signed them, but the same distinctive handwriting is found on each. This one has Seagull Blue glaze on the lid. 1 1/2 quart capacity, 7” diameter, 5” height.

The same Single Vegetable Bowl design we make today but this one is over fifty years old. It is delightfully out of oval and has a deep lustrous surface. Like the best of the mahogany brown glazed examples, this one shades from beep brown to medium brown with pearls of aqua as it fades into the white. Perfect condition; no scratches or wear. 8” x 6.75” x 3” height.

The same Single Vegetable Bowl design we make today but this one is over fifty years old. It is delightfully out of oval and has a deep lustrous surface. Like the best of the mahogany brown glazed examples, this one shades from beep brown to medium brown with pearls of aqua as it fades into the white. Perfect condition; no scratches or wear. 8” x 6.75” x 3” height.

If you like the idea of a UFO landing on your dining table, the Trianglular Centerpiece Bowl Candleholder is for you. It is a perfect match for our Large, Medium, and individual Trianglular Bowls. Mid-century in design, but created in the 1990s, it is in Mahogany Brown and holds three standard taper candles. This is the only one we know of. About 9” across and 4” in height.

If you like the idea of a UFO landing on your dining table, the Trianglular Centerpiece Bowl Candleholder is for you. It is a perfect match for our Large, Medium, and individual Trianglular Bowls. Mid-century in design, but created in the 1990s, it is in Mahogany Brown and holds three standard taper candles. This is the only one we know of. About 9” across and 4” in height.

A very early rectangular dish in a deep red clay with mahogany brown glaze. Offered in the early 1950s for serving candy, nuts, or even cigarettes, it was not in production by the time of the first catalogs of the later 50s.

3.5” x 4” x 1.4” height

A matching pair of Egg Birds from the 1980s in Mahogany Brown. The Egg Bird was an egg cup (for hard or soft-boiled eggs) with a hollow body that could be filled with hot water to keep the eggs warm. A brilliant idea and they are pretty darned cute, too.

5” length

A matching pair of Egg Birds from the 1980s in Seagull blue. The Egg Bird was an egg cup (for hard or soft-boiled eggs) with a hollow body that could be filled with hot water to keep the eggs warm. A brilliant idea and they are pretty darned cute, too. Cork stoppers included.

5” length

The Herb Jar is certainly a rarity, having been known until now only in a late 1950s catalog, when it sold for $1.50. The ringed design makes for easy handling and provides an effective seal for the cork. The handwriting of the signature on the base is thought to be that of Bob James, who was doing the smoothing and signing at that time. Nice drippy brown glaze, 4” height, 2 1/2” diameter.

The Bun Basket was a piece made in the 1980s and 90s for serving and passing buns or muffins (or anything, really). This one has the original splint handle (small repair to handle on one side), so be careful overloading it. About 6” in diameter, 4” high basket, 9” with handle.

Perfect matched pair of early candle holders made in the late 50s or early 60s, made at the same time and with matching glaze character. Very little mahogany brown glaze on the exterior, as was typical of this era.. The early candle holders were delicate and brilliant examples of mid-century modern design. They were redesigned after the 1971 fire and lost their endearing proportions. We’ll include a pair of candles in your choice of color. 4.25” height.

Perfect matched pair of early candle holders made in the late 50s or early 60s, made at the same time and with matching glaze character. Very little mahogany brown glaze on the exterior, as was typical of this era.. The early candle holders were delicate and brilliant examples of mid-century modern design. They were redesigned after the 1971 fire and lost their endearing proportions. We’ll include a pair of candles in your choice of color. 4.25” height.

Made in the late 1950s or early 1960s, this single cruet in mahogany brown glaze has rich glaze dripping around the handle and the aqua pearls where the brown flows into the white. It is a timeless form and still has its original cork stopper and wire loop finial. Charming and quirky. 7” overall height.

Certainly a very rare bird, the Candle and Flower Holder was made in the mid-1950s in limited quantity. The center holds a candle (with large base) and the six smaller holes are for short flowers. This piece has the light tan clay body and signature of 1950s pieces. 4.5 inches in diameter, 3 inches tall.

Certainly a very rare bird, the Candle and Flower Holder was made in the mid-1950s in limited quantity. The center holds a candle (with large base) and the six smaller holes are for short flowers. This piece has the light tan clay body and signature of 1950s pieces. 4.5 inches in diameter, 3 inches tall.

This is the only individual oval casserole we have ever seen. It dates from the late 1950s or early 1960s. The base is white on the outside and black on the interior. The brown glazed top has the beautiful and desirable aqua “pearls” where the brown glaze flows into the underlying white. Quite a rarity. Just a little gem. Approx. 6” x 6” x 3” height.

This is the only individual oval casserole we have ever seen. It dates from the late 1950s or early 1960s. The base is white on the outside and black on the interior. The brown glazed top has the beautiful and desirable aqua “pearls” where the brown glaze flows into the underlying white. Quite a rarity. Just a little gem. Approx. 6” x 6” x 3” height.

This is the only individual oval casserole we have ever seen. It dates from the late 1950s or early 1960s. The base is white on the outside and black on the interior. The brown glazed top has the beautiful and desirable aqua “pearls” where the brown glaze flows into the underlying white. Quite a rarity. Just a little gem. Approx. 6” x 6” x 3” height.

The Divided Condiment Dish was in production from the 1950s until the early 1970s. This example is from the late 50s and is noteworthy for its pale blue-gray glaze. Seagull Blue glaze, a name we still use today, was originally named that because of this distinctive tone. Later versions were made with a one-piece mold and show the divider on the underside; this is the early two-piece mold version. The Divided Condiment is a striking mid-century design. 12” long, 5” wide.

An original set of our award-winning decanter and cups as displayed at the Museum of Modern Art’s Good Design Show in 1953. This set is in Mahogany Brown and dates from the 1960s. The wire cork handle is original. Decanter overall height 14”

Peter Pots Pottery made the Column Lamp design from time to time from the 1960s through the 1990s. These were usually made in our standard Seagull Blue or Mahogany Brown glazes, but this is thought to be the only pair made in a matte green glaze. Green glazes were always experimental and were used on very few pieces. Though undated, we believe are about forty years old. Overall height 22”, shade diameter 15”, base 13” height, 6” diameter.

This one-of-a-kind bowl, made at about the same time as the Fish Hotplate, began life as a Large Triangular Salad Bowl. Decorated in our Seagull and Mahogany over the 1960s matte gray glaze. The colors and signature indicate this was made in the late 1960s. We’ve never seen any other like this and there never will be another. Perfect condition, 11 3/4” x 8 1/4” x 2 1/2” in height.

This set of three wheel-thrown demitasse cups were made by Janet Pinsonneault, a RISD-trained potter at Peter Pots for thirty years beginning in the early 1960s. Her pieces were made in her home studio, just a short distance from the pottery and were signed Jan P. Pots. Rather than her usual mugs with carved decoration, this set of a smaller size has brushed decoration, likely from her earlier years and likely a one-of-a-kind set. Each is about 3” in diameter and 2 1/2 inches in height.

A set of six cup plates, each with sgraffito decorated matte gray and blue glaze. These were made in the 1970s, and while similar, no two were the same. These vary in size from 3 1/4 to 3 1/2 inches in diameter. All are signed Peter Pots and were made at about the same time.

Until we found this, the original Meeting Street lamp was known to us only through photos from the very early days of Peter Pots. The photos were taken about 1950 at the first studio, a walk-out basement space on Meeting St. in the shadow of Rhode Island School of Design, rented for $75 a month. The mid-century modern shape of the original lamp was so captivating that we re-introduced the design (without the cutouts) in 2017. The timeless simplicity of the 70-year-old design made the “new” Meeting Street Lamp an immediate success. Here is a perfect and original lamp from the 1950s in matte gray glaze with cutouts on three sides. It has been rewired with all new components and includes an LED bulb and new off-white linen shade. Overall height 21”, shade diameter 15”, base 12” height, 6” diameter.

This is a beautifully designed creamer or pitcher from about 1970. We’ve made a large variety of pitchers over the decades, but this one is one of the most pleasing designs with a classical shape and fluid handle. We should make these again. Perfect condition, 20 oz. capacity, 4.7” height.

It’s a centerpiece bowl and a triple candleholder in one mid-century design! Imagine the possibilities of flowers, either cut or floating, with lighted candles. A very few of these were made in the 1990s, and this is the first one we’ve had in Seagull Blue glaze. Perfect condition. About 9” across and 3 1/2” in height.