Frankoma cream and sugar
Frankoma Pottery's Last Days
It was announced in Kovel's Komments on May 18, 2011 that an auction would be held beginning that day as a final close-out sale of the pottery's contents, including unfinished pieces. Kovel's notes that the Frankoma name and the master molds will be sold separately, which indicates there might be an attempt to bring back the "old" pottery with reproductions. The pottery itself closed in the spring of 2010.
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John Frank, originator of Frankoma Pottery, came to Oklahoma from Chicago in 1927. He taught Art and Pottery at the University of Oklahoma while at the same time working with a geological survey which unearthed Oklahoma's clay deposits. These simultaneous pursuits were the inspiration for his leap into entrepreneurship. In 1933, equipped with one small kiln, a butter churn for mixing clay, and a fruit jar for grinding glazes, John Frank and his wife Grace started "Frank Potteries" in Norman, Oklahoma. This first attempt did not succeed right away, perhaps because he continued teaching at the University. Three years later he resigned his teaching position, and the pottery business was renamed "Frankoma" by combining their last name with the last three letters of Oklahoma. By 1938 the studio had become too small, and the factory was relocated from Norman to its present location in Sapulpa.
John and Grace Frank were determined to use Oklahoma clay for their pottery. At first, a white clay from Ada was used. In 1954, a red clay found at Sapulpa's Sugar Loaf Hill became the base for all Frankoma Pottery, giving it a distinctive terra cotta coloration under the glazes.
Perhaps because Oklahoma was still close to its early history of pioneers and Native American spirit, Frankoma pottery took much of its design inspiration from traditional Native American art and its ruggedness and simple functional durability from the spirit of the pioneers. Motifs of the Great American Southwest were also popular themes.
The colors reflected the colors of the prairie: greens, tans and sand. This green is not the "matte green" of other art pottery popular at the time as found in Roseville, Van Briggle, Marblehead or Teco. It is a distinctive olive green closer to the color of prairie grass. The tans and sand colors are exclusive to Frankoma as well. Manufactured by a unique process, the clay body and colored glaze are fused and fired at the maturing point of the clay. The clay body tempers as it cools.
The glazes have changed throughout the years due to using the red clay of Sapulpa instead of the white Ada clay. The most recognizable colors are Prairie Green and Desert Gold, but other glazes include yellow, black, brown satin, flame, peach, robin's egg blue, white/sand, and moss green.
The early wares from Ada clay are marked with a "pacing leopard" and date from 1936 to 1938. Limited editions and all southwestern themed wares are increasingly collectible. Other themes include political mugs, bicentennial plates, ceramic Christmas cards, wildlife, Bible plates, and special editions such as those made for Oral Roberts University. Pitchers, candlesticks, salt and pepper shakers, trays and trivets, bun warmers, plaques and honey pots can be found as well.
This beautiful pottery has been prized by collectors and received increased publicity from exposure on television shows, by Martha Stewart's private collection, and in antique and collectible markets throughout the US. It has always been an affordable purchase for fans of the uniquely American pottery, and it is both beautiful and functional, since it is dishwasher safe, ovenproof and microwaveable.
Perhaps there will be a future for Frankoma, but whatever that future might hold, its past will always represent the heart of American craftsmanship and spirit.
John and Grace Frank were determined to use Oklahoma clay for their pottery. At first, a white clay from Ada was used. In 1954, a red clay found at Sapulpa's Sugar Loaf Hill became the base for all Frankoma Pottery, giving it a distinctive terra cotta coloration under the glazes.
Perhaps because Oklahoma was still close to its early history of pioneers and Native American spirit, Frankoma pottery took much of its design inspiration from traditional Native American art and its ruggedness and simple functional durability from the spirit of the pioneers. Motifs of the Great American Southwest were also popular themes.
The colors reflected the colors of the prairie: greens, tans and sand. This green is not the "matte green" of other art pottery popular at the time as found in Roseville, Van Briggle, Marblehead or Teco. It is a distinctive olive green closer to the color of prairie grass. The tans and sand colors are exclusive to Frankoma as well. Manufactured by a unique process, the clay body and colored glaze are fused and fired at the maturing point of the clay. The clay body tempers as it cools.
The glazes have changed throughout the years due to using the red clay of Sapulpa instead of the white Ada clay. The most recognizable colors are Prairie Green and Desert Gold, but other glazes include yellow, black, brown satin, flame, peach, robin's egg blue, white/sand, and moss green.
The early wares from Ada clay are marked with a "pacing leopard" and date from 1936 to 1938. Limited editions and all southwestern themed wares are increasingly collectible. Other themes include political mugs, bicentennial plates, ceramic Christmas cards, wildlife, Bible plates, and special editions such as those made for Oral Roberts University. Pitchers, candlesticks, salt and pepper shakers, trays and trivets, bun warmers, plaques and honey pots can be found as well.
This beautiful pottery has been prized by collectors and received increased publicity from exposure on television shows, by Martha Stewart's private collection, and in antique and collectible markets throughout the US. It has always been an affordable purchase for fans of the uniquely American pottery, and it is both beautiful and functional, since it is dishwasher safe, ovenproof and microwaveable.
Perhaps there will be a future for Frankoma, but whatever that future might hold, its past will always represent the heart of American craftsmanship and spirit.