In the 1930s, 1940s, and into the 1950s, many of the Frankoma glazes undoubtedly were considered outstandingly modern as were many of the Frankoma shapes. Unfortunately, cycles in color preference and the absolute abundance of Frankoma has bred a familiarity accompanied by almost contempt, mostly among today's modernists. I once felt the same way, but I realized that I had inherited that opinion as well as a biased sensibility about certain colors that seem to be influenced by several decades of fashion.
Several years ago, I decided to make a new assessment of my personal collecting choices. During that time, I considered Frankoma and its product. It was and is my conclusion that the glazes utilized during the first two-three decades of Frankoma represent some of America's finest ceramic finishes ever to grace artware. There were almost 60 different glazes utilized. About half or more are pure genius. Many of these glazes interact with the native American soil to produce a product in which each piece of dinnerware, sculpture, and artware is uniquely different. It's my conclusion that Frankoma product from the mid-1930s to the mid-1950s represents some of the finest and first examples (especially the earliest ware) of modern pottery & dinnerware that represented "American" innovation and style, largely devoid of off-continent influence. Frankoma product was uniquely American at a time when imports were largely revered and American product hadn't discovered its own soul.
A Very Brief History of Frankoma through the 1950s
John Frank was admitted to the prestigious Chicago Institute of Art in 1924, despite a serious lack of money. He was able to work his way through school by doing a variety of jobs around campus, one of which included assisting Professor Myrtle Meritt French, nationally noted ceramic artist and head of the ceramics department. Professor French recognized John Frank's extraordinary talents early on and he was given intensified instruction in clays and glazes. During John's enrollment at the Chicago Institute of Art, he excelled in many areas. In 1927 his jewelry won the Herper Award for Excellence in Craftsmanship. This was just one of many awards that would be received by Frank during his career. Dr. Charles F. Binns of Alfred University, for whom the highest medal of ceramic excellence is awarded, also influenced the early work of Frank.
Frank's work has been displayed, in museums both nationally and internationally. Of particular interest was the decision by Dr. Ballardini in the 1950s to permanently display current Frankoma production in the modern pottery section of the Museo Internazionale Delle Ceramiche in Faenza.
John Frank's talent in the ceramic arts was felt to be so exceptional, upon graduation, he was wisked away in 1927 to the University of Oklahoma to establish a ceramics department. I actually ran across a trade journal photo of Frank with his students during these early years. The rutile glazes were developed by the renown Charles Harder at Alfred University in 1926 and provided the basis from which many Frankoma glazes were developed. The rutile glazes were applied in varying thicknesses based on the clay. The body would be visible through much of the glaze and produce a mottled, multi-toned affect. Each piece of dinnerware has its own unique personality derived from application, combining, and firing variations. No two pieces were ever alike.
By 1933, John entered the business world, operating under the name "Frank Potteries" from the summer of 1933 to early 1934. This one-kiln pottery was located in Norman, Oklahoma and the Frank's earliest tools were often improvised.
John continued to teach, carrying on his business at nights and on weekends. In 1934 John obtained some of his earliest work orders from the Chicago Gift and Art show. Students would often assist him in their endeavors during this period.
In early 1936, John Frank resigned from the University to devote his full time to Frankoma Potteries. Capacity of the Norman plant was 5,000-8,000 pieces per month and increasing demand necessitated the construction of a larger facility. Frankoma preferred to sell to one dealer account in a community or "trade area" and prided itself on its repeat business.
It would supply the dealer, free of charge, ads that could be used in newspapers, gift cards, and pottery counter display signs. Up until now, Frankoma had been sold through more than 650 stores domestically and also sold abroad. Business doubled each year until 1941, with production reaching 300,000 pieces annually.
By November, plans were to continue expansion, doubling production within 18 months. However, America's involvement in World War II, would soon change those predictions. Material restrictions during this time made it very difficult for the Frankoma to flourish. This was also true for many other American dinnerware manufacturers. However, by 1942, the number of employees had grown over the previous three years from six to forty. The prior year, 40,000 pieces of artware were sold just to highway travelers. Frankoma managed to survive the war years, and by March 1954, Frankoma Pottery boasted 70 employees and a thriving business. By 1957, the Ceramic Industry headlined the Frankoma product as "nationally famous."
The information in this article has been derived from a number of trade articles, correspondence with Donna & Joneice Frank and Donna Frank's book, Clay in the Master's Hands. Thanks to Christopher Worth for permitting links to photos and providing the Aztec cruet and Cowboy photos.
Frankoma Pottery for sale by Christopher Worth
Other items around the web:
Frankoma on eBay
Frankoma Family Collectors Association
Frankoma Pottery This is the pottery as it continues today, after having been acquired in the 1990s.
