Discover a pottery lineage spanning three generations in this elegant egg vase, a form Ben Owen III returns to again and again. Inspired by the revered Mei Peng aesthetic of classical Chinese ceramics, its refined contours bring sophisticated beauty to shelves, mantels, and tables. A newer variation, with a wider contour atypical of Mei Peng, this handmade piece strikes the perfect balance between presence and restraint. Each vase carries the mark of authentic artisanal creation—a vessel that honors tradition while standing as a contemporary work of functional art in your home. Measuring 5.75”w x 8.25”h.
Please Note: What appear to be white spots on the surface are reflections from photo lighting.
Salt Glaze
Salt Glaze was first discovered by German potters in the late 14th century. Due to the high firing temperatures, stoneware clays are required. The pieces can be handled and decorated with clay slips of many different colors, or, glazed partially with Cobalt Blue Glaze. The surface may resemble the texture of an orange peel. This was an early glaze used by settlers during the 19th century in the Seagrove area. Many of the pieces Ben makes in Salt Glaze are functional, even the more decorative large-scale pots.
Yellow Matte
The inspiration behind the Yellow Matte Glaze was to create a smooth, “soft” surface on the pots that would be a change from the glossy finishes typical in the Owen family of glazes. From looking at surfaces created during the wood firing process, Ben wanted to recreate a similar surface but with the option to make it uniform or add an accent by spraying on the clay surface. The yellow pigment is made from iron oxide and the matte finish is created from the use of magnesium and strontium in the glaze.
Cobalt Blue
The Cobalt Blue glaze has been used by the Owen family for over four generations. Early salt glaze wares made in the late 1800s were decorated with a cobalt blue glaze over the grey salt finish. Over the past 50 years, Ben Owen Pottery has made some cobalt-glazed pieces using a uniform coating of the glaze on the surface of the pots. Today, Ben uses a glaze similar to the older, original glaze. This newer Cobalt Blue is glossy and reveals a depth to the finish. Sometimes, the Cobalt Blue is used to accentuate pieces that are fired in the wood kiln. These are called multi-layered glazes.
Ash Glazes
Ash glazes allow us to “let the kiln be the paintbrush” by relying on the wood-firing process as the glazing agent. Most pieces dedicated to Ash glazing are placed in the kiln with little to no glaze applied to the exterior. During the firing process, the wood is stirred occasionally in the firebox to give flight to the flakes of ash that are produced during the firing. Airborne flakes cling to the exposed areas of the pot and accumulate over time. As the kiln reaches 2300° Fahrenheit, the accumulated ashes begin to melt and form a natural glaze. When the wood-burning kiln is heated to over 2400°, the wood ash liquefies and runs down the side of the pot like honey. Ash may also be layered over other glazes. For example, when Ben was in college, he was introduced to a spraying technique using an air-driven spray gun that some potters use to build up layers of glazes on the clay surface. With some experimenting, he was able to create a variety of finishes using accents of 3 to 4 different colors. A glaze made from ash can be used as a top coat to blend or bleach the underlying colors. Some finishes are a base of an iron yellow with cobalt blue or copper green covering. Other colors of orange to silver can develop from the colors overlapping. No two pieces are exactly alike. Ben frequently places these in the wood kiln to accentuate the colors.
Multi-Layer Glaze
When Ben was in college, he was introduced to a spraying technique using an air-driven spray gun that some potters use to build up layers of glazes on the clay surface. With some experimenting, he was able to create a variety of finishes using accents of 3 to 4 different colors. A glaze made from ash can be used as a top coat to blend or bleach the underlying colors. Some finishes are a base of an iron yellow with cobalt blue or copper green covering. Other colors of orange to silver can develop from the colors overlapping. No two pieces are exactly alike.
This piece is hand-signed by Ben Owen III with the year made (2025).