Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
  • Load image into Gallery viewer, Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
  • Load image into Gallery viewer, Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
  • Load image into Gallery viewer, Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
  • Load image into Gallery viewer, Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)
  • Load image into Gallery viewer, Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)

Melon Teapot #2 with Post-and-Lintel Handle in Cobalt, and Ash Glazes, 8.5"h (Ben Owen III)

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   A unique teapot design influenced by Ben’s time in Japan.  Ben only makes these occasionally due to the time and process to make the post-and-lintel handle.  The color is a blend of iron-and-mica-enriched clay, with applied Ash, and Cobalt glazes.  
   Fully functional, this teapot is safe for liquid use and is dishwasher- and microwave-safe.  Be sure to temper the teapot before adding hot water to steep the tea leaves.  Do not place the teapot directly on the stovetop as heat shock will occur. Measuring 7.75”l x 5.25”w x 8.5”h. 
Please Note: What appear to be white spots on the surface are reflections from photo lighting.

    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 created 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.

This piece is hand-signed by Ben Owen III with the year made (2024).