Niloak Vase

The object I chose is a 6.5-inch-tall ceramic vase in the shape of a squirrel. In our Honors College forum, Artifact, we used this piece for a class activity, and I instantly fell in love with it because it is so cute. I wondered why a seemingly simple clay squirrel would be in the University of Arkansas’s museum and wanted to learn more. You might be surprised to learn what I found about this symbolic piece of art.

My first step on my mission to discover more was examining the object itself. The pottery has a greenish tint but has not been covered in a glaze. The color comes naturally from the clay itself. Its deepest green is on the tail of the squirrel, and it fades into a natural tan color as it moves downward like an ombre. Slight ridges over his tail and body serve to allude to fur. This texture leads to striations in the coloring, making the ridges less green and more tan instead. The squirrel stands on his two hind legs and holds what appears to be an acorn in his two front paws. His tail reaches upward, alert. A small scratch leaves white lines on the squirrel’s hind right leg. An emblem sticker on its chest marks this work as having been created by Niloak potteries in Benton, Arkansas. The opening of the vase is made from cutting out the squirrel’s upper left back and tail. The opening of the vase takes up roughly ⅙ of the squirrel’s surface area. His insides are hollow; the clay is approximately 1 centimeter thick all the way around. Some dirt and dust cover the inside base from years of sitting on the museum’s shelves. The squirrel appears to look outward and tilts his head slightly to the right.

The vase has a notable mass but is reasonably light weight. It would be safe to wager eight and older would be trusted to hold this piece. While a vase serves a function of holding an object or liquid, the squirrel shape is purely aesthetic. The shape is meant to inspire charm and be admired for being cute. The vase does not have a functioning spout. Its most probable use would be to hold flowers or possibly keys or pencils. It is not large enough to hold anything of substantial size, but in her article “Niloak of the Ozarks,” Tina Richey supposes it is a planter.

It is a well-made piece. It has an even thickness and a smooth surface besides the intentional ridges. One can see its aesthetic value despite its non-apparent application purposes. An initial reaction to it would be joy and charm at this cute creature.

Mary D. Higgins donated this piece along with hundreds of other Niloak pottery in 1975. This piece was made on a potter’s wheel and, while unglazed, is made of swirled clays to produce color. Niloak pottery is highly regarded due to its homemade nature. All pieces are lovingly made by hand with clay directly from the earth. Archibald tells in his article, “Century of Niloak,” that the name “niloak” is taken from the type of clay of which it is made, Kaolin, a non-plastic clay. Bullet Hyten led this company that flourished in the early 1900s even in the midst of the recession, even becoming the sole pottery company in Saline County. “Niloak” was trademarked in March 1925 (Richey). Hyten and his family made far more than vases, from chairs to clocks. No two pieces are alike which makes them highly collectible. The clay was fired in a state-of-the-art down-draft kiln which “causes the flame to pass out through the floor” (Facts about Niloak). Nearly disastrous fires tried to consume their craft, but they were consistent in never ceasing to create new pottery to sell. During World War I, an exhibition was made entirely of Niloak pottery. It was not expected to be a big success due to the social and political climate at the time, but the ceramics sold incredibly well. Niloak has certainly created a legacy of resilience and strength in the face of adversity.

The company was most known for inventing a swirled pattern that many competitors made shotty replicas of. Certains pieces can reach upwards of $1,000 in auction. These works help represent the pride of Arkansas. The donor was very pleased to be giving the gift of her Niloak collection knowing that it would be admired by Arkansans. You can also purchase your own piece of Niloak pottery from their website!

At first glance, one may not see the pride and heritage held in this simple vase, but, as argued in Gerritson and Riello’s article “Material Culture History: Methods, Practices and Disciplines,” it is the human value placed on an object that matters most. This unique method of pottery, originated in Arkansas by an Arkansan that many around the world have tried and failed to imitate, has created a pride that runs deep in this state. It has become a part of culture, not for what it is but for what it stands for. It is a tangible example of the talent and potential that we have as Arkansans.

Bibliography:

Archibald, John J. “Century of Niloak.” Antique Trader, 18 August 2010.

“Facts About Niloak.” Brown Robertson Company.

Gerritson, Anne and Riello, Giorgio. “Material Culture History: Methods, Practices and Disciplines.” Writing Material Culture History. 2nd ed., Bloomsbury.

Higgins, Mary D. Letter to Director of Museum, University of Arkansas, Fayetteville, Arkansas. 26 December 1974.

Richey, Tina A. “Niloak of the Ozarks.” Antiques & Collecting Magazine, vol. 105, no. 7, 200, pp. 38.

Storey, Cecilia. “Niloak Pottery Gets its Due with Collector’s Value Guide.” Arkansas Democratic- Gazette.