Collection Guide
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Heath (Brian & Edith)/Heath Ceramics Collection
2011-1
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Table of contents
Language of Material:
English
Contributing Institution:
University of California, Berkeley. College of Environmental Design. Environmental
Design Archives
Title: Brian Edith Heath/Heath Ceramics Collection
Creator:
Heath, Edith
Creator:
Heath, Brian
Identifier/Call Number: 2011-1
Physical Description:
57 Cubic Feet
17 cartons, 11 document boxes, 1 "shoe" box, 2 photo boxes, 1 CD
box, 5 small flat boxes, 5 medium flat boxes, 2 large flat boxes, 6 artifact boxes, 5 flat
file drawers.
Date (inclusive): 1911-2010
Date (bulk): 1940-2000
Language of Material: English
Abstract: Documents the
Heath's personal lives and the progression of Heath Ceramics. The collection consists of
nine series: Personal Papers, Professional Papers, Office Records, Project Records, N.S.
Gustin, Ione Factory, Tahlequah Factory, Art and Artifacts, and Additional Donations.
Included in these series are correspondence, art work, photographs, slides, drawings,
production records, and samples of tile and stoneware.
Collection is open for research.
All requests for permission to publish, reproduce, or quote from materials in the
collection should be discussed with the Curator.
[Identification of Item], The Brian and Edith Heath/Heath Ceramics Collection, [2011-1]
Environmental Design Archives, University of California, Berkeley.
Edith [Kiertzner] Heath was born on May 25, 1911 (official birth certificate date,
alternative date is May 24, 1911) in the farming community of Ida Grove, Iowa the second of
seven children born to Danish immigrants. Early in life Edith often took on a mothering role
with her siblings, a theme that would continue throughout her life and laid the foundation
for her decision to become a teacher. Brian was born on October 6, 1913, in Bridgeport,
Connecticut.
At the age of 20, Edith began taking classes at the Chicago Teachers College
from 1931-1934. While in school, she lived in the Howell Neighborhood Settlement House where
she taught for room and board. Upon graduating she worked for the WPA's Federal Art Project,
teaching art in the settlement houses around Chicago. Edith simultaneously enrolled
part-time at the Chicago Art Institute (1934-1940) taking classes that inspired her love of
art, especially working with clay.
In 1938, while working for the Federal Art Project at a
summer camp in Batavia, Illinois Edith met Brian; he was employed as a social worker for the
Red Cross. The pair married later that year.
In 1941 the couple moved to California, settling in San Francisco. Edith taught children's art classes at the Presidio Hill
School
while taking courses at the San Francisco Art Institute and studying ceramic chemistry at
the University of California, Berkeley Extension. It was here she began developing a deep
understanding of raw materials that prompted her to experiment with clay and glaze formulas
throughout her career. In the beginning, Edith and Brian would drive to different clay pits
to gather materials that she would experiment with in the kitchen of their Julia Morgan
designed San Francisco apartment.
A chance meeting with the acting director of the San Francisco Palace of the Legion of Honor at a San Francisco gallery led
to Edith's first solo
show Ceramics in 1944. It was this exhibit at the "Legion" that attracted attention from
Gump's, a San Francisco department store. A store with exclusive clientele, Edith was
offered space in their ceramics studio to create handmade pieces fro them to sell.
In 1946 Brian and Edith with Eral and Kenny Leek bought a barge, the Dorthea, had it docked at the
Sausalito shipyard, and designed and built living spaces on it. Three years later they moved
it to Paradise Drive on the shores of Tiburon where Edith, in collaboration with landscape
architect Robert Royston designed the outdoor living spaces. This houseboat attracted much
attention in the local and design community. Eventually, the Heaths bought out the Leeks and
developed the property to include the barge, gardens, tennis court, and tennis house.
Once in Sausalito they expanded their business and ramped up production with the introduction of the
jigger wheel. Brian and Edith worked together to run Heath Ceramics and turned it into an
internationally known brand with a reputation for creating high-quality, durable, modern
dinnerware and architectural tile. Their work and personal lives were tightly intertwined
with much of their time devoted to running the business.
Edith had no desire to retire and Brian would not retire without her. In 1985 they moved to a condominium and sold the
Paradise Drive property in 2001. They continued to participate in the company late into
life. Brian died on June 24, 2001. The company was sold in 2003 and Edith died in 2005.
Sources: Heath, Edith, Tableware and Tile for the World, Heath
Ceramics, 1944-1994, typescript of an oral history conducted 1990-1992,1994 by Rosalie Ross,
Regional Oral History Office, The Bancroft Library, University of California, Berkeley,
1995, 411 pp.
Edith Heath and her husband, Brian started Heath Ceramics in 1944. That year production
began in a San Francisco ceramics studio owned by Gump's department store. This came about
as a result of Gump's personnel seeing Edith's show at the Palace of the Legion of Honor and
recognizing the uniqueness and quality of her ceramic designs.
Edith had a strong vision for the modern dinnerware the company would produce and took charge of design and production,
while Brian managed the business. They took pride and care with the clay and glaze materials
to create a strong, durable, and attractive product in an economically and environmentally
sustainable manner. In the beginning, items were hand-thrown on the wheel, but Brian
developed a mechanical jigger and plaster molds that mechanized production and allowed for
the expansion of production.
In 1945, Brian found a larg loft workspace in Sausalito to meet the Heath's needs for their expanding ceramic operations.
As staff and orders increased in
volume more space was required quickly. They purchased land on Gate Five Road in Sausalito
and set about designing the ideal factory space. Edith helped design the groundbreaking
factory in collaboration with the architecture firm of Marquis & Stoller. She had very
specific ideas about what she wanted to make the building an efficient workspace. The
landscape was designed in collaboration with Robert Royston. Completed in 1959, the factory
continues to operate as the main site of production.
Edith often spent long hours working in the factory, perfecting her clay and glaze formulas and designs. Drawing inspiration
from
her raw materials, she let the clay and the glazes work together to make the pieces that are
the face of her legacy.
For the first five years, Heath produced twelve core pieces: a six
piece place setting, two serving bowls, creamer and sugar, salt and pepper, and a platter.
They later added the teapot and the ashtray as well as casseroles in five sizes. Over time
Edith developed innovative pieces and lines to add to the collection based on her creative
whims and market demands. Among the most popular are the Coupe, Sausalito, and Rim lines. She
also produced a line of sushi ware, a buffet service, and a line for Wedgwood, in addition
to requests for custom pieces.
The iconic Heath ashtray came out of Brian's desire to have an ashtray that would hold his lit cigarette while on the phone.
He found a bowl before it
was fired and cut the V-shaped notches into the edge. The Seattle fire marshal dubbed these
"safety" ashtrays and required every public building to have one. People gave the ashtrays
as hostess gifts and wedding presents, and it was widely used in publicity photographs for
architects and design magazine spreads.
By 1958 Heath Ceramics began experimenting with architectural tiles achieving the same quality, durability, and style as the
dinnerware. The
unique and custom sizes, shapes, colors, and versatility of her tiles made them the top
choice for architects throughout the country. Whenever possible Edith got involved working
closely with designers and architects in the application of the tile to specific projects.
The utilization of Heath tile on the Norton Simon Museum (formerly the Pasadena Art Museum)
illustrates this collaborative model and won Edith the AIA Industrial Arts Medal in 1971.
In the 1980s Heath Ceramics expanded its tile production to a plant in Tahlequah, Oklahoma.
Under the management of her sister Anna Jane, Edith intended the plant to be the center of
tile production while providing much-needed jobs in the area. Unfortunately, this venture did
not last due in part to the distance, and the plant closed in 1989. However, Edith continued
to explore the world of architectural tile and ways to use ceramic extrusions in the built
environment.
Edith also experimented with extruded tiles in an attempt to develop a viable alternative to building with wood. She purchased
land in Ione, California in 1995 with the
intention of making it the site of production of extruded tile. However, this never came to
fruition and the property was sold in 2001.
Throughout the years they collaborated with various artists, architects, companies, and designers to produce a range of special
edition
dinnerware sets and tile installations. Heath dinnerware and tile can be found in
restaurants, residential and commercial buildings, and cultural institutions worldwide.
As his health declined, Brian's participation in Heath Ceramics dwindled. Edith continued to
play a large role in the company until it was sold in 2003 to Robin Petravic and Cathy
Bailey.
Sources:Heath, Edith, Tableware and Tile for the World, Heath Ceramics,
1944-1994, typescript of an oral history conducted 1990-1992,1994 by Rosalie Ross, Regional
Oral History Office, The Bancroft Library, University of California, Berkeley, 1995, 411
pp.
The Brian and Edith Heath/Heath Ceramics Collection spans the years 1911-2010 (bulk
1940-2000) and includes personal records created by Brian and Edith as well as business
records that document the history and operation of Heath Ceramics. The main focus of the
collection is on Edith. The collection is arranged into nine series: Personal Papers,
Professional Papers, Office Records, Project Records, N.S. Gustin, Ione Factory, Tahlequah
Factory, Art and Artifacts, and Additional Donations.
The collection documents the personal and professional lives of Brian and Edith Heath,
including their home and travels but the main focus is on Edith's family, education, work as
a teacher, professional career, and exhibitions. It also documents the daily operations of
Heath Ceramics.
The Personal Papers series is made up of subseries that contain biographical
information, correspondence, student work, travel materials, financial and medical records,
property records, photographs, slides, and clippings.
Professional Papers contains correspondence, writings about Edith, two video albums showing Edith's creative endeavors,
as well as material documenting her involvement in professional organizations and
conferences, extensive exhibit participation, and awards. The series also contains Edith's
professional papers from her years as a teacher. The clippings in this section focus on
Edith as an individual potter, not as the designer/owner of Heath Ceramics.
Clippings that focus on Heath Ceramics, the business are located in Office Records. Also included in this
series are administrative records, correspondence, and financial records. One of the more
significant subseries is Marketing which contains brochures, advertising, and price lists
for the items produced by Heath Ceramics. Information on the Sausalito factory is located in
this series, including plans, maps, and appraisals. There are numerous photographs and slides
that complement the manuscripts in this series.
The Project Records series is comprised of manuscripts, logs, inventories, photographs, and slides documenting the products
and
operations of Heath Ceramics. These records document how the business operated on a daily
basis to produce their stoneware and tile lines as well as several custom projects and
partnerships.
The N.S. Gustin, Ione Factory, and Tahlequah Factory series make up a small
portion of the collection and document several important business endeavors and
partnerships.
Edith was both a prolific ceramicist and a visual artist. The Art and Artifact
series contains many of her sketches, paintings, and prints, as well as, samples of pottery
from throughout her career.
The two Additional Donations include several ashtrays from a
personal collection and manuscripts from Edith's time as a student and teacher.
Prior to coming to the Environmental Design Archives, the collection was held by the Heath
Foundation who obtained the collection from Edith Heath upon her death.
The Heath Collection was processed by archivist Jessie Durant, MLIS, according to the
arrangement guidelines published in the Standard Series for Architecture and Landscape
Design Records: A Tool for the Arrangement and Description of Archival Collections. Since
the Heath Collection is not a traditional architecture or landscape design collection the
organization deviates slightly from these guidelines in order to accommodate the unique type
of records created by the individuals and the company.
A portion of the Collection had been archivally processed in Canada, some records were stored at public storage facilities,
and
some were retained at the Sausalito plant. All papers and records were collocated and
processed at the Environmental Design Archives (EDA). The Canadian portion was interfiled
with the rest. The order of this collection in its current state has been imposed by the
processing archivist.
The Heath's kept extensive business and personal records. Ceramic orders, kiln firing sheets, financial records, orders, and
inventories for the company were
sampled to document how these processes were managed by the Heath Ceramics business. A
representative sample of Brian and Edith's personal financial and medical records were also
retained to provide examples of the type of records the Heaths kept and a brief picture of
the health of Brian and Edith in their later years. In the course of processing this
collection, we removed approximately fifteen boxes of materials and designated them for
destruction based on the EDA collection policy and appraisal guidelines.
Other actions taken during the processing of this collection include: sampling of the extensive travel slides to
provide a concise representation of their travels; the VHS and audio tapes were digitized
and can now by viewed and heard on DVD or CD; many personnel records were disposed of based
on privacy laws and personal privacy protection; clay and glaze formulas were returned to
the current owners of Heath Ceramics as part of their purchase of the company, however a few
records were photocopied with select information redacted to protect the proprietary rights
of the current owners.
Heath, Edith, Tableware and Tile for the World, Heath Ceramics, 1944-1994, typescript of an
oral history conducted 1990-1992,1994 by Rosalie Ross, Regional Oral History office, The
Bancroft Library, University of California, Berkeley, 1995, 411 pp.
Marquis, Robert B. Collection (2009-04) Environmental Design Archives, University of
California, Berkeley.
Royston, Robert/RHAA Collection (1999-12) Environmental Design Archives, University of
California, Berkeley.
The following is a list of architectural projects from the Brian Edith Heath/Heath Ceramics
Collection. For instructions on interpresting the Project Index, see
The
Guide to the Project Index
at
http://www.ced.berkeley.edu/cedarchives/pindex/guide.htm
The Project Index list is arranged alphabetically by Project/Client Name and contains
information, where available, about the location, date, project type, collaborators,
photographers, and formats for each project in the collection.
Project/Client Name (location, date, project type) Creator [role] Format [Ms=Manuscripts, Dr=Drawings, Ph=Photographs]
- 1st Federal Savings & Loan ( Burlingame , CA ; 1969 ; commercial ) Collaborator: C.W. Kraft (tile distributor) [Ms]
- 455 Market St. Mural ( San Francisco , CA ; n.d. ; cultural ) Collaborator: Shooter & Butts (landscape architects) [Ms]
- 800 Corte Madera ( Corte Madera , CA ; 1997 ; residential ) Collaborator: Van der Ryn, M (architects) [Ms]
- Allen Center no. Two ( Houston , TX ; 1978 ; commercial ) Collaborator: Lloyd, Jones, Brewer (architects) [Ms]
- Ambassador College ( Pasadena , CA ; 1968 ; educational ) [Sl]
- American General Center ( Nashville , TN ; 1997 ; commercial ) Collaborator: Lohan Associates (architect) ; Photographer: Hedrich-Blessing [Ms, Ph]
- Ayers Graphics in Tile, pool renovation ( Oakland , CA ; 1987 ; residential ) Collaborator: Ayers Graphics in Tile (designer) [Ms]
- Azie Restaurant ( San Francisco , CA ; n.d. ; commercial ) Collaborator: Smith, CC (architect) [Ph]
- Bank of America (ceramic tapestry) ( San Jose , CA ; 1971 ; commercial ) Collaborator: Whistler-Patri (architects) ; Photographer: Lisa Stephens [Ph, Sl]
- Bank of America ( Yuba City , CA ; 1970 ; commercial ) [Ph, Sl]
- Beasly, David ( unknown , ; 1993 ; residential ) [Ms, Ph]
- Berkeley Fire Mosaic ( Berkeley , CA ; n.d. ; cultural ) [Ph, Sl]
- Brian's Bread ( unknown ; n.d. ; commercial ) [Sl]
- Bright Residence: Pool ( unknown ; n.d. ; residential ) [Sl]
- Buckanan Building ( unknown ; 1964 ; commercial ) Collaborator: Marx (architect) [Sl]
- Buerge AMC/Jeep/Renault ( Los Angeles , CA ; 1986 ; commercial ) Collaborator: Edward, Paul, Skibtzke (architect) [Ms, Ph]
- Bullock's (exterior show windows) ( Lakewood , CA ; n.d. ; commercial ) Collaborator: Becket, W (architect) [Ph]
- California, State of: Department of Transportation ( Sacramento , CA ; 1996-1997 ; governmental ) [Ms]
- California, State of: State Capitol Restoration, Eureka Mural ( Sacramento , CA ; 1985 ; governmental ) [Ph, Sl]
- Catholic Church ( Novato , CA ; n.d. ; religious ) Photographer: Lisa Stephens [Ph]
- Century City ( Century City , CA ; 1987 ; commercial ) Collaborator: Design Supply Co., Inc. (representative/distributor) [Dr]
- Cherokee Indian Nation Museum ( Tahlequah , OK ; n.d. ; cultural ) [Ph]
- Citizens Bank of Oregon ( unknown , OR ; 1975 ; commercial ) [Sl]
- Community Center ( Belvedere , CA ; 1988 ; recreational ) [Ms]
- Deere, John & Company: Administrative Center ( Moline , IL ; 1965 ; commercial ) Collaborator: Saarinen, E (architect) [Ms, Ph]
- Design Craft ( Los Angeles , CA ; n.d. ; commercial ) [Sl]
- Emporium ( Marin , CA ; 1994 ; commercial ) [Ms]
- Eureka Mural [see California, State of: State Capitol Restoration, Eureka Mural] ( Sacramento , CA ; 1985 ; governmental )
- Fallbrook Square (exterior fascia) ( Canoga Park , CA ; n.d. ; commercial ) Collaborator: Starkman, M (architect) [Ph, Sl]
- Fish, Tom & Mary ( unknown ; 1989 ; residential ) [Ms, Ph]
- The Ford Foundation (executive floors) ( New York , NY ; 1967 ; commercial ) [Ms]
- Gann, Rick & Cathy ( Tahlequah , OK ; n.d. ; residential ) [Ph]
- Greens Crossing ( Houston , TX ; n.d. ; commercial ) [Ph, Sl]
- Hawaii, State of: Capitol Building ( Honolulu , HI ; 1967 ; governmental ) Collaborator: A-1 Tile of Hawaii Corp. [Ms]
- Hayward, City of: Civic Center Auditorium ( Hayward , CA ; 1969 ; governmental ) Collaborator: Becket, W (architect) [Ph, Sl]
- Heath Ceramics Factory ( Sausalito , CA ; 1959, 1973 ; commercial ) Collaborator: Marquis & Stoller (architects); Eckbo, Royston, Williams (landscape architects) [Ms, Dr, Ph]
- Heath, Brian & Edith: Barge ( Tiburon , CA ; 1951 ; residential ) Collaborator: Eckbo, Royston, Williams (landscape architects) [Ms, Dr, Ph, Sl]
- Heath, Brian & Edith: Recreation House/Tennis Court ( Tiburon , CA ; 1975, 1981 ; residential ) Collaborator: White, T (architect) [Ms, Dr, Ph, Sl]
- Heath, Brian & Edith: Point Tiburon [remodel] ( Tiburon , CA ; 1988 ; residential ) [Ms, Dr, Ph, Sl]
- Herman Hospital ( unknown ; 1989 ; medical ) [Ms]
- Hex Tile Mural ( unknown ; 1971 ; cultural ) Collaborator: Williams, T & Tsien, B (architects) ; Photographer: Lisa Stephens [Ph, Sl]
- Indian Wells Country Club: Clubhouse ( Palm Springs , CA ; 1982 ; recreational ) Collaborator: Lyons, J N (architect) [Ms, Sl]
- Intergenerational Tile Mural ( Marin , CA ; 1995 ; cultural ) Collaborator: Listen to Our Elders/Children [Ms]
- Jerry, Deck ( unknown ; n.d. ; residential ) [Sl]
- Justin Residence ( unknown ; n.d. ; residential ) [Ph]
- Karousel Restaurant ( Sioux City , IA ; 1966 ; commercial ) [Sl]
- Kellogg, Anna Jane: Guest House ( Chico , CA ; n.d. ; residential ) [Dr]
- King County Jail ( Seattle , WA ; 1992 ; governmental ) Collaborator: Schwartz, M (landscape architect) [Ms, Ph, Sl]
- Koele Lodge ( Kahului , HI ; 1989 ; commercial ) [Ms]
- Lieberman Residence: Pool & Fountain ( Mill Valley , CA ; ca. 1963 ; residential ) [Sl]
- Los Altos Shopping Center ( Long Beach , CA ; n.d. ; commercial ) Collaborator: Starkman, M (architect) [Ph]
- Los Angeles Airport ( Los Angeles , CA ; 1982 ; transportation ) [Sl]
- Los Angeles Times Building: Northridge Facility ( Northridge , CA ; 1984 ; commercial ) [Ms, Dr, Ph]
- J. Magnin ( unknown ; 1968 ; commercial ) [Sl]
- Malcolm's ( Phoenix , AZ ; 1960 ; commercial ) [Sl]
- Mauna Kea Hotel (lobby floor) ( Kanuela , HI ; 1995 ; commercial ) [Ms]
- Mosque ( unknown ; n.d. ; religious ) Collaborator: Khalili, N (designer/builder) [Dr]
- Nordstrom ( San Diego , CA ; n.d. ; commercial ) [Ph]
- North Park Mall ( unknown ; 1986 ; commercial ) [Ms]
- Norton Simon Museum of Art ( Pasadena , CA ; 1969 ; cultural ) Collaborator: Ladd & Kelsey (architects) [Ms, Ph, Sl]
- The Occidental Center (garden level mural wall, garden level court, tower restaurant walls) ( Los Angeles , CA ; 1964 ; commercial ) [Ph, Sl]
- Pasadena Art Museum [see Norton Simon Museum of Art] ( Pasadena , CA ; 1969 ; cultural ) Collaborator: Ladd & Kelsey (architects)
- Perkins Residence (woodstove) ( Grass Valley , CA ; n.d. ; residential ) Collaborator: Batchelder, D (architect) [Dr]
- Raytherm Corporation ( Redwood City , CA ; 1959 ; commercial ) [Dr]
- Redwood Building ( San Francisco , CA ; 1966 ; commercial ) Collaborator: Kump , E (architect) [Sl]
- Rhodes ( Phoenix , AZ ; 1963 ; commercial ) [Sl]
- Richmond, City of: Civic Center ( Richmond , CA ; 1968 ; governmental ) [Sl]
- Rodef Sholom Synagogue ( San Rafael , CA ; 1962 ; religious ) [Ms]
- San Francisco Airport ( San Francisco , CA ; 1971 ; transportation ) [Sl]
- Sausalito, City of: City Hall ( Sausalito , CA ; n.d. ; governmental ) [Dr]
- Security National Bank ( Los Angeles , CA ; n.d. ; commercial ) [Ph]
- Sortor, Don & Emmy ( Berkeley , CA ; n.d. ; residential ) [Ms, Ph]
- St. Andrews Catholic Church [see Catholic Church] ( Novato , CA ; n.d. ; religious ) Photographer: Lisa Stephens
- The St. Louis Centre ( St. Louis , MO ; 1985 ; commercial ) Collaborator: Hussman Tile Co. [Ms, Ph, Sl]
- Steinou ( unknown ; ca. 1960 ; commercial ) [Sl]
- Stewart Garden ( West Vancouver , BC, Canada ; ca. 1959 ; residential ) [Sl]
- Tellis Bathroom ( unknown ; n.d. ; residential ) [Sl]
- Trans-America Building: Verdigris Restaurant ( San Francisco , CA ; ca. 1994 ; commercial ) [Ms, Ph]
- Unidentified Projects ( unknown ; n.d. ; ) [Dr, Ph, Sl]
- Unidentified: Shopping Center ( unknown ; ca. 1960 ; commercial ) [Sl]
- Union Bank ( San Francisco , CA ; n.d. ; commercial ) Collaborator: Skidmore, Owings & Merrill (architect) [Ph, Sl]
- Warner Brothers ( unknown ; 1982 ; commercial ) [Sl]
- Yerba Buena Center for the Arts ( San Francisco , CA ; 1994 ; cultural ) [Ms, Ph]
Subjects and Indexing Terms
Ceramicists
Architecture
Artisans
Potters
Women Potters
Pottery, American -- California -- San Francisco Bay Area
Ceramic Tiles
Pottery, American -- California -- San Francisco Bay Area
Ceramic Tiles
Ceramic Tableware
Heath, Edith
Heath, Brian
Marquis, Robert B.
Stoller, Claude
Royston, Robert
Stoller, Claude
Marquis, Robert B.