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Mick Henry - Shibui

6/27/2024

 
When I first started to look for and collect studio pottery, I quickly learned from other collectors which “names to watch for” – Grove, Dexter, Ngan, Deichmann, Harlander, etc. Any of these would be considered a good find if I could land one. One other name that also kept coming up time and again was Mick Henry. Back then I didn’t know much about him – or even what his mark looked like at first – but I was always on the lookout for an example of his pottery. In those early years I was able to acquire pieces by all the other “collected” potters on my watch list except for him…

I’ve since been able to find a number of examples of Mick Henry's pottery- although they are still difficult to track down. This rarity is part of the mystique of his work. Recently I was able to acquire a very important example of Mick Henry pottery which intrigued me enough to do a  deeper dive into his career and art. What follows is some of what I've learned...

Michael "Mick" Henry

Michael Henry, better known as Mick, graduated from the Vancouver School of Art in 1961 after studying painting and graphic art. He initially had limited experience with clay aside form some classes he took under the instruction of Robert Weghsteen. After completing art school, he decided to travel to England in 1963 where he met up with his VSA acquaintance Glenn Lewis. It was Lewis who helped him find living space and led him to apply for an apprenticeship at the Leach Pottery in St. Ives.
Picture
After being accepted, he began to master his technique by repeatedly throwing countless, simple dishes of Leach standard ware. Once this form was deemed competent, Mr. Leach allowed an apprentice to move on to other, more complex forms in the range - bowls, mugs, etc. In the evenings he received further instruction from Bernard Leach himself on Asian brush techniques. Tea breaks around the coal fireplace at St. Ives would frequently spark the lively exchange of ideas from those in the collective - including Leach, Shoji Hamada, Michael Cardew, Warren MacKenzie, John Reeve, Glenn Lewis and Ian Steele. At the end of the work day, he would be allowed to produce his own individual pieces as a way to supplement his wage and eventually earn enough for passage back to Canada in 1965, settling in Vancouver.

Once again, the kindness and generosity of Glenn Lewis allowed him to produce his wares using Lewis' studio and gas kiln under the Granville Street bridge on West 4th Avenue. In 1966 Mr. Henry was forced to relocate to East 13th Avenue after the City of Vancouver demolished Lewis' studio in favour of a parking lot. There he reassembled the gas fired kiln, brick by brick, and resumed production. It was here that he began to practice raw glazing of his larger pieces, using clay from Bear Creek in Surrey at the site of the defunct Wickson Brick Works. The clay was also used essentially as is for his glazes. (I suspect this is where he sourced the material for my bowl - see below...)
Please contact me regarding Mick Henry pottery
Please email me if you would like to sell a piece of Mick Henry pottery
After successful showings at the Bau Xi Gallery (Vancouver), Expo '67 (Montreal), Canadian Ceramics '67 (Toronto and Montreal), and Canadian Ceramics '69 (Calgary), as well as some successful sales via the Vancouver Art Gallery, Mr. Henry became intrigued by the rural pottery practices of Heinz Laffin and of Wayne Ngan out on Hornby Island.
Mick Henry exhibition promo
Promotional poster for Mick Henry's 1967 showing in Toronto.
Settling on a tract of land just outside Robert's Creek on the Sunshine Coast, he aimed to construct a smaller and simpler version of St. Ives. Dubbed "Babyland," the property was a site shared with other artists. His Vancouver studio would be passed along to Charmian Johnson, and by 1972, he established Slug Pottery with Martin Peters as his apprentice.

Unfortunately, Slug Pottery would be short lived, closing just a few years later in 1979. The 
labour intensive task of throwing on a kick wheel in the gas lit studio of a "back-to -the-land" pottery, proved to be too onerous and eventually led to back issues that ultimately stopped production.

The "Thrown" Bowl

The piece which prompted this post was featured in the landmark Thrown exhibit at the UBC Belkin Art Gallery in 2004. This exhibit told the story of the four Leach apprentices - John Reeve, Glenn Lewis, Ian Steele, and Mick Henry as well as their contemporaries - Wayne Ngan, Tam Irving, and Charmian Johnson. Mick Henry’s work featured prominently at Thrown, filling tables 6-10, 34, and 35, as well as shelves 6-10. This shallow bowl was by far the largest of its type of the pieces on display.

It was bought by the original owner at an outdoor pottery sale in Vancouver in 1967. She remembers meeting Mr. Henry that day who had his wares spread out on a blanket. The bowl was the best piece he had for sale that day, in her estimation, and she remembers it was a pricey acquisition at the time. Since then it has been admired and appreciated, sat on table 6 at the Belkin for the Thrown exhibit, and now resides with me as its new steward.
Mick Henry bowl featured in Thrown exhibit
The bowl is simply crafted from two pieces of slabbed clay – one for the top surface and one for the foot. It measures 44.5 cm across and is 3 cm high. Underneath you see the texture  from the surface where it was shaped. The edges are roughly bevelled to give it a minimal degree of finish. The glazing and décor is simple bearing the unmistakable hallmarks of St. Ives.
Mick Henry pottery Leach apprentice St. Ives
After living with the bowl a while I noticed that I was somehow drawn to it, moreso than many of the other quality ceramic pieces I have. I found myself pondering on Mr. Henry’s Leach/Mingei connections, the culture he would have been immersed in while at St. Ives, the potters in his milieu while in England and again back in Vancouver, the West Coast artist's scene in the 1960s, etc. All the while I found myself struck by the quiet beauty of such a simple object. This eventually led me to thumb through my old worn copy of A Potter's Book to learn more about Leach's philosophy and the Japanese concept of Shibui...

Shibui - From Yanagi to House Beautiful...

Shibusa is a Japanese aesthetic concept that embodies a subtle, understated beauty, often described as a quiet elegance or refined simplicity. Originating from the Japanese word "shibui," which means astringent or bitter, shibui has evolved to represent a nuanced appreciation for things that are not immediately or overtly beautiful, but reveal their charm and depth over time.

The essence of shibui lies in its restraint and minimalism. It celebrates the beauty found in imperfection and the passage of time, often favoring natural materials and subdued colors. Shibui objects or experiences are characterized by their simplicity, subtle details, and an inherent sense of balance and harmony. They do not shout for attention but instead invite contemplation and a deeper, more personal connection. Shibui can be seen in traditional Japanese crafts such as pottery, textiles, and architecture. A shibui teacup, for example, might have a rough texture and an irregular shape, with a glaze that has aged gracefully over years of use. The wabi-sabi philosophy, which appreciates the beauty of impermanence and imperfection, closely aligns with shibui.

The concept of shibui was popularized by Soetsu Yanagi, a prominent Japanese philosopher and the founder of the Mingei (Folk Craft) movement. Yanagi believed deeply in the value of everyday, handcrafted objects created by anonymous artisans. He championed the idea that these humble, functional items possessed an inherent beauty and cultural significance. Through his writings and lectures, Yanagi articulated the principles of shibui, emphasizing the importance of simplicity, naturalness, and understated elegance.
Mick Henry plate featured in Thrown exhibit. Please contact me if you have a similar piece.
Another piece featured in Thrown. Stoneware plate slip dipped with Bear Creek slip, Circa 1965.
Underside of Mick Henry plate showing simple construction technique. Please contact.
Underside of stoneware dinner plate. Note offset construction of foot.
Yanagi's influential book, "The Unknown Craftsman," explores the philosophy behind Japanese folk crafts, delving into the aesthetic qualities that make an object shibui. He argued that such beauty is often found in the ordinary and unpretentious, highlighting how the quiet elegance of shibui objects contrasts with the often flashy and superficial appeal of mass-produced items. Yanagi's work brought greater awareness to the aesthetic and cultural value of traditional Japanese crafts, helping to preserve and celebrate Japan's rich artisanal heritage. His efforts not only popularized the concept of shibui in Japan but also introduced it to a global audience, influencing artists, designers, and aesthetes worldwide.

Contact me to sell your Mick Henry pottery
I buy Mick Henry pottery Slug Creek
Mick Henry pottery wanted plates bowls vases
Three views of the same Mick Henry plate. Circa 1967.

There is no direct English equivalent word for shibui but an August 1960 article in House Beautiful did a good job of explaining the concept of shibui to a western audience using seven principles...
  • simplicity
  • implicitness (or intrinsic meaningfulness)
  • modesty or humility
  • silence
  • naturalness, or inevitability
  • normalcy, or uneventfulness
  • courseness, or roughness

The article also offered non-examples that are also helpful when trying to grasp the concept. Shibui is never...
  • Showy or gaudy
  • Loud
  • Sumptuous
  • Vulgar, superficial or shallow

Ultimately, shibui encourages a deeper appreciation for the subtle and the overlooked. It teaches that true beauty is not found in ostentation or perfection, but in the quiet, enduring elegance that emerges with time and careful attention.
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Shallow stoneware bowl with Bear Creek glaze.
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Underside of bowl, circa 1965.
Bernard Leach subscribed to Yanagi's philosophy of shibui and it would have been talked about and practiced at St. Ives. According to Leach, in order for a pot to be good should also be a "genuine expression of life," implying sincerity on the part of the potter and truth in the conception and execution of the work.
Mick Henry Slug Creek pottery
Assortment of pots created at Slug Creek circa 1972.

Conclusion

To see, hold, and study a Mick Henry pot is to grasp shibui. The "Thrown bowl" exemplifies all of the principles of beauty outlined by Soetsu Yanagi. It's utility meets the first Leachian principle of beauty - an everyday object meant to be used and enjoyed by all for its quiet beauty. And so it is, sitting on my table, holding seasonal produce.

Today Mick Henry's pots are treasured for their rarity and for how well they reflect the principles that drove the Leach/Mingei practices in the "back to the land" counterculture movement in British Columbia.

If you have a piece of pottery made by Mick Henry that you would like to sell, please contact me.


Allison, G. (2011). Thrown: British Columbia’s apprentices of Bernard Leach and their contemporaries. p. 144-151. Morris and Helen Belkin Art Gallery. 
Leach, B., Cardew, M., & Yanagi, S. (1962). A Potter’s Book. P.8-20. Transatlantic Arts Inc. 
The profits of a long experience with beauty. (1960, August). House Beautiful. 
​Images courtesy of Thrown, Morris and Helen Belkin Art Gallery.


Identifying Mick Henry pottery

Mick Henry pottery mark
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Mick Henry pottery mark Leach apprentice
Michael Mick Henry pottery mark Slug Creek
Slug Creek pottery mark Mick Henry
Slug Creek pottery mark Mick Henry Robert's Creek
Mick Henry's pottery could be signed with one of the chop marks shown above.. 
  • Photo 1: earliest version of his mark when working at St. Ives
  • Photo 2: earliest version of his mark when working in Vancouver 
  • Photo 3: later version of his mark when working in Vancouver
  • Photo 4: Slug Creek mark (variation 1) with Mick Henry's mark
  • Photo 5: Slug Creek mark - sideways S (variation 2)
  • Photo 6: Slug Creek mark - with antennae (variation 3)

Pandora's Box Gallery and the Vision of Bente Rehm in 1960s Victoria

10/15/2023

 
​​To date, my posts have primarily centred around British Columbia pottery and the potters that made them. What I’ve been missing until now is the important role that galleries played in getting the potter’s wares to market and into the hands of collectors. Successful potters do, after all, have to turn a profit in order to make a viable living, and the galleries that carried their work were one of primary conduits for those transactions.
In the mid-1960s, the arts scene in British Columbia, experienced a vibrant and transformative period. The province's artistic landscape was characterized by a mixture of traditional influences and burgeoning countercultural movements. However, a wave of creative experimentation and cultural change began to sweep through the larger centres. The influence of the broader North American counterculture was felt as young artists and musicians sought to break away from established norms. Local artists began to experiment with new styles and mediums, incorporating elements of psychedelia, pop art, and abstract expressionism into their work. British Columbia’s natural beauty and serene coastal surroundings also played a role in shaping the arts scene. Many artists drew inspiration from the picturesque landscapes and serene seascapes that ​characterized the region, incorporating these elements into their work.
In Victoria, a haven of artistic expression would emerge – Pandora's Box Gallery. From its inception, PBG generated excitement and interest among artists, buyers and local critics. Time Colonist writer Robert Skelton felt “the city and the artistic community need(ed) this service” and felt from the outset that the gallery “could be an important place.”
​The gallery was the brainchild of Danish born Bente Rehm. An emerging visionary in the local Victoria art scene, Bente first became known locally for her woven assemblages. She initially had an interest in becoming a potter, however, taking lessons for two summers from Leonard "Ossie" Osbourne in Saanich, learning on a kick wheel and mixing glazes.  She recalls Osbourne as being a "hard teacher" but that it was a "tremendous learning experience." He allowed his students to keep only one fired piece at the end of the summer - the rest were cut with a wire tool to examine thickness.  When potting didn’t work out, Bente crafted free-form woven panels that incorporated beads, corks, horseshoe nails, and peas. 
Bente Rehm weaving beadwork tapestry wanted
Critics at juried shows felt they were “the most fascinating works that were “enormously clever and enormously simple and curiously moving. Her work was even shown at the National Gallery in Ottawa. Bente's deep appreciation for avant-garde and experimental art, combined with her unwavering commitment to fostering a creative community, launched what would become a brief but important hub for West Coast art.

A Catalyst For Creativity

Pandora's Box Gallery, opened on a Friday night, on March 18, 1966 in an old house at 750 Pandora Street (hence the name). The building’s owner, J. Watson Marles was initially tempted to demolish the house to add to his adjacent parking lot. He spared it from the wrecking ball though, and instead rented it to Bente. While he had no interest in art himself, he is quoted that he “thought it about time Victoria had a gallery of this kind.” It became Victoria’s first privately owned boutique art gallery.
Pandora's Box art gallery Victoria BC Helga Grove pottery wanted
The original PBG location at 750 Pandora
​The gallery was small and being located in an old house posed some unique problems. A lack of electrical supply to light the space after dark required Bente to rent extra lights and extension cords and run them across the parking lot to a neighbouring garage to make evening showings in the evenings possible.
​
And then there were the typical challenges one faces when starting a small business on their own as well as the simultaneous responsibility of a single mom raising her children. Perhaps the biggest obstacle in the gallery’s first year was a fire that occurred six weeks after it opened. A faulty furnace in a back room destroyed 27 works of art by Toni Onley, Tony Hunt, Vicky Husband, and Nita Forrest among others. While the artwork was fully insured, the loss of electricty from the fire put the gallery in a precarious situation.
Pandora's Box Gallery Victoria business card Mick Henry pottery wanted
This did not deter Bente and soon Pandora’s Box Gallery was well patronized by the locals. Artists featured in the first year included Maxwell Bates, Eliza Mayhew, Herbert Siebner, Flemming Jorgensen and Molly Privett.
​
Critics enthusiastically received and covered the gallery’s exhibits “make(ing) it crystal clear that Pandora’s Box is performing a vital public service. The artists and collectors of Vancouver Island have long needed such a gallery.” They went to implore the public that “if Victoria is to become the centre of artistic activity so many of us desire, it must support such ventures as Pandora’s Box in every way it can.” Critic Ted Lindberg wrote that without commercial outlets like PBG, “a community can jolly well wait for the tastemakers at the National Gallery, the Vancouver Art Gallery, Life, Time and Artscanada and other redoubtable authorities to tell us what’s happening.” Going on to say that “Pandora’s Box has provided you with that one slender excuse for claiming this city is involved in contemporary local art,” and that “the city needs Pandora’s Box more than it needs the city.”
Pandora's Box Art Gallery Victoria 1960s Helga Grove pottery wanted
Pandora's Box Art Gallery Victoria BC 1966 Mick Henry pottery wanted
Victoria BC 1966 Pandora's Box Gallery Helga Grove pottery wanted - please email
​Soon, Bente went on to secure a new location for PBG within a repurposed munitions warehouse by the harbor at 1208 Wharf Street. Taking over a rival gallery’s space – Angel’s Camp Gallery, the new Pandora’s Box reflected Rehm's inclination for marrying art with unconventional spaces. The juxtaposition of the industrial setting (complete with a walk in safe) with the cutting-edge artworks it housed created an immersive experience that engaged visitors on multiple levels. The roomier new location also allowed for small concerts, poetry readings and film viewings.
Pandora's Box Gallery Bastion Square 1968 Wayne Ngan pottery wanted
The second PBG location below Bastion Square.
​People certainly took notice and Bente’s business grew. Her exhibitions were reviewed by Canadian Art magazine twice in 1967 alone. And while the painting featured
prominently on the walls – it was the public’s new interest in the art of pottery that would help pay the bills.
Pandora's Box Art Gallery Victoria BC 1968 Grove pottery on display Tam Irving Mick Henry
Prominent artists in the field of ceramics and pottery, such as Jan and Helga Grove, as well as Tam Irving and Mick Henry, were among the notable figures featured at Pandora's Box Gallery during the 1960s. Their contributions added depth and variety to the gallery's offerings.
​
The Groves had just recently arrived in Canada and established their pottery around the same time the original PBG opened. The Groves were European trained potters of the highest calibre whose work would come to be recognized nationally and internationally over the next 40 years. She featured their work in a solo exhibit at the gallery from April 1-20, 1967, with an opening the night prior.
Jan Helga Grove pottery exhibition flyer 1967 hieroglyphic sculpture pottery wanted
Bente remembers the Groves as “quite shy and modest” and carried their pottery for the duration of the gallery’s existence. She recalls that it sold very well and consistently, especially the smaller blue tableware pieces by Jan – mugs, plates, bowls, etc. What was most eye-catching on her gallery shelves though were the “incised hieroglyphic” pieces by Helga – lamp bases, large vases and bottles featuring the deft of hand sgraffito decorative work Helga was exceptionally skilled at and known for. One art critic said “the incised patterns appear initially to resemble the most serious of hieroglyphic messages, and are organized with grave precision, a second look reveals that they are witty, even comic passages; gaiety keeps breaking through.” If you look closely at the display photos, you can spot some of Helga’s work.
Pandora Box Gallery Victoria pottery exhibit 1968
Pandora's Box Art gallery pottery exhibit 1968 Grove Ngan Mick Henry
Mick Henry was another artist who featured prominently at Pandora’s Box. Bente recalls taking the ferry to Vancouver and driving down to Glenn Lewis’ studio under the Granville Street bridge to meet Mick and load up her car. Recently back in Canada after his well-documented apprenticeship at St. Ives, Bente recalls a quiet but friendly potter whose work was much in demand. He was establishing a name for his work after a solo show at the Bau Xi in Vancouver, where interest in the work of the Leach Apprentices was growing. Here, he was using Vancouver’s first gas fired kiln, built in the early 1960s by California potter Ricardo Gomez. During these visits to pick up Mick’s wares, Bente remembers meeting Wayne Ngan and Glenn Lewis but she never carried either potter’s work. Bente kept a couple of her favourite pieces by Mick Henry, shown below…
Mick Henry pottery plate wanted to buy please contact
Mick Henry pottery bowl wanted please email
Mick Henry pottery wanted plates bowls pitchers
Mick Henry plate (front and back). 10 1/2" c 1 1/2" circa 1966.
Michael Mick Henry pottery items wanted please contact
Mick Henry shallow tenmoku bowl (front and back). 10" x 3" circa 1966.
​After three years of struggle to keep the PBG open, Bente listed the gallery for sale at the end of 1968 and it closed shortly after that. While it is widely agreed that Pandora’s Box was an important aspect of Victoria art and culture, the financial challenges of running a gallery proved too much. Critic Ted Lindberg stated “it is not a matter of mismanagement, and I happen to know Mrs. Rehm has subsisted on a budget so marginal that it is a wonder the gallery hasn’t folded long ago.” Sadly it did, and an iconic part of BC’s artistic story was gone.
During its brief time, Pandora's Box Gallery had a profound impact on the local Victoria art scene. The gallery's exhibitions weren't just displays of art and craft; they were catalysts for meaningful conversations. Bente Rehm's commitment to fostering a sense of community among artists and potters contributed to the gallery's enduring legacy today – people who were there fondly remember it. Emerging talents found a nurturing space to grow, collaborate, and gain exposure, while established artists were encouraged to experiment and evolve. This approach resonated far beyond the gallery's physical presence, shaping the ethos of artistic engagement on Vancouver Island for years to come.
Bente Rehm Pandora's Box Art Gallery Victoria BC 1966
Bente in her gallery with the collage work of Richard Ciccimarra on the walls.
Many thanks to Bente Rehm for her recollections, photographs, and patience while I put this together. Also a thank you to my friend Allan Collier for photos of the ephemera.
Weaving experiment crashes art world. (1965, August 7), Times Colonist, p. 4.
(1966, February 26). Times Colonist, p. 16. 
Boultbee, J. (1966, March 18). Pandora's Box to show city artists' treasures. Times Colonist.

Skelton, R. (1966, March 5). Artistic vitality permeates Pandora’s Box. Times Colonist, p. 6. 
Paintings lost in gallery fire. (1966a, May 3). Times Colonist, p. 8. 
Fund set up to help gallery after fire. (1966, May 4). Times Colonist
, p. 8.
​Skelton, R. (1966, July 23). Pandora's Box feels hot breath of competition. Times Colonist, p. 14.
Skelton, R. (1966, November 19). Jars evoke essence of jardom. Times Colonist, p. 6.
Bill, D. (1966, November 26). A business woman is born - Pandora's Box moves into Angel's Camp. Times Colonist, p. 8.
Lindberg, T. (1968, June 15). When will people support a gallery? Times Colonist, p. 10.
(1968, December 5). Times Colonist, p. 36.
Amos, R. (1986, August 2). Presto!... in 1966 an art gallery was opened. Times Colonist, p. 27.
Interviews and correspondence with Bente Rehm, 2022-2023.
Images courtesy of Bente Rehm, Allan Collier, and AGGV.

Addendum

If you have any “incised hieroglyophic” pieces by Helga Grove you wish to sell, please contact me. Examples of her work are shown below, along with an example of her signature which you will find underneath the piece.
Helga Grove sculpture pottery wanted please inquire
Jan Helga Grove pottery Victoria BC wanted please email
Incised pottery by Helga Grove wanted hieroglyphic sculpture
Jan Helga Grove pottery items wanted especially vases with drawings on the side please contact
Helga Grove pottery mark Victoria BC 1970
I’m also interested in acquiring specific works by Mick Henry. Please contact me if you have one or more pieces to sell.

Sibyl Laubental - 60 Years On...

3/21/2023

 
When one thinks of important early Alberta potters, the name that usually comes up is Luke Lindoe, and rightly so. Lindoe gave much to the movement in Alberta between his stays in Calgary and Medicine Hat. However, the brief and dynamic arrival of Sibyl Laubental to the north, in Edmonton, in the early 1950s, should give one pause to consider her immense and important contributions as well.

Marie Sibyl (Budde) Laubental was born in Halle, Germany in 1918 just at the end of the First World War to Martin Luther University professor Werner Budde, and his sculptor wife, Grete. Grete Budde was a gifted sculptor and portrait artist at a time when instruction at art academies was typically denied to women. She took private lessons instead and, as a result, produced a great many portraits and scultures in the 1920s and 30s. The Budde family's Jewish heritage put them in tremendous danger with the rise of National Socialism in Germany, and in 1937, Werner was one of 39 lecturers to be removed from the University due to newly instituted racial laws.

​Sibyl Budde started her career in ceramics at 18. She first studied as an apprentice around Salerno, Italy from 1935 - 1938 before returning to Germany and being hired as an assistant at the prestigious studio of Danish born modernist potter Jan Bontjes van Beek in the Charlottenburg district of Berlin. As the war progressed, and things got much worse, Van Beek's daughter Cato was arrested and executed for her involvement in the "Red Orchestra" resistance. Van Beek himself was also arrested for the crime of sipperhaft - or shared responsibility. Ms. Budde, who had been married ​to architect Carl Laubental, was forced to spend the remainder of the war in hiding with her husband and young family in the attic of a baker. The van Beek studio was destroyed in a bombing raid in 1943.

​After the war, with Sibyl spending a couple of years working in a Stuttgart tile factory, the young Laubental family emigrated to Edmonton in the spring of 1952 where her extraordinary talent was recognized almost immediately. She helped teach at the newly formed Edmonton Potter's Guild where she instructed students on the wheel, taught them how to prepare clay and glazes, and how to produce high fire stoneware. These were early days and would likely seem primitive to today's potters but the knowledge base was in its infancy and Ms. Laubental was a major factor in its growth. Her skill on the wheel even caught the attention of Luke Lindoe himself who drove hundreds of kilometres to see her demonstrate. He recalled "(she) taught me what I needed to know about throwing." (Crawford, p.201).
Picture
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As Ms. Laubental's reputation grew she was invited to teach at more locations including the Banff School and the University of Alberta Extension Department. She gave a great deal of her focus to her students, distracting from her own personal production. As a result her work is now quite scarce and difficult to find. She did manage to send juried pieces off to important exhibitions where she won awards. These included Canadian Ceramics 1955 ($50 prize for a stoneware vase) and 1957 (see below) as well as the 19th Ceramic National in 1957 at Syracuse, New York. This recognition would likely have to be considered the pinnacle of her career.

She also exhibited at;
  • First National Fine Crafts, National Gallery of Canada 1957
  • Brussels World Fair, Belgium 1958
  • Ceramic National, Syracuse 1958
  • Contemporary Ceramics, Belgium 1959
  • Ceramic National, Syracuse 1960
  • ​​Smithsonian International Exhibition of Ceramic Art, Washington DC  1961

Prize winning entries from the Canadian Ceramics exhibition in 1957.
The liqueur set (l) won a $50 award and sold for $17.60. The tall vase (r) won Honourable Mention, also selling for $17.60.
Picture
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Sibyl Laubental's work reflects the Bauhaus design ethic we see in other European influenced potters like Marguerite Wildenhain, Jan Grove, and Leonard Osborne. She believed that glaze and decorative motif should not detract from the lines or designs of a piece but rather should enhance it. All the examples of her work pictured in this article illustrate this.

Picture

The 19th Ceramic National

The Ceramic National showcases the best studio ceramic work in the US and Canada. Based out of Syracuse NY, its held every two years, where the exhibit travels to galleries throughout the USA for a two year tour.  Legendary potters like Peter Voulkos and F. Carlton Ball had entries accepted, as did fellow Canadian Konrad Sadowski.

Picture
Ms. Laubental's prize winning "rooster bowl" now part of the Everson permanent collection.
For the 1957-58 version, Ms. Laubental was one of only four Canadians to be invited and the only one to win an award. She won a $100 prize from the Salem China Co. alngside other exhibited award winners Clyde Burt, Charles Lakofsky and the Natzlers.

Sadly, Sibyl Laubental's life was cut short by a terminal illness, in 1961, at the age of only 43. She was succeeded in her teaching role by the likes of Walter Dexter and Noboru Kubo. During her brief decade in Canada she influenced and started the careers of a great many Alberta potters, contributing tremendously to the development of the Alberta ceramics movement along with Luke Lindoe.

Picture
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I've been fortunate enough to find and acquire but one piece of Sibyl Laubental's work - this bowl. It is a fine example and emblematic of her Bauhaus approach. Simply glazed but with incredible depth and feel. It does not distract from the perfectly thrown form. Likely dating to the mid to late 1950s, the bowl is 8 1/4" across and 3 1/2" high.

Ms. Laubental's only solo exhibitions occured after her death in 1962 - one in Winnipeg, the other in Edmonton. Interestingly, her mother, Grete Budde recently had over 90 of her sculptural works recognized at her first solo exhibition - Grete Budde. Works for the University - in 2021 in Halle, Germany.

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Sibyl Laubental signed her work simply "SIBYL" on the edge of the foot, as shown in the examples above.

Wikimedia Foundation. (2021, December 9). Jan Bontjes van beek. Wikipedia. Retrieved March 21, 2023, from https://en.wikipedia.org/wiki/Jan_Bontjes_van_Beek 
Ausstellung zu Grete Budde: Aus der Vergessenheit Geholt. (n.d.). Retrieved March 21, 2023, from https://www.campus-halensis.de/artikel/ausstellung-zu-grete-budde-aus-der-vergessenheit-geholt/?cok 

Crawford, M. G. (2005). In Studio Ceramics in Canada: 1920-2005 (pp. 201–203). Goose Lane Editions. 
Collier, A. (2011). The Modern Eye: Craft and Design in Canada, 1940-1980. Art Gallery of Greater Victoria. 
Canadian Guild of Potters. (1955).
Canadian ceramics. 
​
Canadian Guild of Potters. (1957). Canadian ceramics. 
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