How to Correctly Identify a Brad Keeler Piece

On weekends, my husband and I often find ourselves near antiques shops. When we do, we scour the glass cases and open shelves for anything that could have been produced by my grandfather, Brad Keeler. We've had some lucky finds: flamingos, a rooster platter, and most recently a covered serving dish from the fish service line.

It does seem that authentic pieces are becoming harder and harder to find, likely due to the limited production because of my grandfather's short lifespan. As of this writing, on January 24, 2023, there are 147 Brad Keeler listings on eBay.

A quick scan of them tells me that most of them are authentic. Most, but not all.

Whether unscrupulous or simply uninformed, some sellers attribute the Brad Keeler name to pieces that, to a novice, bear a resemblance to something made by him, but when you know what to look for, it becomes clear that either a piece is a knockoff or it's just plain not his. I'm going to give you two real-world examples, and a couple of things to look for. 

1) Lobsterware

Three lobster platters with lettuce-green leaves. One is real. Can you tell which is which at a glance?

All three of these came up under a search for Brad Keeler on eBay. Things to look for: Note the colors of the glaze, the detail on both the leaves and the lobsters, and always look for a makers' mark.

Keeler was famous for his "Ming Dragon's Blood" true red glaze, an innovation at the time. Which of those lobsters appears to have the truest red? And while there is some variation with the greens in different buffet service lines, none of them are quite that vivid a green. 

Another distinctive feature is the shape of the lobster. You will typically see more artistic detail. The leaves, too, have a distinctive look to them. They draw the eye inward toward the body of the lobster. Visually, they do not compete with the lobster for the viewer's attention; rather, they are the canvas on which the lobster is artistically placed.

Lastly, always look for a maker's mark. There are rare exceptions, but the lobsterware line will typically have a stamp with or without a number on its backside, and possibly even a sticker. (Stickers are rarer because they fall off over time.) Other things to look for: The tell-tale crazing, e.g. hairline cracks in the glaze. If there are no cracks in the glaze, it is definitely not authentic. 

2) Figural birds

As is with most of Brad Keeler's work, the more detailed the work, the more likely it is to be an authentic Brad Keeler Artwares piece. My grandfather, like his father before him, was a gifted artist and modeler. Again, with a discerning eye, one can pretty easily see the difference between a Keeler bird and a non-Keeler bird.

This past weekend, my husband and I found ourselves in the vicinity of the same antique store where we have had good luck in the past, Victoria's Attic. 

Victoria's Attic is a sprawling antique mall in the Coachella Valley, famous for a mid-century modern aesthetic. A good place to find tchotchkes from my grandfather's era. In the same case where I found the beautiful fish service dish, I spotted a bird. It was/is labeled Brad Keeler, but looking at it through the glass I was 90% certain that it absolutely wasn't. Still, I asked them to open the case so I could inspect it. 

Here is the bird, next to an authentic piece for reference, on the right, one from my mom's collection that I took a photo of yesterday in her kitchen.

The first thing I want to you notice is where the eye goes when you look at these. Like any good artistic composition, the eye is drawn to a focal point, then moves around the piece finally landing back on the focal point.

The piece on the left is kind of a hodge-podge. The eye doesn't know where to go. All of the elements are in competition with one another so it's sort of hard to look at. Look at the branch that the bird is perched on. It's heavy, and the decoration on both the bird and the branch is sloppy. And the color of the branch overpowers the color of the bird.

Now look at the piece on the right. Where does your eye go first? Yes, to the bird. Note the detail on the wing, little scallops like feathers. The tail is delicate. The glaze colors do not compete and instead complement each other. Also, note the birds' eyes: the one on left has a little splotch of paint for an eye; the one on the right has a detailed eye, and if you look closely, you can see there is tiny wedge of white representing where the light is glinting. [Note: My photo is too low-res to see this, but click here and zoom in on this one on eBay--note the tiny "pie slice" of white.] This is a characteristic feature of Keeler birds and most if not all of the figural work. There is also the characteristic crazing to look for.

Once you know what to look for, it's not hard to identify an authentic piece. So how is it that this antiques dealer has his bird marked as Brad Keeler? I checked the base and there is no signature, which is how the typical birds are identified--a signature etched into the un-fired clay itself. 

I offer you this piece of advice: Just because something is identified by a dealer as an authentic Keeler piece, or it says "Brad Keeler" in the description, does not mean that it is. Don't be fooled by imposters or unscrupulous or simply ill-informed dealers. Had the dealer been on-hand at the store on Sunday, I would have given them this quick tutorial.

Alas, I just hope that other dealers who are looking to the internet for identification might happen upon my blog. To anyone out there reading this, I am always happy to look at pictures and give you my assessment--which is not to say that I know everything, but what I know, I'm happy to share.  

A big announcement!

Dear Brad Keeler afficionados,

First, if you haven't already found it, I've created a Facebook Group for anyone interested in either Brad Keeler or Rufus Keeler ceramics, including a member's only room to share buying and selling information.

And: I am writing a book.

Right now I'm at about 13k words toward a first draft. I have page upon page of research. I've conducted interviews with family members and am still working on conducting more. I'm actively seeking out anyone who might have had a connection to any of the potteries where either Rufus or Bradley worked, and/or who are knowledgable about the ceramic arts industry. 

My aim is to develop a well-rounded portrait of who these men were both to their friends and family as well as to their colleagues in the ceramics industry, their contributions to the field of ceramic arts, and to trace the family history that led to today, going back to Rufus' upbringing, the influence of father, his mother, and his half-brother; his career from its beginnings making sewer pipe to his death working for Emsco Refractories; his influence on his eldest son Brad's career in the ceramic arts, Brad's early life, marriage, ascension to success, and then his untimely death at 39 and how that affected his family--including his youngest daughter/my mother, all the way down to me and my sons, one of whom is named after him.

My mom and I have done a few field trips, including to the Garden of Memory and Great Mausoleum at Forest Lawn in Glendale, where both Brad and Rufus are interred, as well as Rufus' father, wife, and middle son. We've also been out to the Adamson House again, and to see his youngest son Phil Keeler's widow, Audrey. We also found the house in Laguna Beach in Three Arch Bay where Brad and family lived when he died (It's gated, so I had to talk my way past the guard shack!) as well as a summer place they rented on Pacific Coast Highway. We also took a trip out to San Juan Capistrano and visited the site of the Brad Keeler Artwares factory and the mural that still stands.

I have a road trip up the coast planned to visit all of the important landmarks. Lots more in store. I promise to post more frequent updates from here on out.

So, please stay tuned, get in touch, and take care.

Connecting through Collecting

Kelly's kitchen

Dear Readers,

Early this year, I spoke to my uncle, Brad Keeler, the eldest son of my grandfather Brad Keeler and my mother's brother. This summer, I had a conversation with his granddaughter, Kelly. Lke me, she has connected with our family history through collecting Brad Keeler ceramics. I thought I owned a lot of his work, but, whew!, she has me beat. I've not seen a larger collection of his ceramics anywhere else.

Below, find the story behind her collection, and a little more insight into the family that to this day finds a family connection through collection.

All photos included here courtesy of Kelly Kranz.

~

Connecting through Collecting: An Interview with Kelly Kranz

August 2020

Cati Porter: First, can you please tell readers (and me) a little about yourself? We’ve not met in person, but I know we’re cousins. Your grandfather is my mom Heather’s brother, the eldest of Brad Keeler’s children. 

Kelly Kranz: I am the Great-Granddaughter of Brad Keeler. His son, also named Brad Keeler is my maternal Grandpa. I live in Independence, MO just outside of Kansas City. 

 

CP: In a previous post, I interviewed your grandpa Brad. For our readers, can you tell us a little about your relationship with him? How did you come to learn about Brad Keeler Artwares?

KK: I am very close with my Grandpa Brad who also lives in Independence, MO. Growing up I always admired the Brad Keeler rooster plate hanging on the kitchen wall above the sink. I can remember the many stories of “Big Brad” (great-grandpa) and “Little Brad” (grandpa) as they were always referred to. I love hearing the stories my grandpa tells about how he worked in the pottery factory and how his Dad operated the business. My very first home I purchased was actually only 2 blocks up the street from my Grandparents house of 60+ years! I always visited my Grandparents and would always stop by when out walking my dogs in the neighborhood. When I bought my first home at age 23, I started my own Keeler pottery collection. I have since moved but still live within a few miles of their home. 

CP: I'd always thought I had a pretty extension collection, but one day my mom showed me pictures of yours. I was blown away. You’ve got the biggest Brad Keeler collection of anyone I know! About how many pieces do you own?

KK: I would estimate I have close to 200 pieces of pottery. I have a large antique display cabinet FULL of nothing but Keeler pottery, plus I have decorated with many pieces throughout my entire home. 

CP: Which piece was your first and how did you acquire it?

KK: This is a great question and honestly, I do not remember what my first piece was! I’m going to guess it was a standard flamingo or pair of yellow cockatiels as those are more common pieces. 

CP: Do you have any favorites?

KK: Yes! My absolute favorite are the monkeys with Catherine Keeler's name on them. I believe I have one of each design which is 8 different monkeys. These have been EXTREMELY hard to find but I think I finally have them all. 

CP: What is the appeal of collecting, for you? 

KK: I love antiques and history. Because these are made by my Great-Grandpa it was a no brainer to start collecting. I will never sell any of them and I hope long after I am gone they will always remain within the Keeler family. 

CP: How do you go about collecting? (Online, or in person, or…?)

KK: I look EVERYWHERE for the pottery. I have only been lucky 3 or 4 times finding pieces in person at antique stores. Of course when I tell the store owners they get so excited knowing the history and that they are going to someone in the family. I even had one antique dealer near St. Louis MO get so excited knowing who my mom and I were that he wrapped up his own personal collection of Keeler pottery from his home and met us at a coffee shop to see his pieces. He offered all of them to us which of course we couldn’t leave without buying several pieces! Otherwise online is the best bet to find pieces.

 

CP: Are there any particular pieces you’re seeking out right now?

KK: I still keep an eye out for pottery but I’m not looking for anything in particular. I’m fairly confident I have the majority of all his pieces. 

CP: Any tidbits your grandpa or other family might have shared over the years about the family ceramics business or the family?

KK: Yes, two things that really come to mind are:

1) He was personal friends with Walt Disney and helped create some of his characters. I always thought that was so cool.

2) I love the stories about how a salesman or someone important in a suit would come by the factory and ask to speak with the owner, Mr. Keeler. A worker would point at him and he would be physically working whether that be on pottery or sweeping and cleaning the floors. The salesman would always say no no, the owner but yes, that was him. I love how he never had the mentality that he was too successful to do things, such as sweeping the floors. 

CP: Last question: Do you think you will ever stop collecting? Any advice for other collectors?

KK: Never! I love antique shopping and it’s always exciting when you see a piece, check it out and see it is indeed his. I love the thrill of finding treasures!

Just to keep looking everywhere you go. I was lucky enough one time to find a little rabbit at the Goodwill! It doesn’t matter where you are, always keep your eyes open and you’ll acquire more pieces. It has taken me 12 years to build my collection. 

Brad Keeler on Brad Keeler: A Conversation with Brad Keeler's son

Transcribed from a conversation with the younger Brad Keeler on September 3, 2018, the oldest child of Brad Keeler and my mother's big brother. My uncle Brad and my mom are in regular communication, and as he is that last remaining repository of direct information about my grandfather, I’d been wanting to ask some questions to further my own understanding of my grandfather and his work. I should add that my own very indirect information has sometimes been riddled with factual errors — which my uncle has been very kind to point out! The following are the notes I took during the phone call, lightly edited, in an effort to get things straight, like the fact that I said he must not have been athletic, based solely on his high school yearbooks.

Grandpa Brad Keeler with son Brad Keeler, on the beach

Cati Porter: What can you tell me about the family ceramics business? What have I gotten wrong on my website or in my writing?

Brad Keeler: Well, my dad was very athletic. I have his High school letterman sweater in my closet. He was a real athlete. He was a pole vaulter in high school. One of the better pole vaulters in all of southern California. And he was a gymnast, real good at gymnastics. And track and field.

CP: How did he get started in the ceramics business?

BK: He was a very good artist. He became a modeler. He modeled statues and stuff like that. He had experience in modeling, being that his dad was in ceramics. He just started with modeling flamingos. And as it turned out he was real good at formulating glazes. All these oxides and different chemicals go into that.

CP: Family legend has it that he was involved with the making of the first Oscars. What do you know about the Oscar statuette?

BK: He worked where they made the Academy Awards. I’m not saying he made the Academy Award, but he worked there, at the company where they made modeled them.

[Cati’s notes: Brad was born in 1913, and the first Academy Award (aka Oscar) was created in 1928. Brad would have only been 15 years old. The internet tells me that George Stanley sculpted the first Oscar based on a sketch by Cedric Gibbons. During WWI and WWII, the statuettes were made of plaster. That timing makes more sense for my grandfather’s involvement. My suspicion is supported by all the photos of Oscars in the family photo album that date to that period. Will do further research.)

CP: What was Brad Keeler like? Was he funny? Serious? Was he good with his money or did he spend too much? What was he like as a dad?

BK: He was a real good guy. Committed to his work. Not a lot of time to spend with the family. My dad was the kind of guy … he was just a regular good person.. he didn’t go to work in a suit and tie and sit in a fancy office. He didn’t do that. He went there and he worked. I can remember many times being in the pottery and some salesman would walk in and want to talk to the owner and I would point to him and say there he is sweeping the floor and the guy would say No, not an employee, I want to see the owner. He was a down to earth good guy.

CP: Were you close?

BK: Not as close as I wanted to be. Right before he died we got really close. He loved the ocean. We’d go spear fishing and surfing. Not surfing like you think of with surf board. We had paddle boards.

CP: Did he get his love of the ocean from his dad [Rufus Keeler of Malibu Potteries]?

BK: Yes, I believe he did. At the factory in Malibu they would all go swimming in the ocean at lunch and then go back to work.

CP: Did you help with the pottery?

BK: He showed me everything. I made molds, glazes, swept the floor.  I was eleven or twelve or thirteen years old. [Cati's notes: Probably not unlike the way Rufus would bring his own sons to the Malibu Potteries factory.] Every weekend during the school year. The shop was on Delay Drive. He and my mom were living in a little house owned by Grandmother Keeler and then he started making the flamingos in the garage. He took them to Bullocks to see if they’d sell them and they did. The business started real fast.

Then we moved to Catalina Island. Mom, Dad, and my brother Pat. We lived there while he tore down the house on Delay Drive and built the pottery on that property. Then we lived in Laguna for a while. Finally they built the house in Glendale. This was 1947-48 to around 1952.

[Cati's notes: To see pictures of this house, you may view my album on Facebook which also contains photos from the cemetery where he is interred.]

When he was building the pottery in Capistrano we rented a house in Laguna. I was 16 years old. Then he had a heart attack and died and all hell broke loose. Mother relied on him for just about everything. She didn’t know what to do. Lived in her mother’s house for a little while.

Did you know he was connected with Walt Disney?

CP: No! What was the connection?

BK: Walt Disney wanted his characters made in ceramics. He and Walt Disney became real good friends. Came out to the house in Glendale all the time.

CP: What was your grandpa Rufus like? What can you tell me about him?

BK: Never met him. Grandma Mary was 99 and lived in the house until she died. Google “The House that Rufus Built”. Rufus was a real genius at glaze work and those tiles were some of the best tiles. Best looking tiles. All over Los Angeles homes. They were real popular. Beautiful tile work in Los Angeles City Hall.

CP: What else don’t I know about him?

BK: He was on a rice diet. Months before he died, that was all ever ate. That’s what the doctor wanted him to eat. My mom and dad were up in a hotel. I’m not sure the name of the hotel or where they were. Then he had the heart attack and they went to a hospital in Glendale, where he died.

CP: How did he lose his eye?

BK: His mom and dad owned a gas station. He worked in the gas station for his dad and he was lifting a battery. In the old days the way you lifted a battery with a leather handle and it slipped and a piece of the battery flew up and blinded him. Never wanted to have a glass eye. His eye was real cloudy. They even told hm they could take his eye and tattoo an eyeball but he didn’t want any part of it.

CP: Can you tell me a little about yourself? You made a career in ceramics too?

BK: I even worked at Twin Winton in Capistrano.

[Cati’s notes: Twin Winton was the manufacturer who took over the factory that my grandfather had built in Capistrano just before he died. The factory is gone, but the mural he had commissioned for the lobby still stands as a city landmark. To view an old post on an ancient website, click here.]

Sharon’s mother did not like me. She convinced Sharon to go school at Graceland College in Iowa. We weren’t engaged, we were just going steady. She sent me a letter and said I met this guy and I’m going to have to break up with you. I just jumped on the Greyhound Bus that very day and went back to Iowa and convince her to drop that guy.

One day I showed Sharon the ad for a ceramics engineer. I told her they wouldn’t want me. Sharon wrote them a letter. Then one day I got a letter from that pottery, from the midwest. They flew this guy out to Los Angeles to talk to me, and they hired me. So, we moved to Missouri. It was about a mile from Independence. The right thing at the right time for us. 1963. I designed ceramic lamps and formulated all the glazes.

Sharon was born with a hole in her heart, a congenital defect. Doctors told her she should never have survived childhood. Before the surgery, she even won Queen for the Day.

In 1962, she had open heart surgery in Los Angeles. She was in the hospital for about two weeks. We had no money and no idea how we were going to pay for all of this. She was 26. All of a sudden we found out from the hospital that she was the “hospital case of the year” — every single thing was paid for. It was an experimental operation. If you don’t have the operation you won’t live another six months.

[Sharon passed away January 4, 2016, in Independence, Missouri, at the age of 79.]

Brad Keeler featured in Flea Market Decor Magazine

Good morning, Brad Keeler fans! Some good news: Recently I was asked to contribute an article on collecting Brad Keeler pieces for Flea Market Decor Magazine. It focuses on my experience collecting his work. I'm really happy that his work is getting the attention it deserves. I also am committing in this new year to post at least monthly some new information about his life or work. Thanks for your patience. More coming soon!