"This stuff ", I said out loud, "Is gorgeous." And so began an off- and- on quest, not only to find out a more about this Raymor by Roseville, but to perhaps build a collection.

What began simply enough a few years ago, has evolved, most recently, into a somewhat complete set of Raymor Modern Stoneware by Roseville. So armed with some instant nostalgia, I thought it might be fun to share a few thoughts on building this collection. When I began acquiring items, a few years back, I knew of only a few persons who even knew what Roseville Raymor was, let alone collected the stuff. I had bought Roseville pottery for years, and seemed to remember seeing some various examples of Raymor in one of the Huxford books. The little reprint of the 1953 price list in the Second Edition of Huxford's Roseville Pottery was an invaluable starting point. The numbering system employed on the bottom of each piece helped enormously when communicating with sellers via phone and e-mail (even though many times these numbers are obscured beneath thick glaze). Really, at that early stage, I felt there was little chance of finding every piece, based on how little of it I had seen around, and discovering that there are approximately fifty separate items comprising a set. This estimate also didn't take into consideration the numerous metal and raffia type serving accessories that were made, nor the redesigned items or glassware. I guess that's what I've always liked about Raymor-the variety. Needless to say, I still find unique Raymor items to add to the collection.

My initial collecting chagrin changed to fervid interest when a friend of mine suggested I start searching on the internet. As many of you know, this really was the key to my quest, and has helped countless other collectors locate hard to find items. A big door had swung open, and in flowed the sources and contacts to make my quest attainable. However, the prize was still by no means easy. I quickly found that the wonderful variety of complimenting shapes, sizes and colors designed so superbly by Ben Seibel, made finding all the pieces to the puzzle, quite challenging. But therein lay the excitement of the chase!

Initially I tried to focus on acquiring a complete set by mixing my three favorite colors: the mottled "Autumn Brown", "Terra Cotta", and the "Avocado". I realized soon thereafter, that even this would be difficult, despite the second-hand knowledge that some earlier collectors of Raymor possessed entire sets in single colors. I've often wondered how many original buyers in the 50's purchased monotone sets versus the "mix-and-match" look. I decided to follow my instincts and get any piece I didn't have in any color, preferably in near mint condition. I figured I could always trade pieces later with other collectors. This approach has worked well for me and I would certainly recommend this tactic for new collectors desiring a complete set. To those of you trying to put a single color set together, I applaud you and wish you luck.

Over time, I have grown to appreciate all of the Raymor glazes and color variants, and especially enjoy seeing them mixed. I think this aesthetic really works better than a monochromatic approach, in that it expresses a complete vision of the complimentary color scheme that the designer created. One can certainly get a more authentic period feel on a table with the multi-colored approach. Original owners of Raymor can attest to the fact that they may have purchased casseroles with the two-toned effect of a different color base and lid. This takes the mix-and-match approach one step further.

I thought it also worth discussing, in a bit more detail, the aforementioned color variants within each glaze line. This aspect of the Raymor glazes may confound the new collector who desires a closely matched set. The fact is, I've never seen so many subtle and not-so-subtle color differences within a given line of dinnerware, even within the supposed same glaze line. This somewhat confusing matter will become clearer to collectors as they see and handle even a small volume Raymor over time. Personally, I enjoy this variety as it serves to remind me that each piece of Raymor is unique and to some extent, hand-made.

The idea behind photographing my collection and sharing those photos with others, grew out of a frustration I had encountered early on. I could find only scattered photos of Raymor in publication. What I wanted to see were actual photos of each piece, showing their size and shape relationships to one another. I thought this might be helpful to those who, for instance, might own a #199 Individual Casserole, but wonder how much bigger it's cousin, the #196 would appear. Hence, the groupings I chose in the photos. Really though, these photos may be of interest to anyone wishing to familiarize themselves with the inherent variety of this beautifully designed line of dinnerware. So I hope you enjoy my non-professional photographic attempt at sharing a little information. If it helps you out a bit in your own quest, I'll be glad. I hope collectors with questions and others who wish to trade stories might e-mail me. Finally, I wanted to thank Brad and Marcia for posting these photos, along with my meanderings, on this great website. And I'm sending a heartfelt thanks to all of you who have scouted, traded, and sold me the many items that comprise this collection. You know who you are! Happy hunting.