Installation view of the Marketing section of the exhibition, with a colourful mural and smaller brochures in front.
Installation view of Edith Heath and Emily Carr: From the Earth, exhibition at the Vancouver Art Gallery, July 10, 2021 to March 13, 2022, Photo: Blaine Campbell
Cover of a sales brochure with black backgorund, black and white image of a ceramic plate with a green halo around and white and green letters.
“Heath California Dinnerware” brochure, 1947, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
Inside of a brochure with two light blue illustrations of ceramic pieces, black letters and two visible staples down the middle.
“Heath Pottery Bullocks Wilshire” brochure, 1945–46, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
Plates, bowls, cups and other Heath dinnerware in yellow, purple and blue tones, with decorative fruits.
“Heath Buffet Service” card, 1955, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
A woman in a dress organizing stacks of plates, cups, ashtrays and bowls on a long table.
Edith Heath arranging dinnerware on the factory floor, c. 1955, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
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Marketing Heath Ceramics

The language describing Heath Ceramics products has remained remarkably consistent over the life of the company; simple, functional, durable, versatile, distinctive, graceful and contemporary are all words that appear repeatedly in marketing brochures and press materials. Revolutionary at the time for its departure from both the aesthetics and applications of traditional dinnerware, Edith Heath’s Coupe line quickly became a modern classic, synonymous with an easygoing lifestyle that emerged in post-war America. Undoubtedly, part of the enduring appeal of the stoneware was Heath’s commitment to the primacy of the clay, which gave her work an organic quality, one that always referenced the earth, nature and the California landscape.

It was a challenge to meet the needs of a national market with a product that retained Heath’s original intent—to remind people that dishes are made of materials of the earth—that earth is good—that shape and texture and colour may be so satisfying as to need no embellishment. (Edith Heath, typed note, c. 1980)

Installation view of the Marketing section of the exhibition, with a colourful mural and smaller brochures in front.
Installation view of Edith Heath and Emily Carr: From the Earth, exhibition at the Vancouver Art Gallery, July 10, 2021 to March 13, 2022, Photo: Blaine Campbell
Cover of a sales brochure with black backgorund, black and white image of a ceramic plate with a green halo around and white and green letters.
“Heath California Dinnerware” brochure, 1947, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
Inside of a brochure with two light blue illustrations of ceramic pieces, black letters and two visible staples down the middle.
“Heath Pottery Bullocks Wilshire” brochure, 1945–46, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
Plates, bowls, cups and other Heath dinnerware in yellow, purple and blue tones, with decorative fruits.
“Heath Buffet Service” card, 1955, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
A woman in a dress organizing stacks of plates, cups, ashtrays and bowls on a long table.
Edith Heath arranging dinnerware on the factory floor, c. 1955, Brian and Edith Heath/Heath Ceramics Collection, Environmental Design Archives, UC Berkeley
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