1840

Years ago I would have yawned at the pitcher shown here. 11″ tall,  slip-cast, transfer print yellow ware, made by David Henderson’s American Pottery Company in Jersey City, NJ, 1840.  A crass, stuffy, Victorian frivolity.  Now it stops me in my tracks… Harrison Transfer Print Pitcher

One reason; it’s a technical tour-de-force.  This pitcher was essentially made out of scratch.  With a few notable but limited exceptions, we had no ceramic supply companies in 1840.  Henderson and his contemporaries were tenacious geniuses.

Liverpool had previously flooded the US with similar wares.  Many here tried to duplicate them.  Henderson, himself a cast-off of the English pottery world, claimed first success – initiating America’s mass-produced pottery era.  Others contested his claims.  But they were all operating at roughly the same time; they were all on the cutting edge of what was possible in American ceramics in the early decades of the 19th century.

Another reason for my reaction; the pitcher’s iconography.  The imagery relates to William Henry Harrison’s 1840 presidential bid.  A log cabin, a slogan “The Ohio Farmer,” Harrison, and an eagle.

Previous candidates lobbied party bosses in smoke filled rooms, public speeches being uncouth.  Harrison didn’t just “speechify.”  He hurdled insults at incumbent Martin Van Buren (“Marty Van Ruin”).  He re-invented his own background (“born in a log cabin”).  He coined slogans (“The Ohio Farmer”).  He milked alliances with big business (whiskey magnate E.C. Booze bankrolled his campaign and popularized a drinking term).  He pioneered the “whistle stop” train tour and plastered his face on newly available locally made transfer print ware.

Harrison won, then died of pneumonia a month after giving his inaugural speech in a blizzard.  The blue-blood Harrison probably never saw the inside of a log cabin.  He was an “Ohio Farmer” with thousands of acres, all managed by underlings.  In short, he was a multi millionaire posing as a good ol’ boy you’d want to have a hard cider with and vote for (they don’t all come from Texas).  Boisterous public self promotion, total self re-imaging, slander, spin, collusion – the inception of the modern presidential campaign.

Is there redemption in this story?  The Abolitionists noted Harrison’s success.  Soon they would flood the marketplace with ceramic nick-nacks decrying the evils of slavery.  And there at the beginning was our little pitcher…

…A Victorian frivolity?  More like a 500 pound gorilla.

Readings:
Ceramics in America, 2002. Robert Hunter, Ed.  Chipstone Press/Hanover and London.  2002.

Anglo-American Ceramics, Part 1 Transfer Printed Creamware and Pearlware for the American Market, 1760-1860. Arman, David and Linda.  Oakland Press/Portsmouth, RI.(1998)

American Patriotic and Political China. Marian Klamkin.  Scribner’s and Sons/New York.  1973.

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3 Responses to “1840”

  1. The Era of Good Feelings | This Day in Pottery History Says:

    […] hard sell.  Practically no American pottery company bothered with political imagery until the election of 1840.  Landscapes, flowers, and famous places were partisan […]

  2. How I Learned To Hate Everything | This Day in Pottery History Says:

    […] c.1790, and a mass-produced molded stoneware pitcher in the form of a waterfall or whatever by the American Pottery Company of Trenton, NJ, c.1840.  Without context or hint of other efforts, and compared to those oil […]

  3. The Hit Parade: The Beat Goes On | This Day in Pottery History Says:

    […] in today’s art economy.  The 1840 William Henry Harrison transfer print pitcher by David Henderson speaks volumes about the part ceramics played in the development of our national politics.  […]

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