The Remmey and Crolius families dominated the New York stoneware industry from the early 1700s through the early 1800s. Both families emigrated from Germany, bringing with them the stoneware traditions of their homeland. Sometimes business associates, the two families also inter-married. Remmey family members went on to establish stoneware factories in Philadelphia and Baltimore, as well.
Stoneware maker Nathan Clark partnered with Ethan S. Fox, a relative by marriage, in 1829. In response to increasing competition they began selling more elaborately decorated “Fancy Ware made to order.” The names on this inkwell, LYON & ASHLEY, may refer to the people or firm that placed the order.
This jug was probably made by William Lundy and Nathan Church, Jr. at Israel Seymour’s Troy, New York pottery. The potters achieved the distinctive decoration on this piece by using both cobalt and manganese oxides to fill in the incised floral motif.
While this jar is unmarked, it may be one of several in the Museum's collection made by Thomas Commeraw, a free black potter. Thomas Commeraw established his pottery in the Corlears Hook neighborhood of lower Manhattan in 1797, successfully competing with well known stoneware makers from the Crolious and Remmey families.
The opening of the Erie Canal in 1825 contributed to the establishment of numerous stoneware factories in towns such as Utica, New York. The White family first began making utilitarian pottery in Utica in 1834, and started using molds and steam-powered pottery wheels in the 1870s, expanding the types of wares they could produce. By the late 1800s, they were known for their relief molded wares, such as this stein.
This stoneware butter crock was made by John Burger, who operated a pottery in Rochester, New York, between 1839 and 1870. It is one gallon in capacity with a maker’s mark just below the rim. Its floral design is rendered in cobalt blue, and the interior is brown glazed.
John Burger came from Alsace-Lorraine in France, and first worked at a pottery in Lyons on the Erie Canal. In 1839 he moved to Rochester and joined Nathan Clark and Company as manager of the pottery. In 1855 Burger became the owner of the pottery and continued in the business of making stoneware for domestic uses—preserve jars, churns, pitchers and batter pitchers, cream pots, jugs, molasses jugs, water fountains, beer bottles, stove tubes, and the butter pot seen here. He was joined in the business by his sons in the 1860s. Decorative floral motifs of this kind were common by the 1850s.
Early in the 19th century, the potters themselves executed the designs, but later they employed women to paint the pottery’s motifs onto the vessels. Women’s skills in writing and in decorative techniques expressed in the home prepared them to execute designs with fluency and without any formal art education.
The salt-glazed stoneware tradition in America was brought to this country by immigrants from Central Europe. Potters in the New World used decorating techniques developed in Germany and other European countries, such as pictorial incising and cobalt painting, as seen the incised bird on this jug made by John Remmey III.
Israel Seymour operated a pottery in Troy, New York from about 1809 to 1865. This beautifully formed jug is a fine example of much of the stoneware made by New York potters--simple utilitarian pieces, without adornment, that met the needs of the people who used them.
Thompson Harrington took over management of Nathan Clark’s Lyons, New York stoneware manufactory in 1852 when Clark left to establish new potteries elsewhere in western New York. Located along the Erie Canal, the Lyons pottery flourished under Harrington and subsequent ownership until it closed in 1902.
Made by William Lundy in Troy, New York, the unusual decoration on this jug features two American flags and an anchor. An Irish immigrant, Lundy worked at a number of Troy potteries in the 1820s.
John William Crolius immigrated to Manhattan from Germany in 1728 and established a successful pottery dynasty. This piece was probably made by Clarkson Crolius Jr., John William’s grandson. The last potter to work in the family business, Clarkson closed the pottery in 1849. This jar is glazed with Albany slip clay which was discovered in the Hudson Valley region about 1830 and soon became a preferred glaze for stoneware vessels.
Stoneware containers were useful for storing many goods into the 1900s. Before the development of canning and refrigeration, stoneware forms were staples in most homes, used to hold salted or pickled food as well as beverages and dairy products. This jug, probably meant to hold water, ale, whiskey or beer, features an incised design. By the time this piece was made, most potters had turned to glaze painting, which was faster and easier to produce.
This salt-glazed stoneware butter jar is decorated with hand applied cobalt, and is one of the earliest pieces made at the Athens, New York pottery established in 1805 by Nathan Clark and his brother-in-law, Thomas Howe. Howe died in 1813 leaving Clark to run and expand the company. He established subsidiaries in Kingston, Lyons, Rochester and Mt. Morris, New York between 1813 and 1838. The firm prospered until the end of the 1800s.
Chamber pots were found in many homes in the United States before the advent of modern indoor plumbing. While some chamber pots were elaborately decorated, this example, made by Paul Cushman of Albany, New York, is strictly utilitarian. The piece is incised only with the name of the potter.
The conclusion of the War of 1812 devastated many American potteries as the importation of less expensive, foreign-made wares resumed, mostly from Great Britain and Holland. While a number of potteries went out of business, the Clark and Howe pottery in Athens, New York employed more men than any other pottery in the state, and even expanded into northwestern New York. The firm was in part responsible for sustaining the local economy, paying $1,750 in wages in 1812 (equal to over $22,000 today).
Floral, bird, and animal motifs were commonly used to decorate 19th century stoneware in the United States. This jar, made by John Remmey III, features an incised and cobalt decorated fish.
Remmey pottery is often marked “Manhattan-Wells” referring to the firm’s location near the municipal water supply.
The Remmey family began producing pottery in New York City in 1735, when John Remmey I emigrated from Germany. His grandson, John Remmey III, took over the family business in 1793, continuing to produce some of the finest stoneware made in the United States at the time. The somewhat lopsided incised leaf design on this jug reminds us that each piece was made and decorated by hand.
David Morgan worked for New York City potter John Crolius Jr., beginning in 1795. In 1798 he temporarily took over Thomas H. Commeraw’s kiln on Cherry Street near Corlear’s Hook in Manhattan. The mark “CORLEARS HOOK” can be found on many of the well-formed jars, jugs and pitchers attributed to Morgan.
Early in their partnership, Nathan Clark and Ethan S. Fox produced both earthenware and stoneware. They stopped making earthenware in the 1830s to focus on stoneware forms such as molasses jugs, beer bottles and spittoons, all considered innovative shapes. This elaborately decorated flask may have been designed to compete with glass flasks being made at the time.
This salt-glazed, ovoid stoneware cooler was made by Eleazer Orcutt and Horace Humiston in Troy, New York. It has two large handles and features a classical figure with a lyre in relief surrounded by a series of impressed medallions highlighted in cobalt blue. The cooler was probably made for an individual or firm named A. Drown in Canaan, New York.
The presence of nearby stoneware clays gave rise to the New York state salt-glazed stoneware tradition that, by the early 1800s, developed in villages and towns along the Hudson River. Shipped upriver, the clay returned downstream after being transformed into useful ceramic vessels. With the Erie Canal completion in 1825, stoneware production extended its range to meet the increased flow of perishable goods from the Great Lakes region.
Stoneware clay, when fired to a temperature of about 2100 degrees F, vitrifies into highly durable ceramic material that holds liquids and keeps perishable contents cool. Stoneware potters in America, many of them immigrants from Germany and the Netherlands, maintained their European tradition of throwing coarse salt into the kiln. The salt melts in the heat and forms a pitted glassy surface on the vessels, which would otherwise be a dull grey.
The production of these sturdy salt-glazed containers declined following improvements in tinning and canning perishable foodstuffs. In the late 1850s, the glass Mason canning jar entered the market, after which the potteries lost much of the demand for food storage containers that sustained so much of their production.