Marshall Fredericks . Com

“Pewabic Pottery: Patronage, Private Residences,

Public Buildings, Sacred Spaces” was on exhibit from June 1 through September 29, 2007. The following article is by Dr. Thomas Brunk, Curator of the exhibition:Pewabic Pottery was one of 

Michigan’s most important manifestations of the International Arts and Crafts Movement. Begun in 

Detroit at the turn of the 20th century, Pewabic set a high standard in studio pottery. This exhibit presents an overview of Pewabic’s significant contributions in a thematic manner, with a section devoted to Pewabic installations in the 

Saginaw Valley area. Most of the examples in the exhibit come from private collections. Many of these objects have not been exhibited in decades.The exhibit has no pretense of being comprehensive in its scope. The four themes—Patronage, Private Residences, Public Buildings, Sacred Spaces—allow a glimpse at larger groups of work. Interwoven is a chorus of vessels that speaks to a particular aspect of clay art. The “Pewabic Timeline” provides a guiding context for the various themes and groupings within the show.Featured are some remarkable examples, including two rare Revelation Pottery vessels, Miss Perry’s first successful iridescent glazed vessel, pieces from the collection of Charles Lang Freer, and a robust collection of William B. Stratton’s ceramic art. The groupings present specific aspects of Pewabic’s many artistic, technological and cultural contributions.The story of Pewabic Pottery is that of the collaboration of two highly motivated scientific and artistic individuals who joined their abilities in a common undertaking. Without the partnership of Horace James Caulkins and Mary Chase Perry there would be no Pewabic Pottery. Caulkins’ Revelation China Kilns and Perry’s artistic talents were the matrix from which Pewabic Pottery emerged.The uniqueness of Pewabic Pottery lies in the empirical methodologies embraced by Perry and Caulkins. They traded on the novelty of glaze effects created by harnessing chemical mixtures and firing processes. Their goal was to achieve a certain dependability of production without an industrial control of the process.Pewabic created simple objects with unique glazes rooted in ancient ceramic tradition, yet made freshly their own. Perry and Caulkins were not afraid to harness modern technology as a tool to be used by consummate crafts people without sacrifice of their artistic qualities. Their work was standard enough to fit prescribed needs yet unique enough to stand respectfully defiant on their own merit, and in the face of an ocean of mass-produced art pottery. Mary Chase Perry (1867-1961, later Mrs. William B. Stratton) was born in the remote mining 

village of 

Hancock in the Upper Peninsula of Michigan. Her father was a physician and surgeon to the miners working the Pewabic, Franklin and 

Quincy copper mines. A series of events brought her family to 

Detroit in 1882 where she began her study of art in earnest with local artists. Five years later she embarked on a two-year study at the 

Cincinnati Art Academy under sculptor Louis T. Rebisso and others. Here she became acquainted with the women who began Rookwood Pottery and the ceramic art movement in 

Cincinnati.Always yearning to go beyond the primitive limitations of available technology in studio ceramic work, her break came when she met 

Detroit dental trade supplier Horace James Caulkins (1850-1923). Caulkins was marketing high-heat furnaces and kilns for the dental trade and was anxious to capture the growing market of china decorators. In 1896, Perry agreed to travel about the country calling upon her many ties in the national community of china decorators to demonstrate and sell Caulkins’ Revelation Kiln. This enterprise was successful, but Perry wanted more.Caulkins and his men continued to develop new kiln technology for pottery and underglaze firing. This was exactly the track Perry wanted to follow. By 1900 they established a laboratory in the basement of Caulkins’ business where they experimented with clay bodies and firing techniques. After further studies and tours of commercial potteries in eastern states, Perry and Caulkins rented an unused carriage house where they established their atelier pottery works in 1901. Perry was the artistic force and Caulkins the kiln expert and businessman.Although Mary Chase Perry Stratton lived thirty-eight years longer than her business partner, the joint vision never dimmed.Thomas W. Brunk, Ph.D.Curator

2 Responses to “Pewabic Pottery: Patronage, Private Residences, Public Buildings, Sacred Spaces”