1. James Carr, who was born in England, worked at the American Pottery Company from 1844 to 1852. He left to rent Charles Fish’s Swan Hill Pottery at South Amboy and worked there with Thomas Locker and Joseph Wooten until 1853 making yellow, Rockingham and whiteware until 1853. One of their billheads is illustrated in both M. Lelyn Branin, The Early Makers of Handcrafted Earthenware and Stoneware in Central and Southern New Jersey (Cranbury, N.J.: Associated University Presses, 1988), p. 200, and Joan Liebowitz, Yellow Ware (Atglen, Pa.: Schiffer, 1993), p. 33. Carr subsequently moved to New York City where he formed the New York City Pottery, initially making opaque china, while later making granite and majolica and then excellent bone china and parian ware. See Edwin Atlee Barber, The Pottery and Porcelain of the United States (1893 and 1909; reprint, New York: Feingold and Lewis, 1979), pp. 179–80. Branin, The Early Makers of Handcrafted Earthenware and Stoneware, p. 198, and Arthur W. Clement, Notes on American Ceramics, 1607–1943 (New York: Brooklyn Museum, Brooklyn Institute of Arts and Sciences, 1944), p. 19, have Carr working at South Amboy until 1855. Thomas Locker continued to work at the Swan Hill Pottery after Carr’s departure. See Branin, The Early Makers of Handcrafted Earthenware and Stoneware, p. 99. 2. Arthur A. Eaglestone and T. A. Lockett, The Rockingham Pottery, new revised ed. (Rutland, Vt., and Tokyo, Japan: Charles E. Tuttle Company, Inc., 1973), pp. 89, 90; Frederick Litchfield, Pottery and Porcelain: A Guide to Collectors (New York: M. Barrows and Company, Inc., 1951), p. 217; Lura Woodside Watkins, Early New England Potters and Their Wares (1950; reprint, Hamden, Conn.: Archon Books, 1968), pp. 7, 212; Richard Carter Barret, Bennington Pottery and Porcelain: A Guide to Identification (New York: Crown Publishers, 1958), pp. 18, 19. 3. John Spargo, The Potters and Potteries of Bennington (1926; reprint, New York: Dover Publications, 1972), pp. 172, 173. 4. Not to be overlooked as well is the origin of utilitarian, salt-glazed stoneware manufacture, which was simultaneously made in the Midwest. Those potters working in Indiana were also primarily English, with only a small percentage from Germany. By 1840 at least twenty-three potters operated in Illinois making stoneware. The most famous were the Kirkpatrick family potteries established in 1836. See Eva Dodge Mounce, “Checklist of Illinois Potters and Potteries,” Historic Illinois Potteries 1, no. 3 (1989), p. 3. 5. William C. Gates and Dana E. Ormerod, “The East Liverpool, Ohio Pottery District; Identification of Manufacturers and Marks,” Historical Archaeology: Journal of the Society for Historical Archaeology 16, nos. 1–2 (1975): 15; Barber, The Pottery and Porcelain of the United States, pp. 192–96; Edwin Atlee Barber, Marks of American Potters (1904; reprint, New York: Feingold and Lewis, 1976), p. 143; Eugenia Calvert Holland, Edwin Bennett and the Products of His Baltimore Pottery (Baltimore, Md.: The Maryland Historical Society, 1973), p. 2. 6. Gates and Ormerod, “The East Liverpool, Ohio Pottery District,” p. 79; Barber, The Pottery and Porcelain of the United States, p. 199; Barber, Marks of American Potters, p. 105. 7. Their advertising sheet states it was made by the Harker China Company/The Oldest Pottery in America/Established 1840 as an “authentic reproduction of the first Harker Rockingham Hound Handled 2 Qt. Jug, produced in 1948.” They also created a hound-handle mug similarly glazed and a “Rebekah-at-the-Well” teapot with an overall dark brown glaze. 8. Gates and Ormerod, “The East Liverpool, Ohio Pottery District,” p. 300; Barber, The Pottery and Porcelain of the United States, p. 199; Barber, Marks of American Potters, pp. 160, 161, 201. An 1864–1865 price list of the Vodrey Pottery Works of his Rockingham and varigated ware and yellow ware is illustrated in Joan Liebowitz, Yellow Ware (West Chester: Pa.: Schiffer, 1993), p. 45. 9. Gates and Ormerod, “The East Liverpool, Ohio Pottery District,” p. 52; Barber, The Pottery and Porcelain of the United States, p. 200. An 1850 price list of his yellow and Rockingham ware is illustrated in Liebowitz, Yellow Ware, p. 43. 10. Holland, Edwin Bennett and the Products of His Baltimore Pottery, pp. 2–13. David Goldberg, “Charles Coxon, Nineteenth Century Potter, Modeler-Designer and Manufacturer,” American Ceramic Circle Journal 9 (1994): pp. 28–64. 11. H. E. Comstock, The Pottery of the Shenandoah Valley Region (Chapel Hill: University of North Carolina Press for the Museum of Early Southern Decorative Arts, 1994), p. 122, fig. 4.117, p. 220, figs. 8.62–8.64. 12. Barret, Bennington Pottery and Porcelain: A Guide to Identification, p. 320, pl. 417, p. 321, pl. 418. John Bell also copied this mug (see Comstock, The Pottery of the Shenandoah Valley Region, p. 130, fig. 4.143). Coxon continued to make this mug with slight variations when he was at the Swan Hill Pottery, ca. 1858–1860. 13. Gary Stradling, “Puzzling Aspects of the Most Popular Piece of American Pottery Ever Made,” Antiques 151, no. 2 (1997): 332–37; Goldberg, “Charles Coxon,” pp. 30, 31, 37–43. Branin, The Early Makers of Handcrafted Earthenware and Stoneware, p. 202; Goldberg, “Charles Coxon,” pp. 59, 60. 14. Alice Cooney Frelinghuysen, “Empire City Entrepreneurs: Ceramic and Glazes in New York,” in Art and the Empire City, New York 1825–1861, edited by Catherine Hoover Voorsanger and John K. Howat (New Haven and London: Yale University Press, 2000), pp. 136, 142; Watkins, Early New England Potters and Their Wares, p. 212. 15. John Spargo, Early American Pottery and China (New York: The Century Co., 1926), p. 317; Watkins, Early New England Potters and Their Wares, pp. 211–13. 16. Spargo, Early American Pottery and China, p. 306; Spargo, The Potters and Potteries of Bennington, pp. 180–84; Watkins, Early New England Potters and Their Wares, p. 218. 17. I am grateful to Leslie B. Grigsby for this citation and for sending me photographs of examples of early Staffordshire earthenware lions from her book The Henry H. Weldon Collection, English Pottery, Stoneware and Earthenware 1650–1800 (New York: Sotheby’s Publications, 1990). 18. Diana Stradling, Jersey City: Shaping America’s Pottery Industry, 1825–1892 (Jersey City, N.J.: Jersey City Museum, 1997); Ellen Denker, “Exhibition Checklist,” in ibid. Watkins, Early New England Potters and Their Wares, p. 211. 19. Diana Stradling, Jersey City: Shaping America’s Pottery Industry, 1825–1892; Barber, The Pottery and Porcelain of the United States, pp. 21, 438–40; Lura Woodside Watkins, “Henderson of Jersey City and His Pitchers,” Antiques 50, no. 6 (December 1946): 390, 391. 20. Diana Stradling and Ellen Denker have an excellent enlarged copy of the D. and J. Henderson 1830 price list, first reproduced in Antiques 26 (September 1934): 109. In copying Greatbach’s design, other potters modified the hound, its arched back, and the floral decoration, leaving the hunt scene usually unchanged. All have an Albany slip interior not seen in the American Pottery Company examples. The glazing and modeling details of the copies are inferior compared with the original ones. 21. New Jersey State Museum, The Pottery and Porcelain of New Jersey, 1688–1900 (Newark, N.J.: Newark Museum, 1947), p. 48, no. 113, pl. 26. It is also listed in Clement, Notes on American Ceramics, p. 17, pl. 24; Watkins, “Henderson of Jersey City and His Pitchers,” p. 392, fig. 14; and Barber, The Pottery and Porcelain of the United States, p. 124. 22. Barber, The Pottery and Porcelain of the United States, pp. 438, 439; Diana Stradling, Jersey City: Shaping America’s Pottery Industry, 1825–1892. 23. Branin, The Early Makers of Handcrafted Earthenware and Stoneware, p. 189; Frelinghuysen, “Empire City Entrepreneurs: Ceramic and Glazes in New York,” p. 336. 24. Clement, Notes on American Ceramics, p. 18; New Jersey State Museum, The Pottery and Porcelain of New Jersey, 1688–1900, p. 46; Early Arts of New Jersey, The Potters Art, c. 1680–c. 1900 (Trenton, N.J.: New Jersey State Museum, 1956), p. 30; New Jersey Pottery to 1840 (Trenton, N.J.: New Jersey State Museum, 1972). Barber, Marks of American Potters, pp. 75–77. Barber was unaware at this time of the Salamander Works at Woodbridge. New Jersey State Museum, The Pottery and Porcelain of New Jersey, 1688–1900, p. 47, no. 138, and New Jersey Pottery to 1840, fig. 119. 25. Frelinghuysen, “Empire City Entrepreneurs: Ceramic and Glazes in New York,” p. 334, fig. 273. 26. Ibid., p. 49, pl. 39, cat. no. 146. 27. The usual Hanks and Fish Swan Hill mark described in the literature is larger, a bit more elaborate, and the swan faces right. Illustrated in Clement, Notes on American Ceramics, pl. 54; Lois Lerner, Lerner’s Encyclopedia of U. S. Marks on Pottery, Porcelain & Clay (Paducah, Ky.: Collector Books, 1988), p. 452; Ralph M. and Terry H. Kovel, Dictionary of Marks–Pottery and Porcelain (New York: Crown Publishers, 1995), p. 161. There are two pitchers with Rockingham glazes which have a mark similar to this one. These are illustrated in Jane Perkins Clany, “Rockingham Ware in America, 1830–1930: An Exploration in Historical Archaeology and Material Culture Studies” (Ph.D diss., University of Pennsylvania, 2000). This is a long-awaited work on Rockingham ware. Besides chapters on archaeology and material cultures, there is an excellent comprehensive history and definition of the term Rockingham as used in England and the United States. Arthur W. Clement, New Jersey Pottery to 1840 at New Jersey State Museum, Trenton, New Jersey Collection. There is also a known spittoon with the same mark. Branin, The Early Makers of Handcrafted Earthenware and Stoneware, pp. 197, 198. 28. Branin, The Early Makers of Handcrafted Earthenware and Stoneware, p. 201. 29. “J. E. Jeffords & Company, Philadelphia, Pa., Illustrated List of Yellow, Rockingham, White Lined, Lava and Buff Stoneware,” Crockery and Glass Journal 3, no. 17 (1876). 30. Gates and Ormerod, “The East Liverpool, Ohio Pottery District,” p. 79; David Goldberg, Preliminary Notes on the Pioneer Potters and Potteries of Trenton, N.J.: The First Thirty Years, 1852–1882 (Trenton, N.J.: Trenton Museum Society, ca. 1983), p. 24. 31. Gates and Ormerod, “The East Liverpool, Ohio Pottery District,” p. 16; Goldberg, Preliminary Notes on the Pioneer Potters and Potteries of Trenton, N.J., pp. 24, 25, 40–42. 32. Barret, Bennington Pottery and Porcelain: A Guide to Identification, pp. 134–35. 33. A different Rockingham glazed pair of these figures in a private collection has W. H. F. Geddes, N.Y., incised on the back of the young girl, presumably for W. H. Farrar who worked at the Geddes pottery ca. 1840–1857. A similar pair is known made of cobalt blue decorated stoneware and marked “Lyons” in bluish script on their bases. See Vicki and Bruce Waasdorp, American Pottery Auction (September 22, 2002), no. 272. Both Nathan Clark (ca. 1822–1852) and Thomas Harrington (ca. 1852–1872) worked in Lyons, New York, during this period. Their pottery’s name was stamped under their respective names and “Lyons” on their stoneware. William Ketchum, Jr., Potters and Potteries of New York State, 1650–1900, 2d. ed. (Syracuse, N.Y.: Syracuse University Press, 1987), p. 481. Ketchum does not list Lyons as an isolated mark.