1. Geoffrey P. Moran, Anne E. Yentsch, and Edward F. Zimmer, Archeological Investigations at the Narbonne House, Salem Maritime National Historic Site, Massachusetts, Cultural Resources Management Study, no. 6 (Boston: National Park Service, North Atlantic Regional Office, 1982). 2. David H. Dutton, “‘Thrasher’s China’ or Colored Porcelain: Ceramics from a Boott Mills Boardinghouse and Tenement,” in Interdisciplinary Investigations of the Boott Mills, Lowell, Massachusetts. Volume III: The Boardinghouse System as a Way of Life, edited by Mary C. Beaudry and Stephen A. Mrozowski, Cultural Resources Management Study, no. 21 (Boston: National Park Service, North Atlantic Regional Office, 1989), pp. 83–120. 3. See, e.g., Mary C. Beaudry, “Scratching the Surface: Seven Seasons at the Spencer-Peirce-Little Farm, Newbury, Massachusetts,” Northeast Historical Archaeology 24 (1995): 19–50, and Mary C. Beaudry, “Farm Journal: First Person, Four Voices,” Historical Archaeology 32, no. 1 (1998): 20–33. 4. Kikusaburo Fukui, Japanese Ceramic Art and National Characteristics (Tokyo: N.p., 1926); Barry Till and Paula Swart, The Flowering of Japanese Ceramic Art: Late 16th Century to the Present/L’épanouissement de l’art céramique japonais de la fin du seizième siècle à nos jours, exh. cat. (Victoria, B.C.: Art Gallery of Greater Victoria, 1983); Tadanari Mitsuoka, Ceramic Art of Japan, 5th ed. (Tokyo: Japan Travel Bureau, 1960). 5. William Hosley, The Japan Idea: Art and Life in Victorian America, exh. cat. (Hartford, Conn.: Wadsworth Atheneum, 1990); Siegfried Wichmann, Japonisme: The Japanese Influence on Western Art since 1858 (New York: Thames and Hudson, 1999). 6. A Professor Morse, as quoted by James Lord Bowes in A Vindication of the Decorated Pottery of Japan (Liverpool: Printed for private circulation by D. Marples and Company, 1891); in this book Bowes defended himself against criticism by Morse and others of his earlier work, Japanese Pottery (Liverpool: E. Howell, 1890), in which he had gone so far as to suggest that some examples of “Modern” Japanese pottery possessed artistic merit. 7. A. A. Vantine & Co., Illustrated Catalogue of A. A. Vantine & Co., Importers from the Empires of Japan China India Turkey Persia and the East, Broadway and 18th Street, New York (New York: A. A. Vantine & Co., 1880). Although there are several Vantine catalogs in the Winterthur Collection of Printed Books and Periodicals and one in the Trade Catalogue Collection of the Library at the University of Delaware, none produced after circa 1900 includes Water Drop ware among its offerings, so one might deduce that the ware went out of production and/or popularity before, or by the end of, the Meiji period. Grace H. Ziesing, in her notes on her family history that she generously shared with me, records that A. A. Vantine & Co. was owned and operated by one of her ancestors, James Irving Raymond, who passed it on to his son Irving. The business originally operated at 827/829 Broadway, New York, but in 1913 it moved to 5th Avenue and 39th Street. Irving sold the business in 1922; Vantine’s no longer exists. 8. Vantine & Co., Illustrated Catalogue, p. 5. 9. Katherine C. Grier, “Material Culture as Rhetoric: ‘Animal Artifacts’ as a Case Study,” in American Material Culture: The Shape of the Field, edited by Ann Smart Martin and J. Ritchie Garrison (Winterthur, Del.: Henry Francis Du Pont Winterthur Museum, 1997; distributed by University of Tennessee Press, Knoxville), pp. 65–104, quote on p. 96.