Mary Chase Perry Stratton and the Pewabic Pottery
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Mary Chase Perry Stratton and the Pewabic Pottery
by J.L. Green
In the spring of 1909, Mary Chase
Perry removed a small vase from one of the
large Revelation kilns which her company
used and promoted. Oddly enough, the vase,
which was unremarkable in design, would
firmly establish Perry, the American Arts and
Crafts movement, and the Pewabic Pottery as
a center for artistic expression and
experimentation in the world of ceramics.
Perry was offered $100 for the vase which
stood no more than three inches high and one
and one-half inches across at its widest part.
She refused. Charles Lang Freer, a friend of
Drawing of the Pewabic Pottery Building, 10125 E.
Jefferson, Detroit, Michigan. The building was Perry’s and the namesake of the Freer Art
designed by architect William Stratton in 1907.Gallery in Washington D.C., was said to have
“…rejoiced in its beauty” and “critics who
saw it declared it priceless.” (Pear, p. 44)
What Perry and the workers at the pottery realized that spring day was that after years of
experimentation, testing, and study she had discovered an iridescent glaze that was said
to almost glow. It was a departure from anything else being produced and the Pottery
wasted no time in making their discovery known. While Perry and the Pewabic Pottery
were known throughout artistic circles and had been producing commercial pieces prior
to the discovery and development of their iridescent glaze, this was a defining moment in
their history.
Mary Chase Perry and the pottery that would bear the name Pewabic became so
intertwined and interconnected that for all intents and purposes they were one. Who was
Mary Chase Perry [Stratton], and where did she come from? What was the pottery with
the odd sounding name? We will briefly look at the life of the artist and her relationship
with the company that would carry her legacy into the 21st century.
Early Years
Mary Chase Perry was born in the copper mining town of Hancock, Michigan near the
Keweenaw Peninsula in 1867. It was this location that would play a pivotal role later in
life when naming the business with which she would forever be associated. Her father, a
graduate of the University of Michigan and Rush Medical College in Chicago, Illinois, ,
eventually returned to his home of Superior, Wisconsin after following the gold rushes to
both California and Australia in the 1850s. There he married Sophia Barrett.The couple moved to Hancock where William Walbridge Perry was hired as physician
and surgeon for the Franklin, Pewabic and Quincy Mines. In 1877, in a case of mistaken
identity, Perry’s father was killed. Shortly thereafter the family moved to Ann Arbor,
Michigan to be near relatives. (Highlights of Pewabic Pottery, p. 3)
It was in Ann Arbor that Perry was introduced to new ideas and pastimes one of which
was art. Over the next few years she would receive art instruction, both formal and
informal, from several sources. Encouraged by her mother, she began art lessons in her
early teens under the tutelage of Lily Chase, a new teacher in the school system in Ann
Arbor. To her amazement, as she continued to improve and hone her drawing and
painting skills, Perry found that she could actually make money as an artist when
commissioned by a local bookstore to paint Christmas cards which were sold in the shop.
She realized $6.00 from the venture. It was around this time that the family made another
move, this time to Detroit.
In Detroit she met Colonel Charles M. Lum, a veteran of the Civil War and a self-taught,
amateur painter. Lum, who had begun painting to fill up time he spent in the hospital,
shared with Perry aspects of drawing and painting that he had learned over time. After
Lum’s death, now more interested in art than ever, Perry discovered that she could
receive “quasi-formal” training through a correspondence course in painting offered
through the periodical, The Interior. Upon completion of the course, she entered and
won third prize in a painting competition sponsored by the magazine.
Detroit provided Perry with the opportunity to avail herself of the cultural and artistic
amenities which a growing city had to offer and she often visited exhibitions that came to
the area. Her interest in art never waning, she enrolled in classes in an art studio, which
opened in downtown Detroit operated by Carol Albright. These classes served to
heighten Perry’s interest in other forms of artistic expression and it was around this time
that she was introduced to china painting - a fad that had begun to sweep the country.
As with most things that she undertook, Perry wanted to learn more and enrolled in
classes with Franz A. Bischoff, a Viennese-trained artist, who specialized in china
painting. Whether stifled under Bishoff’s tutelage or feeling that she simply lacked the
necessary training to expand further as an artist, Perry ended the courses. She did,
however, subsequently enroll in the Art School of Cincinnati (later renamed the Art
Academy). (Highlights of Pewabic Pottery, p. 4)
Cincinnati proved to be the experience that she had been waiting for. In addition to the
formalized training she was also afforded a greater exposure to china painting and
ceramics, as several major potteries were located in the area, including Rookwood.
Perry’s classmates during her time at the school included Maria Longworth Nichols
Storer, founder of Rookwood Pottery, and Kataro Shirayamadani, a Japanese artist who
had just joined the staff at Rookwood. (Highlights of Pewabic Pottery, p. 4)
2The Young Artist
Completing her schooling at the Art Academy, Perry returned to Detroit to attend a
school being offered through the museum there. Upon completion she left Detroit for
Asheville, North Carolina, where her family had moved while she was attending school
in Cincinnati. By the time she arrived in Asheville, she considered herself a professional
artist and opened a studio where she sold her products, as well as gave instruction in
china painting.
In 1893, Perry returned to Detroit to open a studio on West Adams Street. She was not
only creating and selling her own works and teaching, she was also writing articles for
the scads of china painting magazines that had sprung up as the fad continued to grow.
She quickly established herself as one of the leaders in this still growing field.
As china painter and now instructor, Perry was becoming an expert in the use of kiln
ovens, which played a key role in the china painting process. So, it was of great
coincidence that Perry would learn that her next door neighbor, Horace J. Caulkins, was
the person who had developed a portable, high heat oven – aptly named the Revelation
Kiln.
The portable kilns were designed for Caulkins’ dental supply business, however, being a
businessman he quickly realized the potential market his ovens might have with artists
producing painted china and ceramics. He also evidently realized the opportunity in
working with someone like Perry who was not only an artist, but now an instructor, a
writer, and a lecturer. As china painting became a full-blown craze in America, the artist
and businessman entered into their first partnership, which would begin a lifetime
friendship, as well.
As a partner, Perry would act as the spokesperson for Revelation Kilns. The idea was that
she would travel throughout the country giving china painting demonstrations which
would conclude with firing the pieces in a Revelation Kiln. After demonstrating the ease
and efficiency of the oven, her job was then to take new purchase orders –which she did
quite successfully. During this period she traveled extensively throughout the U.S. to
cities such as Chicago, Des Moines, New York, Boston, and from as far west as Omaha
to as far north and east as Portland, Maine. She also helped Caulkins compile and
publish a promotional catalog for the company, Revelation China and Glass Kilns.
(Highlights of Pewabic Pottery, p. 9)
These trips were not only a success for Revelation Kilns, they were extremely successful
for Perry on a personal level. As a result of her work with Revelation, Perry was
becoming a recognized authority in the field of china painting and was quickly expanding
her area of expertise into the more technical aspects of the discipline, which included
firing and kilns. Due in large part to her efforts, kilns by Revelation were becoming the
standard in the field and could boast clients such as George Leykauf, Marshal T. Fry,
Pickard China Company, and Adelaide Robineau. (Highlights of Pewabic Pottery, p. 9)
3Mary Chase Perry demonstrating the Revelation Kiln.
In fact, Robineau and her husband inaugurated a magazine in 1899 entitled, The Keramic
Studio, which was devoted to just these types of artistic endeavors and Mary Chase Perry
was asked to contribute – further establishing her credentials.
The Ceramist
After a number of years of producing her own pieces, operating a studio, giving
instruction, writing on the subject, traveling the country giving demonstrations, all while
selling Revelation Kilns, Perry felt that she had exhausted the medium. Rather than
simply quit she had begun to look for a new challenge. She shared her feelings with her
business partner, Horace Caulkins, and his wife.
In true form, it was not long before Perry had selected her next “project”. At the Art
Academy in Cincinnati, through her work with Revelation Kilns, and through periodicals
like The Keramic Studio she had gained a greater exposure to and respect for ceramics.
She had decided that this was the field she would now pursue.
Caulkins and his wife supported Perry’s decision. In fact, they helped her get off the
ground by setting up a small kiln in the basement of Caulkins’ business. Here, for almost
a year, Perry experimented with firing and glazing small pieces until it was decided that a
larger studio was needed. Once again, Caulkins and Perry would establish a business
partnership. The new studio was actually a vacated carriage house which the partners
referred to as the “stable-studio”. Products coming out of the new studio were marked,
4almost as an afterthought, as Miss
Perry’s Pottery or sometimes even
Revelation Pottery [after the kilns].
(Pear, p. 28)
Perry who had continued her work
with Revelation now made a point of
visiting operating potteries while
traveling. She hoped in this way to
learn not only technical skills but also
to gather information on the day-to-
day operations of this rather
specialized business. During this
period of changing vocations, Perry
also took time to attend summer
courses in ceramics held in Alfred,
New York by Charles F. Binns.
The new Stable Studio now had
everything it needed – except for a
professional to throw pots. Perry had
never considered herself an expert on
the potting wheel and this was
evidently not the time to learn. She
felt it was imperative for the Studio to
have someone who could turn out a
professional product in quantity. A
part-time job was eventually offered to
Mary Chase Perry at work in the Stable Studio, Joseph Herrick, a trained pot thrower.
Detroit, Michigan. Herrick accepted the position basically
as a second job to supplement his
daywork, and with that the small pottery was in business. They began with a limited line
of products that would marketable items, such as bowls, vases, cosmetic jars and the like.
“The” Pottery
On October 8, 1903, the two business partners opened yet another “new” venture. Even
before being named, it had an order for $1,000 in bowls and lamp jars from Burley and
Company of Chicago, Illinois. Eventually orders would include glass lampshades to go
with the bases being produced (the pottery subcontracted out the glass cutting). Burley
himself urged them to develop a trade name as a way to more effectively create a market
identity for their product. While some of their earlier pieces had been marked as Miss
Perry’s Pottery and some as Revelation Pottery, they were willing to consider something
new. Perry submitted a list of names that included the word “Pewabic”, an association
that came from her early childhood memories in Michigan’s Upper Peninsula. Friends
5offered to trace the meaning of the Native American word, reporting back that it meant
“clay with a copper color.” So, Pewabic Pottery it was! The year was 1905.1
Perry, who had always been the guiding artistic
force of the partnership was now becoming a
businessperson in her own right. With the
formation of Pewabic Pottery, she convinced
Caulkins to expand beyond simply bowls and
vases and lamps. She was interested in moving the
business into a new area – i.e., creating
architectural tiles for homes. Her friend (and
future husband) William Stratton was involved in a
residential project in Detroit and needed a facing
material for a fireplace surround. After
preliminary discussion, Stratton gave the
commission to the fledgling pottery. Paper label used in the early days of
the Pottery.
Perry created a prototype tile by hand from which
the rest of the tiles for the project were molded.
With the success of their first venture, the
partners ordered steel molds and equipment for
producing a more standardized product, but the
architect quickly protested indicating his
preference for the hand-made type. He felt each
tile should show the work of the craftsman/artist
even if it was not perfect. (Pear, p. 29)
More business developed as a result of the
expansion into architectural products and the
Pottery began looking for property on which to
expand. They found three lots along Jefferson
Avenue in Detroit across from Waterworks Park.
Caulkins, who now felt with the addition of
architectural products the Pottery had assumed a
more dignified business, indicated his interest in
the old English type of architecture. He
Mary Chase Perry [Stratton] in the evidently felt it would lend an added air of
Pewabic Studio on E. Jefferson Street refinement to the company (not to mention that
the “revival styles” were all the rage). Both
partners decided to submit their ideas, as well as
their needs to William Stratton. It was eventually Stratton who would design
the building that is used to this very day. (Pear, p. 29)
6During these years, Perry became acquainted with Charles L. Freer. Freer, a
philanthropist and patron of the arts, became a friend, if not mentor, to Perry. He even
went as far as making his collections of oriental art available to her for study. It would be
Freer who would have the most influence and impact upon Perry’s interpretation of art
and eventually the type of pieces she and the Pottery would produce. Perry’s style does
change becoming much simpler - focusing upon colors and glazes rather than intricate
shapes and designs. The September 1904 issue of Keramic Studio, reflects Perry’s
epiphany of design:
We are trying to out-grow the emotional phase of admiration and interest
in decoration and to acquire a more intelligent and understanding appreciation
of its finer requirements.
We do not need to exploit special feats of execution nor technical specialties,
in order ‘to show off’. That was the manner of the yesterdays, when to do one’s
‘best work’ meant the most elaborate treatment possible, introducing every known
trick of the art on the same piece of ware. Now we know that one’s ‘best work’ is
often – rather always – his most simple yet appropriate conception, relying on the
thought back of it, instead of the fanciful execution of a momentary fancy.
(Highlights of Pewabic Pottery, p.21)
It was 1909 when Perry removed the tiny vase from the kiln that would take her and the
Pottery to a new level garnering recognition and fame that would justify the work of both.
With the death of her long-time business partner,
Caulkins’ widow became part owner in the business.
Mrs. Caulkins preferred acting as silent partner letting
Perry continue to direct the operation of the Pottery.
Eventually, Caulkins’ portion of the business would
go to his son, Henry – but the Pottery was Perry and
Perry was the Pottery. She would continue to guide
and work at the studio until her death at the age of 94
in 1961.
In 1964, the younger Caulkins deeded the building
and grounds to Michigan State University, which
operated the Pottery as an educational facility until
1979. “In 1981, the nonprofit [organization],
Pewabic Pottery, Inc., formed and assumed ownership
and expanded its mission to include education, the
creation of a museum and archive, and exhibition
programs.” That organization continues to operate the Horace J. Caulkins, developer of the
facility today. (Pewabic Society Brochure) Revelation Kiln and partner in the
Pewabic Pottery.
7Commissions
To discuss all of the commissions which the Pottery received over the years would be a
paper, if not a book, in and of itself. In addition to pieces held privately or in museums
throughout the country, the Pottery’s public commissions “…have included such projects
as the Stan Hywett Hall in Akron, Ohio; the State Capitol Building in Lincoln, Nebraska;
and the National Shrine of the Immaculate Conception in Washington D.C. In Detroit
was the Guardian Building and the Detroit Public Library, and more recently, the
decorative and mural tiles for downtown Detroit’s People Mover Stations. (Pewabic
Society Brochure)
Early commissions also included the bar in the Griswold Hotel in downtown Detroit; the
Interurban Depot in Ypsilanti, Michigan; the Knights of Columbus Hall (making it in
1910, the first commission by a fraternal order); as well as, the Hudson Motor Car office
lobby and entrance and the National Theatre (both in Detroit), the Roof Garden
Restaurant (New York City), St. Marks Church (Grand Rapids, Michigan), and the Bethel
Evangelical Church also in Detroit. Literally, there were thousands and thousands of
commercial, fraternal, educational, residential and religious projects - from the very
simple to the sublime – all distinctive and all very much Pewabic. (Pear, pp. 117, 122-
125, 127)
Awards
Mary Chase Perry’s first formal exhibition was no less than the World’s Fair in Chicago
in 1893, and almost every year after through the 1950s, Perry and the Pottery were
exhibiting its pieces, sometimes even several times a year. In 1904, it was the World’s
Fair in St. Louis; 1915, the American Federation of Arts, Washington D.C.; the American
Ceramic Society in NYC in 1917; the Women’s International Exposition held in Detroit
in 1929; the Whitney Museum in 1937; the National Arts Club in NYC in 1949; and the
Fine Arts Society of Detroit in 1950 to highlight just a few. (Pear, pp. 171-172)
The story of the Pewabic Pottery was included in a history of Detroit compiled by no less
than Clarence and Agnes Burton. Perry also served as one of the incorporators of the
Detroit Institute of Arts. She was awarded Emeritus Membership in the American
Ceramic Society, listed in Who’s Who of the Western Hemisphere, given an Honorary
Master of Arts Degree from the University of Michigan in 1930, and an Honorary Doctor
of Science Degree from Wayne State University three years later. (Pear, p. 183)
“She supervised and organized the creation of a Ceramics Department in the School of
Architecture at the University of Michigan” under the direction of Wells Bennett, and
was later contracted by the university as lecturer in that department and later taught at
Wayne State. Perry even found time to write a book entitled Ceramic Processes in 1946
[which can still be found in use today]. She was listed in Who’s Who of American
Women (1958-59), and was presented with ceramics’ highest award in 1947, receiving
the Charles Fergus Binns Medal [with the Pottery receiving the award in 1993].
(Pear, p. 239)
8The recognition Perry received can be summed up as no less than phenomenal, especially
given the time and circumstances in which they were received. They illustrate the artist’s
talent, her commitment to craft and the ability to meld those ideals with a working
business.
One of Stratton’s greatest joys was that of teaching and one of her fondest hopes was that
“…the [Pewabic] Pottery would be able to continue to serve as a school for ceramic
study.” (Pear, p. 262) Through her former business partner’s son, Henry Caulkins, that
dream was realized, first through Michigan State University and later with the formation
of the nonprofit Pewabic Society, Inc.
The Arts and Crafts Movement
Certainly, Mary Chase Perry was influenced by the English Arts and Crafts movement
and its eventual evolution in America. It was as much through this movement as her own
talent that helped to create not only an acceptance of handcrafted items but even a market
for them. The American Arts and Crafts movement allowed her to attain great
recognition for herself and the Pottery, all the while providing her the opportunity to do
something she evidently loved. She was there at the very formation of the Detroit Arts
and Crafts Society and along with her
future husband, architect William B.
Stratton, advocated the formation of a
School of Design, which would be
“…an adjunct to the Detroit Art
Museum.” (Pear, p. 79)
Although not on the original Board of
Directors for the Society many of her
closest personal friends were,
including William B. Stratton and
Horace J. Caulkins. Both Stratton and
Perry donated time and work to the
building that housed the Arts and
Crafts Society of Detroit, with Perry
contributing a fireplace of brown and
red tiles produced at the Pottery.
Pieces produced by Perry were some
of the very first items stocked and sold
through Detroit’s Arts and Crafts
gallery. Perry took that idea one step
further sending pieces on consignment Fireplace in the Society of Arts and Crafts
to arts and crafts society’s throughout building on Witherell Street in Detroit. Perry
the country gaining an even greater and the Pottery donated the brown and red
exposure for her products, the Pottery, tiles. Note the DSAC initials.
9as well as movement itself. Unknown as to an exact number, thousands of pieces were
sold via this method.
Conclusion
While an artist of immense talent and intensity, the work of Mary Chase Perry [Stratton]
may have remained the esoterica of art circles had it not been for the emergence of
growth of the American Arts and Crafts movement which mainstreamed artisans like her
and many, many others. Perry and the Pewabic Pottery developed symbiotically – an
entity and result of their time – A time that turned away from mechanization and
industrialization and looked toward producing the individual, hand-made items so
coveted today.
Perry not only became a force in the Arts and Crafts movement as an artist, she became a
writer and educator, all the while learning the “business” of running a pottery. She took
great responsibility for the Pottery and her workers. During the Great Depression, her
main concern shifted from producing “art” to keeping her workers employed. So, in
addition to the types of things they might normally have produced she included the
production of buttons, jewelry – essentially any type of small items that could be
produced from clay and had a market that would keep revenues coming in.
Despite all this and the very uniqueness of Stratton, very little academic study has been
undertaken. Most often she and the Pottery are relegated to but a few lines in art books
or at best resigned to a column or two in the biographic sections at the rear.
Perry [Stratton] and the Pottery provide an unparalleled glimpse into the American Arts
and Crafts movement (and especially its development here in the Midwest). It’s a
glimpse into the life of an artisan of international renown, and a business and teaching
facility that has spanned almost 100 years. One author summed up the artist this way:
“… Miss Perry…made the important change from china painter to ceramicist. It was a
step from talented lady painter (with its implied dilettantism) to professional craftsman –
a challenge to which only a few rose.” (Callen, p.86) Mary Chase Perry Stratton rose to
that challenge.
10Examples of Work by
Mary Chase Perry [Stratton] and the Pewabic Pottery
Iridescent Pewabic tiles used in the home of Charles L. Freer, Detroit,
Michigan.
Vases produced by the Pewabic Pottery using an iridescent glaze.
These pieces are located in the Freer Art Gallery in the Smithsonian,
Washington D.C.
11Lobby of the Motherhouse – Sisters, Servants of the Immaculate
Heart of Mary/St. Mary’s Academy, Monroe, Michigan.
Lobby of the Motherhouse – Sisters, Servants of the Immaculate
Heart of Mary/St. Mary’s Academy, Monroe, Michigan.
12Stairway in the Motherhouse – Sisters, Servants of the
Immaculate Heart of Mary, Monroe, Michigan.
Chapel entry – Sisters, Servants of the Immaculate Heart of Mary,
Monroe, Michigan.
13Described by the Detroit News as “possibly one of Perry’s most visible
works…” The Guardian Building in downtown Detroit demonstrated the
artist’s keen architectural sense. (Left) The Griswold Street entrance.
(Center and Right) Panel decorations on the building.
14List of Illustrations/Photos
1). Page 1 – Drawing of the Pewabic Pottery at 10125 E. Jefferson, Detroit,
Michigan. Taken from a promotional brochure produced the Pewabic
Society, Inc., Detroit, Michigan
2). Page 4 – Mary Chase Perry demonstrating the Revelation Kiln. Taken
from The Pewabic Pottery by Lillian Meyers Pear (p. 15).
3). Page 5 – Mary Chase Perry at work in the Stable Studio. Taken from The
Pewabic Pottery by Lillian Meyers Pear (p. 21).
4). Page 6 – Mary Chase Perry [Stratton] in the Pewabic Pottery building.
Taken from The Pewabic Pottery by Lillian Meyers Pear (p. 46).
5). Page 7 – Horace J. Caulkins, businessman, developer of the Revelation
Kiln and partner in the Pewabic Pottery. Taken from The Pewabic Pottery
by Lillian Meyers Pear (p. 60).
6). Page 9 – The fireplace of the Detroit Society of Arts and Crafts. Taken
from The Pewabic Pottery by Lillian Meyers Pear (p. 124).
7). Page 11 – Fireplace in the home of Charles L. Freer. Taken from The
Pewabic Pottery by Lillian Meyers Pear (p. 72).
8). Page 11 – Iridescent vases. Taken from The Pewabic Pottery by Lillian
Meyers Pear (p. 200).
9). Page 12 - Lobby of the Motherhouse of the Sisters, Servants of the
Immaculate Heart of Mary, Monroe, Michigan. Photo by author.
10). Page 12 – Lobby of the Motherhouse of the Sisters, Servants of the
Immaculate Heart of Mary, Monroe, Michigan. Photo by author.
11). Page 13 – Stairs in the Motherhouse of the Sisters, Servants of the
Immaculate Heart of Mary, Monroe, Michigan. Photo by author.
12). Page 13 – Chapel entry – Motherhouse of the Sisters, Servants of the
Immaculate Heart of Mary, Monroe, Michigan. Photo by author.
14). Page 14 – Griswold Street entrance of the Guardian Building, Detroit,
Michigan. Taken from The Pewabic Pottery by Lillian Meyers Pear (p.
125).
1515). Page 14 – Panel decoration on the exterior of the Guardian Building,
Detroit, Michigan. Taken from The Pewabic Pottery by Lillian Meyers
Pear (p. 125).
16). Page 14 – Panel decoration on the exterior of the Guardian Building,
Detroit, Michigan. Taken from The Pewabic Pottery by Lillian Meyers
Pear (p. 125).
16Notes
1 In Highlights of Pewabic Pottery (published by Ars Ceramica, Ltd.), the author(s)
dispute the meaning of Pewabic as being “clay with a copper color”. Pewabic,
also spelled Bewabic, “…is derived from the Chippewa Indian word “Biwabiko”
which meant “iron” and not copper. The Indian word for copper is “Miskwabik”.
The connotation of clay is not associated with either word.
Evidently, either Perry’s friends were in error in their research or Perry, herself,
incorrectly stated the meaning.
Reference List
Callen, Anthea. Women Artists of the Arts and Crafts Momvement 1870-1914. New York:
Pantheon Books, 1979.
Highlights of Pewabic Pottery. Ars Ceramica, Ltd., 1977.
Pear, Lillian Myers. The Pewabic Pottery. Des Moines, Iowa: Wallace-Homestead Book
Co., 1976.
Pewabic Pottery (Brochure). Pewabic Society, Inc. Detroit, Michigan, 1997.
Bibliography
Ault, Roger. “Mary Chase Perry Stratton and Her Pewabic Pottery,” Great Lakes
Informant, Series 1, Number 4 – Famous Michiganians. Lansing, Michigan: Department
of State, Michigan History Division, 1978.
Ault, Roger. “The Pewabic Pottery,” The Collector Looks at Detroit. Grosse Pointe,
Michigan: publisher unknown, 1973. (Located in the collection of the Bentley Historical
Library, University of Michigan.)
Callen, Anthea. Women Artists of the Arts and Crafts Momvement 1870-1914. New York:
Pantheon Books, 1979.
Clark, Garth. A Century of Ceramics in the United States 1878-1978. New York: E. P.
Dutton in association with The Everson Museum of Art, 1979.
17Clark, Robert Judson, ed. The Arts and Crafts Movement in America, 1876-1916; an
exhibition organized by the Art Museum, Princeton University and the Art Institute of
Chicago. Princeton, N.J.: Princeton University Press, 1972.
Donhauser, Paul S. History of American Ceramics: The Studio Potter. Dubuque, Iowa:
Kendall/Hunt Publishing Company, 1978.
Henzke, Lucile. Art Pottery of America. Exton, Pennsylvania: Schiffer Publishing, 1982.
Highlights of Pewabic Pottery. Ars Ceramica, Ltd., 1977.
Mayer, Barbara. In the Arts and Crafts Style. San Fransico: Chronicle Books, 1993.
Nolan, Jenny. “Pewabic tile, Detroit’s art treasure,” Review Mirror Series, The Detroit
News. Undated. Database on-line at www.detroitnews.com.
Pear, Lillian Myers. The Pewabic Pottery. Des Moines, Iowa: Wallace-Homestead Book
Co., 1976.
Pewabic Pottery (Brochure). Pewabic Society, Inc. Detroit, Michigan, 1997.
Pewabic Pottery. National Historic Landmarks in Michigan. Undated.
www.sos.state.mi.us/history.
Pewabic Pottery. National Register of Historic Places Travel Itinerary. Undated.
www.cr.nps.gov/nr/travel.
Pewabic Pottery. Old House Journal Online. Undated. Database on-line at
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Pewabic Price Guide. Kovels’ Online. Undated. www.tias.com/stores/kovels/pewabic.
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