Pottery with a New Orleans Flavor

 

QUESTION: I’ve always liked Arts and Crafts pottery. I understand that women made and decorated some of the different types of that pottery. One particular type that I’ve admired is Newcomb pottery. What can you tell me about it and the women who created it?

ANSWER: The years from the mid-1890s to just before World War I witnessed a progressive movement that affected not only the arts but the way people viewed how things were made.  During the second half of the 19th century, mass production of many products, including pottery, became common. This gave rise to a movement that looked back to when people made it by hand. At the same time, women began to look beyond the home to fulfill their lives. 

Newcomb Pottery was produced from 1895 to 1940. The company grew out of the pottery program at H. Sophie Newcomb Memorial College, the women's college now associated with Tulane University in New Orleans, Louisiana. The Pottery was a contemporary of other Arts and Crafts potteries, such as Rookwood, North Dakota, Teco, and Grueby.

Pottery decoration was one of the programs offered at the College since other Arts and Crafts potteries, such as the Rookwood Pottery in Cincinnati had begun employing women to decorate their pots This was one field where women could earn money in a respectable manner.

Under the tutelage of Professor William Woodward, advanced Newcomb art students participated in the Tulane Decorative Art League, which combined with the New Orleans Art League Pottery Club to take over the old New Orleans Art Pottery facility in 1890. Students employed their pottery decorating skills here until the Newcomb Pottery was organized in 1895. The Pottery Club encouraged Newcomb students with decorating experience to focus their artistic efforts on wares produced at the school facility. The plan was to establish a pottery program by converting a former chemistry laboratory into a pottery studio so that students could sell their wares and make the program self sufficient.

Two art professors, Ellsworth and William Woodward, who had been members of the faculty since the opening of Newcomb College became the driving forces behind the College’s art school. Ellsworth Woodward developed a curriculum in which women could be trained to earn money in a field other than the already acceptable vocation of teaching.

The first people the Woodwards hired to assist with the new pottery program were the potters. Unlike the artists who created and carved the designs for the Newcomb Pottery, the potters were all men. Even though the College was progressive for its day, the administration believed that only men could work the clay, throw the pots, fire the kiln, and handle the glazing. So they hired men to throw the pots, a task the school considered unladylike, beyond the abilities of the female students, and beneath their dignity  The first potter they hired in 1895 was a Frenchman named Jules Garby 1895. Joseph Meyer, one of Newcomb Pottery's most recognized potters, followed him in 1896, About the same time, the Woodwards hired the eccentric potter George Ohr. His tenure lasted for less than two years, at which time they fired him because they said he was unfit to instruct young ladies. Ohr went on to establish his own pottery in Biloxi, Mississippi in 1897.  

Jonathan Hunt replaced Meyer in 1927 and later Kenneth Smith in 1929. After Hunt left the Pottery in 1933, Francis Ford replaced him. Both Smith and Ford stayed with the Newcomb Pottery program through its termination in 1940.

Eventually, the Pottery designated women who worked regularly in it as craftsmen with a preference given to those who had completed an undergraduate degree and a later graduate studies program with the school’s art department.

The women were responsible for creating and carving designs for each piece of pottery the program produced. During the Pottery’s existence, they created and carved over 70,000 unique pieces.

Early pieces at the Pottery closely reflected the Arts and Crafts style. The pottery often depicted Louisiana's local flora, done in blue, yellow and green high glazes. Newcomb Pottery was at its peak from 1897 to 1917. During that time, the women experimented with various glazes and designs, winning many awards at exhibitions throughout the country and in Europe. 

As the school entered the 1920s, new professors arrived and began to introduce influences from the 1913 International Exhibition of Modern Art. Highly carved pieces done in matt glazes of blue, green and pink marked this period. The Pottery introduced one of its most famous designs, the "Moon & Moss" style, during this time.

Newcomb Pottery also recruited pottery experts to help improve its product. Among them was Mary Given Sheerer from the Cincinnati area, originally hired to train the students in the slip-decorating techniques popularized at that time by the Rookwood Pottery.

Though training genteel young women was the Pottery’s main goal, the potters and students attempted a number of styles, as they sought to best use the raw materials available in the vicinity of New Orleans. The had originally planned to replicate the contemporary style of the Rookwood Pottery but that failed because slip-painting was unreliable in the hot and humid New Orleans climate. By 1900, Sheerer had to adapt her style, first to biscuit-painted designs and later to incised decorations, both under a high-gloss transparent glaze.

The potters also experimented with the types of clays they used to form the pots. The first clays they used fired either red or buff. A few years later, they used only clays from St. Tammany Parish, Louisiana. They mixed these clays with loam gathered from the banks of the Mississippi River to produce white bodies.

With the end of the First World War, the popularity of the Arts and Crafts Movement waned. What had once seemed attractive and desirable because of its handmade qualities now looked rustic, old-fashioned and amateurish.

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