What Clay can Say
Thomas Webster observed in 1844 that “the produce of the potter’s art is the most interesting, as everyday it is subject to our observation.” Potters were quick to capitalize on consumer interest and the molded ceramic patterns are a unique window on popular Victorian narratives, interests, and social issues, and expressed deep-rooted ideas about appropriate gendered behavior. The close view of objects handed about and closely viewed brought many larger ideas into the home.
 Falstaff c. 1845 Drab stoneware, metal lid 1390 |
 Slavery White stoneware, metal lid 1 January 1853 91.H112 |
 Bacchanalian Dance 30 September 1844 White stoneware, metal lid 1060.H.48 |
 Silenus c. 1831 Green stoneware 116.H38 |
 The Vintage c. 1844 White parian 1593 |
 Amphitrite June 1856 White stoneware, blue enamel, silver plate lid 658.H135 |
 Putti 1868 White parian, blue enameling 230.H1184 |
 Samuel and Eli 1848 Buff stoneware 1866 |
 Robert Burns c. 1834 Drab stoneware 891.H22 |
 Tam O’Shanter 1 October 1835 Blue stoneware 54.H26 |
 Tam O’Shanter 1 October 1835 Buff stoneware, Britannia metal lid 122.H26 |