FACTORY MARKS The factory mark identifies the manufacturer of the ware. Rookwood has used a number of factory marks. It has employed both its name, in various forms, as well as the picture-symbol type of representation associated with most European furnaces. The symbol that comes quickly to mind is the world famous monogram mark of the reversed R and P, with its wreath of flames. This unique factory mark was used longer than any other, and was in use at the time the pottery enjoyed its greatest prestige. As a result it is this mark that is as often found on the finest of Rookwood productions. Prior to its institution the factory marks were widely varied in design and survived but a short time. They are herein explained and illustrated in the order of their occurrence, beginning with the earliest. The most common marks prior to 1882 were the name of the pottery and the date of manufacture, either painted or incised on the base of the piece by perhaps the decor- ators or potters. A variation of this consisted of the initials of the Pottery, and of the founder: R.P.C.O.M.L.N. (Rookwood Pottery, Cincinnati, Ohio, Maria Longworth Nichols. Mrs. Nichols remarried in 1886 and became Mrs. Storer.) Illustrations of two of these marks are at the right: From 1880 to 188Z another design used was that prepared by the famous Cincinnati artist, H. F. Farny. This factory mark was printed in black beneath the glaze, and represents a kiln with two Rooks. The following oval mark bearing the name and address of the factory was also used for a short time. from Rookwood Pottery by Edwin J. Kircher In 1882 the following two types of marks were used. Both were impressed in a raised ribbon, and the upper one appeared only on a commercial project - a large beer tankard made for the Cincinnati Cooperage Company. Prior to 1883 an anchor was sometimes impressed or placed in relief. It occasionally occurred in connection with an impressed date, and often in conjunction with a decorator's mark. (The illustration to the left is impressed; the one to ROOKWOOD the right appears in relief.) 1882 The regular mark adopted in 1882 was the word ROOKWOOD and the date in arabic numerals, ROOKWOOD impressed. This mark was in continuous use until 1886, the date 1882 being changed each year. In the year 1883 a small kiln mark was impressed in the ware, and ROOKWOOD may or may not appear with the word ROOKWOOD and the date, also 1883 impressed. The monogram mark of the reversed R, and P was adopted in 1886. The monogram mark and the "ROOKWOOD 1886" both exist denot- ing the year 1886, the ROOKWOOD mark having been used in the earlier part of the year. In 1887 a flame point was placed above the RP mono- gram, and one point was added each year until 1900, at which time the monogram mark was encircled by 14 flame points. In 1901 the same mark used to indicate 1900 was continued, and the Roman numeral I was added below, to indicate the first year of the new century. The Roman numeral was subsequently changed to denote the correct year. Society Collection Mrs. Maria Longworth Storer, 1849-1932 Founder of Rookwood Pottery Overture of Cincinnati Ceramics The following handwritten manuscript was given to the Society by the Ohio Mechanics Institute April 1,1949. The author is unknown, though probably an early associate of Rookwood Pottery. The paper was written in 1890. Editor In connection with the Centennial Art Gallery, although not immediately represented therein, the subject of ceramics should hold an important and honored position. In a department of the grand display, there were groups of pottery by Cincinnati artists and experi- menters which attracted the scrutinizing attention of all whose knowl- edge of the subject enabled them to trace the western growth of this ancient and beautiful art as it developed here in the hands of in- dividuals who were almost entirely untaught in the mechanical meth- ods which have brought the art to the perfection reached in the studios and kilns of the old world from ancient China to modern Europe. No intelligent observer could but admire the inventive genius, the handy skill and indefatigable persistence of purpose, the undismayed perseverance against seemingly unconquerable obstacles until the crowning triumph was attained — the art that has distinguished Cincinnati the world over. This is an achievement upon which we look with increasing pride when we reflect that it was done alone by women who were obliged not only to rediscover and invent those features artistically applicable to ceramic decoration but, by close observation and tedious experiment, also to improve the local methods of firing and other mechanical appliances. It is exceedingly difficult to reconcile the various claims as to priority of individual successes in different stages of development owing to the fact that these ladies were more intent upon accomplish- ing the common object than securing personal glory and applause. The first impulse given to the subject appears to have come from the active brain of Benn Pitman but was actually suggested by his wife. In 1874 Mr. Pitman formed a class for the study of china painting 74 The Bulletin composed of Mrs. E. G. Leonard, Miss Louise McLaughlin, Miss Clara Newton, Mrs. William Dodd, Miss Agnes Pitman, Miss Elizabeth Nourse and others who, under the instruction of their versatile master, made satisfactory progress and produced many admirable examples of their skill. This enterprise led directly to the second and more difficult step, the production of pottery proper similar to the Haviland Faience. In September 1875, the first piece of underglaze ceramic work made in Cincinnati was executed by Miss Louise McLaughlin on a porcelain plate requested from the kilns of Messrs. Thos C. Smith '&§>>£ iJ;>f>£Su. '• '. -. .•^••:' .••. •:• : •. Courtesy of Cincinnati Art Museum Left: First piece of underglaze ceramic work made in Cincinnati in 1875. Right: First experiment in Cincinnati in the reproduction of Haviland Faience in 1877 Both pieces were executed by Miss Mary Louise McLaughlin. Overture of Cincinnati Ceramics 75 and Sons of the Greenpoint Pottery, Long Island, New York. This plate is now in the Cincinnati historical collection in the Eden Park museum. The enameled faience of the Havilands, sometimes called Limoges Faience from the city in which the industry was established, was exhibited in the Philadelphia Exposition of 1876. Here its great beauty and exquisite enamel excited the liveliest interest and curiosity as to the means by which such remarkable effects were brought about. In September 1877 Miss McLaughlin made first experiments at the Coultry Pottery in Cincinnati with the aim of reproducing the Haviland Faience, and in December of that year the first piece that demonstrated this possibility was taken from the kiln. This piece, in a shape known as the "Pilgrim Vase", has also been deposited in the Cincinnati museum. The main feature of the process is the mixture of mineral paints with white slip or liquid white clay universally used in potteries for striping wares, after the same fashion adopted by the painter in oil to obtain the hues on his canvas. Her idea was that, as clay is also a mineral formed from aluminum, an admixture such as she purposed to make could be successfully united in the firing. A long course of experiment was required to perfect the process. She was, however, able to exhibit pieces which received unbounded praise at the Loan Exhibition of Decorative Art in New York in October 1878. The following year her work shown in the American Section of the Paris Exposition received great attention from art collectors. As soon as she had mastered all details of the underglaze effects, a complete description of this process was given by Miss McLaughlin in her book entitled Pottery Decoration. The practical result was the founding of a new industry in Cincinnati. Her method of painting ceramic wares is the one in use in the Rookwood Pottery and in all other potteries in this country where underglaze work is done. The decoration is placed upon a vase or other object as soon as it comes from the hand of the potter, the clay being kept moist during the painting. When the articles are thoroughly dried, they are fired; this causes the body of the ware and the decorated surface on it to shrink equally in the firing. Subsequently, the pieces are dipped in glaze and 76 The Bulletin fired the second time. All parts of the process were experimentally arrived at by the inventor and the entire originality of her method is established by the fact (since ascertained) that it is the exact reverse of that used at Limoges, which is guarded there as a valuable secret. From the meager outline of the Limoges method, published some years since, it is a process adopted under the supposition that it was impossible to successfully accomplish the shrinkage of the ware and the decorated surface on it at the same firing. This was the very aim which Miss McLaughlin successfully attained in her experiments. At Limoges the paint is placed on the ware after it has been fired once; therefore, the shrinkage of the body of the ware is ended before the decoration is made. Mineral paint is mixed with white clay slip in the proportion required to give the necessary variety of hue. These mix- tures are then fired in separate masses in order to bring about a shrinkage equal to that which is likely to occur in the body of the ware on which they are to be placed.