The Blue Ridge China + Vintage Decor Market Oct 2-4
History of Southern Potteries INC
In 1916, the Carolina, Clinchfield, and Ohio Railroad strategically chose Erwin, a quaint town in northeastern Tennessee, as the location for a pottery manufacturing site. This decision was part of the railroad's initiative to support commercial ventures along its routes to generate revenue. Jack Conley, a retired railroader from Erwin, reminisces about the logistics involved in the pottery's production. Essential raw materials, including coal for firing the kilns and feldspar for crafting pottery, were transported via a trunk rail line to the facility. Once completed, the pottery products were shipped by train to major distribution centers nationwide. The railroad's commitment to Erwin was further reflected in its establishment of machine shops in the area, recognizing the town’s unique and picturesque natural surroundings and its potential for growth and development.
In 1916, the railroad recognized Erwin's exceptional natural beauty and sought to create a well-planned community rather than allow haphazard development. Engaging Grosvenor Atterbury, a prominent New York City architect, the railroad’s land holding affiliate, Holston Corporation, developed a vision for a harmonious neighborhood. They devised two basic house plans, resulting in the construction of around fifty homes primarily intended for pottery employees. To retain control over the land and influence future developments, Holston Corporation opted to build the homes as rental units instead of selling the lots. This strategic approach aimed to promote a cohesive living environment that would encourage similar thoughtful growth throughout Erwin, setting a precedent for responsible urban planning in the area. (Continued…scroll down)
The Establishment
The pottery established in 1916 exemplified the traditional practices of its era, featuring a long building that housed seven beehive kilns, with two more added later. In its formative years, local artisans were trained in the art of gold lining, a popular decorative technique for china at the time. The pottery's first commercial production began in 1917, employing around one hundred workers. To kickstart the operations, E.J. Owens brought skilled artisans from Ohio and West Virginia to initiate production lines at the newly built facility. It is believed that the Owens family had ownership stakes in this venture, significantly shaping the local pottery industry. As it grew, this establishment not only contributed to the local economy but also preserved the craftsmanship associated with traditional pottery making.
Southern Potteries went public in 1920, marking a significant milestone with its corporate charter and an initial stock offering of $500,000. In 1922, Charles W. Foreman, a partner of Owens in Ohio, acquired the pottery outright. Foreman is recognized for introducing and refining hand-painting techniques that would come to define Blue Ridge China. From 1917 to 1938, patterns were mainly applied to the bisque using decals, which were common among china manufacturers of the era. However, starting in 1938, the company shifted to a more skilled approach, opting to hand paint most patterns directly onto the bisque before glazing. This evolution in technique showcased the artistry and craftsmanship that Southern Potteries became known for, setting it apart in the competitive ceramics market of the time.
Blue Ridge pottery is renowned for its unique production methods, which rarely employed the embossed or incised techniques favored by many contemporary potteries. Instead, artisans typically painted intricate patterns onto unglazed bisque after hand-stamping an outline of the central design. This method not only served as a reference point but also contributed to a degree of consistency throughout production. However, the details were predominantly rendered freehand, leading to variations across pieces—sometimes even from the same painter at different times. These subtle differences are what make Blue Ridge china genuinely distinctive, transforming each piece into a unique work of art that reflects the individual skill and creativity of its maker.
Southern Potteries built a solid reputation for its exceptional customer service, catering to both large and small clients with equal dedication. For larger orders, customers had the flexibility to request modifications to the standard Blue Ridge patterns, allowing personalization that tailored to the preferences of their purchasing agents. Conversely, the company was also welcoming to small order customers, accepting requests for as few as a dozen items. This inclusive approach led to an impressive volume of business; as noted by Earl Peterson, a former employee, it was common for the company to have over one thousand small orders in process at any given time. This ability to adapt and accommodate has been a hallmark of Southern Potteries, solidifying its position in the market as a go-to supplier for diverse customer needs. (Continued…scroll down)
WWII Started
By the onset of World War II, Southern Potteries had established itself as a leading producer of china in the United States. The company's production soared in the early 1940s, largely due to the absence of imports, reaching an impressive estimate of 17 million pieces annually during the mid-1940s. This growth was supported by a workforce of over 1,000 employees, with around half dedicated to painting, showcasing the craftsmanship that defined their products. Notably, Southern Potteries had a fully unionized workforce, reflecting the collective strength of its employees. According to accounts from surviving artisans, the starting wage for painters was 13 1/2 cents per hour in 1941, highlighting the challenging economic conditions of the time. Despite these challenges, the dedication of the workers contributed to the company's prominence in the china industry during this pivotal era.
Southern Potteries showcased its extensive collection of hand-painted china by maintaining eleven Blue Ridge showrooms across the nation, ranging from New York's Fifth Avenue to San Francisco. This strategy allowed customers to explore a diverse array of patterns, emphasizing the uniqueness of the largest hand-painted china producer in the United States. In addition to its showrooms, Blue Ridge china gained widespread availability through major retailers like Sears & Roebuck and Montgomery Ward, which featured it in their stores and mail-order catalogs. The popularity of Blue Ridge china was further enhanced as it frequently appeared as premium offerings from various retail outlets and consumer goods producers, making it a familiar name in households across the country. Through these initiatives, Southern Potteries successfully established Blue Ridge china as a beloved and accessible choice for discerning customers.
World War II marked the peak of Blue Ridge's popularity, but the conclusion of the war led to its gradual decline within a dozen years after "VJ-Day." Following the war, an influx of imports began, and by the mid-1950s, most American potteries struggled to compete with the lower-priced products coming mainly from Japan. Rising domestic labor costs, alongside the growing popularity of plastic dishware, compounded the challenges faced by American potteries. By the end of 1956, Southern Potteries employed around 600 people, many working only part-time. In January 1957, the board of directors made the difficult decision to close the pottery, managing to do so without resorting to drastic measures, though it was a poignant moment in the history of American craftsmanship.
After its closure in 1957, Southern Potteries left behind a legacy intertwined with the craftsmanship of Blue Ridge painters who migrated to Cannonsburg and Stetson Potteries to fulfill existing orders. This collaboration resulted in a striking resemblance among the pottery produced at these locations, blurring the lines of their individual identities. Today, the once-bustling Southern Potteries complex stands as an eerie relic of its past—a shadow of what was once the nation’s largest producer of hand-painted china. The abandoned structure has become a pilgrimage site for Blue Ridge collectors, who feel compelled to visit the birthplace of Blue Ridge china. For them, no journey to Erwin is truly complete without encountering this poignant reminder of history, where artistry and nostalgia blend in silent testimony to a vibrant past.
