Bennington Pottery – Souter Johnnie

To understand this inkwell, it’s helpful to know a bit about Bennington and Rockingham pottery. These terms are often intertwined, and sometimes used somewhat loosely, which can lead to confusion.

• Bennington Pottery: This generally refers to pottery produced in Bennington, Vermont, primarily by two main companies:
  • Norton and Fenton (1847-1849): This partnership was relatively short-lived but produced significant and highly sought-after pieces, often marked.
  • Christopher Webber Fenton (1849-1858): After the dissolution of Norton and Fenton, Fenton continued production under his own name.
  • Bennington pottery is known for its distinctive glazes, particularly the mottled brown and yellow glaze often called “Rockingham glaze” (though this term has broader usage). They also produced pieces with a rich, glossy brown glaze, sometimes with a lighter “flint enamel” effect.
• Rockingham Pottery (in the broader sense): This term has become a more general descriptor for pottery with a specific type of mottled brown and yellow glaze, regardless of the maker or location. This glaze was popularized by potteries in Rockingham, England, hence the name. However, many American potteries, including those in Bennington, adopted and perfected this glaze. So, a piece with a classic mottled brown and yellow glaze is often referred to as “Rockingham” no matter where it was made.

Man’s Face Inkwell:

• Appearance: It’s a figural inkwell molded in the shape of a man’s face and head. He wears a cap that covers his ears and comes to a point at the top. There are two openings at the top, one for holding a quill or pen, and a central cavity for the ink. The glaze is rich, glossy brown or yellow brown. Three examples are pictured.
• “Souter Johnnie”: This inkwell represents the character Souter Johnnie with his nightcap and his somewhat jovial or sleepy expression. One of the three examples pictured is marked Souter Johnnie.

Who was Souter Johnnie?

Souter Johnnie is a character from the poem “Tam o’ Shanter” by the renowned Scottish poet Robert Burns, published in 1791.

• A Jolly Cobbler: Souter Johnnie is depicted as Tam o’ Shanter’s good-natured and often tipsy friend, a souter (an old Scottish word for a shoemaker or cobbler).
• Frequent Tavern Companion: He is often found with Tam in the local alehouse, enjoying a drink and good company.
• Less Prone to Folly: In the poem, while Tam succumbs to the allure of the supernatural and gets himself into a terrifying chase, Souter Johnnie is generally portrayed as more grounded and less prone to such wild adventures (at least on this particular night!). He’s usually depicted as being asleep or at least more sober when Tam returns in a panicked state.

Bennington Pottery and Souter Johnnie:

Bennington Pottery, particularly under the Fenton era (mid-19th century), produced a variety of figural pieces inspired by literature and popular culture. Robert Burns was a widely admired poet, and characters from his works were popular subjects for decorative arts.

• Popular Subject: Souter Johnnie became a popular subject for Bennington and other potteries producing in a similar style. These figures were often made as Toby jugs, flasks, and, as in this case, inkwells.
• Distinctive Representation: The depiction of Souter Johnnie in pottery typically features him with a distinctive, close-fitting cap (often resembling a nightcap or a Scottish bonnet pulled down), a somewhat round face, and a genial or slightly sleepy expression, reflecting his character in the poem.

Why was Souter Johnnie a popular subject for pottery?

• Literary Connection: Robert Burns was a beloved poet, and his works resonated with many. Depicting characters from his poems was a way to celebrate Scottish culture and literature.
• Humorous and Relatable Character: Souter Johnnie’s portrayal as a friendly, somewhat roguish, and relatable figure likely made him an appealing subject for decorative items.
• Novelty and Whimsy: Figural pottery was popular in the 19th century, and a character like Souter Johnnie offered an opportunity for potters to create whimsical and conversation-starting pieces.