In a world where online shopping can feel rushed and anonymous, I wanted to create something different — something human, steady, and rooted in the values that shaped me.
That’s where Tokens of Appreciation come in.
They’re not points.
They’re not a game.
They’re not a marketing trick.
They’re a simple, sincere way to acknowledge your return, your trust, and your presence here — a modern gesture inspired by the old kindnesses I grew up with.
What Tokens of Appreciation are
Tokens of Appreciation are small acknowledgments you receive when you return to the shop, make a purchase, or engage with the community. They’re my way of saying:
“I see you. I remember you. Thank you for being here.”
Each token signifies a gesture of gratitude — nothing more complicated than that.
How You Earn Them
You earn Tokens of Appreciation through natural, everyday interactions:
Returning to the shop
Making a purchase
Sharing feedback or a review
Being part of the community over time
There’s no pressure and no tracking on your end.
You don’t have to sign up for anything just follow us here.
You don’t have to keep score.
I keep track quietly, the way people used to remember who came through the door.
How You Use Them
Tokens of Appreciation can be exchanged for small gestures in return — things like:
a modest discount
a little extra in your package
early access to something new
a quiet kindness that fits the moment
Nothing flashy.
Nothing loud.
Just a steady, human exchange.
Why this Matters
In the old days, loyalty wasn’t something you enrolled in.
It was something you lived.
People remembered each other.
They showed up for one another.
They honored the relationship.
Tokens of Appreciation are one way of carrying that forward — a simple, modern expression of sincerity, sociability, and constancy.
A Final Note
You don’t have to do anything to join.
You don’t have to track anything.
You don’t have to manage anything.
Just be here.
Return when you feel called.
Let the relationship grow naturally.
I’ll take care of the rest.
For a full explanation of the values guiding this program, please see the Gratia Page, which outlines the principles and expectations in detail.
There are breakfast people. And, there are those who shun breakfast.
I am one of those who skip the early morning meal of the day. I trace this preference back to my grade school days. . .. Back then, we fasted to join in the ritual of Communion. We brought breakfast to school . . . before the “invention” of the breakfast sandwich. Cold toast was my breakfast of choice. Habits are hard to break . . . now, Breakfast is coffee and toast. Except for weekends or holidays. . . .I confess that here and there I had friends that encouraged a more wholesome meal. They were worried; not really scornful. Many years later, I asked Aunt Nettie how she managed to keep her health and beauty. Her advice, “Every morning, I have one cup of coffee and toast.” This does not work for everyone; but, this breakfast worked for her.
Strong Boys and Girls
National Magazine, October 1905
Today is one of those cold winter days – below freezing with ice and a frosting of snow. Hot Oatmeal or Cream of Wheat with brown sugar sounds like a good start. It is not an accident that we have been eating these grains for over 100 years. Geography is the best indicator of foods that we eat for any meal of the day . . . indeed, it is the most important indicator.1 The Midwest is one of the “breadbaskets” of the world. In the Midwest, Corn is king. Wheat and Oats aren’t far behind. If not Quaker Oats, then Wheatena or Cream Wheat. Over time, the simplest of breakfasts is one simple ritual that connects us all. Even if, we did not eat breakfast. Even if we hated oatmeal. Memories of time past in the everyday of life.
The Breakfast of Champions
Carr China Heavy Old Bowl
“But Dad, everyone else . . .” Marketing turned Breakfast Flakes into a favorite for children. Boxes filled with sugar coated flakes, fruity loops, marshmallow bits tucked in a box of colored flakes. Small shoppers found their favorites on the lowest shelves in the grocery store. My Dad was not convinced. The everyone else argument was a certainty in these situations. “If everyone else jumps off the bridge would you?” he invariably responded. He used the cold truth of a logical fallacy.
Cereal Flakes appealed to busy working families. Corn Flakes, Wheaties, Rice Krispies and Cheerios are a few of the original cold cereals. These are sweetened but not sugar coated so they passed the Dad test in our family. Fill a bowl and add some cereal flakes. Voila! Breakfast for all.
Celebration Breakfast
Martha Stewart French
The morning of high holidays is marked by friends and family. They gather around a table laden with a grand breakfast. French Toast, Pancakes, Muffins along with assortments of fruit. Some add ham, sausage or bacon. Many times, these are planned as buffets. Guests arrive with a family favorite recipe presented on a beautiful serving dish.
This is the time when the tablecloth is unfolded and placed on the table, napkins, silverware and the best plates. These are wedding gifts or a family heirlooms . . . . there are layers of family traditions brought to this table. The heritage of a family grows over generations along with the memories. Charles Dickens said it best.
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us.
For Auld Lang Syne we’ll take a cup of kindness . . . .
As we toast the New Year with friends, family or a special one . . . we stir a bit of magic into every moment. The moment is timeless . . . it is one moment that will long be remembered. Timeless.
West Virginia Optic Glass Sparkles
There is magic in that moment. A family gathered together is rare in the modern world. Children grow, after all, they go away to college or take that great job so many miles away. They even marry and have children . . . gathering a family is complicated. The time we spend together is magic – like even the universe conspires to make it happen. Maybe. Or, we make it happen as if by magic.
Russel Wright Morgantown Tumblers
After all is said, Midnight is Magic. Some people jump into the new year. Some people cross their arms and forma a circle. The circle represents unity while holding hands is the gathering of all those present into one unity. Nice. We just may need more of that . . .
New Years is always a great time to head to the neighborhood drinking house – be it a tavern or bar or dive. Spend some time with our neighbors and friends. Some call this our family of choice. Close friendship is a treasure.
Oil Painting. Unknown
Or, midnight on New Year’s Eve is the best time of year to relax. Popcorn in a big bowl. A cold brew. A favorite old movie. This kind of peace is magic. Ask a new parent . . . or the newly wed. All of sudden, we are trying to stay awake until midnight. Sing before midnight . . .
This journey began as a simple research project — exploring the pottery traditions of Ohio. What started as curiosity grew into something larger: a business that connects heritage with everyday life.
After wrestling with menus and directions, I’ve returned to simplicity. My WordPress site is now a blog with a single page for shopping— two buttons, two doors:
Shopify — for dinnerware and linens, the structured side of the shop.
Etsy — for stationery, books, and a touch of vintage clothing, the storytelling side.
It wasn’t easy to change. Like Tevye in Fiddler on the Roof, I’ve wrestled with tradition and the need to adapt. But change was necessary — to keep the work flowing, to keep the joy alive.
Alongside the shop, another project waits patiently: a book that began with pottery research and continues to call me back. The writing reminds me that this work is more than commerce — it’s story, heritage, and rhythm.
For now, I celebrate clarity: one page, two buttons, a path forward. Tradition anchors me, change keeps me moving, and the book reminds me why I began.
Seems like such a long time since I decided to study the material culture of the potteries. There were hundreds of potteries that dotted the countryside with access to water. I had lived in Ohio for years; but, I recognized only Homer Laughlin. I faced quite a learning curve . . . I found an odd yellow unmarked dish, identified by a friend, as Glidden Pottery. The dish belonged to the Ferris Wheel Stand for hors d’oeuvre. I wondered about the basic utility of such a device and the maker. There are basic outlines in Wikipedia. While both entries (Glidden Pottery and Glidden Parker) are well-researched, thorough and maintained. Still, I am curious. Glidden Parker remains an enigma – bits and pieces of life as an artist are scattered like a puzzle.
Glidden Pottery, Ferris Wheel with Iron Stand Serve hors d’oeuvre, Sold at auction.
Glidden McLellan Parker had not planned on making pottery. He knew that he wanted to study literature and write. Described as temperamental, he was a loner with few friends. He had little interest in cities and crowds of people. Close to home, Bates College seemed like a perfect fit. The small liberal arts college nurtured and encouraged students in the English Literature Department. And importantly, he wanted to live at home with his parents.
Owen Dodson was a long, long way from Brooklyn. He knew that he wanted to write. And he was gifted. Bates College awarded him a scholarship. He worked at odd jobs on the weekends and rarely partied with other students. Self described as one of two Negroes, he was obviously different. Yet, he was surprised that it mattered at a liberal arts college. The loneliness of that first year did not deter him from his ambition. Alone, he observed others from his window. He was an avid reader. And, he began writing in earnest.
Glidden Parker, Bridge in Winter – Alfred, 1946
Owen met Glidden in the library in the Autumn of his sophomore year. The meeting was pivotal for both; they shared a bond, a close friendship. Owen writes that they were soul mates – sharing their work and enjoying campus life. Loneliness was left behind. As Owen wrote, “They invited a small group of writers to share their work, “Several boys and girls who are particularly interested in creative work meet, eat supper, and discuss their works. . . . [the Bates poets] worshiped beauty, truth, and read Hedda Gabler.“1
This circle of friends was a boon for both Glidden and Owen. They flourished . . . Glidden writing plays and short stories while Owen wrote poetry and plays. Owen entered the Yale School of Drama as a graduate student. Later, Owen Bates was recognized as a distinguished poet, playwright and professor at Howard University. Glidden Parker wrote and published short stories, plays and was working on a book.2
During family vacation to the Finger Lakes, they visited the College of Ceramics at Alfred University. Glidden knew this was the place. The faculty were among the best in the country. He was welcomed and felt comfortable in the Ceramics Department. Two years later, he began making pots to sell.
In 1941, Glidden Pottery opened for business. Local potters, a few faculty members and his spouse, Pat (Harriet Hamill). Glidden developed a mixture of clay from Ohio, New York and Pennsylvania. This clay allowed a relatively low firing temperature of 800 Degrees which saved time and yielded oven proof ware. Eschewing commercial glazes, Pat developed glazes that were quite remarkable. Matrix a soft blend of turquoise speckled with other colors remains the most popular glaze. As described in the New Yorker, “This Pottery which is ovenproof is distinguished by a matte surface, soft color combinations.”
Glidden Parker, much like Russel Wright, was committed to bringing his pottery to market at an affordable price. For example, a sixteen piece set sold for less than 20.00 at department stores. To achieve his goal, Glidden used Ram Molds that simplified the process. And later, a tunnel kiln was built which led to the production of thousands of pieces each week. After the process of unmolding, each piece was hand decorated. Individual pieces had interesting shapes that functioned for the cook and for the family. Glidden Pottery was distinctive certainly, the quality was obvious with a handmade look and feel. The dinnerware was stocked at high end department stores like Bergdorf’s in New York City. Soon, Glidden Pottery was featured in popular magazines – House Beautiful, Life, and Woman’s Home Companion. He also sold pottery at the Roadside Markets along with other local artists.3 The popularity of Glidden Pottery grew . . . as we would suspect.
Glidden Parker, like Russel Wright, not only realized their designs but, they were welcomed in the market. The modern consumer had a “passionate desire for color and new forms” as noted in the New Yorker. Beyond the aesthetics of their pottery, they understood that the everyday of life was casual. Parker added the words, Casual Living, above his sketch of a few designs. Wright developed a new line of ceramics with this as his design principle. Odd, that both men traced their heritage to the Mayflower and at the same time, they broke with that tradition.
Sales had far exceed their expectations. No doubt, the extraordinary volume of sales confirmed their beliefs of the aesthetic of the modern household. The editor of About the House described, “an almost pathetic and largely frustrated eagerness” by consumers. Householders looked to modern trends instead of the advice in The Frugal Housewife.4 Conspicuous consumption was an unintended consequence that was not understood by the Old Guard. J. Stuart Johnson wrote, “Whenever new shipments arrived, near‐mob scenes developed at Macy’s and elsewhere.”5
Financial success required business acumen including management skills.6 This point was not lost by the editor of About the House who noted that Russel Wright understood business. This is not a surprise. Wright was an industrial designer engaged in solving problems much like an engineer. Wright had his feet grounded in the natural world. The color and beauty of the natural world inspired his glazes. The shape and form designed for the ease and usage by humans. Wright was not a potter; but he accomplished “beautiful design” with the “advantage – and limitations – of the machine.”7
Each piece of Glidden Pottery was painted and sculpted by hand after removal from the kiln. Kiln marks were knocked off the bottom. The process is slow. It is hard to imagine producing thousands of pieces in one week – but, they did. Skilled potters like Fong Chow were essential along with others who finished each piece. Parker borrowed to finance the expansion of the pottery to meet consumer demand.
Glidden Pottery, Small Plate, Viridian Glaze. Stoneware Bottom, Stamped Glidden Mark
The trajectory of Glidden Parker and Russel Wright are mirror images. The production go Glidden Pottery and American Modern began and ended at nearly the same time. The closure of both potteries was the result of the opening of the American market to ceramics produced in Japan. The Federal Trade Commission eliminated and/or reduced tariffs on ceramics imported from Japan, Europe and England. While the reductions were offered in the spirit of friendship, less costly goods from Japan flooded the markets. On the other hand, French Limoges represented luxury to consumers. The market pressure was to the detriment of American Potteries. By some estimates over 1000 potteries in the region closed soon after the Legislation. The closure of the Glidden Pottery ended in the devastation of bankruptcy. When Steubenville Pottery closed its doors in 1959, the potters and employees lost their income and too often, their homes. Sterling China and Iroquois China produced vitrified china designed by Russel Wright for a few years beyond most closures.
Glidden Parker was an artist. He wrote stories, made pottery, painted, and designed stained glass. At the peak of production at Glidden Pottery, he published a short story and two plays. His short story, Bright and Morning, was included among the best published in 1950. His stained glass designs are outstanding.8 Yet, he never escaped, the melancholy described by Owen Dodson. Years later, Glidden committed suicide.9
Glidden Pottery, Cup and Saucer, Marine Fantasia, Seaweed Interior
Ronald J Kransler, Glidden Pottery: Alfred Mid-Century Highstyle Stoneware (Universal Publishers, About the House, The New Yorker (Sept. 17, 1949: p. 82 – 87)
The Museum of Modern Art included Glidden Pottery in the exhibition, Useful Objects of Fine Design. The piece was described: “covered casserole, oven proof pottery . . . Cover to be used as serving dish. Glazes to order” 10
Grant, Nathan L. “Extending the Ladder: A Remembrance of Owen Dodson.” Callaloo, vol. 20 no. 3, 1997, p. 640 – 645. Project MUSE, https://dx.doi.org/10.1353/cal.1998.0068. ↩︎
Restaurant Ware has everything necessary for busy places even with children. Colors and Styles are endless . . . and best of all these pieces will last through a generation or two. After all of these years, I still find something new or even “my new favorite.” And that last statement is something because, I am not fickle. But, I so love color. Even though, I once told Mr. Wells at the Chicago Housewares Show that I preferred White. He was taken aback, no doubt, because he was standing in front of the New Fiesta Colors. He appreciated my honesty and to try to convert me, I received a large Creamy White Baroque Salad Plate. A few weeks ago, I finally found this pattern in an old Catalog. It is listed in the Melody Line as an “ornate salad plate.”
Since then, Restaurant Ware has had a “moment” . . . so much easier to find. My new favorite color palette includes Blue in all of the shades from aqua to turquoise. Here are a few of our latest finds . . .
Mayer China, Marilyn, Blue-Gray
Mayer China is truly one of the very best makers of china. Their history goes back to 1881 in the USA. Quite a story – and a legend! They produced thousands and thousands of pieces for Horn & Hardart like this small bowl for ice cream or sherbet.
Mayer Marion, Small Sherbet Bowl
Sterling Vitrified China began producing restaurant and hotel ware in East Liverpool Ohio in 1917; later moving to Wellsville Ohio closing in 2003. Sterling is incredibly durable and produced interesting designs that still look modern. This large dinner plate in a modern coupe shape has turquoise blue and olive green alternating matchsticks around the rim. The plate weighs 11/2 pounds – truly built to last!!
Sterling China, Blue & Green Matchstick
This Syracuse Pattern is new to me. . . after a bit of time researching, I found the original hand drawn pattern with a name, Charm. Love the name mostly because the French Blue is so appealing. And also the size of the cup is large enough for a coffee lover/addict like me. . . .
Syracuse China, Charm, Cup & Saucer in Blue
Last but not least, Buffalo China produced a wonderful shade of Blue that reads Jade at times and depending on the color of other pieces that may be mixed with it.
Buffalo China, Airbrushed Blue Green
All of the restaurant ware is still available at our Etsy Shop. You may use this link to access a code for a discount of 10% off: https://putnamandspeedwell.etsy.com?coupon=WORD10PERCENTOFF Also, if you are looking to stock up, we offer shipping at no charge for any order over 100.00
Russel Wright designed Casual China for everyday use – Dishwasher Safe, Chip and Stain Resistant with a replacement guarantee. In this way, Casual China represents a remarkable difference from American Modern.
American Modern addressed the reality of modern families. Most Americans did not have household help, many women worked outside the home and fancy wares were beyond the family budget. In that vein, his designs were innovative, affordable and “mass produced.” Yet, American Modern had issues as noted by buyers such as crazing, chipping and fading. It was not unusual for a buyer to stop him on the street to register their complaints!
That said, Wright listened and then began work on a new line that would not have the same issues. Iroquois produced high fired ceramics to avoid the issues. Yet, still, he wanted to produce ceramics that exhibited color gradients and differences more akin to pottery. The first glazes referred to as foamy or raindrop were the result of hours spent experimenting.
Another change, open stock was not included in marketing and store displays of Iroquois China. Most buyers most buyers preferred a matched set. Initially, sales of Casual China were lackluster compared to the wild success of American Modern. By the mid fifties, consumers preferred the light pastels of Casual China.
Before there was Martha Stewart, there was Russel Wright, the great mid-century modern American designer who pioneered the concept of “easier living” for the middle class, a uniquely American lifestyle that was gracious but contemporary and informal.
In 1903, Robert Hall and his son, Robert T. Hall, seized the opportunity to purchase a defunct pottery in East Liverpool Ohio. Short on cash but full of optimism, Hall and his father began producing and selling pottery. The young Hall, needed to produce high quality ceramics without the use of lead – because the old kilns fired too hot.
And, so he did. The first step required the formulation of a glaze without lead. In 1911, he had succeeded after years of experimentation. Not quite finished, he developed a “secret formula” for the clay body – a mix of feldspar, flint and fine china clays. The white body and the lead-free glaze fused in slow firing – actually 24 hours. Years later, the production time was vastly reduced with improvements to the tunnel kilns.
The Secret Process remained a secret, no doubt, largely because the danger of lead was not an issue for most consumers. Additionally, the vitrification process for commercial china effectively formed a fused glass-like final product
Notes:
Barbara J. Conroy, Restaurant China : Identification & Value Guide for Restaurant, Airline, Ship & Railroad Dinnerware (Volume 2)
The East Liverpool, Ohio, Pottery District: Identification of Manufacturers and Marks (Historical Archaeology Vol. 16, Nos. 1-2)
Design Matters. We are captivated with the look of an object. No matter what particular style we are drawn to emulate in our lives. From the spare lines of Modernism back to Victorian Romanticism, their appeal speaks a language that reflects our needs and values at a particular moment. A busy family, for example, requires lots of dishes. Many of us would choose dishes that are safe in a dishwasher and a microwave. Those qualities become more important than design alone.
Certainly, Russel Wright argued for dinnerware that would fit in with the “new” modern lifestyle. Versatility was important. Ease was critical. Electric appliances promised a new age of ease and leisure. A very young Bette Davis demonstrated the ease of use in a television commercial. Wright assured prospective customers about this benefit of American Modern. He left the art of design to those setting the table. Indeed, the “mix” of color became a signature of American Modern.
On the other hand, homemakers became critical of their beautiful dinnerware. They chipped. Crazing developed in certain glazes. In short, they were not durable over time.
The benefit of electricity was evident in the kitchen. Ladies Home Journal, 1932.
Durability Matters. Wright soon turned to makers of Restaurant Ware. By 1946, Iroquois China in Syracuse, New York was shipping the new line to stores. The new line was produced from vitrified ironstone – chip resistant, stain resistant, and bacteria resistant. The process of vitrification bonded the glaze to the body much like glass.
Initially, Wright wanted to produce Casual China with variation in the glaze – the quality present in American Modern similar to that found in handmade pottery. Produced only for a few years, these early mottled pieces are difficult to find; they are referred to as “Raindrop” by collectors.
Beyond the color of the glaze, the shape of the pieces reflect a modern sensibility. Plates have a coupe shape, the handles on the teapot are comfortable – and large enough for any hand. The stacking salt and pepper and the stacking sugar and creamer save space in the modern kitchen.
Color Magic. I really don’t know what else to call Wright’s sense of color. Always the perfect shade and tone of color, even the colors that are often a bit off. Pink, green, blue, yellow, and cantaloupe are fresh and clean. Nutmeg, Ripe Apricot, Charcoal and Oyster Gray are earthy shades, but, they have lots of life. And still, there is white. Elegant on the table in modern shapes – and of course, perfect for any one who loves to cook.
Russel Wright, Cantaloupe, Casual China, Iroquois China, circa 1950s.
The design, durability and color of Iroquois Casual reflect the post-war Suburban Age. The color palette fits right in with the streamlined age. And the durability works with a busy family with a dishwasher. Even if one of the children help with after dinner clean-up. As every one should!
More than a drink, coffee is a ritual. Sleepy-eyed in the early morning quiet . . . we follow a familiar and comforting routine. After a few minutes, the coffee is ready and hot. Grab your mug. . . . your favorite mug, the mug, the ritual mug. The vessel for the ritual of waking to a new day.
More important than the brew is the vessel. I didn’t understand the importance of this until I spent time in France. There is no better coffee to be found; but, I needed a mug for coffee that I made in my apartment. Not pretty. Not porcelain. Not delicate. Not small. A real mug.
I searched for a mug with the proper weight, ample size and simple. It took days to find a mug that was adequate. I settled for a mug from England that was very close. Handsome it was . . . over time, I learned to appreciate this mug. But, I was disappointed when it did not survive the journey home.
I was not the first to need a mug that could make a long journey. The armed services especially the Navy looked for mug that would “work” on a ship. The necessary characteristics were heft and stability – Victor produced the mug needed by the Navy. The porcelain produced by the Victor Insulator Company in New York was used to ground electrical wires. Heavy duty thick ironstone that also keeps coffee warm for a bit longer.
Coffee is a habit loved by men and women in all walks of life. Indeed, for many of us, it is a struggle to go through the morning without coffee. Especially for a soldier who is far from home. During the Civil War, one young man wrote, “We are reduced to quarter rations and no coffee,” he continued. “And nobody can soldier without coffee.” NPR
I have read stories about men in World War II giving their mugs to those who asked. They were in demand. Hopper painted a diner scene with the familiar white mug. In the cartoon, Beetle Bailey, there is the white mug. And I have seen the Victor mug in quite a few old films. Stay tuned to see a few of our Victor Mugs in the new film, Midway. Certainly a film about a critical Navy battle would not be complete without a Victor Mug!
We have sent Victor Mugs to buyers all over the world. This morning a Victor Mug was sent to North Carolina and Germany. We have mailed them to Saudi Arabia and Istanbul. Hong Kong and Australia. We have even sent them to sailors on Navy vessels in the Pacific.
The Victor Mug
Some days, I have the crazy idea that peace in the world is possible. If only we could sit with a cup of coffee in a Victor Mug and talk. There is a spirit in the thing itself . . .
Notice the dings on the bottom rim; but yet, the mug did not break. It survived to see another coffee break!
You can see our Victor Mugs – some with green lines – in our Etsy Shop.
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
_gac_
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
