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Dog Chinese Porcelain
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 9"Chinese Folk Art Refined De Hua White porcelain Evil Door Foo Dog Lion Pair  US $199.00
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 17 INCH "Chinese regius De Hua White porcelain Door beast Foo Dog Lion Pair US $450.00
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Nineteen-year-old John joined a wagon train leaving South Bend, Indiana, and came west to search for gold. Instead of seeking gold, however, he ended up making wheelbarrows.
When young John arrived at Old Dry Diggings (now Placerville), it was the last day of August 1853.
Placerville, at the time, was one of the more important towns in California, and was bidding to be the state's capital. Others in the competition were Sacramento, San Francisco, and Chinese Camp.
Placerville was well known throughout the nation during the gold rush, and was far ahead of other towns such as Poker Flat, Red Dog, You Bet, Whiskey Town, Petticoat Slide, Rough and Ready, Skunk Gulch, and Angel's Camp.
For one thing, Placerville was strategically located on the main transcontinental trail. John arrived in Placerville driving a wagon he had built in his father's wagon shop back home in South Bend, Indiana.
His bankroll consisted of a pitiful fifty cents. He had lost his original bankroll of $68 to a card shark during a stopover in Council Bluffs, Iowa.
As the wagon train arrived at Placerville, local citizens quickly gathered around. One man yelled repeatedly, "Is there a wagon maker among you?"
Several men in the wagon train pointed to young Studebaker and the wagon he had built for the trip west.
"My name is H.L. Hinds," the man said. "I'm the blacksmith and I have a good job for a man who wants work. Want the job?" he asked John.
Young John hesitated. "I came to California to dig gold," he said. Hinds walked away.
It was then a man who had heard the conversation said to John. "I don't know you from Adam, but I can't help giving you a piece of advice. Take that job and take it quick. You'll have plenty of time to look for gold. There are hundreds of disappointed gold seekers for every one who strikes pay dirt. They haven't a penny. Some of them are hungry. You're lucky to be offered a job five minutes after you get here. Grab it, boy."
To John, the directness of the advice was compelling. He hurried after the disappearing Hinds and told him he had reconsidered and would like the job after all.
The work at the blacksmith shop consisted of repairing miners' picks and pans as well as considerable stagecoach repairing. The big demand, however, was for wheelbarrows.
"Can you make a wheelbarrow," Hinds asked.
"I sure can," replied John. "That is---I can try."
John's first wheelbarrow was a dismal failure. It was rickety, clumsy, and made of green pitch pine. It had taken him two days to build it. When he had finished, his employer laughed, and said, "That's a hell of a wheelbarrow. Try again."
John's second attempt produced a much better product. By the time he had produced a third one, he had found the knack of producing a sturdy and rugged wheelbarrow. He soon was given the name, "Wheelbarrow Johnny."
By 1855, John sold his wheelbarrows for $10 each and had saved $3,000. To fulfill his original desire to be a gold miner, he staked a claim.
It was not profitable, but he was able to glean a few pieces of gold to show his family in Indiana. By continuing to work at making wheelbarrows, by the fall of 1857 John's savings had increased to $7,000.
John then received a letter from his 26-year-old brother Clem, who was making wagons with his brother Henry in South Bend.
Clem wrote Johnny, saying their company could only turn out a dozen wagons a year because the brothers had to do all the work themselves. Neither could they buy supplies in large lots because of a lack of money.
Clem told John that while they were doing all right, they could do so much more if they had the capital. Instead of only building a dozen wagons a year, Clem envisioned building 100 or even 200 wagons each year.
A sound thinker, John knew that South Bend was the perfect town in which to build wagons. The young wheelbarrow maker made a decision. He would work right there in Hangtown until the next spring, saving all the money he could.
He would then be able to return to South Bend with $8,000 in his pocket. This he would put into H. & C. Studebaker. During a stopover in New York on his way back to South Bend, young John Studebaker saw carriages in Central Park. He made a mental note that while the West would need heavy-duty wagons, light buggies might also be needed in Council Bluffs, Sioux City, Denver, or Sacramento.
In 1868, the Studebaker Brothers Manufacturing Company was organized, and by 1875, it was the largest wagon builder in the world, with over $1,000,000 in sales.
The Studebaker Corporation produced an electric horseless carriage in 1902, followed by the manufacture of a gasoline-powered automobile in 1904. At the head of the corporation was J.M Studebaker, formerly known as "Wheelbarrow Johnny".
Alton Pryor has been a writer for magazines, newspapers, and wire services. He worked for United Press International in their Sacramento Bureau, handling both printed press as well as radio news. He traveled the state as a field editor for California Farmer Magazine for 27 years. He is now the author of 10 books, primarily on California and western history. His books can be seen at http://www.stagecoachpublishing.com. Readers can email him at stagecoach@surewest.net.)
Toy Dogs In Art Part Iv: Toy Dogs In Pottery
One of the most favorite subjects for the craftsman in porcelain and earthenware has been toy dogs in particular. In Chinese work it has been hard to distinguish between the lion and the dog. The lion-dog and the dog-lion share a lot of Chinese myth. The dogs of Fo during the reign of K'ang Hsi were dogs, however, and not lions. In the city of Peking in 1680 the Emperor K'ang His set up an imperial kiln. At that time it was possible there were a million people working porcelain at 3,000 kilns. This production situation has never been matched.
Dogs of Fo, also sometimes called guardian lions, are found frequently, generally in pairs and usually with the male playing with the traditional woven ball and the female with one of her cubs. Dogs of Fo were made in huge quantities between the years of 1662 and 1722. They were without doubt small dogs of the Pekingese type. It has often been said that it is very doubtful the Chinese ever saw a real lion during this time they referred to these animals as being lion-like, and that it is much more likely the Dogs of Fo, even though they had somewhat of a lion look, were actually dogs and not lions.
Pugs in pottery are seen even more frequently than the Pekingese type of the Dogs of Fo. A pottery artist named Kaendler, who created works at the Meissen factory used Pugs often.
In the eighteenth-century Staffordshire potters began to produce models of Pugs. Their early efforts were not all that nice as representations of the pugs. These pieces of pottery are becoming more and more valuable; however, they do not look like the typical specimen of the Pug. They are pot-bellied, long in the leg and have peculiar expressions.
The French sculptor, Francois Roubiliac, created a piece that looked much more like the Pug. The head looks like a Pug. The tail may not be just right and the legs are still rather long, but this was quite an improvement from what had been created earlier. It could also be that the models of Pugs did have longer legs.
Sculptors are still creating Pugs today and as time goes on, the pieces continue to look more and more like a real Pug.
One of the most interesting little dogs portrayed in porcelain was the dog of Madame de Pompadour, produced in Vincennes around 1750. It is felt that this piece if almost certainly a Maltese. The little Maltese is now a rare collector's piece.
The toy spaniel is another breed of toy dog that has been a favorite of the pottery modeler over the centuries. At one time most all households had a representation in pottery of their pet dog, or even a pair of dogs, sitting on their mantelpiece. Most of these were most likely toy spaniels, almost certainly Cavalier King Charles spaniels. They were produced by the thousands, but do have a great charm. The details of the face were hand-painted and each one was slightly different. Younger people did most of the color work on these pieces, which gave the pieces an air of enjoyment and youth in keeping with the whole character of toy dogs in general.
In the years of 1820 to 1850 the majority of these pieces was sold at country fairs and was surprisingly high quality. By early Victorian times almost all cottages had pottery figures and the dog, which was so much a part of the life of country people, it was just a natural choice to become a popular subject for pottery makers. Many pottery makers made dogs, but it was Staffordshire potteries that produced them the thousands.
Almost every breed was modeled at some or another and no two are ever absolutely identical due to each potter and painter's slightly different style. They all did have some common features. They were almost usually all white with spots and patches of red or gold on ears and body. They usually had a padlock hanging from the collar and a chain slung across the brisket and over the back, most often in gold.
What do all these pottery pieces of dogs tell us? They tell us not so much about how the dogs looked at the time, but more that toy dogs in particular, enjoyed a lot of popularity in the early nineteenth century. Dogs, particularly the toy dogs, were as much a family member then as they are now, and probably even more now than then. The pet and pet care industry is one of the most lucrative businesses there is in the year of 2006.
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