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Acknowledgments Thelma Davis (nee Schrougham), South Bend, worked at Brown County Pottery as a decorator for seven years beginning in 1935. With patience, she explained the processes, step by step, drew the layout of the work areas at the Pottery, and shared what life was like in Nashville at the time. She clearly loved her work there, and she remains creative today with her watercolor painting. Rosemary Quillen, Nashville, one of potter Claude Graham’s six children, was kind enough to open her home, share her recollections about her father and show his pottery from both Brown County Pottery and Brown County Hills Pottery. Mary Jane Terkhorn, Nashville, worked as a decorator and sales person for Brown County Hills Pottery for more than eight years, beginning in 1959. She was a great help in defining the scope of this Pottery’s sales, the methods used, and shedding some light on its owner, Carolyn Ondreicka. Barb and Doug Grant, Syracuse, first introduced me to Brown County Pottery, which led to my desire to research it. In 2008, they donated scores of pieces from the three Potteries to the Midwest Museum of American Art, Elkhart. Many are pictured here. The pieces were added to their previous donations of Overbeck Pottery, making the museum a destination for pottery lovers. Thanks go to the Brown County Historical Society, and in particular Bill Percifield, for the initial assistance in starting me on my way. Also, thanks to Rob and Nancy Coulter and Ada Jones. Marilyn and the late John Rudd, owners of the Brown County Pottery building and the home of Walter and Helen Griffiths, were also helpful in the early days of my research. Special thanks go to Marilyn for introducing me to her lovely mother, Marianne Miller (nee Bessire), who in turn introduced me to her old friend and high school classmate Thelma Davis. Thanks to John Mills, Nashville potter, who has used the name Brown County Pottery since 2001, although he began operating there under his own name in 1968. He provided information on Brown County Hills Pottery and pottery techniques in general, but most importantly he led me to his father-in-law, Ralph Sperry, Indianapolis. Son of Ralph and Portia Sperry, he was able to fill in some blanks about the Griffithses’ first years in Nashville and tell the tale of his own family’s struggles there during the Depression. Ellen Kurath, Ypsilanti, Mich., was a great resource for early information on Helen Griffiths, her great aunt, and Helen’s family. Eric Martz has built a rich and comprehensive Web site, www.martzpots.org, honoring his parents, potters Karl Martz and Becky Brown. Some information from the Web site is used here with permission, and I am grateful for the use of family and Pottery photographs. There was only one opportunity for me to meet Becky Martz before she moved from Bloomington, but in her enthusiasm for life and her eagerness to show me pottery pieces — hers, Karl’s, and friends’ whose names she regrettably could no longer remember — somehow that one treasured meeting was enough. Thanks to Barbara Judd, Ellen Carter, Keith Fleener, Chris Powers, Jeanne Leffers for steering me around Fort Wayne, Georgia and Larry Davis, and everyone else who gave me a lead, shared a collection or an unprintable story, and encouraged me along the way. And thanks to friends Kathleen Cash, Bonnie Sando and Suzanne Katt for proofreading.  v Nashville artist Edward K. Williams captured the Brown County Pottery shed on Franklin Street in the 1930s. To the right is the back porch of the Bartley House, the entrance to the Pottery’s rooms. Tags on the reverse side indicate the painting was available in the Hoosier Art Gallery, Chicago, a gallery of the Hoosier Salon, and is titled “The Pottery, Nashville.” Collection of Dr. Robert E. Sexton. Photo by Kathy McKimmie. ...

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