Before he co-founded the Ceramic Art Company in 1889 with Jonathan Coxon, Walter Scott Lenox worked at Ott and Brewer of Trenton, New Jersey, a city that was home to some 200 potteries. In the late 19th century, the Ceramic Art Company was just one of many producers of porcelain inspired by Belleek. Actually, it was more than a case of mere inspiration; William Bromley, Sr., who ran Ott and Brewer beginning in 1883, had worked at the famous Irish pottery. Even before his arrival, O&B was using the word “BELLEEK” on its mark. Thus, Lenox’s training as a designer was steeped in Belleek. Like a lot of U.S. porcelain makers in the 19th century, the Ceramic Art Company employed a cream-colored, soft-paste-porcelain clay body called parian, which aped the look of Belleek. One of its most popular early Ceramic Art Company pieces was a swan-shaped dish (Lenox still makes a swan dish today, although its details are somewhat simplified). Other influences included the best wares produced in Limoges, France, the English china of Royal Worcester, and dinnerware imported from Japan. In 1894, Lenox became the sole owner of the Ceramic Art Company; in 1906, the name of the firm was changed to reflect this arrangement. That same year, the San Francisco retailer Shreve & Co. received an order of Lenox china—all but one plate was destroyed in the great San Francisco earthquake. The surviving plate was subsequently used in numerous Lenox advertising campaigns. Order from Tiffany’s in New York came next and soon Lenox was well regarded for its porcelain dinnerware, which featured transferware decorations, brightened with hand-applied color. Patterns such as Mandarin, Ming, Lowell, and Autumn were all introduced around 1917 and ’18. That year, Woodrow Wilson became the first occupant of the White House to order a set of Lenox—the pattern was Command Performance, 1,700 pieces in all. FDR, Truman, Reagan, Clinton, and Bush are Lenox’s other presidential customers. In the 1920s, chief designer Frank Holmes created pattern after pattern, including Eternal, Rutledge, and Fountain, which took its cue from Art Deco. During this time, and continuing until 1930, the firm’s mark featured an “L” within a wreath, with the word “LENOX” below. World War II interrupted the firm’s consumer products, but not its innovation. In particular, Lenox developed Lenoxite, which was used in insulators and radar equipment. During the Mid-century Modern 1950s, patterns such as Westwind and Jewel were among Lenox’s best sellers. In those years, Lenox also introduced numerous giftware pieces, from ballerinas and other figurines to boxes and vases. Pop art-inspired patterns such as Innovation followed in the ’60s, when Lenox also produced inexpensive, plastic, Melmac ware. In the early 1970s, Lenox made an annual limited-edition plate featuring artwork by naturalist Edward Marshall Boehm. Each plate had a 24-karat-gold edge, and images ranged from a wood thrush in 1970 to a cardinal in 1976. In 1973, Lenox followed this series with one called Woodland Wildlife, which featured depictions of raccoons, rabbits, and foxes. Finally, like Royal Copenhagen, Royal Albert, Johnson Brothers, Noritake, and Spode, Lenox has made numerous Christmas plates over the years, in patterns such as Sleighride and Holly. Lenox also produced Christmas tree ornaments, from porcelain bells to little drummer boys, angels, and stars.