For Margi Hofer of the New-York Historical Society (NYHS), the fate of potter Thomas Commeraw – long presumed white but later proven to be Black – speaks volumes about how we look at race and history. “I hope the story of Commeraw’s identity is a cautionary tale to not make assumptions about identity when we look at objects from the past,” she said. Although Commeraw’s pottery had been celebrated for well over a century by institutions like the Philadelphia Art Museum and the Grolier Club, it was only in 2010 that scholar Brandt Zipp revealed he was Black. Until that point Commeraw had been presumed to be a white man, as were most of the potters of the era. “When it came to light in 2010 that he was a Black craftsman, I was blown away,” said Hofer. “I knew it was a perfect exhibition for the NYHS.” Hofer’s vision has now taken shape as Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W Commeraw, on display at the NYHS through 28 May. “I wanted to specifically bring attention to Commeraw’s work and life – that’s long overdue,” she said. “I also hope this will inspire curators and collectors to look more closely and take more notice of these hidden stories – I’m sure there are many more uncredited craftspeople in New York.” Offering a fascinating look at a bygone art, the show is a delight for ceramicists, who can enjoy about 40 pieces made by Commeraw and his contemporaries. It’s the single largest exhibition of Commeraw’s output since his workshop closed in 1819. “It’s quite moving for anyone who knows the story to see all these pieces together”, said Hofer, “to really trace the arc of his professional career.” One distinctive aspect of Commeraw’s pottery was the extreme care that he dedicated to his pots, in spite of them essentially being “the Tupperware of the time”. He was among the first potters to put his name on his vessels, and he set himself apart by using exuberant neoclassical flourishes not common in the pottery traditions of the time. As Hofer put it, Commeraw’s innovations were a sign that he could not rely on the privileges taken for granted by white ceramicists. “He wanted to ensure customer loyalty, and I think it’s another sign of the pride that he took in his business, which was probably hard-won. He’s got more motivation than most of his competitors, who had inherited their business from their families. Most of his competitors were from multigenerational pottery families, reaping the benefits of generational wealth and knowledge, whereas he’s starting from scratch.” Crafting Freedom is also a rare and fascinating look into the racial tensions of a period when large numbers of enslaved individuals were suddenly made free. Commeraw’s story is typical of many of the period, as, like many of his contemporaries, he was born enslaved and then manumitted – for Commeraw this happened in 1779, when he was about seven years old. Commeraw’s freedom came as part of a wave of emancipation via legislation and individual acts by slaveholders undertaken at the time in response to the ideals of the American Revolution. As Hofer explained, the show documents efforts to maintain control over the newly freed Black population via discriminatory practices. For instance, although freed Black men had exercised the right to vote since the establishment of the United States of America, in 1811 New York worked to suppress the Black vote by enacting legislation that forced Black men to make their way through a cumbersome process in order to retain their right to vote. “Among other things, Black people needed a certificate of freedom to vote”, said Hofer, “and that was not easy to obtain. They had to pay fees to various officials, and it also required an affidavit, basically a witness [testifying] that ‘I’ve known this individual and can attest that he’s a free man.’” Crafting Freedom exhibits such an affidavit signed by Commeraw, an example of the potter “marshaling his literacy to support his fellow freed Black people”. As Hofer shared, Commeraw defined himself as a fervent abolitionist who powerfully contributed to the political debates of the time, and who went on to attempt to found a free Black nation. Crafting Freedom documents the fateful efforts by Commeraw and others to establish a liberated colony in Sierra Leone. “With the increasing numbers of freed Black people”, said Hofer, “there was increasing discrimination, and the Black community began wondering if it was better to stay in the US or to go elsewhere.” In hopes of a better life outside of the US, Commeraw, his wife, his three children and members of their extended family made the arduous journey to Sierra Leone on the first voyage of the American Colonization Society, but their efforts met with disaster. Malaria decimated the ranks of settlers, including Commeraw’s wife and a niece, and infighting and disorganization doomed the expedition. “Commeraw came back in 1822 and died the following year,” said Hofer. “He never resumed the trade of a potter and pretty much died a broken man. It’s a very dramatic and tragic end to his life.” Hofer added that Crafting Freedom exhibits two very poignant letters from Commeraw’s journey – one, from early on, painting a very optimistic picture, and a second from later describing the chaos and terrible reality of that voyage. One of the morals of Crafting Freedom is that history continues to speak to us through the years, no matter how forgotten or seemingly insignificant it may be. Hofer shared that in order to help celebrate the opening of her exhibit, she made efforts to invite any living relatives of Commeraw. “I was determined to see how far I could get in his family tree to find living descendants. I did end up connecting with one such person, a great-great-great-grandson who lives in Florida.” Although that relative was confined to a nursing home and could not come, Hofer shared that many of his family members did attend the opening. “It was a really moving and emotional event,” she said. “They were so thrilled to learn about this ancestor that they knew nothing about. It really underscores the humanity of this undertaking.” That more than anything indicates the great value of Crafting Freedom, its ability to bring humanity and vitality to the freed Black individuals who struggled to build their own version of freedom in the fledgling American republic – and the inspirational potter who was a community pillar, a vibrant businessman and a visionary artist. Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W Commeraw is on display at the New-York Historical Society until 28 May