Boston Common: Red Clay Shard

While working on the Boston Common site yesterday at Boston's Archaeology Department, I came across a very interesting shard. On first sight, it appeared to be an English-style creamware product with a red earthenware body. If this is the case, it is extremely unique. It was found within an eighteenth century site - most of which appeared on the surface (without further research) to be period English-made products.

Much of Boston Common is filled-in land, and determining the shards origin will be near impossible, but it does open up for an interesting discussion.

The redware shard was mixed in with period black glass, creamware, pearlware, lead glazed redware, transfer decorated whiteware & pearlware and plain whiteware. I was fascinated when I came across the shard. I didn't really know what to think of it. I have never previously seen anything like it.

After speaking with Boston City Archaeologist, Joe Bagley - we believe it could be a very small sample of some-kind of redware vessel, but it is debatable - and of course, redware would make the most sense. The creamware appearance may actually be slip decoration, regardless of what it actually is - it certainly is interesting to examine. What do you think!?

Faneuil Hall and "New-Boston" Pottery part 4

The earliest European settlers are believed not to have brought any form of ceramic to America in those first years. It is thought that ceramics were not recommended as a top priority for the earliest Europeans traveling and settling. There was more of an importance for other necessities.

Lura Woodside Watkins wrote in her book, "Early New England Potters and Their Wares," that Edward Drinker was the first known potter in the Boston and Charlestown areas before 1670. He began in Charlestown, but soon after left Charlestown for religious reasons and he began working on Boston's waterfront.

In 1665, Samuel Kettle apprenticed under Drinker and he began producing pottery as early as that same year. Samuel was the first generation of a family of Kettle potters that worked in Boston, Charlestown and Salem, Massachusetts, during the seventeenth and eighteenth centuries.

Slip decoration was not a common use or decoration before 1680, where there was a greater demand for manufacturing vessels rather than flatware. The use of flatware grew after 1680, which indicated more earthenware use in service and daily household necessities. At the turn of the eighteenth century and the years following, the use of slip decoration became extremely popular. It is evident in Boston and Charlestown - and further north in Newburyport, Massachusetts and Portsmouth, New Hampshire.

Research and archaeological reports have indicated that the production of redware grew in the eighteenth century. From a 1730s archaeological site found in one of the districts excavated in Charlestown, a circular formed pit was discovered. The pit contained an extensive amount of artifacts, much of which were ceramics. Of those ceramics, it was estimated that nearly three-quarters were made of red earthenware, or today referred to as redware - and it appears roughly half of the redware was intended for kitchen use.

As previously discussed, the names Kettell, Parker, Symmes, Edes, Manning, Ingalls, Duche, Harris, Larkin, Powers, Penney, Standley and Runey have all been identified as the last names of Charlestown potters. From these reported potters, there was one by the name of Grace whom belonged to the Parker Family. I indicated in a previous post that Grace may have been a female.

The truth is, Grace Parker was in-fact, a female potter. While I will not get into the details of her work - I will tell you she did operate the Parker Pottery on Town Dock in Charlestown. Her husband, Isaac was a second-generation Charlestown potter. Isaac, unfortunately died in 1742. Grace at this point had two options; did she want to remarry or operate the Parker Pottery business? She chose the business. She ran the pottery with her son, John for many years. John was also involved with other area potters' businesses. The Parker business under Grace, did not see much success as war ran its toll on the pottery. King George and the French and Indian War made it hard for the Parker's to operate successfully. Grace Parker passed away in 1755 and her son, John in 1765 - with that, so did the Parker Pottery.

Grace Parker is a very important name in the history of New England ceramics. She is the "only" reported female potter to run and operate a potter's business prior to the Arts and Crafts Movement. 

As I move forward with my study into the lives of Boston and Charlestown's eighteenth century potters, I continue to come across the everyday struggles that developed from wars within the area's pottery industry. It is going to be interesting seeing this develop more with research - as to how much of an impact there really was as a result from war is yet to be determined.

At some-point during the day or night of June 17, 1775, Charlestown's Carey House burned to the ground. Found in the basement during archaeological excavations of this house, was a large collection of redware storage vessels. It is believed that at the very least the jars were used as a means of storage. I was going through the artifacts of the Faneuil Hall sites yesterday and I came across this very unique and large formed vessel. It appears it may have been used for some-kind of storage. The site predates 1743. The vessel does not appear to be wheel-turned, but rather hand formed - but of course, I could be wrong. It is unique, as I have never seen anything like it. If there are any opinions, comments, attributions - I would love to hear them (email). I am not making any connections between this vessel pictured and those found in the Carey House.

Yesterday like I wrote, I did go through the vessels found during the archaeological excavation from sections of Faneuil Hall. The site dates from the early-to-mid eighteenth century. In fact, the particular site that I examined dates before 1743 - and before anything else, let's define what Faneuil Hall's importance was in a historical context. 

Faneuil Hall, from the seventeenth thru nineteenth centuries was known as, "Merchant's Row." This was the location of much commercial trade - that also included shipping during the nineteenth century in Boston. As previously discussed, King Street's location is within this district. and it purportedly has ties to Benjamin Leigh, Jonathan Allman and both imported English Delftware and possibly the wholesaler of the liquidated "New-Boston" Pottery tortoise-shell ware that I have been researching

All of the following artifacts were found in eighteenth century area wasters or privies within the Faneuil Hall archaeological district. I personally believe the majority of the following artifacts to be made domestically.

The polychrome redware handle (pictured right) is fascinating. It very-well could be Charlestown made, but that has not yet been determined. It has an interesting glaze that from my observations is unusual for the period. The slip decorated redware shard (pictured middle) is likely English. The Staffordshire redware teapot lid (pictured left) is wonderful. It just may be my favorite artifact thus far. Imagine if you can, what the rest of the teapot resembled. Based on the size of the lid, I assume this was a single cup teapot.

All three redware shards could possibly be locally made - and possibly within the city limits of Charlestown. The majority of Charlestown's eighteenth century redware was manufactured at or near Town Dock. The advantages of this location included the plentiful Mystic River clay beds and easy access to water transportation.

This is a manganese decorated redware jar. It very-well may have been a large pitcher. This too, has the potential for a local manufacturer.

These are unglazed redware jars of some-form. My guess would be flower pots, but they both may be from a mixing bowl or another form of kitchenware.

The redware shard on the left is glazed on the inside, while the exterior is exposed red clay and unglazed. It may have been a mixing bowl or a form of kitchenware at one point. The form on the right resembles the remnants of a redware mug. The mug may have a link to a local tavern, but that is currently unknown. Both may have been produced domestically.

There are many unglazed redware shards found within the Faneuil Hall district. These are a few of those examples.

As I mentioned above, the Faneuil Hall site predates 1743 and King Street is a part of this district. This advertisement (previously mentioned) ran in the Boston New-Letter on April 12, 1770, advertising the sale of a "New-Boston" Pottery made tortoise-shell ware thru a King Street merchant.

"Nathaniel Cudworth, informs his customers and others he has removed from a store on King-Street, to a Shop at the South-End, three Doors above the Sign of the Lamb, Where he has to sell", among other listed articles of merchandise, "A good assortment of Tortoise and Agat colour'd Earthen Ware, made in BOSTON, by Leigh and Allman." 


Thomas Whieldon's English tortoise-shell wares were relatively rare for the Boston market of this period, but it is likely there may have been some examples residing in Boston-area homes.

Thomas Whieldon Tortoise Shell Plates, England

Photo Courtesy: Skinner, Inc. - Boston

"New-Boston" Pottery was reportedly manufactured during 1769 to 1770 (despite no known attributed examples) by Benjamin Leigh, Jonathan Allman and possibly a handful of apprentices. It was made to imitate Whieldon ware of England. King Street was within the "Merchant's Row" district and despite the site dating prior to 1743 - the merchant's location who sold "New-Boston" Pottery was relatively close. These shards were cataloged in the Faneuil Hall archaeological boxes - and an origin has yet to be determined. This could be very exciting!

More research to come....

Nickerson's Merrimac Ceramics and Pottery

Thomas Nickerson, in my opinion is one of the most talented American potters in the history of American ceramics, who just happened to work during the turn of the twentieth-century . Nickerson began in Portland, Maine before moving to Newburyport, Massachusetts to establish, build and operate the Merrimac Pottery Company. It is in my opinion that the earliest Merrimac Pottery (before 1900) examples are comparable to the American redware utilitarian potters from years before. His wares were made from the area's red clay. The earliest Merrimac Pottery wares were designed for everyday household use. The latter wares were more within the realm of the art pottery movement of the period- and today, many consider those later examples to be on the same level and skill as the period's most accomplished potters.

Nickerson learned his skill in England, and was very much influenced while studying under Master Ceramist, William Crooke of England during the late nineteenth century. Nickerson eventually returned to America to begin his own pottery company in Portland, Maine. After only months of opertating in Portland  - Nickerson opted to move the company to Newburyport, Massachusetts and settled along the Merrimac River.

The company was initially named the, "Merrimac Ceramic Company." The focus and product line was geared towards florist ware, tiles and everyday household use. This was the direction of the company for the first few years. It was somewhat of a unique direction for the period. The other companies working within the Boston area of which had similar operations were not necessarily producing household items. Their idea was from more of an art pottery approach. Low Art Tile of Chelsea did manufacture tiles, but that's generally all the company ever produced. It never changed. A.H. Hews Pottery of North Cambridge was producing molded art pottery. William Grueby in South Boston was creating high-end art pottery. Chelsea Keramic in Chelsea was also manufacturing high-end art pottery. The first few years of Nickerson's pottery was some-what unique for the American marketplace during the early years of 1900.

The company's logo was the sturgeon - which happened to be the Native American word for Merrimac. The sturgeon fish was native to the Merrimac River that the company was located on. I assume you understand where the company name developed from. The company was located along the Merrimac River - a river that Native Americans had named many years previous and through all this, the idea of Merrimac Pottery was born.

The majority of Nickerson's wares were hand thrown. The Etruscan revival jars, while not all, some were molded. All the art companies of this period jumped on this Greek revival band wagon for a few years. Its popularity did not last long as it quickly died out. Nickerson's Roman-style vases were actually molds taken from original Roman vases. Nickerson traveled to the Museum of Fine Arts and used their original Roman Vases to create molds which were later used for his business. The Merrimac Etruscan forms all pre-date 1902.

A paper label was attached to all pieces that were made between September 1900 and August 1901. Prior to this date, the Merrimac Ceramic pottery did not use any type of mark or label on its pottery.

Merrimac Ceramic Company Paper Label Used From 1900 to 1901

On January 1, 1902, Nickerson decided it was time the Merrimac Ceramic Company changed directions and he adopted much more of an art pottery approach.  This refinement and remodeling of Nickerson's business signaled a change from everyday products to a much more refined artistic approach.

With the New Year, Nickerson also changed the company's name. It would no longer be known as the Merrimac Ceramic Company, and instead it would become, "Merrimac Pottery Company." Nickerson was hopeful the general public would associate the new name with the new product. The old name was associated with household wares and florist products - and this new brand name introduced a new type of art pottery.

All Merrimac Pottery made after January 1, 1902 were impressed with the sturgeon logo and the word "Merrimac" wrapped around it.

Merrimac Pottery Company Mark Used From 1902 to 1908

The characteristics of typical Merrimac Pottery included simple forms and glazes with no additional colors on top of the initial body glaze. 

Merrimac Pottery Company Vase

Photo Courtesy: Skinner, Inc. - Boton

There were exceptions to these characteristics. Nickerson was known to experiment with a wide range of glaze colors and techniques. I would compare him to the early utilitarian potters of Southeastern Massachusetts where there was experimentation in both glaze and form.

The majority of New England's utilitarian potters were known for a certain style. Experimentation amongst these potters was rare and it is what collectors desire most today. The state of Maine also had its share of glaze experimentation with the state's early redware potters - and this is where Nickerson began his career. Nickerson's typical glaze color was a matte green, but the company experimented more than any other New England potter that I know of - and the end result were beautiful and desirable examples. Nickerson worked with a wide range of colors that were used from Merrimac Ceramic to the Merrimac Pottery days. Those colors included; purple, pink, green, blue, orange, copper, metallic colors, black, unglazed terracotta and such. His theory was experimentation so there was a wide range of colors and forms produced.

Merrimac Pottery Company Jar or Vase, after 1902

Photo Courtesy: Treadway Gallery - Cincinnati, OH

I would compare Nickerson's pottery to some of the more accomplished American potters of this period. I compare his accomplishments to both William Grueby of South Boston and William Walley of West Sterling, Massachusetts - both of whom are highly regarded and highly accomplished potters of the Arts and Crafts Era.

William Grueby Vase, South Boston

Photo Courtesy: Skinner, Inc. - Boston

William Walley Jar or Vase, West Sterling Ma

Photo Courtesy: Skinner, Inc. - Boston

The Merrimac Pottery Company is believed to have stopped production sometime before 1908 when a fire broke-out destroying the company. At the time of the fire, the company is thought to have not been in operation for sometime. The remaining salvaged inventory was sold off. Nickerson never rebuilt - and this was the last of the great potters in the greater Newburyport area. The potter industry in this region really began with the Bayley Family of Potters of the 18th century, extended through Ebenerzer Morrison, to William Pecker and the Chase Family of Potters and it came to an end when Thomas Nickerson and his company was consumed by the 1908 fire.

I discovered the Merrimac vase below at a Boston area antique shop recently. It appears that it has been burned or the very least exposed to extremely hot temperatures underneath the base. I am assuming that this happened during the 1908 fire. It probably does "not" have a great deal of monetary value, but for me, it tells the story of the Newburyport fire and the history of Thomas Nickerson and his pottery. 

I really consider Nickerson to be more of a throwback utilitarian potter with a sense of artisty that he applied to his skill. The Merrimac Ceramic Company was ideally a utilitarian company that produced household wares, but not kitchen wares, until its directon changed in 1902. I still compare the early Merrimac pottery to that of the earlier New England redware potters. The company eventually adapted to the Arts and Crafts Movement and altered its product towards the arts and decorative movement, but for me personally, those early years were an extremely interesting range in forms that were produced.

Thomas Nickerson and his pottery is a story of a very talented potter with a unique vision that was only briefly in operation for a handful of years.

I know the Olde Newbury Historical Society has a great deal of information on the Merrimac Pottery Company. The museum's curator, Jay Williamson and area historian, Chris Snow have both dug at the site. I am unaware at this time what was found.

There are many examples which have survived from Nickerson's company and they reside throughout the country in both private collections and institutions. I feel Merrimac examples can be appreciated from a wide range of ceramic enthusiasts due to the skill in both form and glaze. I'll throw this final thought out there; from my observations, George Ohr (Mississippi) was the best-of-the-best during the art pottery movement. I feel that many of Nickerson's examples can be compared to some of Ohr's best. Nickerson was known for unusual glazes, while Ohr was known for outrageous forms.

James Chase Family Pottery of Merrimacport

** I have learned the first pitcher in this report may have been made in Peabody (formerly South Danvers), Massachusetts.**

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As I have previously mentioned in past blogs, it is common knowledge amongst your average collector, dealer and institution alike that West Amesbury, Massachusetts (known as Merrimacport today) is regarded as William Pecker territory. I think most will agree that Pecker's wares were incredible and some of the best utilitarian pottery ever produced in this country, but as I have also previously mentioned, a handful of other potters are known to have worked in the area despite Pecker receiving basically all of the credit today.

One notable potter who trained and worked with Pecker was his nephew James Chase (1779-1849). According to Lura Woodside Watkins, Chase was the son of Pecker's sister Hannah and Edmund Chase and just so we don't get Pecker's sister's confused with each other - Hannah is a completely different sister from the the one who I have previously mentioned who was married to the potter Benjamin Dodge.

Chase probably didn't realize it at the time, but by today's standards he was working and learning from one of the all-time great utilitarian potters.

Merrimacport, Massachusetts Pitcher

The above pitcher shares all the Pecker characteristics that someone would look for to attribute a piece to Pecker. Its glaze consists of the traditional cinnamon/orange glaze spread over the body while carefully decorated with manganese in the manner that Pecker's hands are known for. The yellowing in the glaze around the lip is arguably a result of the firing process within the kiln. It adds an added appeal for decoration that most likely was not intended. Everything about this pitcher from my standpoint says Pecker to me.

I'll show you the handle in a moment, but let me describe to you what a Pecker handle for me personally represents. The Pecker handle on any jar, cup, bowl, mug pitcher, stew pot or jug - is one of the most refined and accomplished utilitarian handles in American pottery history. Pecker's handles in my opinion stand second to none. You can look at some jugs and pitchers from other potters who are accomplished in form and when you then look at the handle it's nothing more than a handle and average - it's nothing special. There is no real appeal to it. Pecker put the time and effort into mastering his work with handles. It would appear that Pecker took pride in every stage of the potter's art. It's evident in what he has left behind in his memory. The Pecker handle should be considered an unmistakeable work of art.

Traditional William Pecker Handles

The pitcher that we first discussed does not have a finely accomplished handle like I just mentioned. It is much more primitive and crude. I have always gone back and forth guessing and trying to figure out whether it was a pitcher made in South Danvers, Massachusetts by the the Osborn Family or if it was just plain and simple a poorly executed handle on a pitcher by Pecker. Everyone occasionally has a bad day - and maybe this was one of those days for Pecker.

John Osborn Pitcher - South Danvers, Ma

With careful thought and consideration, all my opinions towards this so-called Pecker pitcher have changed. I believe that this pitcher was made while James Chase was working under Pecker - and he was using Pecker's style. I find it very exciting and interesting to potentially own such a piece. I really believe that this is the case. See the next picture to see what I am talking about in regards to the handle.

To continue: James Chase married Olive Lucas, a Charlestown native - and you can once again see the ties between Merrimacport and Charlestown.

James Chase also had a son who was employed in the potter's industry, Phineas - and like Pecker and James, Phineas trained under his father. After James passed away in 1840, Phineas operated the Merrimacport business until his death in 1864. Despite Phineas' death, there are records of the company still in operation in 1865 and thereafter.

In 1856, the New England Business Directory lists the firm Chase and Kendrick - and a recently discovered bill of sale (which was discovered at the time Watkins was writing Early New England Potters and Their Wares) reveals some kind of association with "Kendrick and Mann" - and "West Amesbury Pottery." I haven't researched this enough to know what it entails. I do know the name Kendrick is a well-known, sought after and respected Maine potter.

Thomas Truxton Kendrick was an extremely accomplished potter from Hollis, Maine. His glazes are what he is most known for today and as a result they are extremely desirable amongst collectors. His works are rare, but some have survived. He is also known for numbering his lidded jars with Roman numerals. He most likely did this to avoid confusion after the firing process. To briefly explain, the lid and jar would be in separate parts of the kiln - and after this process some potters wanted to match the jars and lids up correctly thus the numbering idea. They were all hand-made so it was somewhat of a puzzle if they were not numbered. Pecker's lids and jars in some cases do not resemble the same glaze after the firing process and this was most likely a result of being fired in a different part of the kiln - thus you probably understand the method behind the numbers. I would assume that all potters have their own approach to this idea. New England potters who used numbers on their lids and jars will be a future blog post. They are even known to have glazed their numbers on in color.

Thomas Kendrick Jar - Center

Photo Courtesy: Tim Gould Auctions - Smithfield and Gardiner, Me

The idea of a Kendrick and possibly the "Thomas Kendrick" having ties to West Amesbuy is fascinating. If these ties can be linked to the actual Kendrick of Hollis, Maine then that would mean William Pecker would have ties to yet another accomplished Maine potter despite it being much after his sudden and premature death. You can probably argue that if you go back far enough in records that you can find ties amongst most potters, true, but it is still interesting with how close and easily related these ties are.


Watkins described the ware, style and glaze of the Chase Pottery Company from a collection she viewed while writing her book more than sixty years ago. A few of the pieces are pictured in her book. The collection had descended through a Merrimacport family- and from this collection she describes the wares in a common utilitarian style that were not glazed on the outside. Rather, all were "only" glazed on the inside in dark brown or burnet.

Chase Pottery Milk Pan or Deep Bowl

Pictured in Watkins Book - Figure 76 

Similar Milk Pans Like This Were Also Made Elsewhere

Watkins goes on to further discuss another Chase running the Merrimacport pottery by the name of Richard. John Donovan is even mentioned as a Merrimacport potter by Watkins or at the very least she associates him in some way to the pottery.

Donovan was a traveling potter during the 19th and 20th centuries who worked most notably for Moses Paige Pottery in Peabody. He also worked in East Brookfield and possibly West Sterling, Massachusetts - and Keene, New Hampshire.

Left: Donovan Flower Pot - Likely Keene, NH

Middle: Donovan Flower Pot - Likely West Sterling, Ma

Right: Donovan Flower Pot - Peabody, Ma

The flower pots to the left and right above are redware, while the flower pot in the middle is yellowware. Donovan apparently used different clays in his trade. There was a yellowware industry in West Sterling and through this flower pot a possible West Sterling tie has become possible. Donovan may have been working alongside the likes of William Walley - an extremely accomplished potter who produced art potter out of West Sterling. Donovan more than likely worked alongside a who's-who list of accomplished New England potters during his career.

Moses Paige Pottery operated out of the old Osborn Family and Joseph Reed building in Peabody, Massachusetts. Paige Pottery successfully produced utilitarian wares into the 20th century - an accomplishment that very few American redware potters or companies achieved. Many accomplished potters trained and worked within the walls of this company for more than a 100 year span. This is a story that Massachusetts potter, Rich Hamelin will tell someday.

Moses Paige Pottery Flower Pot - "Peabody Pot"

Found at a flea market in 2012
There Are Many Reproductions Like This Made by Guy Wolf in Connecticut

I have not been able to determine an actual date for when the Chase Pottery closed its doors for good. My guess is it was sometime during the third quarter of the 19th century - and like most utilitarian potters of this time period, unless they changed their products' direction towards more of an art pottery approach, the demand for these such wares phased out. Art pottery became popular during the late 19th and into the 20th century - and even more so during the Arts and Crafts movement.

 Merrimac Pottery Company (1897-1908) Vase

Thomas Nickerson - Portland, Me and Newburyport, Ma

Photo Courtesy: Skinner, Inc - Boston

The legacy of the Dodge, Pecker and Chase pottery family began with Benjamin Dodge in the 18th century, extended through William Pecker beginning around 1780 through 1820 until it descended down through the generations of Chases well into the second half of the 19th century. If it were not for marriage and Pecker training under his brother in-law, Benjamin, this legacy and skill may have never been achieved from either Pecker or the Chases.

Thank you for reading.

Stay tuned...

"New-Boston" Pottery part 3

Upon further research, and a little help from Lura Woodside Watkins' book, "Early New England Potters and Their Wares," I have been able to make progress with my "New-Boston" Pottery research. I am convinced that there are examples that exist which are mistaken for English Thomas Whieldon ware-types. It would be a long awaited and important development in the history of American ceramics if we can properly identify just one piece. That one piece, through careful examination, could lead to proper identification of other examples.

All Four Plates - Thomas Whieldon-style-ware, England

Photos Courtesy: Skinner, Inc. - Boston

The so-called "Boston" Delftware company that I have previously mentioned that Benjamin Leigh acted as an agent for, was actually a Delftware company operating out of London that was represented in Boston. It was not exactly Delftware produced in Boston, but rather only sold. The Delftware was an English import. I take back my statement in regards to a Delftware product that was manufactured in Boston. English redware, stoneware, transferware, pearlware, creamware and such was produced in England and much of it was solely intended for the American market - and through these agents and merchants there became a means of distribution.

Pre-Revolutionary War Creamware Teapot

Made for the American Market

Photo Courtesy: Pook and Pook Auctions - Downington, PA

Leigh was a merchant in Boston and he had an office located on Merchant's Row (today known as Faneuil Hall) that was at the time called "Leigh's Intelligence Office." His partner in the "New-Boston" Pottery venture was Jonathan Allman. Allman was actually the potter and Leigh was the businessman. I had previously question whether they were both merchants. Allman was instead a Boston potter and not a merchant.

Early in 1769, Leigh and Allman placed an advertisement in the Boston Gazette looking for young apprentices to work and train under Allman in the manufactory. The advertisement was also asking for clay and sand samples to be brought to the Leigh Intelligence Office. It "was" known at the time of Leigh and Allman's venture that Boston did not sustain proper clay deposits to manufacture such formal tablewares. The clay for such a ceramic would need to be shipped to Boston and the business. It was believed that the proper clay existed elsewhere in New England.

Eight days after the initial advertisement, a potter by the last name of "Richardson" arrived in Boston from Connecticut on the sloop Polly. It is unknown at this time if Richardson traveled to Boston to work at the "New-Boston" Pottery business or if it was only a coincidence. His first name is also not known. The records of this person are clouded and details of his purpose in Boston are not known. It is likely a possibility that he indeed landed to work at the "New-Boston" Pottery as result of the advertisement, though we cannot be certain of his intentions. There could have been a number of possibilities for his visit. We do know he was potter who came to Boston to work - other than that, all else is unknown.

On May 31, 1769, both Leigh and Allman presented their business idea to the General Court pursuing financial help to sustain their business. They also presented clay and sand samples to demonstrate to the court what their ceramics' clay source would derive from. It was their intention and which was made clear that their wares would be of equal quality, use and form to that of England, but at a cheaper cost to the public.

Leigh and Allman told the court that they intended to employ poor children. They both felt that would help the local economy and make their argument for funding stronger - since the public was purportedly paying for these so-called "poor children."

The General Court granted Leigh and Allman 200 pounds to help start the "New-Boston" Pottery. They both agreed to pay back the loan in time.

Now with the funding available, the "New-Boston" Pottery, Leigh and Allman sought to find a location for the manufactory. A nearby home and a few adjacent buildings were purchased on the west side of Leverett Street, which was a continuation of Lynde Street - and this would be the place of opertation for Leigh and Allman. I have also previously mentioned that the location of the business is near where the Historic Otis House stands today.

Otis House, Bowdoin Square, Boston's West End

Photo Courtesy: Historic New England

If we step back in time before 1769, only feet from where the "New-Boston" Pottery building stood, is where David Symonds, another "New-Boston" potter previously operated his own kiln and shop.

I use the name "New-Boston" Pottery for Leigh and Allman's business because the original name is not known. I guess I could use Leigh & Allman Pottery or Benjamin Leigh Pottery or even Jonathan Allman Pottery, but for me personally, "New-Boston" Pottery sounds most appropriate.

David Symonds worked out of a converted snuff mill. His business stood to the northwest of the Old West Church on Lynde Street. The Old West Church was also known as the "Meeting House" for Doctor Mayhew at the time.

Symonds is just another example of an eighteenth century colonial potter who is believed to have worked in redware - and not stoneware in Boston. It is common knowledge among many today that redware was  not produced in Boston during this period. There will be much more on eighteenth century Boston and Charlestown redware in the future.

Symonds first ran an advertisement in the Boston Gazette on June 18, 1751. I have not personally seen the ad, but I figure he may have been advertising for apprentices, clay or as a public way to offer and present his wares to the general marketplace of Boston.

Symonds is believed to have worked from 1748 to 1766. He did not die until 1796 so it is unclear at this time why he stopped his business and what his role was from 1766 until his death. His business appears to have flourished for nearly twenty-years. I would like to know why it ended. It could be a strong probability that imported English wares became more desirable, and Symonds was not able to sustain or compete. I feel that in-time, my research will reveal that nearly every eighteenth century Boston potter felt an impact of some kind from England.

I want to prove through research that the life of an eighteenth century potter was a constant struggle due to English wares and war.

The American Revolution appears to have played a major role in the decline of the redware potter in Boston and Charlestown. The ceramic wares of England were believed to be superior - and that too, made it extremely tough for a potter to withstand a ceramics business in the colonies. From a collector's eye today, the American wares are much more desirable due to rarity and skill, but back in eighteenth century America, the American wares were viewed more often that not as second-rate and inferior to that of England.

Liverpool, England Creamware Pitcher

Made for the American Market

Photo Courtesy: Skinner, Inc. - Boston

On October 30, 1769, Leigh and Allman placed another advertisement - and once again, they were seeking young apprentices to work in their potters' business.

John Spargo wrote in his book, "Early American Pottery and China," that Anthony Haswell, was an apprentice in Boston around the time of 1769 to 1770. It is unclear where he was an apprentice, but it very-well could have been at the "New-Boston" Pottery business. Haswell would have been thirteen, maybe fourteen years-old at the time. He was born in 1756.

Captain John Norton, who was the pioneer potter whom started the Bennington Pottery tradition in Bennington, Vermont - would have been eleven, maybe twelve years old at the time of the apprenticeships at "New-Boston" Pottery. He was born in 1758. Norton would have been the appropriate age to apprentice.

John Norton founded Bennington Pottery in 1785, a tradition that descended down through generation after generation of potters.

Anthony Haswell eventually ended up working in Bennington under Norton as the company's pioneer printer. Could these two have met at the "New-Boston" Pottery while apprentices under Allman? Norton was born in Connecticut and he eventually settled in Bennington. Is it really that unrealistic that his travels could have brought him to Boston before moving to Bennington? I think it is very realistic.

Did Norton and Haswell both end up in Bennington from a friendship they formed at "New-Boston" Pottery? That is the question of the moment for me.

John Norton was also a native of Connecticut and this is where the potter by the name of "Richardson" came from. Is there a connection between these two potters? This is fascinating! Norton has a potential connection between both possible apprentices at "New-Boston" Pottery? Was there a relationship or is this all coincidence?

If this is the case, "New-Boston" Pottery could have played one of the most important roles in the history of American ceramics, despite it only lasting one-year. It could have possibly laid Norton the foundation, career and direction needed at such an early age to envision such an enterprise in Bennington for years to come. Bennington Pottery jump-started the careers of many accomplished New England potters and it provided American households ceramic wares for more than a century. Without Norton, none of this may have come to fruition. Could "New-Boston" Pottery be responsible for such success in Vermont? Was "New-Boston" Pottery the foundation of such an enterprise in Bennington?

For those who don't know, what many refer to as "Bennington Pottery" today is the product of a major opertion located in Bennington, Vermont. The result was a variety of ceramic wares that were produced from a number of companies. John Norton began the tradition when he estabilished the initial business.

J. Norton & Company

Bennington Stoneware Jar, Circa 1820

Photo Courtesy: Skinner, Inc. - Boston

Lymon, Fenton & Company

Bennington Flynt Enamel Glazed Pitcher (Tableware), Circa 1840

Photo Courtesy: Skinner, Inc. - Boston

United State Pottery Company

Bennington Parian Porcelain Pitcher (Tableware), Circa 1860

Photo Courtesy: Skinner, Inc. - Boston

Exactly one-year after Leigh and Allman began their tortoise-ware experiment, the company failed. A merchant by the name of Joseph Wilson, purchased the remaining inventory and land. It was not for another forty-years that another New England pottery made an attempt at manufacturing fine ceramic tablewares.

The unknown is what needs to be filled in as to what happened during this one-year of existence for the "New-Boston" Pottery. 

According to a previous post derived from a period 1769 advertisement, a merchant by the name of Nathaniel Cudworth ultimately ended up with the tortoise shell wares at his King Street shop. I am unaware at this time of what Cudworth's relationship was with Wilson and why he ended up with the pottery.

"Nathaniel Cudworth, informs his customers and others he has removed from a store on King-Street, to a Shop at the South-End, three Doors above the Sign of the Lamb, Where he has to sell", among other listed articles of merchandise, "A good assortment of Tortoise and Agat colour'd Earthen Ware, made in BOSTON, by Leigh and Allman." 

If Leigh and Allman had studied the geography of New England and its clay beds, they would have both realized that the native New England clays were not suitable for English-style tablewares. From the start they were setup for failure, but if it were not for this experimental enterprise, the idea of Captain John Norton and Bennington Pottery may have never happened. It will will be interesting to see if I can actually prove John  Norton apprenticed in Boston under Jonathan Allman - or at the very least met Haswell through travels to Boston. I am going to try my best to find a link with these potters and "New-Boston Pottery. If proven true, it will be an extremely important development and progression of a potter that occured within the ceramics industry of eighteenth century Boston.

If such "New-Boston" Pottery examples do exist, you will more than likely see Whieldon-style tortoise shell wares with imperfections in the glaze and body form due to impurities in the clay. Native New England clay is more suitable for redware and stoneware, but much less ideal for a more refined ceramic such as tablewares. I am confident there is one example that has survived which is residing in a longtime private New Hampshire collection.

I hope there is still more to be found, attributed and identified.

More research to come....

Benjamin Leigh and Delftware in 18th Century Boston

I have twice previously posted a portion of my research from the "New-Boston" Pottery findings in this blog. If you have not read either, here are the links to the two stories.

"New-Boston" Potter - part 1
"New-Boston" Pottery - part 2

Benjamin Leigh by today's standards would more than likely be considered a businessman, but during Colonial times, he was better known as a merchant. I have found records of Leigh venturing out into possibly three lines of work during a relatively short period; two of which involved Boston's ceramic industry - the third not-so-much, rather an attempted investment in of all fields, chocolate.

According to Massachusetts records that were donated as part of the Reginald and Rachel French Collection at the Historic Deefield Library; Leigh according to French, was purportedly an agent at a Delph Manufactory in Boston. From a note within these records by French, he explains that Leigh's first wife was of Dutch descent and this may have been the link for his interest in Delftware pottery. Delftware's routes can be traced back to the Netherlands. Delftware like Thomas Whieldon ware, was popular in eighteenth century England. The ceramic was manufactured and popular in countries across the globe at this time, much like it was in England.

18th Century Delftware Bowl, English

Photo Courtesy: Skinner, Inc. - Boston

This is not the only mention of Leigh and his involvement with Delftware in Boston.

The Boston Gazette and Country Journal on March 12, 1770 recaps the disturbing details of the Boston Massacre in which Leigh played an important role. The Boston Masscre occurred on March 5th, which was a week prior to the article's release.

In brief, British troops had been stationed in Boston since 1768 to protect colonial officials who were trying to uphold Parliamentary legislation that was at the time, extremely controversial. A group of British soldiers and a British Officer, by the name of Captain Thomas Preston were confronted by a group of locals on King Street who did not support the British on March 5th. This group verbally ridiculed and threw snow balls at the soldiers. Captain Preston eventually told his troops, who were armed with charged bayonets, to fire at the crowd. In the end, five people were killed and six more were injured.

This article makes mention, "Mr. Benjamin Leigh, now undertaker in the Delph Manufacftory, came up and after some conversatioin with Capt. Preston relative to his conduct in this affair, advised him to draw off his men, with which he complied."

For me personally, the idea of Delftware in Boston was previously unknown. After reading the Boston Gazette and Country Journal article, I am without a doubt positive that delftware was manufactured in Boston. Why or how could this publication at this time be mistaken with Leigh's title as an agent for the factory? I cannot imagine that is was. Therefore, there must have been an American delftware product produced in Boston. For how long? I do not know.

This is an excerpt from the previous "New Boston" Pottery blog where King Street in Boston is made reference of.

"Nathaniel Cudworth, informs his customers and others he has removed from a store on King-Street, to a Shop at the South-End, three Doors above the Sign of the Lamb, Where he has to sell", among other listed articles of merchandise, "A good assortment of Tortoise and Agat colour'd Earthen Ware, made in BOSTON, by Messirs, Leigh and Allman." 

18th Century Whieldon Ware Charger, England 

Photo Courtesy: Skinner, Inc. - Boston

Could Leigh have been stepping outside of the Delftware shop to speak with Captain Preston at the time of the Boston Massacre? Was this factory indeed located on King Street? Could Leigh have been by chance walking on King Street where the Boston Massacre took place? These are all questions that will need to be answered to learn more about Boston's Delftware and where the factory was located. At this time all the information is new to me. I have never before heard of the idea of delftware in Boston discussed. I have no known examples to go by.

The records in Historic Deerfield also make mention that Leigh was a Loyalist. This is evident with the cooperation Captain Preston gave to Leigh's suggestions to leave the crowd alone. These same records say that Leigh eventually ended up in Canada due to his Loyalist views. From the statistics I have read, approximately fifteen-to-twenty percent of those living in the colonies were Loyalists (also known as Tories, Royalists or King's Men). The American Revolution ended in 1783, therefore I would assume that Leigh  fled to Canada prior to the war's end. In Canada, Leigh was more than likely given English land - and it was here that he would be known as a United Empire Loyalist. Who knows if Leigh continued with ceramics in Canada?

There are also records indicating that Benjamin Leigh purchased a horse chocolate mill, which he was reportedly using to enter the chocolate grinding business. This information was printed in the Boston Post-Boy published on May 13, 1771.

By 1771, the "New-Boston" Pottery venture had disappeared. I am not aware at this point if Leigh was still working in the Delftware factory in that same year.

It is under my suspicion that neither Leigh or Jonathan Allman ("New-Boston" Pottery partners) were potters. I suspect they both may have been, as I previously mentioned, businessmen. Leigh and Allman may have been looking for a niche in Boston's marketplace for a source of revenue and they felt that English-style ceramics manufactured in America had potential for profit.

I am also under suspicion that Leigh may have been working in the Delftware factory at the time of his "New-Boston" Pottery venture. He may have had a longer tenure within the Delftware pottery factory - that being before, during and after "New-Boston" Pottery.

Historic Deefield has records of advertisements from the French collection where "New-Boston" Pottery is seeking apprentices to work in Leigh and Allman's factory. My first impression of these advertisements is that Leigh and Allman were recruiting potters to work in the start-up and experimental pottery businesss. They were not actually the potters. If this is the case, the potters who worked or apprenticed at the "New-Boston" Pottery will more than likely never be known, unless, this was the start to a well-known future accomplished potter. There was a ceramics industry in Bennington, Vermont. I will start researching that pottery and its earliest potters, first - and maybe I'll find some information there.

The advertisements are asking for young apprentices to work within the pottery company. Those who are qualified are asked to apply at Leigh's Intelligence Office on Merchant's Row. Merchant's Row is today known as Faneuil Hall.

At least one of the advertisements is also asking for samples of clay in three-pound amounts.

Historic Deerfield says they have no information to provide in regards to the Delftware from Boston.

It has also been learned that the "New-Boston" Pottery factory was located next to or near the Otis House in Boston. While the Otis House was not constructed until 1796, it is believed that the pottery factory site was located closeby and the house can be used as a landmark for this factory's location.

Otis House, Bowdoin Square, Boston's West End

Photo Courtesy: Historic New England

I am hopeful that my research will continue to expand, resulting in enough material to published a book on the early days of Boston's earthenware industry. My research will include everything that predates 1800. I would like to include the Charlestown redware & stoneware industries, Dorchester's redware,"New-Boston" Pottery and this now newly discovered Delftware product. There is still the potential for more small ceramic companies to be discovered. I am anticipating that there could be more.

The American Revolution and its role within the culture of eighteenth century Boston and the ceramics industry is beginning to become obviously present.

Please stay tuned...