Early Dorchester, Massachusetts Redware

Very little is known about early Dorchester, Massachusetts pottery. According to some Dorchester experts and historians, there was no pottery production, outside of the Dorchester Pottery Works of the late nineteenth to twentieth century. I have been told by some that an early industry did not exist. This is however debatable, but questions do arise as to how redware and other forms of early ceramics found its way into these urban areas that include Roxbury. Despite what I have been told, I will agree to disagree. Please let me explain.

Lura Woodside Watkins briefly mentions the Hall family of potters in her book, "Early New England Potters and Their Wares." The family is cited as working predominantly in Dorchester, but with ties to Roxbury, Massachusetts as well. It is assumed the family worked in redware with that being the abundant clay source in the area. Proper clay used for stoneware production was not readily available in New England and more-often had to be imported from outside areas that included New York State. The New York area contained abundant clay for stoneware manufacturing and as a result, New York stoneware potters are regarded as belonging to the group of the most accomplished American stoneware makers.

Based on this information, it is assumed the Hall family of potters worked in redware. In-fact, the majority of potters who worked in eighteenth to early nineteenth-century New England were redware potters. Without getting into the details, there are very few recorded eighteenth to nineteenth century stoneware attempts in New England in areas that were not near the New York border.

I visited the Museum of Fine Arts in Boston a few weeks ago to do a walk-through of the some-what new Americana wing. On display was an example of what us in the collector field have to come know as early Dorchester redware. It can be characterized as a coggled rim loaf dish with slip (yellow), shades of green and a brown marbleized affect on top of a pumpkin orange body glaze. This maker is not completely understood or known, but it is one of my favorite potters. The dish is also made on the heavier side and its believed to be press molded - which adds to its wonderful form.

Possibly Dorchester, Ma Redware Loaf Dish

Late 18th to Early 19th Century

Museum of Fine Arts Collection - Boston
(Possibly the Finest Example Known to Exist)

Oddly, the curator of the Americana Department is calling the loaf dish a product of early Pennsylvania. There are many arguments that one could make to disagree with the MFA's decision. First off, how did they come to this attribution? It is assumed the museum does not want to put its reputation on the line and call it Dorchester made. That is completely understandable. There is no known archaeological evidence to suggest this plate was made in Dorchester, but there is even less to suggest it is a product of Pennsylvania. The information behind the dish can be compared to the knowledge behind the "New-Boston" pottery I have been researching. Without any hard evidence, there is no museum or credible person that will put their name on the line and suggest an example could be a surviving example of the "New-Boston" pottery. There is no evidence to support this other than opinion.

"New-Boston" pottery was a product briefly created by the Boston merchant, Benjamin Leigh in 1769 near Faneuil Hall. Leigh attempted to create a product that would compete with the tortoise-shell products of Thomas Whieldon in England that were imported. The attempt did not sustain success and by 1770, the short-lived company was out of business. Very little is known today about this subject outside of period newspaper advertising and early publications.

Whieldon-Type Earthenware Plates - England, 18th Century

Photo Courtesy: Skinner, Inc - Boston

With all this in-mind, I don't understand why they are calling it Pennsylvania-made. Where is the evidence to support that? Wouldn't it be safer to merely call it, "American-made?"

Without using names, a well-known Pennsylvania, dealer, collector, researcher and historian has adamantly said these loaf dishes were not made in that state. He has seen many ceramic archaeology sites, especially in Philadelphia and there is no clear evidence to support the Museum of Fine Art's claim. I feel this individual is the most-knowledgeable source for such a study in Pennsylvania - or at the very least among the group who is.

The argument could be made that this dish is a product of New York State or Connecticut, but there is no evidence to support that either. In my opinion, Connecticut is easily ruled out. The major production areas of Connecticut dishes were in Norwalk, Hartford and Goshen - and the known examples produced in these areas are not even in comparison to what the collector field understands a Dorchester plate to be.

Early New York City pottery is similar to what was being produced in Charlestown and Philadelphia. There was plenty of slip decoration and it was more about utilitarian use rather than style. It is my understanding that there was none or very little marbleized pottery produced in any of these described areas. The emphasis was on slip decoration with small splashes of color, but the majority was either unglazed on the exterior or done in basic glaze colors such as black and brown.

Early New York City Redware, Possibly Manhattan, 18th Century

Photo Courtesy: Chrysalis Archaeology

It becomes a matter of simple deduction. If not Philadelphia, New York, Charlstown, Boston - then where? There is as strong an argument for Dorchester than anywhere. With the unknown production line from the Hall family makes one wonder what was produced. I possibly have the family name and it becomes a matter of linking the loaf dishes to this family, but there is still the possibility of an unknown short-lived Dorchester potter. There are very few of these loaf dishes known to exist - possibly as few as less than a dozen known examples.

The MFA also has a very old tag that accompanied its loaf dish that indicates it being made in Dorchester. Why did the museum ignore this tag? They would have been better off calling it an American redware loaf dish rather than attributing to it to any one region. I do not understand their reasoning for Pennsylvania. An argument may be formed for Pennsylvania - I just do not understand how they came to that attribution.

Who were the Hall family of potters of Dorchester and Roxbury? What did they make? Very little is known about them, but the period that they worked may likely match up to the production period of what I have come to know as Dorchester, Massachusetts redware loaf dishes. It is my belief that all of these dishes were made in Dorchester and my opinion will not change until I see concrete evidence proving otherwise.

Long-time collectors, Hilary and Paulette Nolan of Cape Cod, Massachusetts sold their collection in 2004. Their collection was mainly made up of some of the best early Southeastern, Massachusetts examples known to exist. Aside from those, it included a selection of Dorchester loaf dishes and select examples from the more accomplished early potters of regions throughout New England.

Possibly Dorchester, Ma Redware

18th Century

Ex Nolan Collection - Labeled "HP39"

Photo Courtesy: Northeast Auctions - Portsmouth, NH

Possibly Dorchester, Ma Redware

18th Century

Ex Nolan Collection - Labeled "HP50"

Photo Courtesy: Northeast Auctions - Portsmouth, NH

Possibly Dorchester, Ma Redware

18th Century

Ex Nolan Collection - Labeled "HP66"

Photo Courtesy: Northeast Auctions - Portsmouth, NH

 As part of my own personal collection, I own a wonderful example of Dorchester redware with a nice clear decoration.

Possibly Dorchester, Ma Redware Loaf Dish

Late 18th to Early 19th Century

In July of 2011, Crocker Farm Auctions in Sparks, Maryland sold an example as part of a prominent collection of New England redware they had been consigned.

Possibly Dorchester, Ma Redware Loaf Dish

Sold in July 2011

Late 18th to Early 19th Century

Photo Courtesy: Skinner, Inc - Boston

What do you think? Any thoughts? Could the Hall family be responsible for making these fine examples of early American redware? This is all apart of my ongoing research. It seems the families who are known to work in a traditional fashion through generations do typically produce higher quality wares and I find it hard to believe it would be any different with the Hall's.

All this research, with evidence - will hopefully be a part of my future writing.

More research to come...

American Tulip Ware of the Early Dutch and German Immigrants - Part 2

Tulip Ware: Part 1

The idea of tulip decoration in early American pottery and the decorative arts has been a fascination of mine for at least a few months. It probably really began with Rick and Terry Ciccotelli's wonderful folk art collection offered by Northeast Auctions at the Center of Manchester, New Hampshire last summer. I have always appreciated the style, but this particular eighteenth-century box, made by the Dutch immigrant, John Drissell really captivated my interest.

Paint Decorated Pennsylvania Slide-Box
Attributed to John Drissell - Bucks County, Pennsylvania

Dutch-American
Dated 1795
Sold for $71,000 in 2012
(Previously Sold for $42,000 in 2008)
(Auction Record for John Drissell Work)
Ex Collection of Rick and Terry Ciccotelli, Philadelphia
Photo Courtesy: Northeast Auctions - Portsmouth, NH

The slide-box (likely candle box) that Northeast Auctions sold is regarded as the finest example of Drissell's work. There are less than ten examples of his work known today.

Paint Decorated Pennsylvania Slide-Box
Attributed to John Drissell - Bucks County, Pennsylvania

Dutch-American
Dated 1797

 Sold for $42,000 in 2008

 Photo Courtesy: Pook and Pook Auctions - Downington, Pa

Paint Decorated Pennsylvania Trinket Box
Attributed to John Drissell - Bucks County, Pennsylvania

Dutch-American
Dated 1821

 Sold for $9,000 in 2006

 Photo Courtesy: Freeman's Auctions - Philadelphia, Pa

As you may have noticed,  there is a twenty-six year gap between the earliest Drissell box and the most recent. With such a broad range in years, I am surprised only a handful of boxes are known to exist. It would be assumed there would be many more examples. All of Drissell's work is easily museum quality.

Tulip design, also known as tulip ware was most-popular among the early Dutch and German settlers in Pennsylvania, but to a lesser-degree, the flower has been found in wonderful decorative examples produced in North Carolina. I have recently questioned why this flower was the exclusive choice among these potters and artists. Why were no other flowers used? What was the tulip's importance? Could its use be spiritual or religious? Was there a hidden meaning? These are all questions I have been asking myself - and with no real place to begin my research, I was kind of left stuck with no answers and only questions.

A very helpful reader from Germany gave her insight into this subject over the weekend.

"I was wondering if those tulips might be connected to the tulip mania raging in Holland in the 17th century. 

Tulips were imported from now Turkey for the first time in the 16th century and were regarded as a very exotic flower (just like carnations). They were used as decoration in Islamic pottery quite early (Iznic pottery and earlier) and these decorations were taken over by Dutch potters. I've just seen some tiles from early 18th century Holland with a very oriental looking decoration of tulips and carnations. These tiles were used to decorate the walls of an 18th-century palace in Germany.

I don't know a lot about Pennsylvania pottery, but I would think it quite possible that those immigrants took their decoration schemes with them and developed them further in the new world."

This seems like an extremely logical explanation and with it, my appreciation of the Americanized form of the tulip in both redware and the decorative arts has grown. What a wonderful use of design!? It's an interesting study seeing the broad differences between pottery from the Northeast and that of which was produced in Pennsylvania and the Mid-Atlantic states. There are very few similarities outside of the examples produced in Connecticut. Overall, Maine, New Hampshire, Vermont, Massachusetts, Rhode and New York all possess distinctive characteristics. At times, Pennsylvania can be mistaken for Connecticut (and likewise), but there is really no way of mistaking the potters work of the Dutch and German immigrants with any other region. Their work was distinctive and extremely unique.

Likely Southeastern, Massachusetts Redware Lidded Jar - Early 19th Century

Ex Collection of Charles D. Cook

Photo Courtesy: Skinner, Inc - Boston

Redware Plate, Attributed to George Hubener, Pennsylvania
Dated 1785

Sold for $351,000 in 2008
(Auction Record for American Redware)

Photo Courtesy: Pook and Pook Auctions - Downington, Pa

The Allamance Country, North Carolina redware plate that sold at Pook and Pook Auctions in Pennsylvania a few weeks ago really forced my interest to move forward. After premiums, the plate brought more than $55,000. According to Rob Hunter and Ceramics in America, the general knowledge of these Allamance County potters is not extensive, however, recent studies and archaeological digs have yielded more information about  the lifestyles and production lines of these early potters. It is hopeful that this information will only grow in-time. It is my assumption that the Allamance County potters were under either a Dutch or German influence.

Allamance County, North Carolina Redware Charger
Early 19th Century
Sold: $55,000 Plus Premiums in 2013
Photo Courtesy: Pook and Pook Auctions - Downington, Pa

The continental (European) origin of both the tulip and carnation design have peaked my interest. As the reader indicated above, the design originated in the Netherlands and Germany before its use in early America. Outside of the the Dutch and Germans, the use of these described "exotic" flowers can been seen throughout folk art from a variety of countries in early European design.

Scandinavian Immigrants Trunk - Dated 1843

Possible Use of Carnation Decoration

Photo Courtesy: Sothebys - NY

Swedish Folk Decorated Box - 19th Century

Possible Use of Carnation Decoration

Photo Courtesy: Leslie Hindman Auctions - Chicago, IL

Swedish Folk Decorated Armoire - Possibly 18th Century

Tulip Decoration

Photo Courtesy: Leslie Hindman Auctions - Chicago, IL

The American form of the tulip was used in pottery, furniture, utilitarian wares, stenciling, wallpaper, architectural features and even wrought iron.

Likely Pennsylvania Wrought Iron Door Handle - 18th Century

Tulip Design

Photo Courtesy: Pook and Pook Auctions - Downington, Pa

Possibly Pennsylvania Corner Cupboard - 18th Century

Use of Tulip Decoration

Photo Courtesy: Garth's Auctions - Delaware, OH

Close-Up of Tulip Decoration

Notice Tulips in Molding Surround Around Cupboard Opening

Photo Courtesy: Garth's Auctions - Delaware, OH

It may only be mere speculation, but I feel the tulip design manifested in America more-so than it ever did in continental Europe. The style was nearly a way of life for the early American Dutch and German immigrants. If you could imagine a period Pennsylvania room furnished with tulip decorated trunks, candle boxes, frakturs and folk art. Around the architecture of the doorways were tulips subtly placed and the door latches made of wrought iron tulips. These immigrants virtually surrounded themselves  with this flower. To add to all of this, during the spring, tulips were likely in full-bloom outside the windows of this tulip inspired room with tulip stenciling and wallpaper. 

It's probably a little extreme to envision such a room, but it does give a good perspective into the importance of the tulip. It was apparently an exotic flower that held a great deal of importance for these described people. The flower was as much a part of Dutch and German immigrant culture as anything is a part of our culture today.

I still hold my theory and interpretation of the flower into religious and spiritual beliefs. The flower evolved from what was at one time an excitement and  fascination of this newly introduced exotic flower. From this, it evolved into a way of life for many.

Photo Courtesy: Rob Hunter, Ceramics in America

More to come...

17th Century Redware and Charlestown

Yesterday I reported  my interest towards the dozens of boxes of bricks excavated as part of the Charlestown, Massachusetts archaeology project - and today, I'm going to tell you that I potentially have discovered an important part of American history. These boxes of bricks have been virtually untouched and not researched since they were unearthed nearly thirty-years ago.

The bricks are sorted by the archaeology districts they came from in Charlestown. The remains of what appear to be two potters kilns are well-represented. There may be three or four and each are eighteenth century. However, the Big Dig reports do not indicate anything earlier and I strongly believe the contrary.

John Smith, an English immigrant, migrated to Charlestown sometime before or near 1644. He and his wife, Sarah had eight children. John was a shipwright working on the shores of Charlestown at the eastern edge of what is described (Big Dig Reports) as a wet dock. The first dry dock was built in America in Charlestown around 1677. Sadly, John died in 1673, but the family's work as shipwrights continued for two more generations. By the turn of the eighteenth-century, the Smith family business had failed and parts of the property began to be sold off to a distillery.

Interestingly, there are many examples of what I would describe as a domestic form of seventeenth-century redware from a possible local manufacturer. The shards are in the hundreds. Since seeing these artifacts months ago, I have always felt there is an important story to be told with them. Who produced them? There were so few potters at this time and of these seventeenth-century potters, very little is known today. My thought was if I could prove the maker then I would not only be telling a great story, but one that is historically significant at the same time.

Up until yesterday, my association of this redware was only theory, but I felt I had a strong argument.

Massachusetts first potter, Phillip Drinker's property bordered the Smith site. He is really one of America's first potters. It is described in the Big Dig Archaeology reports that his kiln may have been located near the Town Dock, which is not far from the Smith site. There is no indication that any type of kiln remains were ever found. This entire area was a part of the archaeology undertaken on behalf of the Big Dig project.

This theory all potentially became a reality yesterday! While researching the bricks and potential brickmakers of Charlestown, I opened up the limestone boxes from the Smith site out of curiosity. For some reason all the bricks in this collection have been grouped and described as limestone. The results of the Smith site are more than merely exciting. They have the potential to write a new chapter through artifacts of Charlestown's and American history. The results even potentially predate the artifacts of Harvard Professor Lura Woodside Watkins' book, "Early New England Potters and Their Wares" by possibly a half century.

According to Watkins, Phillip Drinker (experienced potter) came to Charlestown in 1635 from England. His son, Edward worked alongside him as an apprentice. Phillip Drinker died in 1647 and his son continued in the potter's industry until 1700. There are also reports of Kettle family members working and apprenticing at this pottery before moving to Salem, Massachusetts and working there from 1687 to 1710. The Kettle family members of Charlestown predate Watkins artifacts from the Kettle site in Salem. It is assumed these are the earliest artifacts from Watkins collection that is now part of the Smithsonian's collection.

The following artifacts have never been discussed, researched and as far as I know - cited as part of a seventeenth-century kiln. Each example was found more than 200 centimeters below surface level at the Smith site. I feel the first brick with kiln furniture lodged into it should be on display on the first floor of the Museum of Fine Arts Americana Wing in Boston. The first floor houses some of the more important artifacts and decorative arts from seventeenth-century New England. This brick has the potential to have been used and may represent the work of a Pilgrim Period potter. That's absolutely amazing!

Both Boston City Archaeologist Joe Bagley and myself are very pleased with these potential results. These are only a small sample of the many bricks from the Smith site.

Likely Kiln Brick

Notice the Redware Trivet 

The trivet was used for stacking redware before firing

17th Century

 Likely Kiln Brick

Notice the Redware Kiln Ball

This was also used in the kiln for firing pottery

17th Century

Likely Kiln Brick

Large Amount of Bricks Grouped Together

There is a small amount of glaze
Very Interesting to see it labeled as Kiln Furniture

Likely Kiln Brick

Large Amount of Bricks Grouped Together

There is a small amount of glaze

The reason for my release of this information is  I want to demonstrate the importance of this collection. This is only an example of  the stories I plan to tell with my book. The story of Charlestown and its potters is amazing and as my research progresses the more exciting it becomes. The idea behind actual redware shards from the Drinker site is completely feasible - and honestly, I think we have them. The Charlestown collection potentially houses artifacts from nearly every seventeenth and eighteenth-century potter working in the area. This is wonderful and I am extremely excited to eventually begin writing this book and an article for Ceramics in America later this year.

Please feel free to leave comments or email me with any insight on this topic. I feel this subject to be that important for American history.

If you're in the area - I will be presenting my research at "Dish Camp" in New York this June. Dish Camp is an annual gathering of important archaeologists, researchers, historians, dealers, authors, curators, collectors and enthusiasts where the latest in early American and English ceramics is discussed in a three day event. The event is held in Eastfield Village, New York in an area of an original Shaker settlement.

Plenty more to come....

Early Boston-Area Brickmakers

I have now been studying the Charlestown, Massachusetts ceramic remains at the Boston Archaeology Department for four-months. Until recently, I had not paid much attention to the dozens of boxes of bricks that were unearthed. It was never really a consideration, but after opening box after box recently - I now feel there is an important story to be told.

Charlestown, Massachusetts Bricks

Maker Unknown

Likely 17th or 18th Century

Who were these early American brickmakers? Were the bricks imported into Charlestown from area potters? Where did they come from? If imported, how were they transported? Many of the structures built in Charlestown were made of brick so there was an obvious demand and need. Could there be a local Charlestown brickmaker who worked alongside the town's early potters? This idea currently fascinates me and is a part of my studies.

Charlestown, Massachusetts Bricks

Maker Unknown

Likely 17th or 18th Century

The eighteenth-century brickmakers of Boston and Medford, Massachusetts are well-documented. The Medford makers especially, who were responsible for supplying the bricks to build a major portion of Medford's community.

Faneuil Hall in Boston contained many brick structures. I do not have the answer, but it is assumed that their supplies came from a Boston maker. Does this stand true for Charlestown? Was each community self-contained with supplies from its own makers? 

Eighteenth-century Charlestown reportedly employed at least forty potters in nearly a dozen workshops. Each kiln used to fire the potter's work was built from bricks. It is doubtful the potters manufactured their own bricks. Therefore, it is assumed bricks were purchased from an outside maker. Below is a sketch drawing of Hervey Brook's kiln of Goshen, Connecticut. Brooks was a nineteenth-century potter, but the idea of his kiln remained similar to the structures the early Charlestown potters may have used. Regardless of the form, brick structures and this method are still used by some potters today.

 Sketch of Hervey Brooks Kiln - Goshen, Ct

Early to Mid 19th Century

Photo Courtesy: Old Sturbridge Village - Sturbridge, Ma

Many questions have resulted from what I have seen with the artifacts. To begin: who was was this brickmaker or makers that supplied the redware potters bricks for their kilns? It is interesting and probably not an idea that is studied as much as other fields of interest in American history.

Notice the glaze on some of the following bricks. This indicates use in a potters kiln. Also notice the heat the examples in this first picture were exposed to. It is likely a result of burning in the kiln, but imagine if you can, if this was the result of the extreme heat caused at the fires set by the English at the Battle of Bunker Hill. All these examples without a doubt witnessed the battle and the town-wide fire.

 Charlestown, Massachusetts Bricks

Used as Part of a Potter's Kiln

Maker Unknown

Likely 17th or 18th Century

 Charlestown, Massachusetts Bricks

Used as Part of a Potter's Kiln

Maker Unknown

Likely 17th or 18th Century

Charlestown, Massachusetts Bricks

Used as Part of a Potter's Kiln

Maker Unknown

Likely 17th or 18th Century



At this time, I will tell you that the remains of at least two potters kilns were recovered as part of the archaeology project undertaken in the 1980s in Charlestown. However, I will not report which of the many workshops are in the collection. I will also identify that through my research, I have made some wonderful progress with who these brickmakers may have been. It alone is a wonderful story and its relevance still stands true today. The potentional family of brickmaker's name was synonymous with last week's horrific bombings in Boston and the dedication of one Boston hospital. This information will be released at a later time.

I feel the story of early Boston-area brickmakers may be just as fascinating as the early redware makers, early imports, Faneuil Hall, Charlestown and such. The end-product may not have any where near the appeal, but the brick-use, work and story of these skilled makers is captivating. Each working-class entity ultimately worked together in society to build the area we know today as Boston and Charlestown and the role of these brickmakers will eventually be defined.

If it were not for these seventeeth and eighteenth-century brickmakers, the wonderful examples of early domestic redware may never have been produced. Whomever they were, will be defined in my writing. I do currently know part of the story and I am very excited with it.

Possibly Domestic Made Redware
Chamber Pot
18th Century
Found in a Charlestown, Massachusetts Privy in the City Square District

The early bricks were not only used for kilns, but for homes, taverns, privies, gardens, roads and more. Bricks are made from red clay. The clay is the same type that potters used for producing redware. There are reports of potters crossing over into both industries, but in most cases the maker was only exclusive to one.

Plenty more to come...

Alamance County, North Carolina Redware Charger Sells!

The early Alamance County, North Carolina redware charger (subject of a recent report) did very well at Pook and Pook Auctions in Downington, Pennsylvania a few days ago. It was estimated between $40,000 and $60,000. The final hammer price was $55,000 before additional premiums were added on, which pushed the final figure near the high-end estimate of $60,000. That's exactly where I felt the plate would finish. 

Unfortunately, the provenance was not cited publicly. I do not personally know where the plate was consigned from, that being private collection, residence or institution. The buyer is not known at this time. I do know a few potential interested bidders, but who ever successfully took the plate home is kept anonymous as part of Pook and Pook's list of clientele. It is likely that a museum purchased it or it may now reside in one of the better-known prominent private American collections. I personally doubt it is in the hands of a dealer and appear on the showroom floor in the near future, but you never know.

North Carolina Redware Charger
Early 19th Century
Sold: $55,000 Plus Premiums
Photo Courtesy: Pook and Pook Auctions

 

 Side View of Redware Charger
Photo Courtesy: Pook and Pook Auctions

Back of Redware Charger

Photo Courtesy: Pook and Pook Auctions

A common characteristic seen as part of the wares produced in Alamance County are black backgrounds. This particular example demonstrates the artistry of the potter seen with the yellow slip decoration and additional applied colors that are nicely complimented over the black.  The three tulips are in full bloom - which is not always the case with the Dutch and German immigrants, who worked with the spring flower. I feel this North Carolina example likely demonstrates a German decorative influence by its unidentified potter. I am not a North Carolina pottery expert. I only have a general understanding of the overall picture that was developed through the eighteenth and nineteenth-centuries. I assume there are more knowledgeable experts who may have identified the maker.

The following example is an eighteenth-century redware plate produced by George Hubener, of German descent in Pennsylvania. Three tulips were applied and unlike the North Carolina plate, this fine example only demonstrates one flower in bloom. This particular plate set the all-time record for an example of American redware at a public sale in 2008, achieving a realized price of more than $350,000. It now resides in a private collection.

Redware Plate, Attributed to George Hubener, Pennsylvania
Dated 1785

Sold for $351,000 in 2008
(Auction Record for American Redware)

Photo Courtesy: Pook and Pook Auctions - Downington, Pa

There may be a hidden meaning behind the use of tulips. I had developed a theory that it may be religious or spiritual, but it also too - may have something to do with spring reemerging and with it, the hope for a prosperous year and future. There has to be some sort of meaning behind the flower and why it was solely used by these potters. 

I also wrote a report about a month ago defining the early wares of the Pennsylvania-German immigrants and their use of tulips.

The field of tulip ware is an interesting study. The tulip motif was used in pottery, furniture and nearly all aspects of the early decorative arts by the Americans artisans of German and Dutch descent. Why exclusively a tulip? That's a question I have always wondered. For now, I'll accept the use of the tulip as a means of mere art that was demonstrated in our country's early folk days, but I believe there has to be more than only this simple answer.

This wonderful example of Alamance County redware may just be near and among the group of the finest examples of North Carolina and southern pottery ever produced. 

More to come...

Southwick Family of Potters - Essex County, Ma

Not too long ago, I discovered this redware pitcher in southern New Hampshire. Of all forms, I prefer the pitcher most. I had previously seen a similar example in a well-noted historical society's collection of area produced redware. Based on this information - I did not hesitate at the opportunity to purchase the fine and nearly flawless example for very little money. It is assumed the antique dealer did not know what they had other than a clean piece of American redware.

Redware Pitcher

Measures: 7 Inches in Heigh

Nicely Formed Handle Attached at Lip
Osborn Family Attached Its Handles Below the Lip

Unusual Orange Interior Glaze

(Early Canadian Potters Used this Style)

The maker is possibly William Southwick of South Danvers, Massachusetts (today known as Peabody) or at the very least, a product of the Southwick factory in Peabody. Southwick Family examples are considered rare. The Peabody Historical Society owns a nearly exact example in its collection.

William Southwick Pottery - South Danvers, Ma
Measures 9 Inches in Height

Photo Courtesy: Peabody Historical Society - Peabody, Ma
Note: Notice the Handles on the Milk Pan - Very Unusual (South Danvers, Ma Made)

William Southwick Pottery - South Danvers, Ma

Photo Courtesy: Peabody Historical Society - Peabody, Ma

William Southwick worked predominantly during the eighteenth-century, but the family worked into the nineteenth-century. Notice the orange glazed interior on each pitcher. This is not a common style among early American potters. There is a similar example in Historic New England's stored collection also attributed to Southwick.

William Southwick Pitcher (center) - South Danvers, Ma

Photo Courtesy: Historic New England
Left Example Likely Another Southwick Pitcher Form

There is a lot known about the Osborn Family of potters who worked out of the same South Danvers factory through the course of two centuries, but less is known about the Southwick Family and their factory. Both the Osborn's and Southwick's were of Quaker descent. In-fact, many of the early New England potters were Quakers and as a result much of today's remaining redware is a product of the Quaker beliefs and outside influences.

Lura Woodside Watkins describes in her book, "Early New England Potters and Their Wares," the Southwick home, kiln and shop that were all located on Lowell Street inside the perimeter of the same property. Today Walmart, Kappy's Liquors, the North Shore Mall and a Senior Citizen Center cover the most well-known potters sites in South Danvers.  There were more than seventy potters working in the area at one point. Unfortunately, very-little of their work was preserved or saved.

Watkins did visit the Southwick site while writing her book. She reportedly unearthed a quantity of shards that were quote, near a brook. The shards are described as a having a variety of glaze colors, many of which were black. These examples are now all a part of her collection that was donated for study to the Smithsonian in Washington, D.C.

The Peabody Essex Museum in Salem, Massachusetts owns an example of Southwick's work as part of its redware collection that demonstrates the Southwick black glaze. The glaze can be described as having a cola brown appearance which runs from thin to black with black specks and a gun metal streaking. Authors have described this glaze as a uniquely Salem or Danvers glaze. The following two examples show what is meant by gun metal streaking.

William Southwick Pottery

Jar: 8 1/4 Inches in Height

Mini Pitcher: 3 1/2 Inches in Height
(Notice the Date...Likely Not Accurate)

There were a handful of potters, but of all the Southiwck Family potters, William and his sons, James Chapman and William II were the most accomplished.

Possibly James Chapman Southwick Mold - South Danvers, Ma

Measures 5 3/4 Inches in Diameter
Wheel Turned and Not Molded

The Southwick Family tradition was most prominent in Massachusetts, but there are records of a potter by the name of Southwick who worked in the area known as "Pottersville" in the Chesham region of New Hampshire. He is believed to have been a member of the South Danvers family. It is not known if his work resembled the work of South Danvers or took on the more traditional form most-often associated with the Chesham region. The Chesham form is easily identifiable with a general understanding of New Hampshire redware form.

I recently purchased the following stew pot from a long-time Vermont collection that was sold as part of Crocker Farm's most recent sale in Sparks, Maryland.

Early Redware Stew Pot

Orange Interior Glaze with Nicely Incised Lid

Notice the orange interior that is similar to the described pitchers above. Based on these characteristics, I feel it is a safe assumption that a Southwick attribution can be formed. The black glaze is also similar in technique and style. The lid is believed to be original despite it strongly sharing characteristics more-often associated with Maine potters.

The Southwick Family of potters are a small representation of the many potters who worked on Boston's North Shore and more specifically, Essex County, Massachusetts - of the eighteenth and nineteenth-centuries. The area is a fascinating study that I hope to get into much more detail about once my Charlestown studies have wrapped up. That is however, a ways away!

More research to come...

The Patriots of Early American Pottery

In the wake of Monday's bombings here in Boston, and the visual experience of working in the Boston media, I thought the only appropriate post (if any) this week would be geared towards the unfortunate and cowardly acts of selfishness and cruelty that unfolded at the Boston Marathon. Words can not express the pain, shock, agony, acceptance and quality of life that so many must now find a way to deal with for the remainder of their lives. It's a feeling that most will never understand until that time in their life comes.

I heard a Boston doctor say yesterday during a press conference that most of these patients will look at their lives now in two parts: before the bombing and after the bombing. This is the truth. This is generally the mindset of anyone who has ever experienced the pain of a life altering event or illness. Sadly, these brave families and victims lives have now likely changed forever. The person they once were may not be the person they become. It is an unfortunate and tragic event that we all saw unfold and I truly hope the person or persons responsible are brought to justice for the world to see.

My heart goes out to everyone who has been affected by these gutless and devilish acts.

I enjoy early American pottery as much as the next person, but with such an event, everything is put into perspective. My passion for early pottery helped me personally through some very difficult times in my own life with serious health issues not too long ago. I can only hope that these people can find happiness from here on out. It's not right what happened and it's especially not fair. They were mere supportive spectators at a marathon of all places. These are the good people in life. These are not the people (if any) to hurt. These are the wrong people to have such a disgusting act happen to them. I can only hope they find happiness and peace from here on out. I hope family, friends, loved ones and hospital workers will help them cope with this traumatic experience.

I had family members only a matter of blocks from where the bombings happened. My nine-year-old nephew explained to me what he witnessed and heard on Monday. To hear that from an innocent nine-year-old boy's mouth is unexpected. He described loud noises and big guns. I am thankful that none of them were hurt and I am sorry for those who were.

Here are a few examples of early American patriotic pottery that I would like to share.

Absalom Stedman Pottery - New Haven, CT

Made Between 1825-1830

Photo Courtesy: Pook and Pook Auctions, Downington, Pa

Daniel Goodale Pottery - Hartford, CT

19th Century

Photo Courtesy: Skinner, Inc - Boston

New England Redware Pitcher

19th Century

Photo Courtesy: Skinner, Inc - Boston

We should all be thankful for the hospitals and all those involved with health care working in Boston. They saved many lives on Monday. They are the unsung heroes. This is what they do every day of the week and it typically goes unnoticed. They don't do it for the spotlight. They don't expect any credit. They do what they do because they are wonderful people who enjoy helping those in need. They're satisfaction develops from seeing a sick person get their life back. I know that they are doing all they can to help these victims. We should all be thankful. I know I am.

Let's hope there is an arrest soon...today, tomorrow....soon.

Events that Led to the American Revolution and Colonial Potters

The early American utilitarian potter wore many hats through the years that defined Colonial America. Their roles were much more than merely a community potter. With today marking the 238th anniversary of the Battle of Lexington and Concord, I thought it was an appropriate time to very briefly discuss the events that led up to this battle and even more so, the overall views of the events that created America's independence. Of these events, the potter and more specifically, potters with names were essential in America's birth as an independent nation.

Colonial Red Coat and Tri Cornered Hat (Right)

Colonial Powder Horn (Left)

Colonial Soldier's Belt (Left)
Colonial Soldier's Vest and Gloves (left)

Private Collection

The tension between the colonies and English troops in April of 1775 were immense. It was a culmination of many years worth of turmoil between the two sides that developed into what we refer to today as the Battle of Lexington & Concord and further, the Battle at Bunker Hill. These are the major circumstances that resulted in America's eventual freedom:

• French and Indian War (1754-1763)
• Royal Proclamation (1763)
• Sugar Act (1764)
• Stamp Act (1765)
• Townsend Acts (1767)
• Boston Massacre (1770)
• Tea Act (1773)
• Boston Tea Party (1773)
• Intolerable Acts (1774)
• First Continental Congress (1774)
• Battle of Lexington and Concord (1775)
• 2nd Continental Congress (1775)
• Battle at Bunker Hill (1775)

The Intolerable Acts were a group of laws that were enacted as a means of punishment for the people of Boston and their role in the Boston Tea Party. England and King George III decided to set an example with the city of Boston despite it not being the only colonial city to participate in a tea protest. These acts took all ownership and governing rule away from the people of the Massachuetts colony and as a result, greatly upset the remaining American colonies. These acts were the result of the Tea Party:

• Boston Port Act
• Administration of Justice Act
• Quartering Act
• Quebec Act 

I will not discuss the Boston Port Act in much detail because it will be a part of my future book, but I will briefly define the act as having a devastating impact on the New England redware community with both import and export wares. The impact was even greater for society with unemployment and famine. The act lasted from 1774 until 1776.

Historians and researchers over time have analyzed the events that led up the American Revolution in detail, but it is my belief that this story has never been told from a utilitarian potters point-of-view. Unlike today, the colonial potter and their wares were an essential part of nearly every early American community. Many of these early potters had additional roles outside of their days job. There are stories of potters actively involved and in some cases, playing decisive roles in the events that led up to America's independence. Stories from the French and Indian War, the Boston Massacre, the Boston Port Act, the Battle of Lexington & Concord and the Battle at Bunker Hill can all be told. These are the stories with a definition of the early Boston area industry that I hope to tell with my writing. Interestingly, women who are defined by name were very important of this time and especially in the town of Charlestown. These women will be a large part of my writing.

Aside from all the aforementioned, these wars, too affected the early American pottery industry:

• Pequot War (1637)
• King Phillip's War (1675-1676)
• King William's War (1689-1697)
• Queen Ann's War (1702-173)
• War of Jekin's Ear (1739-1748)
• King George's War (1744-1748)

More to come...