The Utilitarian Crocks of William Pecker (Ca. 1784-1820) - An Important Potter of Merrimacport, Massachusetts

I now have a better understanding of the idea behind partially glazed and even unglazed utilitarian crocks made by the colonial eighteenth and early nineteenth century potter, William Pecker of Merrimacport (formerly West Amesbury), Massachusetts. This is a subject that I have always been curious about. Let me explain...

A friend of mine, Dr. Mark Chaplin showed me a red earthenware crock he found in Portland, Maine a few months ago that he felt was made by William Pecker in Merrimacport, Massachusetts. I have always wondered about the partially glazed crocks made in Merrimacport; after all, all potters made utilitarian crocks for a variety of purposes. I have never had anything previously to go by for attribution so it was difficult to determine a place to start. There are also no known shards from Pecker's worksite. They all still reside underground in Merrimacport. Lura Woodside Watkins did not discuss anything about this subject in her book, Early New England Potters and Their Wares. She also had nothing in her collection that I have seen at the Smithsonian in Washington, D.C. It was basically a mute subject with no place to begin, but still a fascinating subject that I have often thought about.

The crock Mark Chaplin found matched many known characteristics seen on known multiple Pecker forms. It was only glazed on the interior in a caramel-like color that has never been seen on a Pecker product before. I wouldn't say I was skeptical over the attribution, but I was rather unsure because there was nothing else out there like it. That was until another friend, Sam Herrup found a very rare crock a few weeks ago at the outdoor antique shows in Brimfield, Massachusetts that was without a doubt - the work of William Pecker. This particular crock was glazed in an exact known Pecker color with incredible wavy line incised decoration that is typically associated with parts of Essex County (Massachusetts) more to the south and closer to Boston and Salem, Massachusetts. Both forms were also very similar - especially the rounded necks. I am now convinced that the crock Mark Chaplin found in Maine was definitely made by Pecker. He's really the one who began my research into this subject because of the wonderful pot he found. I had previously thought about this subject, but I now had a form to work with.

Based on this information, I have been able to properly attribute a second partially glazed crock likely made by Pecker likely after 1800. It's in mint condition, too. The crock was originally found by a man (not a redware collector or a dealer) at a barn sale in Southern New Hampshire in 1974 - who I just recently purchased it from. It's been in his house for roughly forty-years.

The crock's form is very similar to the crock Mark Chaplin found in Portland, Maine; however the interior is glazed in a dark greenish color - which happens to be only the fourth example of Pecker's work known today with a green glaze. The first was formerly in the collection of Maine antique dealer and artist, John Sideli - which sold through a  Maine auction house more than a decade ago. The second example was pictured in an article I wrote for the October 2013 edition of the New England Antiques Journal that helped contribute to Pecker's significance. A third example was recently found at a Salvation Army store on Route 1 north of Boston (see previous reports) - and now this example. Wakins gave a great deal of emphasis to Pecker in both her writing and collecting, but she never indicated Pecker ever used a green glaze. Her collection also did not show any Pecker examples with a green glaze. Very little information is also known about Pecker's work with slip decoration; although there are two jugs that show he did work with slip. Both are discussed in the article I wrote; the first is a jug dated in slip 1798 and the second is a jug (which is pictured in the article) that is covered in slip for color.

The green-glazed crock also retains what appears to be its original lid - which is a bit of an off-color possibly due to it being fired in another part of the kiln. This is not the first time I have seen off-colored lids attributed to Pecker. A straight-sided jar pictured in the same October 2013 New England Antiques Journal showed the same discoloration (see below).

* For the archaeologists reading this report -- both of these crocks are covered in fingerprints, which I have never seen in this amount on a product made by Pecker before (see pictures below).

 Pair of William Pecker Red Earthenware Utilitarian Crocks - Merrimacport, Ma

Both Only Glazed on the Interior

Ca. 1784-1820 (Both Likely Early 19th Century)

 Caramel-Orange Glaze

Color Never Before Attributed to William Pecker

 Dark Greenish Glaze

Very Few Green Glazed Pieces are Known from William Pecker

 (Left) Stands 9" Tall

(Right) Stands 7 1/2" Tall

 Likely William Pecker's Fingerprints

 Likely More of William Pecker's Fingerprints

 William Pecker Jars with Likely Their Original Lids

Jar to the Right was Pictured in the October 2013 Edition of the New England Antiques Journal

Pair of William Pecker Discolored Red Earthenware Lids
(Left) Lid Measures 5" in Diameter
(Right) Lid Measures 3" in Diameter

Here is a link to the October 2013 article I reference above.

Please Stay Tuned…Much More to Come...

Ancient Greek-Style and Ancient Chinese-Style Products Made in Chelsea, Massachusetts in the 1870s and 1880s: A Newly Discovered Pot Possibly Related to this Business

About a month ago, I purchased a wonderful decorated red earthenware planter from a Beverly Farms, Massachusetts estate that was made at C.A. Lawrence Pottery in Beverly in the 1870s or 1880s. It is very similar to a larger Beverly-made pot I wrote about a few weeks ago, that I described as having an "incised fish scale exterior." A second unusual pot also came from that Beverly Farms estate that my parents purchased for their antique collection -  and it too, was most-likely made by a local nineteenth-century potter from around the same period known as the Chelsea Keramic Art Works.

According to Lura Woodside Watkins (Early New England Potters and Their Wares) - the Robertson family immigrated from Scotland to America (by way of England) in 1853. They landed in New Jersey - where they were taught the potter's craft - and by 1866, a family-run business had opened in Chelsea, Massachusetts with a simple output of red earthenware flower pots and vases - some of which were painted green. The flower pots were not of a generic nature, but were intended for specific flowers like hyacinths and crocuses. A decade later, the product focus changed - and the business became known as Chelsea Keramic Art Works; "The earliest ware of the Chelsea Keramic Art Works was a red bisque or terra cotta, which was either perfectly plain in classic forms or else was decorated by painting in direct imitation of the old Greek vases. The painted decoration was the work of John G. Low, a young Chelsea artist, who soon established the tile works (Low Art Tile) for which he became noted. The finished pieces were subject to a polishing process that completed the resemblance to the original works of art. So fine and smooth was this ware that it was also suitable for incised design in the manner of engraving on silver." 

The most-prominent of the Robertson family potters was Hugh Robertson - who was responsible for the more elaborate products made at the Chelsea Keramic Art Works. He later went onto achieve even more recognition when he established the Dedham Pottery (Dedham, Masachusetts) that lasted well into the twentieth-century.

The following Greek-style vase (painted by John G. Low) was acquired by the Museum of Fine Arts in Boston in 1877 - at the time it was considered contemporary pottery. Very few of these Grecian forms made in Chelsea have survived today. If you go back and search through this website - you will see a few other Grecian forms made in Chelsea.

 

Chelsea Keramic Art Works Red Earthenware Grecian-Style Vase - Chelsea, Ma

Decorated by John G. Low

The Form is Known as a Stamnos

Ca. 1870s

Photo Courtesy: Museum of Fine Arts - Boston, Ma

Chelsea Keramic Art Works Red Bisque or Terra Cotta Vase - Chelsea, Ma

Unmarked

Found in Salem, Ma

Ca. 1870s

Stands 7" Tall

The vase my parents purchased had nothing to do with the undecorated wares or Grecian products made in Chelsea in the 1870s; instead it was modeled after an ancient Chinese style vase. "In 1876 Hugh Robertson visited the Centennial Exhibition (in Philadelphia, Pa). He was so much impressed by the Korean and Chinese porcelains that he returned to Chelsea eager to imitate their glazes, especially the glowing "dragon's-blood" red of the Ming wares." 

All of the  "dragon's-blood" red forms I have seen made in Chelsea are formal art pottery products intended for use around formal parts of the household. I also think the term "dragon's-blood" red is interchangeable with the color "oxblood" red, which is more-often used by American potters and Lura Woodside Watkins throughout her book, Early New England Potters and Their Wares. 

According to Watkins, "Nickerson devoted much of his life to discovering the secrets of various glaze colors and especially to the reproduction of the famous oxblood red...the best of his dragon's-blood red is a pure rich color, glowing with a golden luster that catches the light in changing hues. Only three hundred pieces of this description were complete...These vases were severely simple, in forms that always expressed the oriental influence. In the course of his attempts to produce red, Robertson also obtained a deep sea green, an apple green, mustard yellow, greenish blue, maroon and rich purple...These many colors and combinations of color, were a delight to the eye, and were, indeed, one of the first sources of ceramic inspiration to me."

The jar found in Beverly Farms is the first time I have seen a Chelsea product with a red glaze modeled after an ancient Chinese form of this size. They are usually a lot smaller measuring only a matter of inches. In fact, I have never seen another form such as this attributed to Chelsea before. This jar appears to fall more in line with the products that were made under the direction of John G. Low rather than the typical products of the Chelsea Keramic Art Works. It is possible that Low also made Chinese-style vases with very-little evidence of their manufacture known today. There were many maker's marks used in Chelsea; unfortunately, this jar is not marked, but it fits many of the descriptions of products associated with Chelsea. I would be very-surprised to learn it is from another maker.

There is a chance this jar was made at C.A. Lawrence Pottery since the company is known for making a large selection of ancient Chinese-style products (and it was found in Beverly); however I have not seen anything like this attributed to Beverly before. My belief may change at a later date, but for now - everything about it suggests it was made in Chelsea - especially the color of it.

 Probably Chelsea Keramic Art Works Red Earthenware Jar - Chelsea, Ma

Modeled After an Ancient Chinese-Style with an Oxblood Red Glaze

Unmarked

Ca. 1870s

 Wonderful Form and Applied Ring Handles

Stands 10" Tall

The Red Clay Color is Pale, But Not White

Products made in Chelsea and Beverly appear to have been a popular product with the residents of Cape Ann Massachusetts in the the nineteenth-century. This is not the first time I have found products made by these two businesses in the same household. Below is another Chelsea product that was found in a Maine home along with two garden planters made at C.A. Lawrence Pottery.

There is a chance this jar was also made at C.A. Lawrence Pottery in Beverly, but it's smooth feel suggests Chelsea. It feels like it has been polished. The form is a known Beverly form, but the feel of the clay appears to set it apart from the Beverly products. My future studies will hopefully give me an exact attribution. This also may be related to the paint-work done by John G. Low in Chelsea.

Likely Chelsea Keramic Art Works Red Earthenware Jar - Chelsea, Ma

Possibly C.A. Lawrence Pottery Red Earthenware Jar - Beverly, Ma

Unmarked

Found in a Maine Home Along with 2 Beverly Products

Nicely Decorated in Hand-Painted Blueberries and Apples on Top of a Vibrant Yellow

Ca. 1870s or 1880s

Stands 10" Tall

I haven't written much about the Beverly and Chelsea businesses together on this website; although a study of both provides a better understanding of what was happening to the Massachusetts potter after the Industrial Revolution had begun. The way these two businesses either A) altered their company, or B) established their company - really helped define and shape what the coastal Massachusetts potter's industry turned into as industries changed the face of production forever. Smaller potters were no longer scattered from town-to-town. Larger potters instead expanded the reach of their product lines - and better forms of transportation contributed to the wholesale and retail distribution of companies like C.A. Lawrence Pottery and the Chelsea Keramic Art Works. These were two of the businesses that were able to thrive in Massachusetts all while the Industrial Revolution happened.

Much More to Come...

North Shore Massachusetts Yard Sales and Estate Sales - A Memorial Day Weekend Hunt

More than a year-ago, I wrote about my great-interest in still-life paintings from the Dutch Golden Age of Art (Ca. 1568-1648). Desirable examples can achieve prices that reach into the hundreds-of-thousands-of-dollars. Dutch artists often used objects of utilitarian European pottery as subjects on their canvases. I guess that's why I enjoy the still-life medium from this period so much - it portrays everyday people and everyday objects as paintings that have been preserved through time. There are not a lot of forms of art or artists where the everyday utilitarian nature of a household is shown, but some Dutch still-life artists chose to paint in this context. Today's lasting Dutch still-live art show collectors, museums, antique dealers, archaeologists and others who complement these fields - how particular utilitarian ceramic objects were used in the household - and with these pictures, materializes the people who used these objects. For me personally, this was a fascinating period in the history of European art.

Here is a link to the report I am referring to - it's worth reading or at the very least, viewing to see the type of art I am writing about (Dutch Still-Life Report).

---------------

Earlier this morning, I drove about twenty-miles south of Newburyport, Massachusetts - to Beverly, Salem and Danvers in search of any interesting pottery at the dozen or so yard sales that were happening this Memorial Day weekend; although the yard sales were not my priority destination - they were merely a secondary cause of why I traveled in this direction around 7:30am.

Before I get into what I found - I am going to tell a brief interesting story; I was at a yard sale in Salem, Massachusetts towards the end of my trip (9:30am or so). The yard sale was in a working-class neighborhood with a mixed class of single-family homes and multiple apartment buildings. It was also a mixed neighborhood with families of multiple ethnic backgrounds. I parked across the street from the yard sale. I quickly walked through it and I left empty-handed in a matter of only a few minutes. When I crossed the street to get back into my Jeep, I noticed an incredible group of Charles A. Lawrence red earthenware urns or vases just sitting on a group of brick steps - that led up to the front door of a small single-story home. These urns or vases were loaded with painted colors, incised leaves, incised fish, the rims flared out and they were all different sizes. They were definitely from the 1870s and probably modeled after a Grecian form. They went with nothing else on the property, which was mostly car parts  and old cars.

I own a similar matching pair of urns or vases made in Beverly - that I happen to cherish very-much. The three that sat on the brick steps all showed separate styles, none matched and they were also different from the pair I own. As I think back about it now -- all I can remember was the vivid paint colors and incised decoration that really drew me into their beauty.

On first sight, my heart began to race out of excitement. They were incredible. I bet you can probably guess what went through my mind and what happened next.

I have never even considered knocking on a door before to ask to buy something, but I couldn't resist. It was my naturally instinct.

I asked Robesonia, Pennsylvania antiques dealer, Greg Kramer once about how he felt about knocking on doors because I see the American Pickers do it all the time - in what they refer to as freestyle picking. The reason I asked him is because he has done it before all-over Pennsylvania. Greg said to me, "You have to have a big set balls to do something like that. You never know who is going to come to the front door. They could pull a gun on you."

I thought of what Greg said to me as I walked up to the front door, but I had to do it. I had to knock. I just had to. It was my natural reaction. These three urns or vases are among the most accomplished products I have seen to-date from Charles A. Lawrence's businesses in Beverly. The only problem with them is they looked like they haven't left these steps in many years. I assume they are out there 365 days a year. They certainly appeared that way. The affect of New England's weather was seen.

If I didn't knock - it would bother me...So I had to do it. I had to. I knocked once. Nobody answered. I waited a minute. I knocked again. I heard somebody come near the door, but nobody answered. So I knocked again and a large middle-aged man came from around the house and said, "WHAT DO YOU WANT?" He looked like he was car mechanic or a machinist from the way he was dressed. He didn't seem too happy to see me.

I said, "I've never done this before, but I was at the yard sale across the street and on my way back to my Jeep - when I noticed the vases on your stairs. Are they for sale? Can I buy them?" 

The vases had a small American flag placed in each probably for the upcoming holiday. That's the only use I could see for them. They were not used as planters.

He said, "They're my mom's. What are you offering." I said I would do $30 each. He said, "I doubt she'll sell them. Let me go ask her." I was surprised that it went this well and it had progressed to this. He came back and told me she didn't want to sell them.

Now I'm stuck knowing where there are three incredible Charles A. Lawrence Pottery products in Salem - and there's nothing I can do about it. I wish I had offered the $30 each plus I would go and buy three brand-new pots from the local garden center to replace the ones I wanted to buy - but I didn't. I'll probably stop back again this fall before winter begins so I can give it a second shot - especially since I don't think the urns or vases are going in for the winter.

To get back on track, the main reason I went to Beverly and Salem today was because of a few estate sales - in hopes there may be some Beverly pottery that emerged from one of these homes. I did the yard sales because I was in the area.

I found the following early twentieth-century oil painting at an estate sale in Beverly around 8:00am. It reminds me of the Dutch still-life paintings I reference above, but from a much-later artist. It shows a grouping of pink and yellow roses with an earthenware jug that was probably intended to be used as a harvest jug while people were busy in the fields. I cannot tell from the painting if the jug is stoneware or red earthenware. The artist appears to have painted it green to show the reflection of the green leaves that surround it. It's in my opinion that it was done by a local Cape Ann (Massachusetts) artist.

Newly Discovered Early 20th Century Still-Life Oil Painting

The Frame Appears Original

Measures 25 1/2" by 13 1/2"

It Was Found in a Beverly, Ma Estate

Shows a Nice Assortment of Roses and an Earthenware Harvest Jug

The Artist is Not Currently Identified: Probably an American Artist

Close-Up of the Earthenware Harvest Jug

The painting appears professionally done. I've compared it to a few late nineteenth-century still-life paintings with roses from known professional artists and the roses appear similar. It reminds me of some of the still-life done by Cape Ann artists in the nineteenth-century. The painting is signed and dated, AJH, 1900. I do know a little bit about art since it is something I have had a passion in since college, but I am not familiar with these initials. Maybe somebody reading this report with a stronger art background will recognized the signature.

Painting is Signed by the Artist: AJH

Painting is Also Dated by the Artist: 1900

When I initially saw the painting, I thought it may have been painted by a local Beverly or Salem artist  since I have seen a red earthenware harvest jug attributed to Charles A. Lawrence's business; however the two jugs are very different in form. It was a wishful thought, but if it is a Cape Ann artist with real-life objects then the jug is probably a Beverly product. I just don't have proof of it at the moment.

 Purportedly C.A. Lawrence Pottery Red Earthenware Harvest Jug - Beverly, Ma

Ca. 1880s or 1890s

Photo Courtesy: CollectorsWeekly.com

 Purportedly C.A. Lawrence Pottery Red Earthenware Harvest Jug - Beverly, Ma

Ca. 1880s or 1890s

Photo Courtesy: CollectorsWeekly.com

I thought the painting would go really well with my collection of pottery. It will act as a nice backdrop some-where and I really couldn't argue the $2 they charged me. As my parents have always told me about antiques - you buy it because you like it - not because you think it's worth something. I bought this painting because I liked it. 

My Newly Found Painting with a 19th Century Stoneware Harvest Jug

Harvest Jug Stands 12" Tall

Please Stay Tuned…More to Come...

The Final Report (For Now) About a Recently Discovered Red Earthenware Piggy Bank Uncovered in a Central Massachusetts Home

I have done some more reading behind a possible interpretation of the word NORN as seen incised on the base of a red earthenware piggy bank recently discovered in a central Massachusetts (Hubbardston, Ma) home. I purchased the bank from the dealer who discovered it - this past weekend at a coastal Massachusetts flea market. All the letters are capitalized, which wouldn't normally be an indicator of much, but it may mean something in this instance (see below). The word is placed between the pigs four legs/feet and is prominently centered on its belly.

This is some of the information I have found:

"Norse mythology also known as the Scandinavian mythology is a kind of religion that was and is still practiced by some of the people in the Scandinavian countries (Denmark, Norway, Sweden) and Northern parts of Germany (previously the Vikings)...In the middle age, it is believed that the Norse and people of Germanic origin had their own complex and sophisticated religion before Christianity, specifically during the Viking age - and Norse mythology (Gods and Godesses) was apart of this religion. It was practiced through most of northern and central Europe.

The ideas and beliefs of Norse mythology have been salvaged through archaeology, literature and the evolution of words - and their meaning over time.

The Norse people believed that there were two types of gods; The Aesir were the gods believed to be the source of war, power and death - and the Vanir were responsible for fertility. Specific gods (by name) were voiced in Norse mythology over-time. The tales of these gods were then passed down through generations - often in written poems.

According to records - the beginning of Norse religion is debatable, but it has been traced as far back as the 2nd century AD. It is not regarded as an actual established religion, but rather a religion that falls under folk lore and folk tradition. The religion purportedly sometimes took on its own meaning as it spread from one European culture to the next, but overall the general idea was the same. Rituals were a strong part of the Norse religion in order to please the gods and goddesses."
(Viking-Mythology.com)

"One of the key concepts of the worldview of the pre-Christian Norse and other Germanic peoples was their intriguing and extraordinary unique views of destiny. It shares the same Indo-European origins as the Greek concept of fate (destiny), and the Hindu concept of karma...Due to its uniqueness, it's also one of the hardest parts of the indigenous worldview for modern people to understand. 

According to one scholar, destiny (when analyzed in a Norse religion context) is the often inscrutable force that causes the past to exert its particular influences upon the present, which in this image, necessarily also includes the influence of the present upon the past and, thereby, the potential for a new and different present. An example or expression of the influence of the past onto the present lives with the idea of Norns, three wise women, who carve the lives and destinies of children. These three Norns are probably (I believe) part of the Vanir gods."

As I continued to read, I found, "A capitalized Norn (word) references the three female goddesses. A lower cased norn (word) represents countless other meanings, which includes the Old World word for a generic practitioner of magic." (Norse-Mythology.org) In the case of this piggy bank, the word NORN is entirely capitalized.

This is from a report I wrote earlier this week:

(Notice how the letters are capitalized or not capitalized below)

"A Norn was a part of the Norse mythology of Scandinavia, Britain and Germany until the establishment of Christianity. Norns are thought to be related to Germanic female deities…A Norn is any of three virgin goddesses of destiny or fate; the goddess of the past (Urd), the goddess of the present (Verdandi) and the goddess of the future (Skuld)…Norse legend suggests Norns were female beings who rule the destiny of gods and men. They also arrive when a person is born in order to determine his or her future.

There are both good and bad norns which can cause tragic events in the world - while others act as kind and protective goddesses. Some norns are regarded as shadowy, background figures who only ever reveal their fateful secrets to men as their fates come to pass…norns are also sometimes associated with death and the after life; however not all aspects of Norns were negative as they were equally associated with life and birth."

After writing this - I still wonder if this could all simply be a coincidence. Was the potter who made this bank named with the last name, NORN? Of course that's a possibility, but I am very doubtful of that theory at this point.

I feel the pig was probably made as a gift for a child or a newborn at some-point in the nineteenth-or-early-twentieth-century. When the bank was made, the idea behind the name on the pig's belly may have been merely folk lore and family tradition at that point. I do think there's a chance the pig is American-made. Everything about it suggests American-made to me and the weight is especially indicative of that notion. If it wasn't made by an American potter, it must have been hand-made by a potter in one of the continental European nations where the Norse religion thrived; although I still do feel it was made in America. How else would a pig like this possibly travel from continental Europe to central Massachusetts? As far as I can see the bank is unique. The whole idea behind this bank and its true meaning is absolutely fascinating! The idea that the word NORN is written on the base is even more fascinating!

 Red Earthenware Piggy Bank

Probably 19th Century or Early 20th Century

Wonderful Folk Decorated Face
Measures 3 1/2" Tall and 6" Long
Country of Origin not Currently Known

 The Word NORN is Inscribed on the Base of the Piggy Bank

  Unusual Decoration on the Back

Pig Decorated in a Greenish Lead Glaze
The Entire Bank is Hand-Made

Found in a Hubbardston, Ma Home

Purchased Recently at a North Shore Massachusetts Flea Market

The bank appears primitive, but it also appears folky; although the money hole placed on the pig's back appears professionally done - similar to holes placed on highly accomplished banks made in nineteenth-century Pennsylvania, New York and throughout New England. It is also similar to holes placed on some nineteenth-century English red earthenware banks made by country potters.

I wish I knew more about the ownership and occupancy of the house the bank was found inside of. The family or families that used to live in the home may provide more information into the bank's history. Hopefully more information will come forward and my understanding of the bank will continue to evolve in the future.

Much More to Come...

A Little-More Information About a Recently Found Red Earthenware PiggyBank

Piggy Bank Report 1

I left out a key characteristic seen on the base of the red earthenware pig bank from last night's report because I wanted to do a little-more research before I discussed it. Incised on the base in capital letters is the word, NORN.

The Word NORN Inscribed on the Base of the Piggy Bank

According to what I have read, "A Norn is a part of the Norse mythology of Scandinavia, Britain and Germany until the establishment of Christianity. Norns are thought to be related to Germanic female deities…A Norn is any of three virgin goddesses of destiny or fate; the goddess of the past (Urd), the goddess of the present (Verdandi) and the goddess of the future (Skuld)…Norse legend suggests Norns were female beings who rule the destiny of gods and men. They also arrive when a person is born in order to determine his or her future.

There are both good and bad norns which can cause tragic events in the world - while others act as kind and protective goddesses. Some norns are regarded as shadowy, background figures who only ever reveal their fateful secrets to men as their fates come to pass…norns are also sometimes associated with death and the after life; however not all aspects of Norns were negative as they were equally associated with life and birth."

I tried finding some-kind of association with a last name (Norn), but all I could find was the mythology and religion that stands behind the idea of the NORN. Could this piggy bank perhaps have been made for a newly born child and the word Norn was placed on the bank to symbolize the goddess of the future for promise in prosperity and a fortunate future? Perhaps…it's a stretch, but it could also have even been made by a potter for a newly born child. The skill of the bank suggests that whomever this potter was that they were not overly skilled, but it does suggest to me that it falls within the whole folk art realm of today's art world. I would like to say the bank was made in Pennsylvania by a German potter, but I have no strong evidence to backup that claim.

Beyond this information, I am still stuck on an origin; although I do feel it is American from the late nineteenth-century or possibly the twentieth-century.

  Red Earthenware Piggy Bank

Probably Late 19th Century or Early 20th Century

Wonderful Folk Decorated Face
Measures 3 1/2" Tall and 6" Long
Country of Origin not Currently Known

  Unusual Decoration on the Back

Pig Decorated in a Greenish Lead Glaze
The Entire Bank is Hand-Made

Found in a Hubbardston, Ma Home

Purchased Recently at a North Shore Massachusetts Flea Market

Any comments, suggestions, attributions, ideas…etc. are more than welcome.

Please Stay Tuned…Much More to Come...

A Fun Folky Red Earthenware Piggy Bank Recently Found in a Central Massachusetts Home

I thought I would have a little fun with tonight's report - this little whimsical guy was recently found in Hubbardston, Massachusetts by a Massachusetts antiques dealer. The sole purpose is a piggy bank; although a child's toy could also be argued. The bank appears to have some age to it. It is decorated with a greenish-colored lead glaze on top of a red earthenware body. I really enjoy the pig's face. It's fun and really shows how folk art can transition itself onto utilitarian pottery. Pigs were a popular figure with a variety of early American products that included cast iron, wood, carvings, weathervanes, embroidery, stuffed leather animals, fire boards, furniture and even formal paintings.

The bank was recently found in a Hubbardston home - which is located in the central part of the state. The entire bank was hand-made. None of it was molded - and I am led to believe it has been around for a while due to some visible wear on three of the four feet. The pig measures 3 1/2 inches tall and six inches long. It's a fun piece! The weight is heavy - which strongly suggests to me it could very-well be an American product; although banks were also popular with English potters as well. It could also be Continental European, but the face is what leads me to believe it may be American. I have never seen anything like it before. I know some forms like this (mostly animal figures) were made as end of the day pieces by Pennsylvania and Virginia potters in the nineteenth-century; however most of those pieces had no fundamental purpose. Pennsylvania potters were also known for making creative banks that included rocking horses, santa claus figures and dogs in a variety of unusual positions. That's only to name a few. Red earthenware banks were made in many forms by early American potters. Stoneware banks were also popular with nineteenth-century potters in Pennsylvania and New York - where each area also had fun with its forms.

I purchased the bank this morning directly from the antique dealer who discovered it  - at a local flea market on Boston's North Shore around 6:00am.

 Red Earthenware Piggy Bank

Probably Late 19th Century or Early 20th Century

Wonderful Folk Decorated Face

 Recently Found in a Hubbardston, Ma Home

Purchased this Morning at a North Shore Massachusetts Flea Market

 Unusual Decoration on the Back

Pig Decorated in a Greenish Lead Glaze

 Measures 3 1/2" Tall and 6" Long

The Entire Bank is Hand-Made

I am kind stumped on this one so any thoughts on a possible origin would be very-much appreciated. I think there's a chance it was made in Pennsylvania, but I am not positive of it. It doesn't exactly fit into the norm of what is known for end of the days pieces or banks made in the state. The weight does make it feel like its an American product.

I have also heard about a traveling potter known as the Hobo Potter who worked in Pennsylvania in the nineteenth-century, but this does not fit into his style either. The Hobo Potter was a potter who made animal figures in exchange for a bed to sleep in at night…etc.

Please Stay Tuned…Much More to Come...

A Very Important Discovery: A Never Before Seen Jug Form Attributed to William Pecker of Merrimacport, Massachusetts

Only a matter of a few hours I ago - I came across one of the rarest forms I have ever seen made by the potter, William Pecker (Ca. 1784-1820) of Merrimacport, Massachusetts. Pecker was mostly-known for his pumpkin-orange colored glazes with manganese carefully brushed on top. In the October 2013 edition of the New England Antiques Journal - I showed a rare green-glazed jug made by Pecker (link to report) in an article I wrote. I only know of one other form that was glazed green by Pecker and it sold at a Maine auction-house in 2004. It was previously in the collection of Maine antique dealer and collector, John Sideli.

Out of curiosity, I visited the Salvation Army on Route 1 in Saugus, Massachusetts today. I didn't expect to find much, but one of my methods of searching for rare early American pottery is to look in the unexpected places. You never known until you look.

I arrived at the thrift store just in-time - as some new inventory was just put out for sale on the floor this morning. I was very fortunate to find another Beverly, Massachusetts garden pot made at C.A. Lawrence Pottery that was painted pink. When was the last time you saw an antique American utilitarian or garden pottery form that was intended to be pink? This is a first for me; however a jug tucked away in a glass case is what really caught my attention. The jug looked brand-new because there were no condition issues - it wasn't expensive so I took a chance with it. I couldn't see the base in the store because it was covered with the price tag. When I walked out of the thrift store I almost-immediately peeled the price tag off the bottom and realized what I had just discovered. I was shocked and in aw at the same time. The jug was made by William Pecker. Pecker had incorporated the pumpkin-orange glaze and the green glaze I mention above into this spectacular little jug. It is also a jug form that has never previously been attributed to Pecker. I have probably seen fifty to sixty pieces made by William Pecker from private collections to Historic New England and the Smithsonian in Washington, D.C. and there is nothing else like this that I know of that exists today. Absolutely wonderful! Have a look for yourself - it stands a small 3 1/2 inches tall. It may have been intended to hold vinegar.

 Collection of William Pecker Red Earthewnare - Merrimacport, Ma

(Left) Green Jug that was Pictured in Oct. 2013 New England Antiques Journal

(Right) Traditional Pumpkin-Orange Glazed Herb Pot with Manganese Brushed on Top

(Center) Green and Orange Glazed Jug that was Found Today

 William Pecker Red Earthenware Jug - Merrimacport, Ma

Wonderful Pumpkin-Orange and Green Glaze

Ca. 1784-1820

Stands 3.5" Tall

A Form Never Attributed to William Pecker Before

 Traditional William Pecker Handle

 Wonderful Green Glaze with some Incised Line Decoration

Wonderful Pumpkin-Orange Glaze with a Footed Base

In case you were curious - here is the C.A. Lawrence Pottery garden jar that was also found. I assume these are coming from the same estate. I was told they are both brand-new to the store. This is another example of an ancient Chinese form that was manipulated by the potters who worked in Beverly in the 1870s, 1880s and 1890s.

 C.A. Lawrence Pottery Red Earthenware Garden Urn - Beverly, Ma

Painted in a Very Unusual Pink Color

Ca. 1870s, 1880s or 1890s

Stands 18" Tall

 Decoration Somewhat Reminds Me of Fish Scales

Nicely Accomplished Handles and Rim

Please Stay Tuned…Much More to Come...

A New Collection of Essex County Made Red Earthenware Shards Found on the Waters River in Danversport, Massachusetts

Today I went back to a river in Danversport, Massachusetts where I have found success in the past with the abundance of red earthenware shards that consistently make their way onto the river's mud and rock-lined shore. It appears this river was a dumping ground for local trash in the eighteenth and nineteenth centuries. In the past, I have discovered slip decorated shards that appear to have been from locally made plates. The manner in which the slip was applied is similar to shards Lura Woodside Watkins (Early New England Potters and Their Wares) collected from the site of the Kettle Pottery in Salem Village (now Peabody), Massachusetts - a site that is only a short distance from where I was today. The comparison is interesting since most of those products are from the early-to-mid eighteenth century. I think there is a good chance these shards are related to the Kettle family - and interestingly, among the shards I found today, were more examples of slip decoration.

Slip Decorated Shards Report

 Waters, River - Danversport, Ma

 Waters, River - Danversport, Ma

These following shards were all found on the surface level just as the tide had receded back from parts of the shore. It is likely the shards had surfaced from the cold winter and all the ice the area saw. I believe all of these shards are from the local businesses that successfully operated all-over Essex County in the eighteenth and nineteenth centuries. The first two photos are more examples of slip decoration.

Slip Decorated Red Earthenware Shard - Probably a Plate

Possibly 18th Century, Otherwise Early 19th Century

Slip Decorated Red Earthenware Shard - Probably a Plate

Possibly 18th Century, Otherwise Early 19th Century

This next shard is photographed how it appeared when I walked up on it submerged in the mud a few feet away from the shoreline. It is large - probably measuring six or seven inches long. There is no glaze. It is probably the remains of a utilitarian crock, but what really peaked my attention about it is the thickness in-which it was potted. It is very thickly potted. This is the first instance I have seen anything this dense from an Essex County potter. I have reviewed a large collection of shards kept at the Narbonne House (National Parks Services) in Salem, Massachusetts - which represents a nice sample of products made in Essex County and none appear this thick. Its thickness reminds me of late seventeenth and early eighteenth century products made just to the south in Charlestown, Massachusetts - and regardless of its maker, it does appear early.

Probably 18th Century Red Earthenware Crock Shard

Unusually Thickly Potted for Products Made in Essex County

The most common glazes found in Essex County are what many of us refer to as Osborn Pottery products made in South Danvers (today known as Peabody), Massachusetts. Many of these products are decorated with red and black glazes. The Osborns are probably the most recognized potters by today's standards of who worked in Essex County. Below are shards decorated in a variety of colors that are not the typical colors associated with this area, but it is my belief they were all locally made.

 Dark Brown Glazed Shards

Late 18th or Early 19th Century

Probably Related to Essex County's Industry

 Brown, Red and Caramel Colored Glazes

Late 18th or Early 19th Century

Probably Related to Essex County's Industry

These following two shards are interesting; the first (left) is ovoid, which may indicate it is from a jug or a pitcher. It is decorated in a reddish and caramel glaze. The second demonstrates a pair of incised lines with a brownish glaze.

 (Left) Ovoid Shard with a Reddish and Caramel Glaze

Probably from a Jug or a Pitcher

(Right) Shard with a Pair of Incised Lines with a Brownish Glaze

Both Probably Related to Essex County's Industry

The rim on this next shard reminds me of rims placed on milk pans by some Maine potters in the nineteenth century. When I initially saw the shard, I wondered if there was an influence taken from Essex County that was then applied by the potters who used a similar rim in Maine. It is an interesting concept and theory to recognize - after all, Essex County was a training ground for many potters who eventually migrated north of Massachusetts for work.

 Brown Glazed Shard with an Interesting Rim that is Similar to some Milk Pan Rims made in Maine

Together with a Black Glazed Shard

Both Probably Related to Essex County's Industry

Another Angle of the Rim

Please Stay Tuned for Much More...