An Important Red Earthenware Jar with Possible Ties to the Dickinson Name of Massachusetts

Some of you reading this may recognize the jar that I am writing about today - it has appeared at a few prominent national shows in the past year. This colorful glazed lidded storage jar is currently owned by West Newbury, Massachusetts antique collector and dealer, Paul DeCoste. The glaze is spectacular; however, there is much more appeal to this important piece of red earthenware than only its colorful appearance.

The use of sgraffito was arguably a technique applied more-often by the German potters in Pennsylvania in the eighteenth and nineteenth-centuries than any other region in America. That's not to say it wasn't used elsewhere, but from what I can see - the technique is more commonly associated with Pennsylvania today than anywhere else. There's also nothing that should be considered common about surviving examples today. They are rare - and they are highly sought after by collectors, dealers and museums alike.

The definition of sgraffito is when any kind of decoration is made by scratching through the exterior surface to reveal a lower layer of a contrasting color. This kind of decoration is easily noticed on the following jar. There are two eagles scratched onto the surface, as well as an (ship's) anchor. It's difficult to determine the ultimate meaning behind any kind of whimsical decoration applied by utilitarian potters today, but there can always be some speculation. The eagle became the face of the national emblem in 1782 when the great seal of the United States was adopted. An American obsession with this bird superseded in the years that followed. A proper explanation may be as simple as this when trying to explain why the potter chose to use this decoration; however, any kind of hidden meaning behind the anchor is likely less defined today even though I can state that anchors were sometimes used as a form of decoration found on maritime art like scrimshaw and sailor's valentines - as well as more traditional art and even needlework.

However, with all that said, the drawing on the jar appears more like decorative objects that would be associated with a male figure rather than a female - and that makes sense since the name, Walter P. Dickinson - and the place, Amherst, New(?) Hampshire has been scratched into it, as well.

I was fascinated with the name on this jar when I photographed it in Paul DeCoste's booth at the Historic Deerfield (Massachusetts) Antique Show last fall. I've conducted a number of searches into who, Walter P. Dickinson was from Amherst, New(?) Hampshire; however, all of my search results have directed me in the direction of Amherst, Massachusetts in Hampshire County, where a man named, Walter Dickinson (1784-1851) lived most of his life descending from the same Dickinson lineage in Amherst as the famed American poet, Emily Dickson (1830-1886).

From a genealogy search - I have learned that Walter Dickson was married to Lydia Dickinson (1791-1827) and together, the couple gave birth to ten children. After Walter's death in 1851, a daughter, Sarah Marsh Dickinson (1828-1901), who married an Amherst native, Jonathan Cowles (1822-1902) gave birth to Walter Dickinson Cowles (b. June 30, 1852) only a year after her father, Walter Dickinson had passed away.

The maker of this jar is a whole other story, but I believe it dates from the 1840 to 1860 period. It's very possible that it was produced by a potter employed in Western Massachusetts or Southern (Central) New Hampshire, but there would need to be more evidence to identify the maker. A considerable amount of time and special effort obviously went into this piece. I assume it could have been a pot that was placed as a special order, but there's also a possibility that Walter Dickson may have been a close friend of the potter, if not, related to the potter. The sgraffito work on this jar could be unique - I've seen incised products made in New England - I've seen stamped pieces that were also made in New England - there also a countless number of slip decorated examples of red earthenware made in New England; however, this is the only example of pottery that I know of today, which is adorned in sgraffito very-likely done by a New England-based potter.

19th Century Red Earthenware Jar Sgraffito Decorated with a Pair of Eagles and an Anchor

Scratched, "Walter Dickinson, Amherst, New(?) Hampshire"

Ca. 1840-1860

Stands 9" Tall
Photo Courtesy: Paul DeCoste Antiques - West Newbury, Mass.

Another View of the Jar

Photo Courtesy: Paul DeCoste Antiques - West Newbury, Mass.

Another View of the Jar

Photo Courtesy: Paul DeCoste Antiques - West Newbury, Mass.

View the Decorated Lid
Photo Courtesy: Paul DeCoste Antiques - West Newbury, Mass.

While the following jar is not related to the lidded jar of discussion by form or glaze - it was, however, made special for a family member by a potter in Western Massachusetts probably before 1830. Crocker Farm, Inc. sold this hand-thrown red earthenware jar last summer; it was made in Whately, Massachusetts; inscribed across the front of it is written, "Louisa Dickinson" and "Whately/Lemuel A. Wait." According to Crocker Farm, "This (marriage) jar was made by Whately, Massachusetts potter, Lemuel Allis Wait for his future wife, Louisa Dickinson." 

For more information about the jar - here is a link.

 19th Century Red Earthenware Jar Made by Leumual A. Wait - Whately, Mass.

Marriage Jar Made for His Future Wife, Louisa Dickinson

Ca. 1825-1830

Stands 10 1/2" Tall

Photo Courtesy: Crocker Farm, Inc. - Sparks, MD

 View of the Side of the Jar and a Handle

The Inscription on Both Sides Can be Seen

Photo Courtesy: Crocker Farm, Inc. - Sparks, MD

"Louisa Dickinson" Inscription

Photo Courtesy: Crocker Farm, Inc. - Sparks, MD

Obviously, I'm curious to know if these jars are related; however, even more-so, I want to know if this is the beginning of a larger amount of jars that were made with a personal association to the Dickinson families. If proven true, I think this could be very-exciting! I look forward to the future in hopes that similar jars may emerge from private homes and private collections across the country that may be tied back to this area.

Please Stay Tuned...Much More to Come...