A Rare 19th Century Salt-Glazed Stoneware Object Recently Found in Central Maine that May have Been Used by a Distillery in Charlestown, Massachusetts

According to an article that I wrote for this website on February 20, 2013, "The Henley Distillery opened around 1741 on the waterfront in Charlestown, Massachusetts, near the town's docks. Samuel Henley was the first owner and others proceeded to operate in a similar fashion after Henley at this same location. The distillery burned in the early stages of the American Revolution at the Battle of Bunker Hill on June 17, 1775. While many business owners, who lost their companies (many of whom were potters) did not rebuild and instead opted to relocate after Charlestown was torched - the distillery was rebuilt. It has been reported that this business operated as-late-as 1866, manufacturing rum and other alcohols. This was also an area that was excavated by archaeologists in the 1980s during the archaeology of Boston's infamous Big Dig Project. It's a fascinating context since the distillery was built on top of a well-preserved seventeenth century site in Charlestown, which contains some remains from the Phillip Drinker Pottery, which is regarded as New England's first true red earthenware potter's business that dates as-early-as the 1630s."

Yesterday, I visited Christopher Havey, a collector, who currently lives in upstate New York and Gorham, Maine. There were many reasons 'why' I visited - and, among them, was to learn more about the potter's industry, which existed in North Yarmouth, Maine in the nineteenth century. Chris Havey is responsible for salvaging a huge amount of red earthenware sherds from these businesses that currently reside with the North Yarmouth Historical Society and the Maine State Museum in Augusta, Maine.

Surprisingly, North Yarmouth was truly a potter's industry - an industry, which very-little is known about today; however, it is apparent (to me) that there were many quality products produced in North Yarmouth in the 1800s that can be misattributed today. This belief also supports the idea that there was a lot more made in Maine than what is given credit today. For example, I saw concrete proof yesterday that slip decoration was produced in Maine after 1800. This is an idea that was basically ruled out years ago. In general, the belief has been that slip was not used on Maine.

Among what else I saw yesterday was a rare piece of stoneware that was found by a central Maine picker in Detroit, Maine a few years back. What is it!? It's a cap to a distillery. Honestly, I was fascinated from the moment I saw this object. Chris Havey told me that he showed this rare object to the late-Don Carpentier a few years ago, and Don's natural reaction was that this could have been made in Charlestown, Massachusetts in the early-nineteenth century.

When I was thinking about this object yesterday - it dawned on me that there was a major distillery located in Charlestown, which is the same distillery that I cite above. The Charlestown stoneware potter, Frederick Carpenter successfully operated a thriving business during a period of this distillery's production.

A characteristic that really stood out to me on this object is the use of cobalt decoration that basically covers the entire rim and part of the shoulder. Cobalt was used in Charlestown, but there wasn't a lot used on the traditional everyday forms that survive today.

In theory, this is possibly a special order product that was placed by the distillery through Fredrick Carpenter's Pottery in the nineteenth century. It's absolutely amazing to see something like this, which could posses an enormous amount of history today. It's surprising that it has survived for so many years since it didn't really serve a great utilitarian purpose; although, it is also compelling to try and understand why this object appeared in rural central Maine.

Stoneware Cap to a Distillery

19th Century Salt-Glazed Distillery Cap with Cobalt Decoration Around the Rim

Appears Like a Stoneware Product From the Frederick Carpenter Pottery in Charlestown, Mass.

Circa 1795-1820

Stands 8" Tall

Measures 13 1/2" Long

Recently Found in Detroit, Maine
See Article for More Information

 Another View of the Object

  Another View of the Object

 View of the Interior

 Another View of the Interior

 View of the Tube Attachment

 View of the Interior of the Tube Attachment

View of the Base

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

The 1872 Location of the Phineas Chase Pottery in Merrimacport, Massachusetts

For me, this is an exciting discovery, which was found with a group of local nineteenth-century maps that my parents gave me for Christmas. The maps were of Amesbury/South Amesbury, Massachusetts, Old Town Village in Newbury, Massachusetts, Merrimac, Massachusetts, the Village of West Newbury, Massachusetts and a few others - they all dated from various periods in the 1800's. My parents hoped that I could use these maps for research needs.

The Amesbury and South Amesbury (later became Merrimacport) map was of particular interest since it showed the whereabouts of Phineas Chase's (1820-1863) property in 1872, who was the grandson of William Pecker (1758-1820) and the son of James Chase (1779-1849), the founder of the Chase Pottery in Merrimacport, Massachusetts. What surprised me about this map is that it showed the location of Phineas Chase's potter's kiln, which was located directly behind his house and barn. Previously, all of the production in Merrimacport had happened adjacent to the Merrimac River; however, around 1863, Chase decided to move the operation to his backyard, which was about one-quarter mile away from the river.

According to Massachusetts author, Lura Woodside Watkins book, 'Early New England Potters and Their Wares,' "Phineas Chase succeeded his father (James Chase) in the Merrimacport pottery, and it continued to be a going concern. At some point before 1863 he moved the works to his own land at the top of the hill on the road leading up from the river. Not very much is known about his activities, except that pieces of Chase pottery from this later period are frequently encountered about the country. Although Phineas Chase died before 1864, the pottery was running in the next year, turning out ware to the value of $1,550 annually."

The Chase Pottery is a subject that I wrote about for the October 2014 edition of the New England Antiques Journal. Ultimately, this is a forgotten business today; although, the Chase family turned out utilitarian wares from the 1820's to the 1880's, which is a similar production period when compared to the well-known John Corliss Pottery in the Days Ferry neighborhood in Woolwich, Maine. Honestly, I wouldn't be surprised if these are comparable businesses in terms of production value and the areas that were supplied. However, the Chase family is not well-documented today. I've seen this family's work regularly mistaken for products made in Maine.

Unfortunately, virtually nothing is known about the later Chase Pottery production despite an obvious potter's presence in Merrimacport in the 1860's, the 1870's and the 1880's. The wares made in the 1880's are thought to have been a mixed production of utilitarian wares and skillfully made painted decorative wares. I believe I own an example of this production in the form of a beautifully made vase, which was found in a thrift shop in Salisbury, Massachusetts in 2014.

According to the business directory, found in the lower right corner on the 1872 Amesbury and South Amesbury map, "In 1872, the Phineas Chase Pottery was a manufacturer of Earthenware. All the orders were promptly attended to."

 1872 Map of South Amesbury (Today Merrimacport) and Amesbury, Massachusetts

Map Shows the Location of the Phineas Chase Pottery in South Amesbury, Massachusetts

None-the-less, this week, I decided to visit the location of where Phineas Chase's pottery was located after 1863 in Merrimacport. For now, I'm not going to reveal anymore information since the house and barn still stand today in essentially their original condition; however, the potter's kiln is gone, but the land, where the kiln once stood is undeveloped today. I'm hoping to work with the property owners on a future date (and, during warmer weather) to see what exactly remains lay in plain sight on this property. Undoubtedly, there are remains. This is an exciting opportunity to possibly identify a period of skilled production that is forgotten today.

Phineas Chase House - Merrimacport, Mass.

Phineas Chase House and Barn - Merrimacport, Mass.

The Phineas Chase Pottery Potter's Kiln was Located Behind this Barn After 1863

Another View of the Property

Another View of the Property

Location of Where the Potter's Kiln Once Stood

Collection of 19th Century Ceramic Sherds that Sat on the Property in Front of the House

This is Actually How I Found Them

19th Century Ironstone Sherds Found in Front of Phineas Chase's House in Merrimacport, Mass.

For more information about the Chase family pottery in Merrimacport - I suggest clicking this link, which will take you to the article that I wrote for the New England Antiques Journal in 2014.

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

19th Century Red Earthenware and Stoneware Objects that Survive Today with Make-Do Repairs

The definition of a tinsmith is a "person who makes and repairs objects made of tinware. By extension it can also refer to the person who deals in tinware."

According to New York City collector, antiques dealer and designer, Andrew Baseman, who is responsible for the  blog (andrewbaseman.com/blog/), 'Past Imperfect: The Art of Inventive Repair,' "Antiques with inventive repairs (also known as 'make-do' repairs) are unique examples of necessity and thrift, made during a time before Krazy Glue was invented. Unlike today where we discard anything chipped or cracked, broken household items were repaired at home or taken to a metalsmith or (a tinsmith) to be brought back to life, often with whimsical results. Once regarded merely as damaged goods by antiques dealers and collectors alike, antiques with inventive repairs are (now) justly receiving the respect they deserve."

Andrew Baseman spoke about this subject, in-length, at the June 2012 edition of Dish Camp in Historic Eastfield Village in Nassau, New York. He also displayed at this year's New York Ceramics and Glass Fair in New York City, which is now in its seventeenth-year. The New York Times covered this year's fair, which they described Baseman's exhibit, titled 'Mended Ways: The Art of Inventive Repair,' as a quirky compilation drawn from Andrew Baseman's personal collection.

It may be too-much of a generalization, but from my experience, it seems (to me) that there are more mended ceramics today (in America) that were made by a seventeenth, eighteenth or nineteenth-century foreign manufacturer rather than a product produced by a domestic red earthenware or stoneware potter. However, that's just my observation, but it may also be some proof that utilitarian objects were thrown away more-often than finer European ceramics, which were usually perceived as a more-formal product.

Metal staples are probably my favorite type of repair; although, it's debatable whether tin repairs are more common with surviving examples of red earthenware today. A tin repair is usually seen today in replace of a handle that was mistakenly broken years ago. I've shown a number of examples below that bear this type of repair.

The most-common type of repair found on stoneware today is probably the use of an iron band, which would have been attached by a local tinsmith. This type of repair would have been used to stabilize a crack or replace a broken handle by wrapping around the object squeezing it together.

Although, I should also note that staples, wire, wood and even string were also used to repair red earthenware and stoneware, mending these types of objects back into a useful make-do product, again. All of this material is discussed on Andrew Baseman's blog.

The first group of make-do objects (seen below) were collected during house-calls in Maine by two well-known Maine antique dealers, Tom Jewett and Butch Berdan, who specialize in Americana with a special emphasis devoted to nineteenth-century American folk art.

I believe all of these objects were made in Maine during the circa 1820-1880 period. They also appear to have been repaired by a tinsmith, which was a popular craft in Maine in the eighteenth and nineteenth-centuries. For example, Zachiariah Stevens opened a tinshop in Stevens Plains, Maine in 1798. He reportedly peddled tinware throughout northern New England and Canada. It's possible that some of the tin repairs, found on the products in this article, were made by a known tinsmith today. Unfortunately, I'm doubtful that there's an accurate way to tie such a make-do repair to a specific person.

Portland, Maine Tinware Company, 100 Cross Street - Portland, ME

(Left) Lewis Bladstreet with an Unidentified Woman

Circa 1895

Photo Courtesy: Maine Historical Society - Portland, ME

From this first picture: I believe I see a jug that was made at the Bickford Pottery in Buxton, Maine (top left), a jug possibly made at the Safford Pottery in Monmouth, Maine (top right), a rare cup possibly made at the Thomas Kendrick Pottery in Hollis, Maine (bottom left) and a spice pot made at the John Corliss Pottery in the Days Ferry neighborhood of Woolwich, Maine (bottom right).

Jewett-Berdan Maine Make-Do Collection

Collection of 19th Century Maine-Made Make-Do Red Earthenware Objects

Circa 1820-1880

Photo Courtesy: Jewett-Berdan Antiques, Private Collection - Newcastle, ME 

Prominently pictured here is a vibrantly glazed nineteenth-century red earthenware jug, which I believe was made in southern Maine, with a make-do repaired handle. This handle may be comparable to what Andrew Baseman describes above as a "unique or whimsical repair." Ideally, this handle demonstrates true American folk art. The repair reminds me of a ship's figurehead, which was often found at the front of ships in the sixteenth to twentieth-centuries. It's very-possible that this repair was done while at sea, which possibly lends a wonderful history. I believe this jug was also discovered during a house call in Maine.

19th Century Red Earthenware Jug with a Unique Make-Do Handle Replacement

Handle is Reminiscent of a Ship's Figurehead

Jug Possibly Made in Southern Maine

Circa 1820-1860

Stands Approximately 9 1/2" Tall

Photo Courtesy: Jewett-Berdan Antiques, Private Collection - Newcastle, ME  

Another View of the Incredible Make-Do Handle Replacement

Photo Courtesy: Jewett-Berdan Antiques, Private Collection - Newcastle, ME 

This next group of objects all sold at various auctions in the past decade. They all exhibit some type of make-do repair similar to what was described above. For reference: I have also included what they sold for not including the buyer's premium or any sales tax.

Objects Sold at Auction

19th Century Red Earthenware Jug with Tin Make-Do Handle Repair

Attributed to the John Corliss Pottery - Days Ferry, Woolwich, ME

Circa 1820-1880

Stands 12" Tall

Sold for $100 in 2015 (Not Including Buyer's Premium)

Note: No Attribution was Given with this Jug

Photo Courtesy: Copake Auction, Inc. - Copake, NY

Another View of the Tin Repair

Photo Courtesy: Copake Auction, Inc. - Copake, NY

19th Century Red Earthenware Pitcher with Make-Do Wooden Cover

Likely Made in Coastal Massachusetts

Circa 1790-1830

Stands 6 3/4" Tall

Sold for $2,200 in 2011 (Not Including Buyer's Premium)

Photo Courtesy: Northeast Auctions - Portsmouth, NH

19th Century Red Earthenware Jug with Make-Do Tin Handle Repair

Likely Made in Upstate New York

Circa 1820-1860

Stands 3" Tall

Sold for $400 in 2006 (Not Including Buyer's Premium)

Photo Courtesy: Garth's Auctions - Delaware, OH

19th Century Stoneware Jar with Wire Wrapped Around the Rim to Stabilize a Crack

Dated in Cobalt '1831'

Attributed to the Shenandoah Valley in Virginia

Stands 8 3/4" Tall

Sold for $5,000 in 2014 (Not Including Buyer's Premium)

Photo Courtesy: Wooten & Wooten - Camden, SC

This final group of objects are examples that I own and my parents own. They've all been purchased in the past ten-years. Most notable is an eighteenth-century slip decorated red earthenware bowl with a make-do repair to stabilize a crack, which I found in Maine. I believe this is an eighteenth-century product. I've never been able to identify a true origin; however, related sherds have been recovered in many eighteenth-century contexts, which include Newburyport, Massachusetts, Charlestown, Massachsuetts and the Paul Revere House in Boston, Massachusetts, which happens to have been during Revere's occupancy.

 Note: the snow that is seen is from last February's unforgettable nonstop snow storms.

Make-Do Object Found in Maine

 Late 18th or Early 19th Century Make-Do Red Earthenware Jar with Wooden Lid

This Object was Once a Jug; However, it Broke and the Owner Re-Purposed It Into a Lidded Jar

Likely Made in Essex County, Mass. or Southern NH
Note: Thankfully, That's Last Year's Snow that is Seen

Circa 1780-1820

Stands 5 1/2" Tall with the Lid

Found in 2015 in Fairfield, Maine

 View of the Where the Handle was Removed or Broken

View of the Interior

 19th Century 3-Gallon Stoneware Crock with an Old Wire Repair Used to Stabilize a Crack

Stamped 'W. Roberts, Binghampton, NY'

Circa 1870

Stands 10 3/8" Tall

 18th Century Slip Decorated Red Earthenware Bowl with Sponged Decoration

A Crack Has Been Stabilized with a Staple

Maker Unknown, But Related Sherds Have Been Recovered in Numerous 18th Century Contexts

Circa 1760-1790

Stands 4 1/2" Tall

Measures 11" in Diameter

View of the Stapled Repair Covered with Old Rope

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

A 19th Century Southern Stoneware Mug with what Appears to be a Philadelphia Influence in Form and Decoration

A few weeks ago, I wrote an article about Charles F. Decker, an important nineteenth-and-twentieth-century southern potter (mostly) from Tennessee ; whereas, today I would like to briefly continue that discussion. According to the book, 'The Pottery of Charles F. Decker: A Life Well Made,' "Charles F. Decker, like millions of other immigrants, gave up the land of his birth and came with his family daring to find a better future in the United States. The path he took has left Tennessee with some lasting treasures. He began a lifelong career while still in his teenage years working with a potter in Philadelphia. By the time he was twenty-five he had established his own 'Keystone Pottery' in Philadelphia in 1857. Subsequent moves carried him to Delaware, Virginia, and Tennessee, where he chose to settle along the Nolichucky River in Washington County. 

The types of wares Decker produced come in an amazing variety, from common unglazed drain pipes and paving bricks, through utilitarian jars, pots, bowls, churns, and jugs, to more unusual items such as vases, bottles, banks, horns, chimney tops, funnels, and ultimately highly decorative pieces such as yard ornaments, tombstones, past caps, flower stands, and personalized pieces, Many of these styles, forms, and colors are particularly common to Pennsylvania, which obviously influenced Decker.

Decker created his business to meet the needs of his family, and four of his children joined him in working as potters until Decker's death on March 11, 1914. The pottery grew over the years from a family business to a small industry with up to twenty-five employees. The area of service expanded to cover eastern Tennessee as well as part of Kentucky, Virginia, North and South Carolina and Georgia."

Nonetheless, a late-nineteenth century stoneware mug, which is attributed to Charles F. Decker's production in Chuck Valley, Tennessee will be sold in Crocker Farm's upcoming sale this March in Maryland. The auction house describes it as a "very-rare small-sized stoneware mug with cobalt spot decoration, attributed to Charles F. Decker's Keystone Pottery in Chuck Valley, Tennessee during the circa 1880-1905 period."

What struck me about this object is the form, the spot decoration and the cobalt decoration on the handle; whereas, all of these characteristics are also reminiscent to a red earthenware mug that has been recently handled by two prominent antique dealers.

The beautiful slip decorated red earthenware mug, which I am referencing and shown below is reportedly attributed to Philadelphia in the nineteenth century. The way that this mug was produced forces me to consider the fact that the decoration and the form found with the stoneware mug that Crocker Farm has been consigned is a result of Decker's Philadelphia background.

Charles F. Decker Attributed Stoneware Mug
Keystone Pottery, Chuck Valley, TN

 19th Century Cobalt Decorated Stoneware Mug

Attributed to Charles F. Decker's Keystone Pottery - Chuck Valley, TN
Form and Decoration is Similar to the Red Earthenware Mug Shown Below

Circa 1880-1905

Stands 3 1/4" Tall

Photo Courtesy: Crocker Farm - Sparks, MD

 Another View of the Mug

Photo Courtesy: Crocker Farm - Sparks, MD

 Another View of the Mug

Photo Courtesy: Crocker Farm - Sparks, MD

View of the Handle

Photo Courtesy: Crocker Farm - Sparks, MD

Philadelphia Attributed Red Earthenware Mug

 19th Century Red Earthenware Mug Attributed to Philadelphia, PA
Form and Decoration is Similar to the Stoneware Mug Shown Above

Circa 1800-1860

Stand Approximately 3 1/2" Tall

Photo Courtesy: Samuel Herrup - Sheffield, Mass.

 Another View of the Mug

Photo Courtesy: Samuel Herrup - Sheffield, Mass.

Another View of the Decoration

 Photo Courtesy: Samuel Herrup - Sheffield, Mass.

View of the Handle

Photo Courtesy: Samuel Herrup - Sheffield, Mass.

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

A Wonderful Rare Red Earthenware Bank that Sold in Portsmouth, New Hampshire in 2012

A few years ago, I spontaneously attended an auction assembled by North Hampton, New Hampshire auctioneer, Paul McInnis in Portsmouth, New Hampshire. It happened on the evening of Tuesday December 10, 2012 - and, it was by chance, that I learned about the sale, when I visited Paul McInnis' website the day of the auction.

Paul McInnis is the brother of John McInnis, an Amesbury, Massachusetts auctioneer, who I have frequently written about on this website. They both belong to an even larger multi-generational family closely tied to the antique industry in Massachusetts, New Hampshire and Maine.

There was a specific object that was advertised on Paul McInnis' website that brought me to this auction; however, there was also a spectacular full bodied squirrel (eating an acorn) weathervane made by L.W. Cushing & Sons in Waltham, Massachusetts in the late-nineteenth-century that sold for $55,575 including the buyer's premium. The squirrel reportedly originated from the roof of a barn in central Maine. Undoubtedly, I can envision this weathervane owned by famed folk art and weathervane collector, Jerry Lauren, a New Yorker, who is the executive vice president of men's design at Polo Ralph Lauren. He's also the brother of Ralph Lauren. More recently, Jerry Lauren was the successful bidder, who paid over $400,000 for an example of upstate New York stoneware from the early 1860's, which was decorated with four marching Civil War soldiers.

According to the newspaper 'Antiques and the Arts Weekly,' "A (large) redware bank sold at (Paul) McInnis' auction in the form of a bank building. It was made with two chimney's which served as coin slots. The bank, which was probably made in Pennsylvania, came from a nearby private collection in Rye, New Hampshire."

The reason that I want to show and briefly discuss this slip decorated red earthenware bank today is because it may have some-type of connection to the wonderful red earthenware house that I discovered at a Nan Gurley Antique Show in Portsmouth, New Hampshire a few weeks ago, on New Year's Day. Skill wise, I believe the house is more detailed and better accomplished than the bank; however, it's also the style of the house, that was chosen by the potter, which demanded more attention to detail. The form of the building that was chosen for this bank doesn't appear to have required as much design. None-the-less, this is a beautiful object.

Comparatively, both objects are similar sized. I'm curious to know if there could be a connection. I wish I could say today that I was the winning bidder - unfortunately, I didn't know enough about the bank in 2012 to comfortably bid competitively in the price range that the bank eventually achieved. Undoubtedly, I would try to participate today if a similar object were to appear.

I'm assuming that some people may recognize this object since it made its rounds to a few of the prominent antique shows afterwards. I also presume that it must now reside in a private collection.

Note: I apologize for the photo quality - this is the only photograph of the bank that I have on file.

19th Century Red Earthenware Bank Likely Made in Pennsylvania

Circa 1840-1880

Stands Approximately 7" Tall

Measures Approximately 9" Long

Sold in Portsmouth, NH on December 10, 2012

Photo Courtesy: Paul McInnis - North Hampton, NH

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

A Newly Acquired Red Earthenware Jug that Reminds Me of an Object that Sold at Skinner in Boston in 2006

When I first began seriously studying and trying to acquire red earthenware based on maker - there was a collection that really first inspired me. I guess you could say that this was the first time I saw how a quality hand-selected and carefully chosen private collection truly appeared. This was also years before I ever saw the prominent private collections, that are located throughout New England, which I often reference today.

It was November 4, 2006 (I had only graduated from college two-years prior), I attended a special Saturday auction hosted by Skinner in Boston. They had been consigned a wonderful private collection of eighteenth and nineteenth-century American antiques and folk art.

Normally, Skinner holds their sales on Sundays; however, they made a special consideration for this sale. I remember marveling at some of the red earthenware in the redware portion of that antiques collection. I thought to myself that I'd like to build a collection like that someday. This collection really opened my eyes as to what was potentially out there if I looked hard enough.

Seeing this collection kind of motivated me - I became determined to learn as much as I could, and this is an approach I still take today.

Overall, the consigned red earthenware collection was well-assembled representing potters throughout Massachusetts, New Hampshire, Maine, Connecticut and the Mid-Atlantic states. There was also a few terrific examples of stoneware and a small collection of nineteenth-century sewer tile animal figures. Essentially, all of this material is what opened my eyes to the possibilities what could be available in the field of nineteenth-century utilitarian pottery. Previously, my focus had been redware - and, this collection enforced my interest.

Late 18th or Early 19th Century Stoneware Jug Decorated with an Incised Bird Perched on a Branch

Probably Made by a Member of the Remmey or Crolius Families in New York City

Circa 1790-1820

Stands 14 7/8" Tall

Sold for $42,300 on November 4, 2006

Photo Courtesy: Skinner, Inc. - Boston & Marlborough, Mass.

Early 19th Century 2-Gallon Stoneware Crock Decorated with an Incised Horse

Circa 1790-1820

Stands 11" Tall

Sold for $3,643 on November 4, 2006

Photo Courtesy: Skinner, Inc. - Boston & Marlborough, Mass.

I was the winning bidder on a few red earthenware objects, which I still own today, but there were a couple of examples of red earthenware made in Merrimacport, Massachusetts at the William Pecker Pottery (circa 1790-1820) that I wished I could have owned. There was one jug in particular, which I have never forgotten - it was decorated in Pecker's trademark pumpkin-colored glaze with brush strokes of manganese. It was in remarkable condition with a skilled form that was perfectly made.

Basically, this was the first time that I had ever seen an example of Pecker's work in-hand - you can probably say this was the jug that inspired me to pursue learning more about who William Pecker was, how his production appeared and how that production should be perceived today. To my knowledge, that jug never reappeared; although, I have acquired a number of rare jugs that were made by Pecker since, but I have always wanted to own an example that was similar to the object that sold at Skinner's in 2006. I've seen related glazed examples in storage at the Smithsonian in Washington, D.C. and at Historic New England's storage facility in Haverhill, Massachusetts, but (until recently) I have never seen a comparable example for sale privately, offered at a show or sold to the highest bidder at auction since.

Early 19th Century Red Earthenware Jug Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820

Stands 8 7/8" Tall

Sold at Skinner in Boston in 2006

Photo Courtesy: Skinner, Inc. - Boston & Marlborough, Mass.

A few weeks ago, I was able to acquire a jug made at the William Pecker Pottery that reminded me of the jug that sold in 2006. This new jug is a little more ovoid; however, the glaze, the size, the handle, the neck and the rim are very-similar. Honestly, it reminds me of the jug that sold at Skinner's in 2006. I'm confident that this jug now fills that empty space in my collection. 

Earlier this month, the jug appeared at the Hudson Antique Show in Hudson, Ohio. It wasn't attributed. I believe it is a previously unidentified example. East Waterford, Pennsylvania antiques dealer, Jeff Graybill, who was setup at the show, spotted the jug and he sent me a photograph. Jeff described the jug as being in "pristine condition." Now that the jug is in-hand, I completely agree. It's tough to find an example of early-nineteenth-century red earthenware anywhere near this type of condition today.

Note: The difference in glaze seen in the photo above (Skinner jug) and the photo below (the newly acquired jug) is mostly the result of the choice of background colors and the type of lighting used in the photographs. Although, I believe the new jug is actually probably a little more vibrant in color.

Early 19th Century Red Earthenware Jug Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820
Stands 8 1/8" Tall
Recently Discovered at the Hudson Antique Show in Hudson, OH

Another View of the Jug

View of the Handle

Another View of the Handle and the Rim

View of the Base

For a comparison: I have shown a small nineteenth-century red earthenware pot, in the following photograph, that is decorated in a nearly exact glaze. This pot was also made at the Pecker Pottery during the same circa 1790-1820 period. I purchased this pot from Thomaston, Maine antiques dealer, Ross Leavitt a few years ago. This pot is actually from the important collection of Hilary and Paulette Nolan on Cape Cod in Falmouth, Massachusetts. They sold their decades long private collection in 2004. Their name is an important provenance today when it comes to New England-made red earthenware.

Early 19th Century Red Earthenware Pot Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820
Stands 5 1/8" Tall
Ex-Hilary and Paulette Nolan Collection

Shown below are a number of examples of jugs made at the William Pecker Pottery that are owned by various national museums. I have also shown the various objects from the Pecker Pottery that are currently on display at Old Sturbridge Village in Sturbridge, Massachusetts.

Historic New England

Early 19th Century Red Earthenware Jug Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820
Stands Approximately 9" Tall
Margaret H. Jewell Collection
Photo Courtesy: Historic New England - Haverhill, Mass.

The Smithsonian

Early 19th Century Red Earthenware Jug Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820

 Stands 9 1/4" Tall

Formerly Owned by Mr. Frank Winn, Great-Grandson of William Pecker
Lura Woodside Watkins Collection
Pictured in the Book 'Early New England Potters and Their Wares'
Photo Courtesy: The National Museum of American History - The Smithsonian - Washington, D.C.

Early 19th Century Red Earthenware Jug Made at the William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820

Stands Approximately 13" Tall

Largest William Pecker Jug that I am Aware of Today
Lura Woodside Watkins Collection
Photo Courtesy: The National Museum of American History - The Smithsonian - Washington, D.C

View of the Handle

Photo Courtesy: The National Museum of American History - The Smithsonian - Washington, D.C

Old Sturbridge Village

(Left) William Pecker Pottery Porringer

Circa 1790-1820

Stands Approximately 3" Tall

(Right) Early 19th Century Red Earthenware Jug - William Pecker Pottery in Merrimacport, Mass.

Circa 1790-1820

Stands Approximately 8 1/2" Tall

Photo Courtesy: Old Sturbridge Village - Sturbridge, Mass.

(Left) William Pecker Pottery Pitcher

Circa 1790-1820

Stands Approximately 6" Tall

(Right) William Pecker Pottery Chamber Pot

Circa 1790-1820

Stands Approximately 7" Tall

Photo Courtesy: Old Sturbridge Village - Sturbridge, Mass.

(Left) William Pecker Pottery Pitcher

Circa 1790-1820

Stands Approximately 8" Tall

(Right William Pecker Pottery Flower Pot

Circa 1790-1820

Stands Approximately 4 1/2" Tall

Photo Courtesy: Old Sturbridge Village - Sturbridge, Mass.

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