Beautifully Decorated 19th Century Red Earthenware Jar

This is a real short post today showing this really nice nineteenth century red earthenware jar that I just acquired from Pennsylvania, although, I am not positive whether this piece was manufactured in Pennsylvania, New England or perhaps even Ontario in Canada. The combination of colors is really spectacular having a bright orange background glaze with two colors of slip covering all sides of the jar. Aesthetically, this is a really wonderful piece of early pottery!

Beautifully Decorated 19th Century Red Earthenware Jar

19th Century Red Earthenware Jar Recently Found in Pennsylvania

Manufactured in Either Pennsylvania or New England

Stands 9 1/4" Tall

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Another View of the Jar

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Another View of the Jar

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Another View of the Jar

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Another View of the Jar

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Another View of the Jar

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

My Next Book: South Amesbury's Red Earthenware & Stoneware Production: The 1791-1820 William Pecker Pottery

This post formally announces my next book that will be published by Historic Beverly in Beverly, Massachusetts in 2021, titled South Amesbury's Red Earthenware & Stoneware Production: The 1791-1820 William Pecker Pottery. This new book is the fourth installment and will complete my north of Boston publication series through Historic Beverly. The museum is also considering republishing all four books together on a later date as a collector/book set. The previous publications include:

1) The Beverly Pottery: The Wares of Charles A. Lawrence

2) The Moses B. Paige Company: The Last of the Peabody Potteries

3) Dawn of Independence, the Death of an Industry: The Pottery of Charlestown, Massachusetts

This new book will not only heavily discuss William Pecker's (1758-1820) well-known red earthenware production, but it will also largely focus on his stoneware production, a rather new concept that had been largely overlooked until the 2004 issue of Ceramics in America. Although, there will be a heavy emphasis given to stoneware artifacts recovered in Merrimacport; this type of evidence has not previously been published. The book will also cover eighteenth century production at the Benjamin Bodge (1747-1822) Pottery and the nineteenth century production of the Chase family, both of which operated in South Amesbury/Merrimacport sometime before the American Revolution through the 1880s. There is also mention of the potteries in Newburyport with plenty of photos, along with similar wares made in Peabody, Massachusetts, West Hartford, Connecticut, etc. Overall, this will be my longest book, running over 200 pages. 

Aside from this production, the introduction to the book also analyzes wares made in South Danvers (Peabody), Massachusetts and by the Bayley family in Newburyport, Massachusetts.

South Amesbury's Red Earthenware & Stoneware Production: The 1791-1820 William Pecker Pottery

About the Book: Red earthenware production in South Amesbury (Merrimacport), Massachusetts, dates to the eighteenth century, supplying households in northeastern Massachusetts, southern New Hampshire and probably other spots in New England, with everyday utilitarian wares. This multi-generational family business lasted for more than 100 years, making it one of the longest standing potteries in New England. The most famous of those employed in South Amesbury was William Pecker, who operated a pottery during the circa 1791-1820 period. Although, it is not widely known that Pecker was one of New England's earliest potters to produce red earthenware and stoneware, perhaps only the second business to accomplish this feat in New England behind the Parker Pottery in Charlestown, Massachusetts in the 1740s. This book is the first of its kind to explore South Amesbury's pottery production, the aesthetic appeal of these wars, archaeology and closely examine the stoneware manufactured by William Pecker.

Late 18th and/or 19th Century Red Earthenware Jugs

Manufactured in South Amesbury (Merrimacport), Mass.

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Early 19th Century Stoneware Sherd

Recovered at the Site of the William Pecker Pottery in South Amesbury (Merrimacport), Mass.

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

19th Century Southern Alkaline Glazed Stoneware Jar Inscribed With The Initials "JH"

I have owned this nineteenth century southern alkaline glazed stoneware jar with its original lid for more than a decade now; I have previously posted about it, but I have yet to determine its exact origin. I know its southern, and I suspect it was made somewhere along the lines of South Carolina or further south. Although, the glaze and clay color seem to be more in line with what was produced in South Carolina and Alabama than anywhere else, but then again, I am not positive of that either.

Nevertheless, this piece is special because it bear's the initials of either the owner that it was originally manufactured for or perhaps even the potter. Both the jar and lid are inscribed with the initials "JH."

I purchased the jar from a longtime family trust collection in New Hampshire in 2009; the collection dates back to at least the 1940s. There were a number of pieces of pottery owned by the family, but the majority of it was red earthenware and manufactured anywhere from Pennsylvania further north into New England. Any opinions or thoughts on this piece are more than welcome!

Note: The jar also retains an old repair to a piece of the rim that is missing; I do not necessarily like the repair and think the jar would like look better without it, but I have decided to keep the repair seeing that it is quite old and helps tell the story of this piece's history of ownership.

19th Century Southern Alkaline Glazed Stoneware Jar Inscribed With The Initials "JH"

19th Century Southern Alkaline Glazed Stoneware Jar

The Lid And The Jar Are Inscribed With The Initials "JH"

Southern Origin Yet To Be Determined

Probably Circa 1840-1880

Stands 10 1/4" Tall

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View of the Back of the Jar

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View of the Initials "JH" On The Jar And The Lid

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View Of The Base

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

Wonderful 19th Century Stoneware Pitcher with Tin Make-Do Repairs

Over the weekend, I found this wonderful nineteenth century stoneware pitcher that I believe is from Baltimore with an incredible tin make-do repaired spout and handle. I have always had the mindset that the rare and most unusual are the best objects to seek out - and I have never really seen a stoneware pitcher quite like this before. I was told that it was previously acquired from an antiques dealer in Vermont.

Wonderful 19th Century Stoneware Pitcher with Tin Make-Do Repairs

19th Century Stoneware Pitcher that I Believe is from Baltimore

Wonderful Tin Make-Do Repaired Spout and Handle

Stands 10 7/8" Tall

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Another View of the Pitcher

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View of the Tin Make-Do Spout

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View of the Tin Make-Do Handle

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

An Early 19th Century Connecticut Slip Decorated Red Earthenware Jar

This is an early nineteenth century red earthenware jar owned by Long Island collector and researcher Chris Pickerell, which I believe was manufactured in Connecticut, probably at one of the potteries owned by the Goodwin or Seymour families in West Hartford. Although, what really strikes me about this jar is the use of slip on four sides, where one of the styles shown in the first photo closely resembles some slip decorated plates manufactured in places like Norwalk, Connecticut in the 1800s. Interestingly, these type of plates have also been recovered from nineteenth century contexts in New York City that predate 1840. 

The form of this jar is also a style manufactured in the Hartford and Goshen, Connecticut area; it is manufactured with broad shoulders and then tapers down to a narrower base. I have previously written about similar jars, one from my private collection, as well as a jar owned privately in Rhode Island, along with others that were made at the Hervey Brooks (1779-1873) Pottery in Goshen. 

An Early 19th Century Connecticut Slip Decorated Red Earthenware Jar

Early 19th Century Slip Decorated Red Earthenware Jar

Probably Manufactured in West Hartford, CT

This Style of Slip is Found on Plates Manufactured in Places Like Norwalk, CT

These Type of Plates Have Also Been Recovered in New York City

Stands 9" Tall

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Photo Courtesy: Chris Pickerell

Another View of the Jar

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Photo Courtesy: Chris Pickerell

Another View of the Jar

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Photo Courtesy: Chris Pickerell

Another View of the Jar

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Photo Courtesy: Chris Pickerell

View of the Base

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Photo Courtesy: Chris Pickerell

View of the Interior

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Photo Courtesy: Chris Pickerell

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

An Outstanding Red Earthenware Frame with a Reported Provenance in Moose Jaw, Saskatchewan, Canada

This is an outstanding late nineteenth or early twentieth century painted frame made out of red earthenware, which recently sold in the William and Barbara Leask Collection at Pridham's Auction in Ottawa, Ontario, Canada. Although, the maker has not been positively identified, this is believed to have been possibly manufactured in Canada, and ideally just an excellent example of folk art. 

The frame came accompanied with a later note reading, "Anna Wuntz Moose Jaw Sask." Moose Jaw is a city in southern Saskatchewan, and there is some speculation whether Anna Wuntz may actually be Anna Wurtz, a Dutch name known in Saskatchewan. Moose Jaw is the fourth largest city in Saskatchewan and it was found in 1882 when the Canada Pacific Railway chose the site for the town.

Interestingly, of all of the American and Canadian red earthenware frames that I have seen through the years in museum and private collections, this is certainly the one that intrigues me the most. The frame is decorated with three types of flowers, two doves and joined hands at the bottom.

Red Earthenware Frame with a Reported Provenance in Moose Jaw, Saskatchewan, Canada

Late 19th or Early 20th Century Painted Red Earthenware Frame

Measures About 12" Tall and 10" Across

Decorated With Three Types of Flowers, Two Doves and Joined Hands

Retains an Old Note Reading, "Anna Wuntz Moose Jaw Sask."

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Photo Courtesy: Ed Haldorson

View of the Doves

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Photo Courtesy: Ed Haldorson

View of the Joined Hands

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Photo Courtesy: Ed Haldorson

View of One of the Flowers

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Photo Courtesy: Ed Haldorson

Another View of the Frame

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Photo Courtesy: Ed Haldorson

Partial View of the Red Clay

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Photo Courtesy: Ed Haldorson

View of the Back of the Frame

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Photo Courtesy: Ed Haldorson

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

A Red Earthenware Shaving Mug in the Collection of the New Bedford Whaling Museum in Massachusetts

The rarity of certain forms from specific makers and industries (or locations) is certainly an appealing concept to collectors and museums today. And even though this piece does show signs of obvious use and wear through this years, this definitely fits into the category of rarity and maker.

This is an eighteenth or early nineteenth century red earthenware shaving mug, which I have always felt was a rare survivor, seeing that I have not seen many red earthenware mugs from southeastern Massachusetts, probably Bristol County. The only other example that I can recall seeing through the years is a similar object in the collection of Old Sturbridge Village in Sturbridge, Massachusetts. Although, this particular piece is owned by the New Bedford Whaling Museum in New Bedford, Massachusetts. The piece does not retain much information about its maker or history of ownership, but it was acquired by the museum in 1944.

Red Earthenware Shaving Mug

18th or Early 19th Century Red Earthenware Shaving Mug

Attributed to Southeastern Mass., Probably Bristol County

Stands 4 5/8" Tall

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Photo Courtesy: New Bedford Whaling Museum

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

A Great 19th Century Multi-Colored Red Earthenware Jug Attributed to Maine

At this point, there are no surprises with Crocker Farm's ongoing fall 2020 auction in Sparks, Maryland, although, this large nineteenth century Maine red earthenware jug is of particular interest, seeing that it may be related to a research story I wrote that was published in the November 2019 issue of Maine Antique Digest. The high bid for this jug is currently $4,500 plus the auction premium. 

The obvious characteristic about this piece that really stands out is the intentional multi-colored glaze, which changes depending on what side of the jug is viewed. I noted in that research story, titled, "The North Yarmouth, Maine Pottery Industry, 1791-1890" that this type of glaze is found in archaeology recovered in North Yarmouth, Maine, as well as at least one surviving jar, decorated in a very similar glaze that is published in the story. 

19th Century Multi-Colored Red Earthenware Jug Attributed to Maine

19th Century Maine Red Earthenware Jug

Possibly Made in North Yarmouth, Maine

Stands 11 1/4" Tall

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

Another View of the Jug

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

Another View of the Jug

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

View of the Handle

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

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

Early Dated Example of Dave Drake's Stoneware from Edgefield, South Carolina Sells for Over $300K

By now, the success of this nineteenth century alkaline glazed stoneware jar attributed to the African-American enslaved potter Dave Drake (b. ca. 1800 d. ca. after 1873) in Edgefield, South Carolina is no surprise, seeing it eclipsed all southern pottery records over the weekend at Brunk Auctions in Asheville, North Carolina, selling for an amazing $369,000 including the auction premium. Undoubtedly, the stoneware made by Dave is currently the most sought after American utilitarian wares by both collectors and museums today. 

Aside from the aesthetic appeal of this object, it was the early date of manufacture that was so desirable - dated "12 April 1836," as well as inscribed "Catination."

According to an article written by Arthur Goldberg and Jim Witkowski published in the 2006 edition of Ceramics in America, titled, "Beneath His Magic Touch: The Dated Vessels of the African-American Slave Potter Dave, "This is the eighth earliest known dated work from Dave and the fourth earliest known to hold a dated inscription." It is believed to be a companion work of the earliest known scripted piece dated "June 12 1834," inscribed with the phrase "Concatination."

Interestingly, it was earlier this year that Crocker Farm in Sparks, Maryland set the previous auction record for a piece of southern pottery and Dave's work when an eight gallon jar sold for $216,000 including the auction premium. That jar was inscribed "Lm / Decr. 17 1857 / Dave."

Although, I can only image what the monumental stoneware jar made by Dave currently displayed in the Americana Wing at the Metropolitan Museum of Art in New York City would sell for in today's marketplace. That jar is inscribed "this jar is to Mr Segler who keeps the bar in orangeburg / for Mr Edwards a Gentle man / who formerly kept / Mr thos bacons horses / April 21 1858 / when you fill this jar with pork or beef / Scot will be there; to get a piece, / Dave."

Other outstanding examples of Dave's work can be found in the Museum of Fine Arts, Boston, the National Museum of American History at the Smithsonian Institute in Washington, D.C., the Art Museums at Colonial Williamsburg in Virginia, the William and Susan Mariner Southern Ceramics Gallery at the Museum of Early Southern Decorative Arts in Winston-Salem, North Carolina, among other museums, as well.

About Dave Drake

The history of Dave Drake is compelling: he was born into slavery in 1800 in the Edgefield District in South Carolina; although, he is thought to have been born to the plantation owner, Harry Drake, a religious man, who may have taught some of his slaves to read and write to help with their religious studies. There is also some evidence that suggests Dave may have lost a leg in an accident in his younger years, but I do not have evidence to prove this other than reading about it. 

Dave reportedly learned the potter's trade at a young age from white men of European descent employed where he lived as a slave in South Carolina. His original poems were usually related to the vessel's use, religion or a family member. Examples of Dave's unsigned work are sometimes attributed to him today by either the "Lm" mark or two incised slashes sometimes placed carefully unobtrusively on the pot

I would describe Dave as a master potter, who occasionally threw huge vessels, which were intended to hold gallons of material not regularly found in this size from potters who worked elsewhere in America in the nineteenth century. The skill and raw strength it took to throw some of these forms is remarkable; whereas, Dave can even be considered today as the kind of person who's life manifested into folk lore and legend. 

In a historical context, Dave was an educated enslaved potter, who could read and write, but he was also an artist and a poet in a tumultuous period laying witness to America's Civil War among other historical events. Nevertheless, I can only imagine that some of Dave's work must have been destroyed during the war. 

Early Dated Example of Dave Drake's Stoneware from Edgefield, South Carolina 

19th Century Alkaline Glazed Stoneware Jar Attributed to Dave Drake in Edgefield, SC

Dated "12 April 1836" as well as Inscribed "Catination"

Just Sold for $369,000 Including the Buyer's Premium at Brunk Auctions in NC

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Photo Courtesy: Brunk Auctions

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

A 19th Century Stoneware Spaniel Made in Limestone County, Texas

This is a nineteenth century stoneware figure of a spaniel that I have always admired made by John Lewis Stone (1850-1927) in Limestone County, Texas. Stone was born in Kentucky, and before he arrived in Texas, he was a Midwestern trained potter. Stone wrote a letter published in the May 1923 issue of Brick and Clay Record that provided a brief, but detailed account of his training. He wrote that in 1860 he worked for the Kirkpatrick Brothers in Anna, Illinois, when he was only ten years old. He later apprenticed in the late 1860s in Mound City, Illinois. And by 1870, he had moved to Texas, where he managed William Knox's pottery in Oletha; he also worked for the pottery's subsequent owner John Fowler until 1875. Later on he worked for the Kosse Brick and Tile Company/Kosse Pottery and Brick Works in Limestone County.

The Kirkpatrick influence in Stone's Texas production is obvious today by some figural temperance snake jugs that exist, including one that is in the collection of  The Museum of Fine Arts, Houston. Although, this circa 1870-1880 spaniel is also in the museum's collection; the front is marked with Stone's initials "J.L.S." It may have been originally manufactured with the intent to be used as a doorstop. The spaniel is molded with some of the features created with hand incising. This type of figural production from Texas is considered extremely rare today.

19th Century Stoneware Spaniel Made in Limestone County, Texas

19th Century Stoneware Figural Spaniel Marked "J.L.S."

Made by John Lewis Stone (1850-11927) in Limestone County, Texas

Circa 1870-1880

Stands 11" Tall

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Photo Courtesy: The Museum of Fine Arts, Houston

View of the Spaniel's Face

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Photo Courtesy: The Museum of Fine Arts, Houston

View of the Initials "J.L.S."

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Photo Courtesy: The Museum of Fine Arts, Houston

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

A Late Nineteenth Century Earthenware Face Jug Created with a Wonderful Folk Expression

I have been intrigued with this late nineteenth century earthenware face jug for a few years now; I was first introduced to it when it was owned by Brooklyn, New York antiques dealer Steven Powers. The jug is attributed to Ontario about 1880, and more recently sold through Crocker Farm in Sparks, Maryland in the Spring of 2020. The Zipps described it as, "a glaze treatment that is among the more sophisticated that we have seen in North American earthenware, reminiscent of a style employed by Pennsylvania master potter, John Bell (1800-1880). The object's applied face creates an important work of folk expression, which transcends the ceramic medium. The jug is among the most brilliantly-glazed North American face vessels that we are aware of."

Interestingly, this face jug was previously owned by Ron Korman, Robert Girouard and Peter Brams. I asked Ron Korman of Muleskinner Antiques in Williamsville, New York a few days ago where he found it, but he could not remember. My guess is that it was found in the western New York and Ontario area. 

Among the reasons this piece is believed to have been made in Ontario is the distinct color of the white earthenware clay, a type of clay rarely found with utilitarian production in America, outside of factory made wares in places like Bennington, Vermont, Boston, New Jersey, the Midwest and other locations. This is a type of clay that was used much more prominently by utilitarian potters in Canada. 

I have also included pictures of a second earthenware face jug also thought to have been manufactured in Ontario in the late 1800s. The style of the glaze found on the top half of this jug is the same color as that used on the piece of discussion. However, this piece reveals a bearded white man, perhaps representing an historical or political figure.

Unfortunately, I am unable at this time to provide more information about where exactly these pieces were made and whether or not it was a potter who was trained and later relocated from the Pennsylvania or the Shenandoah Valley area. Nonetheless, I think these are rather important pieces of nineteenth century North American folk pottery.

Late 19th Century Earthenware Face Jugs

Late 19th Century Earthenware Face Jug

Reportedly Attributed to Ontario

Circa 1880

Stands 9 1/4" Tall

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

View of the Broken Handle and the White Earthenware Clay

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

View of the White Earthenware Clay

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Photo Courtesy: Justin Enger

View of the Spout

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Photo Courtesy: Justin Enger

View of the Base

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Photo Courtesy: Justin Enger

Late 19th Century Earthenware Face Jug

Reportedly Attributed to Ontario

Circa 1880

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Photo Courtesy: Justin Enger

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

A Red Earthenware Plate Modeled After an English White Salt Glazed Form Found in an Old Massachusetts Estate About 30 Years Ago

Over the weekend, I posted pictures of this fascinating eighteenth century red earthenware plate to my Instagram account; the plate is adorned in a pinkish glaze, while the exterior edge is carefully decorated with slip. The plate was a part of a collection of early ceramics that was just acquired by the circa 1716 Warner House Museum in Portsmouth, New Hampshire, although, this particular piece in now in the private collection of Portsmouth antiques dealer Hollis Brodrick.

However, what makes this piece so interesting is the fact that it is modeled after eighteenth century English white salt glazed stoneware plates that were shipped all over the world, including the American colonies before the American Revolution. I can only speak for myself when I say that I have never seen anything like this particular plate before. 

A nearly identical English stoneware example was recovered from a mid-eighteenth century archaeological context at the site of the Three Cranes Tavern in Charlestown, Massachusetts (see below). Perhaps some research will reveal who was copying these stoneware plates with red earthenware seeing that the refinement and color of this object is remarkable.

The complete history of this red earthenware plate is currently unknown, but it was discovered about thirty years ago inside an old Massachusetts estate.

Interestingly, a potter by the name of Paul Flanders manufactured a set of ten Rococo-style shaped English salt glazed stoneware plates made of red earthenware at the Clark Pottery in Concord, New Hampshire in 1843. There are also some examples that are unglazed that are believed to be related to this production, as well. Some of these plates are now owned by Historic New England in the Nina Fletcher Little Collection at Cogswell Grant in Essex, Massachusetts. But I do not believe there is any relationship between that production and this incredible plate; although, I thought it was noteworthy to mention that this type of production was also copied by American potters.

A Red Earthenware Plate Modeled After an English Salt Glazed Form

My Niece Alexis Holding the Red Earthenware Plate

The Plate is Modeled After an English White Salt Glazed Example

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18th Century Red Earthenware Plate Modeled After an English Salt Glazed Example

Discovered About Thirty Years Ago Inside an Old Massachusetts Estate

See Below for an English White Salt Glazed Example Recovered in Charlestown, Mass.

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View of the Exposed Red Earthenware Clay

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View of the Back of the Plate

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(Left) 18th Century English White Salt Glazed Stoneware Plate

Recovered from a Mid-18th Century Context in Charlestown, Mass.

The Plate Above is Modeled After this Type of Production

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Photo Courtesy: City of Boston Archaeology Program

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