A Rare 19th Century Red Earthenware Hound-Handle Pitcher Made by Nathaniel Sellers in Pennsylvania

In my most recent two-page feature story that was published on pages 42-43 in the April 19, 2024 issue of Antiques And the Arts Weekly, titled, Religious Red Earthenware Tobacco Jars Manufactured In The Mid-Atlantic Region & Waterloo, Ontario, Canada, I discussed the history of an important eighteenth century red earthenware jar from the Mid-Atlantic region that is owned privately in New York City. However, this is not the only red earthenware or stoneware object in this collection, whereas among the other objects is this incredibly rare hound-handle red earthenware pitcher that is impressed on the base "Nathaniel Sellers / Upper Hanover / Pa," dating from circa 1840s-1850s period.

In fact, I just wrapped up a feature story for print publication about the history of this object last week. The pitcher was made by Nathaniel Sellers (1808-1867) in Pennsylvania, and it is basically the only object known that can be associated with his production today. Sellers was a postmaster, a farmer and a potter, whereas he worked as a potter in both Upper Hanover in Montgomery County and in Reading in Berks County, Pennsylvania. Nevertheless, be on the lookout for this story sometime in the near future!

19th Century Red Earthenware Hound-Handle Pitcher from PA

19th Century Red Earthenware Hound-Handle Pitcher with Other Designs

Made by Nathaniel Sellers in Pennsylvania

Impressed on the Base "Nathaniel Sellers / Upper Hanover / Pa."

Circa 1840s-1850s

See Article for More Information

Photo Courtesy: Private Collection

Another View of the Pitcher

See Article for More Information

Photo Courtesy: Private Collection

A View of the Base

The Base is Impressed "Nathaniel Sellers / Upper Hanover / Pa."

See Article for More Information

Photo Courtesy: Private Collection

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

A 19th Century Parian Ware Pitcher that Perhaps Retains a History of Ownership with the East Boston Crockery Manufactory and the Boston Area

While out and about last week in the Boston area, I came across this example of an ancient decorated nineteenth century Parian ware pitcher, a type of biscuit porcelain that imitates marble. It was developed in the nineteenth century by the Stafforshire pottery manufacturer Mintons, and named after Paros, the Greek island renowned for its fine-textured, white Parian marble, used since antiquity for sculpture. But Parian ware was also manufactured in Bennington, Vermont in the 1800s, where a large selection of this type of American pottery is displayed in the storage section of the Americana Wing at the Metropolitan Museum of Art in New York City, along with the Bennington Museum in Vermont.

However, the reason this object caught my attention was because it must have retained some type of history of ownership in the Boston area for it to show up in a Salvation Army thrift store in Saugus, Massachusetts; pretty much everything that ends up in this store is removed from local homes. 

Nonetheless, published in the Boston City Directory from 1854/55, William F. Homer, a Boston merchant advertised the Boston Earthen Ware Manufacturing Company, as he called it, with a picture of the works, saying that wares made at this Factory are for sale by Wm. F. Homer & Co. / Samples at Office, 15 & 17 Union Street / Boston, where Orders are received, or at the Works on Condor Street, East Boston / Frederick Mear Agent.

But in June of 1857, the name changed to the East Boston Crockery Manufactory, where a large amount of the product line that was sold was imported stoneware, Parian ware, Granite Ware, Ironstone and China. Furthermore, there were certainly other merchants in the Boston area that must have imported English Parian ware, although this business also had ties to the industry in Bennington. However, in 1876, this company was sold, the name changed and it became known as the New England Pottery Company.

For more information about the New England Pottery Company, see a feature story that I wrote published on pages 48-49 in the October 14, 2022 issue of Antiques & The Arts Weekly, titled, The New England Pottery Company Of East Boston, Mass.: http://www.earlyamericanceramics.com/2022/10/new-published-story-new-england-pottery.html.

Also, see a story I recently posted to this website about a New England Pottery Company pitcher that I found earlier this month in this same thrift store: http://www.earlyamericanceramics.com/2024/04/a-good-late-19th-century-pitcher-from.html.

A 19th Century Parian Ware Pitcher from Vermont or England

19th Century Parian Ware Pitcher Made in Bennington, Vermont or England

Possibly Originally Sold Through the East Boston Crockery Manufactory

Possibly Circa 1850s-1870

See Article for More Information

Photo Courtesy: Salvation Army

Another View of the Pitcher

See Article for More Information

Photo Courtesy: Salvation Army

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

A Late 19th Century Painted Red Earthenware Vase Made at the John A. Kennedy Pottery in Brantford, Ontario

There was a variety of factory painted red earthenware produced throughout the American Northeast in the latter part of the nineteenth century, where the company's employed artists or skilled workers to paint the objects after they were fired in the kiln. For example, I wrote a feature story about this type of production in Philadelphia for the February 23, 2024 issue of Antiques & Auction News, titled, A Study Of 19th-Century Painted Terracotta Wall Plates Marked "Coulter & Long, Philadelphia.": http://www.earlyamericanceramics.com/2024/02/new-published-feature-story-in-antiques.html. But this type of production happened throughout Pennsylvania, New York, Connecticut, Massachusetts and New Hampshire, among likely other locations, as well. 

And among those other places was a business owned by John A. Kennedy during the circa 1889-1895 period in Brantford, Ontario, Canada. Kennedy was a previous employee and then businesses owner in Brantford, as early as 1871. But in 1889, he opened the J.A. Kennedy Pottery at 159 Darling Street, located near the Brantford Stoneware Works. Kennedy owned the business until about 1895; it was then taken over by a different owner, although the name of the company remained the same until about 1897.

According to information written by Robert L. Deboer and published in the autumn 2002 issue of the Brant, Ontario Historical Society's Newsletter, "Known wares produced at the Kennedy Pottery were red earthenware, usually unglazed with floral designs painted thereon. The production included miniature banks and jugs, signed and unsigned; miniature pieces with floral designs and bearing "Souvenir of Brantford" or other southwestern Ontario communities; larger pieces, hand painted with floral designs or scenes applied thereto and imprinted with Kennedy's signature on the bottom; and brown Staffordshire dogs bearing Kennedy's signature."

Furthermore, according to the research of Ontario collector Paul Slater, "Kennedy also produced painted red earthenware chargers (very similar to what I wrote about from Philadelphia for Antiques & Auction News). Overall, though, there are about ten marked pieces known from the Kennedy Pottery, and the bulk of the production was unmarked. The stamped mark reads, "J.A. KENNEDY / Brantford, Ont."

These objects were bisque fired (the first step of the kiln drying process, rather than the traditional two) and never glazed, however we know that Kennedy hired women to paint various decorations on a variety of the pottery's work ranging from simple flowers to very elaborate scenes (I also speculated that the Philadelphia business employed women artists).

But we only know a portion of John Kennedy's life story. He first appeared in the 1871 census living in Brantford with his widowed mother and two older siblings. John, only sixteen at the time, was working as a potter in the Brantford stoneware factory (under Welding & Belding's ownership). He was overlooked in the 1881 census, but appeared again in 1891 - aged 36, single, and working at his own pottery just a short distance from the stoneware factory."

Painted Red Earthenware Vase Made at the J.A. Kennedy Pottery in Ontario

Late 19th Century Painted Red Earthenware Vase

Made at the John A. Kennedy Pottery in Brantford, Ontario

The Painted Decoration is Original to Factory Production

Circa 1889-1895

Stamped on the Base "J.A. KENNEDY / Brantford, Ont"

See Article for More Information

Photo Courtesy: Paul Slater

A View of the Stamped Base "J.A. KENNEDY / Brantford, Ont"

See Article for More Information

Photo Courtesy: Paul Slater

An Advertisement from the John A. Kennedy Pottery

See Article for More Information

Photo Courtesy: Paul Slater

Late 19th Century Painted Red Earthenware Vase

Made at the John A. Kennedy Pottery in Brantford, Ontario

The Painted Decoration is Original to Factory Production

Circa 1889-1895

Stamped on the Base "J.A. KENNEDY / Brantford, Ont"

See Article for More Information

Photo Courtesy: Paul Slater

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

A Late 19th Century Painted Red Earthenware Vase Recently Found in a Thrift Store in Syracuse, New York

This is another recent thrift store find! This good late nineteenth century hand-thrown red earthenware vase was recently discovered in a thrift store in Syracuse, New York, although the form appears to match a style of vase that was produced at the Goodwin Brothers Pottery in West Hartford, Connecticut. This company also shipped its production to various places in the United States via the railroad. 

Although, the company also operated out of a salesroom in New York City during this period, which was likely used as a location to sell wares to destinations outside of New England (along with the New York City market). Furthermore, though, this vase is also painted, which I believe is original to factory production; the company is known to have employed some type of artist or artists to paint specific wares, such as a variety of painted objects owned by the Noah Webster House & the West Hartford Historical Society.

Interestingly, the flowers on this vase appear to be dogwood tree flowers, a style often found on Japanese ceramics during this same period. By the 1870s, collecting Japanese ceramics was a central element known as Japonisme that was underway in Europe and the United States. Some American collectors went to Japan to shop, while some Japanese dealers opened galleries in major cities on both the East and West coasts, including New York City. The inspiration on this vase may be a result of this movement, seeing that it dates from the 1870s-1880s period, whereas even the cupped base seems to be mimicking Asian ceramics.

The form of this vase, as well as the cupped and inverted base is also represented on an illustrated price list published by the Goodwin Bros. from the late 1800s, which is owned today by the Noah Webster House & the West Hartford Historical Society.

For more information about this type of painted production at the Goodwin Brothers Pottery in West Hartford, see my sixth book, titled, A City on the River: The Early Red Earthenware of the Hartford, Connecticut Area, available here: https://historicbeverly.net/product/a-city-on-the-river-the-early-red-earthenware-of-the-hartford-connecticut-area/.

A Late 19th Century Painted Red Earthenware Vase

Late 19th Century Hand-Thrown Painted Red Earthenware Vase

Recently Found in a Thrift Store in Syracuse, New York

The Paint is Likely Original to Factory Production

Probably Made at the Goodwin Bros. Pottery in West Hartford, Connecticut

Likely 1870s-1880s

Stands 8 3/8" Tall

See Article for More Information

Additional Views of the Vase

The Form is Inspired After Asian Design

See Article for More Information

Price List from the Goodwin Bros. Pottery in West Hartford, CT

(Arrow) This Appears to be the Same Form as Discussed

Some of these Objects Would Have Been Painted at the Factory

Courtesy: Noah Webster House & the West Hartford, Connecticut Historical Society

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

Before & After Pictures of a 19th Century Painted Bisque Fired Red Earthenware Vase from Chelsea, Massachusetts

Last week, I wrote about two subjects that are part of this post today - the first being the Robertson family's pottery production in California, and the second discussed after production painted red earthenware and stoneware. I wrote in the second story, "Furthermore, a lot of later painted pottery is stripped today to see if there is any hidden decoration beneath the paint; I am often reluctant to do this because the paint is also part of the object’s history, such as the paint on this jug. In fact, it could even be argued that the paint on this jug is more important than the jug itself from an American historical context.

However, there are always cases where the object should absolutely be stripped, although there are other times when the artwork is just as important as the object. It is really a scenario that should be considered on a case-by-case basis."

Nevertheless, this is a type of painted object that should absolutely have the paint removed, whereas I purchased this vase a few years back in a group lot at an estate auction in southern Maine. It is unclear to me why the bisque fired red earthenware vase was painted green, although I do know that the vase was made by the Robertson family in Chelsea, Massachusetts, a precursor to most of the family moving to California in the 1890s.

The Robertson family immigrated from Scotland to America (by way of England) in 1853. They arrived  in New Jersey, although by 1866, a family-run business had opened in Chelsea that produced red earthenware flowerpots and vases - some of which were painted green (but not the green on this vase). The flowerpots were not of a generic nature, but were intended for specific flowers like hyacinths and crocuses. 

However, a decade later, the product focus changed - and the business became known as Chelsea Keramic Art Works; According to Massachusetts author Lura Woodside Watkins' (1897-1982) book, Early New England Potters and Their Wares, "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."

This is an unmarked example of the bisque fired pottery made during this period, which is displayed at various museums today, including the Museum of Fine Arts, Boston and the Metropolitan Museum of Art in Manhattan. Shown below are the before and after pictures.

BEFORE

19th Century Bisque Fired Red Earthenware Ancient Style Vase

Unmarked Although Made at the Chelsea Keramic Art Works in Chelsea, Mass.

The Green Paint is Later is Irrelevant to this Object or its History

Circa 1870s

Stands 5 7/8" Tall

See Article for More Information

A View of the Base

See Article for More Information

AFTER

This is how the Vase Appears After the Paint was Mostly Removed

See Article for More Information

Another View of the Base

See Article for More Information

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

A Very Good Slip-Decorated Lidded Red Earthenware Bowl in the Collection of the Bidwell House Museum in Monterey, Massachusetts

In preparation for an upcoming event at the Bidwell House Museum in the Berkshires in Monterey, Massachusetts that I will be speaking at on June 1st, I visited the museum yesterday to take a look at their American red earthenware collection. I was also there to look at a few pieces that will be included in my forthcoming two-volume 1,000 plus page book, titled, America's Great Awakening and Migration: The Red Earthenware of Western New York.

I last visited this museum about ten years ago with Sheffield, Massachusetts antiques dealer Sam Herrup, and back then the museum was under different management. But there was always one object that remained in the back of my head, an eighteenth or early nineteenth century double-handled two color slip-decorated red earthenware bowl with likely its original lid. Past information that accompanied the bowl had suggested that it was perhaps Moravian in origin, however after a recent study trip last June to the Rochester Museum & Science Center in Rochester, New York, I do not necessarily agree with this information. 

In the collection of the Rochester Museum is a matching glazed and slip-decorated small red earthenware sugar bowl and creamer, probably from the early part of the 1800s, which are undoubtedly from the same manufacturer. They were both acquired by the museum about forty years ago from archaeologist and museum specialist George R. Hamell. They were also found together in an early context of ownership in the Cooperstown, New York area, and that is also where they were possibly made. It is not a widely known subject today, although there was red earthenware production in Cooperstown in the late 1700s, as well as in nearby Hartwick, New York in the 1800s.

A potter named Joshua Starr (1757-1838) produced some red earthenware in Cooperstown in the 1790s and possibly into the 1800s, where he was likely a trained potter who had relocated from Connecticut; Samuel Bissell (1755-1832) on the other hand had relocated from Rhode Island to Hartwick about 1790, and he established a pottery there sometime before 1810, possibly operating until around 1830. There is little documentation about the wares that may have been made at either of these businesses, although the creamer and sugar bowl found in the collection of the Rochester Museum do remind me of this much larger lidded bowl owned by the Bidwell House Museum. 

Furthermore, I did not photograph it, but the interior of this bowl is a bright orange color with mottled lighter orange colored spots. It is not the same colored glaze as the exterior typically found with a lot of wares made in America during this period. However, this is a style found with some early potters in places like coastal Massachusetts and parts of New Hampshire in the eighteenth and nineteenth century.

Note: The base of this bowl is also quite refined along the edge, which suggests that this object took more time to produce or at least more effort by the potter than some of the simpler forms. It is also noteworthy to mention that this type of base is found with some production from Seth Goodwin (1772-1828) in West Hartford, Connecticut in the 1790s and early 1800s, including some objects owned by the Wadsworth Atheneum Museum of Art in Hartford. These objects made by Goodwin are also published in my sixth book, titled, A City on the River: The Early Red Earthenware of the Hartford, Connecticut Area, available here: https://historicbeverly.net/product/a-city-on-the-river-the-early-red-earthenware-of-the-hartford-connecticut-area/.

A Very Good Slip-Decorated Lidded Red Earthenware Bowl

Large 18th or Early 19th Century Double-Handled Red Earthenware Lidded Bowl

Decorated with Two Colors of Slip-Decoration

Possibly Made in New England or New York

Similar Wares were Also Made in the Mid-Atlantic Region

See Article for More Information

Photo Courtesy: Bidwell House Museum

A View of One of the Handles

See Article for More Information

Photo Courtesy: Bidwell House Museum

A View of the Lid

See Article for More Information

Photo Courtesy: Bidwell House Museum

A View of the Base

See Article for More Information

Photo Courtesy: Bidwell House Museum

Another View of the Base

See Article for More Information

Photo Courtesy: Bidwell House Museum

Another View of the Bowl

See Article for More Information

Photo Courtesy: Bidwell House Museum

Another View of One of the Handles

See Article for More Information

Photo Courtesy: Bidwell House Museum

Another View of the Lid

See Article for More Information

Photo Courtesy: Bidwell House Museum

A View of the Interior of the Lid

See Article for More Information

Photo Courtesy: Bidwell House Museum

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

A Painted Stoneware Jug Found this Week in a Thrift Store Near Boston Along with a Jug Painted by Clementine Hunter Owned by the Smithsonian Institute

This is a thrift store find from earlier this week near Boston in Saugus, Massachusetts! I will probably give this small stoneware jug to my mom for Mother’s Day, seeing that she is a big gardener; the jug was made somewhere in the northeast in the 1800s, perhaps New York or Massachusetts, although it is painted with a group of Iris’; it is also decorated in different shades of green, while the handle and the rim of the jug were painted gold. I suspect the decoration dates from the 1920s to the 1930s after the Iris took the American gardening scene by storm in the spring of 1920. The jug also retains some type of history of ownership in the Boston area, and it may have been painted locally, as well.

According to the American Iris Society and an article published in the June 1921 issue of The Garden Magazine, which was later reprinted by the Historic Iris Preservation Society, "Suddenly, in the spring of 1920 the world awoke to the fact that the Iris was the coming American garden flower. Amateurs everywhere were inquiring about Iris varieties, where to buy them, how to plant them; communities were planting public Iris gardens; and Iris shows were being held."

Furthermore, a lot of later painted pottery is stripped today to see if there is any hidden decoration beneath the paint; I am often reluctant to do this because the paint is also part of the object’s history, such as the paint on this jug. In fact, it could even be argued that the paint on this jug is more important than the jug itself from an American historical context.

However, there are always cases where the object should absolutely be stripped, although there are other times when the artwork is just as important as the object. It is really a scenario that should be considered on a case-by-case basis.

For instance, found in the collection of the American Art Museum at the Smithsonian Institute in Washington, D.C. is a basic late nineteenth century stoneware jug that is said to have been used for whiskey, although it was later painted by noted twentieth century folk artist Clementine Hunter (1886/1887-1988) sometime during the circa 1970-1980 period. 

Hunter was a self-taught African American artist known for her painted depictions of early twentieth century planation life in Louisiana, whereas her colorful paintings did not rely on traditional perspective, and instead took on her own creative approach of day-to-day activities on plantations. Her works were often created on plates, discarded fabric and other readily available materials. Additionally, she did not start painting until the 1940s when she was already a grandmother. The first exhibit that showcased Hunter's work happened in 1949, but she did not garner public attention until the 1970s when both the American Folk Art Museum in New York City and the Los Angeles County Museum of Art exhibited some of her artwork. 

According to the American Art Museum, "The jug portrays the Three Wise Men bearing gifts to the newborn Jesus, as well as their accompanying angel, as people of color. By depicting the figures in the biblical tale with dark skin, Hunter proposes an alternative worldview—one that places Black Christianity and history at the center of storied narratives and important events."

Two Painted 19th Century Stoneware Jugs

19th Century Stoneware Jug Painted with Iris'

Probably Painted Circa 1920s-1930s

Found this Week in a Thrift Store in Saugus, Mass.

Likely Retains Some Type of History in the Boston Area

Possibly Also Originally Painted in the Boston Area

Stands 8 1/4" Tall

See Article for More Information

Additional Views of the Jug

See Article for More Information

Late 19th Century Stoneware Jug Painted by Clementine Hunter (1887-1988)

Painted Circa 1970-1980

Stands 9 1/4" Tall

See Article for More Information

Photo Courtesy: American Art Museum at the Smithsonian Institute

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

Announcement: Redware Event at the Bidwell House Museum on June 1st

F.Y.I. - for anyone interested - I will be speaking at the Bidwell House Museum in the Berkshires in Massachusetts on June 1st. There is a cost to attend the event, but it will also be available virtually. See this link for more information: https://www.bidwellhousemuseum.org/event/exploring-the-history-of-new-england-redware/?fbclid=IwZXh0bgNhZW0CMTEAAR1xzpyzmBDWFSi5JQqo3u5c_opakHcVwQb3I1l6rLzkBi9k69rhdvm6u1A_aem_AX_bSsAXFAONzXnHmfTxgUK86l7K_wEAFZCzF2xeoCk2U3guHAvbpuFJoG6sCIXJ_v7_jXZnTdEzjW0NN7ye-lqb

Redware Event at the Bidwell House Museum on June 1st

Announcement: Redware Event at the Bidwell House Museum on June 1st

See Above for More Information

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

A 19th Century Edgefield, South Carolina Stoneware Jug Found A Few Years Ago in Cambridge, Massachusetts

This is a nineteenth century alkaline glazed stoneware jug about one-gallon in size that I found a few years back with my niece Alexis in Cambridge, Massachusetts, which I have always felt is an early example of stoneware production from Edgefield, South Carolina. I'm also sure that it retains some type of local history, but that aspect of its ownership in New England is currently unknown to me. All I can say is that it was found in some type of estate in the greater Boston area.

However, I have also always suspected that it may have been made by the enslaved African American potter Dave Drake (ca. 1800-1873) or at the least made at Pottersville, which originated in the Edgefield District between 1819 and 1820 around the stoneware factory of Abner Landrum (1785-1859), located a mile and a half north of the town of Edgefield. In 1828 Landrum sold the factory and his property in the village. Different investors continued operations there, but by the time the local stoneware industry peaked in 1850, Pottersville had declined, and many of the tradesmen had moved on to other factories.

Nonetheless, the overall form of this jug is certainly similar to some of the known jugs made by Drake, as well as other jugs made at Pottersville, including how the entire handle was produced and the rim. Although, the "X" that is prominently inscribed on the front of the jug is also a characteristic of Drake's production, but in this case the size of it seems to be larger than what is typically associated with Dave today. The jug may have also been produced by an unidentified potter at Pottersville, although the reason I bring up Drake's name is because of the hand-inscribed "X."

But the size of this jug is also of particular interest, seeing that survives in basically as-made condition and stands only 9 1/2 inches tall, whereas many of the surviving jugs known from Drake and Pottersville today are larger in size.

According to an article written by J.W. Joseph from Aiken, South Carolina for the Historical Archaeology Journal in 2016, titled, "...All of Cross' - African Potters, Marks, and Meanings in the Folk Pottery of the Edgefield District, South Carolina:"African Americans were integral to the stoneware-manufacturing district that developed around Edgefield. Enslaved African Americans worked as potters at several of the Edgefield shops, and the most renowned potter of the district was an enslaved African American named Dave, who incorporated poetic verse onto some of the pottery he made, as well as other marks including an X and slashes. A cross mark was also associated with two of the potteries in the district where Dave had once worked: the Rev. John Landrum Pottery, and the subsequent operation of this pottery by Rev. Landrum’s son, Benjamin Franklin Landrum. This cross-in-circle mark, known as the Landrum cross, resembles the African Bakongo cosmogram dikenga. The Landrum cross, as well as Dave’s use of the X and slashes, may be representations of African symbols brought to the New World and found archaeologically in other settings and contexts. 

Circle-and-cross, cross, and X marks appear on Edgefield pottery in three primary contexts (see picture posted below): cross and X marks, including circle-and-cross versions, found at the Rev. John Landrum Pottery (38AK497); the Landrum cross, formed by a cross-in-circle motif and found on the B. F. Landrum Pottery (38AK496); and Dave’s use of the X, found on pottery he produced at the Lewis Miles Pottery. Cross/X marks appear less frequently at other Edgefield potteries."

This jug was also published in a three-page feature story that I wrote for the October 4, 2019 issue of Antiques & Auction News, titled, Thomas Chandler's Pottery Production: McKissick Museum of University of South Carolina Holds Innovative Exhibition - https://antiquesandauctionnews.net/articles/Thomas-Chandler%60s-Pottery-Production/.

Note: I have also posted below information that cites a 70 year old Dave Drake listed in the 1870 United States Federal Census as a "farmer" in Edgefield. This is likely the first time that Drake is named in a Census, seeing that enslaved people were counted in every Census, from 1790 to 1860. However, slaves were never named; they were always listed under their enslaver's name. Free people of color, on the other hand, were treated pretty much like whites in the Census, every year.

A 19th Century Edgefield, South Carolina Stoneware Jug

19th Century Alkaline Glazed Stoneware Jug from Edgefield, South Carolina

Marked on the Front with an Inscribed "X"

Possibly Made by Dave Drake (ca. 1870-1873)

Otherwise Possibly Made by an Unidentified Potter at Pottersville

Probably Circa 1820s-1840s

Although Possibly Made in the 1820s

Stands 9 1/2" Tall

Found a Few Years Ago in Cambridge, Massachusetts

See Article for More Information

A View of the Handle

See Article for More Information

Another View of the Jug

See Article for More Information

A View of the Inscribed "X"

See Article for More Information

Another View of the Inscribed "X"

See Article for More Information

Additional Views of the Jug

See Article for More Information

The Jug Published in Antiques & Auction News in 2019

See Article for More Information

Some of the Marks Used on Stoneware Produced in Edgefield, South Carolina

Published in the 2016 Article ...All of Cross' - African Potters, Marks, and Meanings in the Folk Pottery of the Edgefield District, South Carolina

See Article for More Information

Photo Courtesy: Historical Archaeology Journal

Dave Drake Listed in the 1870 United States Federal Census

He is Listed as a 70 Year Old "Farmer" in Edgefield, South Carolina

This is Likely the First Time that He is Named in a Federal Census

See Article for More Information

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

A 19th Century Red Earthenware Puzzle Jug from Pennsylvania Inscribed "J. Wareham / Potter 1825"

On July 20, 2019, Crocker Farm in Sparks, Maryland sold a nineteenth century three-color slip decorated red earthenware jar, inscribed on the base, "Jacob Wareham / Frankstown Township / Huntingdon County / 1811." According to Crocker Farm, "This jar, over two-hundred years in age, is the earliest dated piece of pottery from this Pennsylvania potting region that we are aware of. It is significant in its rarity and age, offering a glimpse at the style of pottery produced locally well before the famous Henry Glazier began producing stoneware (about 1831). While rare and historically important, the jar also holds very strong decorative value in its appealing size and form and lavish use of three colors of slip."

Nonetheless, while going through the archives of ceramics specialists Garrison and Diana Stradling last summer in New York City, I saw pictures of a nineteenth century red earthenware puzzle jug that I believe is related to the jar that sold at Crocker Farm. The base of this jug is inscribed, "J. Wareham / Potter 1825."

This is possibly the same Jacob Wareham (b. 1785) who was born sometime around 1785 in Huntingdon County, Pennsylvania to John (1752-1808) and Christeena Wareham (1752-1818). It was probably about 1798 when Jacob moved to Frankstown Township, seeing that his parents are listed as residents there based on the U.S. Direct Tax Lists from that year, and Jacob is also listed as living there in the 1810 United States Federal Census. However, I cannot find any information that explains where Wareham learned the potter's craft, although his father was born in Armstrong County, Pennsylvania in 1752, while his mother was born in Baltimore, also in 1752.

Presumably, if Wareham had established a pottery business in Frankstown Township that exisited for some period of time then this is also perhaps where this puzzle jug was produced. I was also unsuccessful in finding any type of record of Jacob Wareham living in another city or town in Pennsylvania after 1810/1811.

Note: It appears the jar that sold at Crocker Farm previously sold in the collection of J. Jefferson and Anne Weiler Miller at Pook & Pook in Downington, Pennsylvania in 2015; the couple acquired the jar in 1972: https://live.pookandpook.com/online-auctions/pook/rare-huntingdon-county-pennsylvania-redware-jar-dated-1811-signed-by-the-potter-194486. 

Red Earthenware Made by "Jacob Wareham" in Pennsylvania

19th Century Red Earthenware Puzzle Jug Made in Pennsylvania

The Base is Inscribed "J. Wareham / Potter 1825"

Likely Made by Jacob Wareham in Pennsylvania

Possibly Made in Frankstown Township, PA

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Photo Courtesy: Garrison and Diana Stradling

Early 19th Century Three-Color Slip Decorated Red Earthenware Jar

Made by Jacob Wareham in Frankstown Township, PA

Inscribed on the Base "Jacob Wareham / Frankstown Township / Huntingdon County / 1811"

Stands 4 1/4" Tall

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Photo Courtesy: Crocker Farm

Jacob Wareham Listed in the 1810 Census in Frankstown Township, PA

No Occupation is Listed

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A Good 19th Century Stoneware Urn or Planter Likely from Ohio that is Privately Owned in New York City

While visiting a prominent collection in a penthouse in New York City last summer, I saw this nineteenth century stoneware urn or planter sitting in a windowsill surrounded by some stoneware and red earthenware flowerpots from the 1800s. The urn really reminded me of some similar shaped sewer tile examples that were made by various American manufacturers, including the Portland Stoneware Company in Portland, Maine. Although, the applied stoneware leaf and vine decoration is also similar to some nineteenth century stoneware vases and pitchers that have sold through the years at such auction houses as Crocker Farm in Sparks, Maryland.

But the reason I visited this collection was for another purpose, although I did very briefly speak with the owner about this object and she mentioned that it was made in Ohio in the nineteenth century. However, the style may have also been inspired after German stoneware production from about the same period.

Nevertheless, with a little research, I found a similar late nineteenth century stoneware urn or planter with its original pedestal base that sold at Pook & Pook in Downington, Pennsylvania in 2007. There are differences in the style of both of these objects, but the example that sold at Pook & Pook was said to have been made at The Robinson Clay Products Company in Ohio. The Robinson Clay Products Company was founded in 1856 by Thomas Robinson, Richard Whitmore and Thomas Johnson. The company manufactured various types of stoneware, sewer pipe, tile, brick and many other clay products.

Furthermore, I am hesitant to say if this urn or planter was made at this specific company, but it certainly does appear like it was made in Ohio. This type of applied stoneware leaf and vine decoration on various forms in Ohio is also a subject that deserves more recognition today.

19th Century Stoneware Urn or Planter Likely from Ohio

19th Century Cobalt Decorated Stoneware Urn or Planter with Applied Leaves and Vines

Most Likely Made in Ohio

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Photo Courtesy: Private New York City Collection

Another View of the Urn of Planter

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Photo Courtesy: Private New York City Collection

Another View of the Urn of Planter

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Photo Courtesy: Private New York City Collection

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A 20th Century Red Earthenware Vase Found Last Fall in a Thrift Store in San Francisco and a History of the Robertson Family's Production in California

While the American Art Pottery movement was largely dominated by ceramists in Massachusetts, New York and Ohio, it also spread across the country, reaching the West Coast in the final years of the nineteenth century. California became home to a number of aspiring art potters, which included two potters, who relocated from a very successful family of potters located just to the north of Boston.

Massachusetts native Fred Robertson hailed from a long line of clay artists. His father, Alexander W. Robertson, was a fifth-generation potter and established the Massachusetts-based Chelsea Keramic Art Works in Chelsea, Massachusetts in 1866. Fred Robertson worked alongside his father, as did Alexander’s brother, Hugh Robertson. Hugh was also involved with the Chelsea Pottery U.S. during the circa 1891-1895 period, and then the company's successor, the Dedham Pottery in Dedham, Massachusetts.

But in 1898, Alexander relocated to San Francisco and founded the Roblin Art Pottery; Fred joined him in 1903. This was one of the earliest California art potteries, which Robertson founded alongside Linna Irelan (1846-1935). The name of the company derived from the first syllables of Robertson's surname and Irelan's first name, whereas the company operated from 1898-1906.

Their known wares were often modest in size and characterized by refined, simple forms, muted colors and minimal decoration. Robertson threw the pots and Irelan applied the decor, which also sometimes incorporated floral motifs, mushrooms or lizards Their staff remained small throughout the longevity of the business. The company also submitted works at the Paris Exposition Universelle in 1900, where Irelan won an honorable mention.

Early 20th Century Earthenware Vase Made at the Roblin Art Pottery in San Francisco

Vase was Thrown By Alexander Robertson

Vase Decorated by Linna Irelan

Dated 1905

Stands 3 7/8" Tall

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Photo Courtesy: Metropolitan Museum of Art

Interestingly, there was also a connection to San Francisco with Hugh Robertson's Dedham Pottery around the time the company was established in 1896 or sometime shortly thereafter. For instance, there are a small group of circa 1898-1908 signed earthenware plates known today from the Dedham Pottery that are decorated with a view of San Francisco at sunset from the Golden Gate, which was before the famous bridge was built and bordered by waves and poppies. Some other types of Dedham Pottery was also shipped to the city in the early 1900s.

Late 19th or Early 20th Century Earthenware Plate Made at the Dedham Pottery in Mass.

Decorated with a View of San Francisco

Signed by Hugh Robertson

Circa 1898-1908

Measures 10" in Diameter

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Photo Courtesy: Rago

But the success of this business was short-lived and destroyed in the 1906 San Francisco earthquake and fire. There are also a lot of unknowns about this company's production, seeing that so much of it was lost during this catastrophe, which happened during the company's height of production.

However, as a result, Irelan retired from ceramics altogether and the Robertsons moved to Los Angeles, where Fred Robertson worked as superintendent of Los Angeles Pressed Brick. During his tenure, he also operated a small art pottery known as FHR Los Angeles, which produced crackle, matte, and crystalline glazes, along with experimental lusters.

Robertson became the superintendent of Claycraft Potteries in Los Angeles in 1921. Four years later, his son, George, joined the firm as designer, establishing the seventh generation of Robertsons in the pottery business. 

In 1934, the father-son team of Fred and George started Robertson Pottery in Los Angeles and moved it to Hollywood the following year. The pottery produced functional, household wares and more decorative pieces, applying brightly colored glazes to traditional forms influenced by Chinese examples. The company closed upon Fred Robertson’s death in 1952. 

Nevertheless, this unmarked twentieth century red earthenware vase was found last fall in a thrift store in San Francisco; it is hand-thrown, whereas the preciseness, intricacy, the glaze and the delicate nature of the way it was produced reminds me of some production by the Robertson family in Chelsea. I also know that the Robertsons worked with both red and white earthenware clays while in Chelsea and California. The bases were also typically inverted on objects made by the Robertson family, however this was not always the case.

With all of this said - Does anyone reading this post think this vase could be related to the Robertson family's production in California? 

Red Earthenware Vase Found Last Fall in a Thrift Store in San Francisco

Refined 20th Century Hand-Thrown Red Earthenware Vase

Found in a Thrift Store Last Fall in San Francisco

Stands 8 1/2" Tall

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Another View of the Vase

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Another View of the Vase

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Another View of the Vase

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A View of the Base

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