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