EarlyAmericanCeramics.com: May 2024

Wednesday, May 29, 2024

New Published Feature Story in Antiques And The Arts Weekly: Nathaniel Rochester's Red Earthenware Pottery

Out today is my latest feature story published on pages 42-43 in the current June 7, 2024 issue of Antiques And The Arts Weekly, titled, Nathaniel Rochester's Red Earthenware Pottery.

Here is a link to a PDF of the June 7th issue: https://digital.olivesoftware.com/olive/odn/aaw/default.aspx#

Here is a link to a PDF of the feature story: https://www.scribd.com/document/737400797/0607-D-042-ANA-Nathaniel-Rochester

New Published Feature Story in Antiques And The Arts Weekly

New Published Feature Story in the June 7, 2024 Issue of Antiques And The Arts Weekly

See Pages 42-43

Nathaniel Rochester's Red Earthenware Pottery

See Above for More Information

New Published Feature Story in the June 7, 2024 Issue of Antiques And The Arts Weekly

See Pages 42-43

Nathaniel Rochester's Red Earthenware Pottery

See Above for More Information

New Published Feature Story in the June 7, 2024 Issue of Antiques And The Arts Weekly

See Pages 42-43

Nathaniel Rochester's Red Earthenware Pottery

See Above for More Information

New Published Feature Story in the June 7, 2024 Issue of Antiques And The Arts Weekly

See Pages 42-43

Nathaniel Rochester's Red Earthenware Pottery

See Above for More Information

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

Some Census Information About John Frederick Lehman in Alabama and a 19th Century Alkaline Glazed Stoneware Jar Marked "JH"

Following up on my recent post about John Frederick Lehman's (1824/25-1883) stoneware production in the communities of Bacon Level and Rock Mills, Alabama, circa1850s or 1860 to the early 1880s. I took a quick look at census records today to see if I could find any additional information about Lehman. He manufactured a variety of utilitarian stoneware, although he is best known today for his figural jugs and political themed stoneware jars, some of which were stamped with his initials "JL."

According to the 1870 United States Federal Census in Rock Mills, Lehman is listed as a 45 year old potter, who was born in Deutschland or Germany. His wife is listed as 26 year old Mary Lehman, who was born in Alabama, and her profession is listed as "Keeping House."

John Frederick Lehman Listed in the 1870 Federal Census

His Profession is Listed as "Potter" in Rock Mills, Alabama

This Census Says He was born in Germany

See Article for More Information

Interestingly, Lehman's information changes in the 1880 Federal Census, where he is now listed as a potter in Bacon Level, although he is still married to Mary. However, this census says Lehman was born in England, as were his parents.

John Frederick Lehman Listed in the 1880 Federal Census

His Profession is Listed as "Potter" in Bacon Leven, Alabama

This Census Says He was born in England

See Article for More Information

Nevertheless, I would really like to get to the bottom of this Southern nineteenth century alkaline glazed stoneware jar with its original lid; i.e. where was it made and by whom? I purchased this jar out of a family's estate auction in New Hampshire almost fifteen years ago, where it seems to retain a history of ownership with this family dating back to the 1940s or so. Both the jar and the lid are marked with the potter's initials, reading, "JH."

Soon after I bought this jar, I showed it to a group of Mid-Atlantic and Southern auction houses, and the consensus seemed to have been that it was either made in North Carolina, South Carolina, Georgia or Alabama. But there was no specific answer or indication of who "JH" may represent or proof of the state that it was made.

19th Century Alkaline Glazed Stoneware Jar Marked "JH"

19th Century Alkaline Glazed Stoneware Jar Marked "JH"

The Lid is Original to the Jar and Marked "JH"

Made Somewhere in the South

Retains a 20th Century History of Ownership in New Hampshire

Stands 9 1/2" Tall

See Article for More Information

Th Lid and the Jar are both Marked "JH"

See Article for More Information

Another View of the Jar

See Article for More Information

A View of the Interior

See Article for More Information

A View of the Clay

See Article for More Information

A View of the Base of the Jar

See Article for More Information

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

Sunday, May 26, 2024

Two Great 19th Century Stoneware Objects Made by John Lehman in Randolph County, Alabama that are Owned by the Birmingham Museum of Art

Found in the collection of the Birmingham Museum of Art in Alabama are two great examples of nineteenth century stoneware made by John Frederick Lehman (1824/25-1883) in Randolph County, Alabama. These objects also retain recent histories of twentieth century ownership before they were acquired by the museum.

Born in Germany around 1824-1825, Lehman worked as a stoneware potter in the communities of Bacon Level and Rock Mills, Alabama from about the 1850s or 1860 to the early 1880s. He manufactured a variety of utilitarian stoneware, although he is best known today for his figural jugs and political themed stoneware jars.

The first object is considered by some to be among the most prolific examples of Southern stoneware known today, a political jar made about 1876, likely for the Centennial, which the art museum acquired at Brunk Auctions in Asheville, North Carolina in 2010 for $74,750, including the buyer's premium. According to the auction house, "Lehman covered the stoneware jar with a Southern alkaline glaze and carefully decorated it with eagles, banners and vines. Just below the shoulder, he fashioned a relief head of George Washington, while the reverse side is adorned with Thomas Jefferson."

A second Lehman political jar also sold in this sale in 2010 that was decorated with sprig molded heads of Thomas Jefferson and Andrew Jackson; this jar was taller than the 20 3/4-inch Washington/Jefferson jar by half an inch, but carried a lower estimate of $30,000-$50,000. The auction house further commented, saying, "Perhaps our third and seventh presidents had a bit less cache than presidents No. 1 and No. 3. And the word “Hurrah” in the banner over the heads of Jefferson and Jackson was misspelled as “Hurah.” Nevertheless, the jar was an almost perfect match to the Washington/Jefferson jar."

Interestingly, the couple who bought the second jar traveled to Asheville with a representative of the art museum; after winning it for $32,200, including the buyer's premium, the benefactors told the museum that they would like to live with the Lehman jar for a while before gifting it to the museum.

The Washington/Jefferson jar was also previously exhibited at the Birmingham Museum of Art, as part of an Alabama Folk Pottery exhibit that coincided with the publication of author Joey Brackner's 2006 book, titled, Alabama Folk Pottery: https://www.antiquesandthearts.com/alabama-folk-pottery-at-the-birmingham-museum-of-art/

John Lehman's Political Stoneware Jar Made About 1876

19th Century Stoneware Jar Made by John Lehman in Randolph County, AL

Made About 1876

Marked "JL"

Stands 21" Tall

A Similar Second Jar Also Exists

See Article for More Information

Photo Courtesy: Birmingham Museum of Art

Another View of the Jar

See Article for More Information

Photo Courtesy: Birmingham Museum of Art and Gary Price

The second object of interest in the collection of the Birmingham Museum of Art is a large figural stoneware jug made by Lehman about 1870. This object was found around 50 years ago in DeLoach’s Store in Fayetteville, Talladega County, Alabama for $12, and then for about the next 40 years, it sat in a corner of a room in a house, where it was sometimes knocked over and even often used for coins. The people who owned it for decades had no idea of its significance or value until the family decided to do a little research into what exactly they owned more than a decade ago. The name "J. LEHMAN" were also inscribed on the figure's buttons on the coat. Nevertheless, it was sold to the Birmingham Museum of Art in 2013 for $100,000.

According to author Joey Brackner and Director of the Alabama Center for Traditional Culture, "The acquisition of the John Lehman figural jug, one of only three in existence, is a testament to the commitment of the Birmingham Museum of Art to acquiring and presenting the art of the people of Alabama. Along with enslaved Edgefield potter Dave Drake (ca. 1800-1873), Lehman is the most well known of historical Southern potters. Lehman combined a variety of decorative techniques unusual for the Deep South with the distinctive alkaline glaze for which the region is known. He most likely came to the United States as a refugee of the revolutions in the German states. During his odyssey, he acquired considerable skills as a potter. Lehman’s longest tenure was in Rock Mills, Alabama, where he and his family lived and worked during the Civil War and Reconstruction. Before his death in 1883, Lehman created a series of decorated jars and jugs that have been the source of much excitement and varying interpretation."

Besides this example, a second figural is owned by the High Museum of Art in Atlanta, Georgia, which the museum acquired in 1994. According to the museum, "Lehman’s jug is one of the largest, most vivid and elaborate characterizations on a figural vessel by a nineteenth-century Southern potter. The identity of the African male depicted on the jug is unknown, but the tight-fitting stocking cap and presumably gold earrings combine with a beautifully modeled tie, ruffled shirt, and well-tailored coat to convey a dashing character. Lehman cleverly signed this jug by impressing his own name onto the buttons of the figure’s coat."

For more information - see an article written by Joey Brackner for the Fall 2016 issue of Alabama Heritage, titled, The Search for John Lehman: Art historians work to uncover the life story of one of Alabama's most famous potters: https://www.pbs.org/wgbh/roadshow/extraordinaryfinds/media/filer_public/bd/78/bd78df9b-3d2d-486d-8114-1ca65cf38c72/brackner.pdf.

Note: The Birmingham Museum of Art also owns additional examples of Lehman's stoneware production.

John Lehman's Figural Stoneware Jug

19th Century Stoneware Figural Made by John Lehman in Randolph County, AL

Made About 1870

Stands 20 1/4 Tall

One of Three Known

This Example was Found Over 50 Years Ago in a Junk Store for $12

See Article for More Information

Photo Courtesy: Birmingham Museum of Art

The Coat's Buttons are Signed "J. LEHMAN"

See Article for More Information

Photo Courtesy: Birmingham Museum of Art

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

A Late 19th Century Red Earthenware Cuspidor Likely Manufactured on the Exterior to Appear Like Hammered Copper

I often shy away from late nineteenth century red earthenware and stoneware cuspidors solely because of how they were used, however, stylistically and aesthetically, there were some great examples made in Strasburg, Virginia, Pennsylvania, elsewhere in the Mid-Atlantic region, in New York and in Ontario, Canada, among other places. But this particular example really caught my attention yesterday at the May 2024 Brimfield North Market at the fairgrounds in Deerfield, New. Hampshire. It was mixed in with a pile full of stuff that looked like it all came from multiple estate clean-outs, whereas the dealer told me that this particular object was found in a house just to the north of Boston.

Furthermore, this object has a good amount of weight to it, which I really thought was of interest, seeing that it was hand-thrown and completely embellished by-hand with various types of decoration on the exterior. Additionally, the more I looked at it - the more I realized that it had to be related to some of the decorative wares produced at the Charles A. Lawrence (1829-1904) Pottery in Beverly, Massachusetts, circa 1870s-1890s.

Interestingly, the exterior is painted, while the interior is glazed with the same color spotted brown glaze as seen with many of the ancient style pottery produced in Beverly, including a jug displayed at the Metropolitan Museum of Art in New York City. But it also struck me that the exterior of this object was painted and decorated to appear like hammered copper, a type of metal that became popular during the Arts & Crafts Movement, especially in London, England, Massachusetts and New York.

Nonetheless, I view this object as more of a potter's work of art rather than just a simple utilitarian product, and Charles Lawrence was certainly aware of the trends in the decorative arts world during this period, based on what his business produced.

I also want to mention that the base of this cuspidor is signed and possibly dated, although I suspect this is related to the painted flowers on the rim, which were likely added by someone who owned this object in the twentieth century.

Note: For more information - see my first book, titled, The Beverly Pottery: The Wares of Charles A Lawrence: https://historicbeverly.net/product/the-beverly-pottery-the-wares-of-charles-a-lawrence/.

Cuspidor Likely Manufactured to Appear Like Hammered Copper

Late 19th Century Hand-Thrown and Hand-Decorated Painted Red Earthenware Cuspidor

Recently Found in a Home to the North of Boston

Probably Made at the C.A. Lawrence Pottery in Beverly, Mass.

Exterior Decorated to Appear Like Hammered Copper

Probably Circa 1870s-1890s

Stands 5 1/4" Tall and Measures 7 1/4" Across

See Article for More Information

Another View of the Exterior

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A View of the Glazed Interior

The Painted Flowers Are Not Original to Production

See Article for More Information

A View of the Base

See Article for More Information

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

Friday, May 24, 2024

An Outstanding 20th Century Stoneware Face Bust Made by Peter Wright McAdam in Daphne, Alabama

This is an incredible twentieth century stoneware face jug or sculpture that was created in the nineteenth century Southern pottery tradition, which has been shown recently at some of America's premier antiques shows by Madison, Connecticut antiques dealer Alan Katz. Additionally, this is certainly among the more impressive post-American Civil War and twentieth century stoneware face jugs or sculptures known to exist today.

The information that accompanies the object, reads in part, "This bust was made by Peter Wright McAdam; McAdam and his family were premier pottery makers operating on the Eastern Shore of Mobile, Alabama (in the late nineteenth and twentieth century). The kiln workers were primarily African American." The bust is signed "P.W. McAdam, February 16, 1925."

Peter Wright McAdam (1867-1932) was born in Scotland, migrating to America in 1872, where he arrived with his family in New York, relocating to Alabama. Peter married Florence O'Neal McAdam (1871-1941) in 1895 and the couple had five children. Although, when he arrived to America, he was a young boy, and his father James McAdam (1820-1880), a skilled Scottish trained potter, operated a stoneware business in Montrose, Alabama, which he established and ran with two of his sons.

However, sometime after James' death in 1880, the rest of the family eventually moved to the Montgomery, Alabama area. Peter married Florence O’Neal, the granddaughter of Captain James O’Neal (1821-1912) and the daughter of Captain William O'Neal (1851-1918). The O'Neals were partly a family of boat captains in Alabama, who migrated from Ireland.

Around the time McAdam married Florence or shortly thereafter is when he relocated to Daphne in order to operate the O’Neal Pottery, which was owned by William. This is where the master potter fashioned many fine stoneware articles for the local households of Daphne and the surrounding area. His artistry with clay is not only regarded in text as local legend, but can be seen today on tombstones, which are embellished with weeping willows, acorns and oak leaves.

In fact, McAdam's tombstone is made out of stoneware, where it is located in the Methodist Church Cemetery in Daphne, reading in part, "Beloved husband, father & master potter." Both Captain James and Captain Williams' tombstones are also made out of stoneware, and located in the same cemetery.

Furthermore, this stoneware bust is illustrated on page 84 in a book written in 1988 by Frank Maresca, titled, American Primitive: Discoveries in Folk Sculpture. According to the book, "Until recently, American primitive sculpture was seen as a kind of folk art, where the design and purpose of these objects are rooted in a community of tradition and related to the daily material and spiritual needs of ordinary people. But in recent years, collectors and historians have begun to place this body of art within the realm of fine art."

Stoneware Face Bust Made by Peter Wright McAdam in Daphne, AL

20th Century Stoneware Face Bust From Alabama

Made by Peter Wright McAdam (1867-1932) in Daphne, Alabama

Signed "P.W. McAdam, February 16, 1925"

Published in the Book, American Primitive: Discoveries in Folk Sculpture

See Article for More Information

Photo Courtesy: Alan Katz

Information that Accompanies the Object

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Photo Courtesy: Alan Katz

Peter Wright McAdam's (1867-1932) Gravesite in Daphne, Alabama

The Tombstone is Made Out of Stoneware

The Tombstone, Reads in Part, "Beloved husband, father & master potter..."

See Article for More Information

This is James McAdam (1820-1880)

He Owned the Montrose, Alabama Pottery

See Article for More Information

This is Peter (1867-1932) and Florence McAdam (1871-1941)

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Peter W. McAdam Listed in the 1910 Federal Census in Daphne, Alabama

He is Listed as a "Potter" in the "Stoneware" Industry

See Article for More Information

Peter W. McAdam Listed in the 1930 Federal Census in Daphne, Alabama

He is Listed as a "Potter" in the "Pottery" Industry

See Article for More Information

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

Thursday, May 23, 2024

A Preview of My Next Feature Story that Will be Published in the June 7th Issue of Antiques And The Arts Weekly

My next feature story in Antiques And The Arts Weekly will be published next week in the June 7, 2024 issue, where the story will cover the life and career of Colonel Nathaniel Rochester (1752-1831), a veteran of the American Revolution, who owned a pottery business in West Bloomfield, New York, circa 1818-1831. Although, part of the story will also cover Rochester's 1831 will that I recently came across while going through some archives owned in New York. But he was also instrumental in the early development in part of the Western New York region, most notably founding the settlement that would become Rochester, New York, as well as playing a role in the development and implementation of the Erie Canal.

Among the documents that I found in my research, although I did not use in the story was a printed letter sent to Rochester, dated July 18, 1816, notifying him of his appointment as an agent “to procure and receive Subscription lands or money, to be applied in constructing Canals and Locks between the navigable waters of the Hudson River and Lake Erie, and the said navigable waters and Lake Champlain, or either of them.”

The letter was sent by one Samuel Young (1779-19850), Secretary of the Board of Commissioners constituted by “An Act to provide for the improvement of the Internal Navigation” of New York. Young notes in the letter that he will be forwarding forms for the cession of lands, as well as donations in money.

Rochester established his pottery business about 1818 in a field in West Bloomfield, while all of this was happening at the same time; i.e. planning the Erie Canal, founding of city Rochester, among other business dealings. He even appears to have been involved with some baptisms in Rochester in the 1820s.

But among the reasons Rochester is so well known today is partially credited to his pottery business, where he employed an incredibly skilled unnamed potter or potters. These wares were often very colorfully glazed with a variety of slip colors. I have always suspected in theory that there is a Hagerstown, Maryland connection with this pottery business, seeing that Rochester was also tied to that community, serving one term in the Maryland General Assembly and two years at the postmaster of Hagerstown. Nevertheless, this story will be available both online and in print next week, so be on the lookout for it!

Note: The slip-decorated red earthenware jar shown in this post was most likely made at the Rochester Pottery in the 1820s; it is owned today by The Bidwell House Museum in Monterey, Massachusetts, where I will also be speaking at the museum on June 1, 2024. See this link for more information: https://www.bidwellhousemuseum.org/events/.

A Preview of My Next Published Feature Story

19th Century Slip Decorated Red Earthenware Jar from Western NY

Likely Made at the Nathaniel Rochester Pottery in West Bloomfield, N.Y.

Circa 1820s

Stands About 9" Tall

See Article for More Information

Photo Courtesy: The Bidwell House Museum

Letter Sent to Nathaniel Rochester Related to the Erie and Champlain Canals

Dated July 18, 1816

See Article for More Information

Photo Courtesy: James E. Arsenault & Company

A View of the Back of the Letter

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Photo Courtesy: James E. Arsenault & Company

Nathaniel Rochester Involved with a Baptism in Rochester, New York

This is Dated December 24, 1820

See Article for More Information

Nathaniel Rochester Involved with a Baptism in Rochester, New York

This is Dated September 2, 1825

See Article for More Information

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

Wednesday, May 22, 2024

The Circa 1892-1903 Wannopee Pottery or Park Lane Pottery of New Milford, Connecticut

The New Milford, Connecticut Pottery Company was founded in 1886 as a stock company, and the company's first kiln was in operation by 1887, where its first line of production was ordinary whiteware and semi-opaque China. Some of this production was sold by Lang & Schafer in New York City.

However, the company was incorporated in 1891 and reorganized in 1892 by businessmen William D. Black (b. 1836), Lewis F. Curtis (1813-1904), Merritt Beach (1817-1896) and son Charles M. Beach (1853-1928), and the name was changed to Wannopee Pottery. Besides the production of kitchenware, utility-ware, blue-glazed ware and decorative art pottery, the company also manufactured clock cases for the Gilbert Clock Company and the New Haven Clock Company in Connecticut.

Like many of the art pottery and formal pottery company's of this period, there are still unknowns today in terms of production. But this company did produce a line of semi-porcelain pitchers in three different sizes, which was first offered in 1895. They were decorated with relief medallion heads of McKinley, Beethoven and Mozart. Another variety had a full bust of Napoleon. The design of the cameos was the work of a young modeler named Victor Gallimore (b. 1883) of Trenton, New Jersey. He was the son of William Gallimore who was born in England in 1842, having migrated to America in 1884.

The 1900 United States Federal Census from Trenton lists both Gallimores (although their name is misspelled as Galimon); the father is listed as a "Designer & Molder Pottery," while the son was born in England in 1883 with no occupation listed. There are also other family members listed who may have worked in Trenton's pottery industry.

1900 United States Federal Census from Trenton, New Jersey

William Gallimore (or Gallimon) is Listed as a "Designer & Molder Pottery"

Victor Gallimore is also Listed

See Article for More Information

The Wannopee Pottery Company also produced a line of white earthenware during this period, known as "Duchess" ware, described by the Connecticut Historical Society as a whiteware shape with a mottled glaze that consisted of various colors: http://emuseum.chs.org/emuseum/objects/7398/vase?ctx=cf605a186fbf51fea18bdf12c9d6cdaf875cd0fe&idx=1. There was a variety of forms produced under this line, a type of pottery that seems to have been first introduced in the United Kingdom in the late 1880s.

In 1901, the company began the production of lettuce-leaf ware. Based originally on their Italian majolica counterpart, later molds were made actually using cabbage leaves with the outline of the stem and large veins evident. This line, with a pale green or a pink glaze, produced approximately twenty-five sizes and shapes. Among the stores that sold this type of ware was Reynolds Brothers or Reynolds, a department chain store in New Jersey. The collectors of this line of pottery included Jacqueline Kennedy Onassis.

Another line of production from this company, which was also known as the Park Lane Pottery (because of where the business was located in New Milford) was Scarabronze, a style designed accidentally by Alfred H. Nobel (d. 1913), the pottery manager, and is characterized by a soft, satiny, metallic glaze suggestive of ancient copper. The colors range from dark bronze through reddish-copper to a tint close to sage green. The shapes, which are adaptations from old Egyptian forms, were simple in outline and often without relief decoration. Egyptian characters and figures were painted on the surface of some of the ware using slip in which different metallic colors had been mixed. The mark for this line was a scarab and a local red clay body was used to produce these objects, whereas clay imported from England and elsewhere was used in most of the company's other production. Furthermore, a first-hand account of this type of pottery was published on pages 504-505 in a book written by Edwin Atlee Barber (1851-1916) in 1893, titled, The Pottery and the Porcelain of the United States.

From The New Milford City Directory in 1897

Lewis F. Curtis is Listed as the President

Charles M. Beach is Listed as the Secretary and Treasurer

Alfred H. Nobel is Listed as the Pottery Manager

See Article for More Information

These various lines of pottery were also impressed with different marks, but not all of the wares produced in New Milford were marked. Some of the other New Milford shapes include a Majolica leaf-form jardinière on a dolphin stand and kerosene lamp bases with metal inserts, among other forms, including a wide variety of vases and ancient style shapes. The pottery ceased production in 1903.

Nonetheless, this is an umarked hand-thrown mottled glazed earthenware vase with a blue glazed rim and an opaque glazed interior and base that I found yesterday in the Boston area, which closely resembles some of the mottled multi-colored glazed pottery (or “Dutchess” ware as it was known back then) produced at the circa 1892-1903 Wannopee Pottery or Park Lane Pottery in New Milford. I feel there is a basic understanding of the wares produced at this company during this period, but in consideration of the size of it and the fact that it was connected to the pottery industry in Trenton, then I suspect there is still a lot to be learned.

Additionally, I think the idea behind the business was comparable to some of the ceramic companies that operated during this period in Philadelphia, Brooklyn, along the Hudson River, in Hartford and in the Boston area. The glaze on this particular jar also reminds me of some of the glazes produced on red earthenware from Bristol County, Massachusetts (and related areas) during the circa 1780-1830 period.

Note: The New Milford Historical Society and Museum owns a collection of Wannopee Pottery, along with some original photography of the company.

Mottled Glazed Earthenware Vase Recently Found in Mass.

My Niece Alexis Holding the Vase

See Article for More Information

Unmarked 19th/20th Century Hand-Thrown Mottled Glazed Earthenware Vase

Similar to Some Production from the Wannopee Pottery in New Milford, CT

Found Yesterday in the Boston Area

Stands 12 7/8" Tall

See Article for More Information

Another View of the Vase

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A View of the Interior and the Rim

The Style of the Rim May be Ancient in Design

See Article for More Information

A View of the Base

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

A Good Example of Slip-Script Decorated Red Earthenware from Norwalk, Connecticut that Sold Yesterday in Woodbury, Connecticut

According to an article written by Richard Miller for the 2016 issue of Ceramics in America, titled, Norwalk (Connecticut) Slip-script Pottery, the Potters, and Related Ware: "Customers at the Asa Edward Smith (1798-1880) Pottery (ca. 1825-1887) in Norwalk, Connecticut could order dishes inscribed with the names of saints who served as models for a Christian life. The number of extant examples is large, with those inscribed "St. Francis Xavier" and "St. Remigius" typifying most." This is also a subject that I have been working on as a research/feature story for a future publication that examines the wide range of these types of objects known today.

Nonetheless, this lot of seven nineteenth century red earthenware objects sold yesterday at Schwenke Auctioneers in Woodbury, Connecticut, although one object in particular stood out from the rest, a slip-script decorated red earthenware plate from Norwalk, inscribed, "St. Ubaldus Bishop."

St. Ubaldus Baldassini, also known as Ubaldus of Gubbio was born c.1085 at Gubbio near Ancona, Umbria, Italy, as Ubaldo Baldassini (1084-1160). Born to nobility and related to Saint Sperandia (1216-1276), Ubaldo’s father, Rovaldo Baldassini, died when the boy was very young; his mother was an invalid, afflicted with what is now considered a neurological disease. St. Ubaldo's life was difficult from the beginning. In fact, he became an orphan when his parents died, although his uncle, the Bishop of Gubbio took care of him and educated him.

Ubald was ordained, was named deacon of the cathedral, reformed the canons, and then left a few years later to become a hermit. Dissuaded from the eremitical life by Peter of Rimini, he returned to Gubbio and in 1126, was named Bishop of Perugia but refused the honor. He became Bishop of Gubbio in 1128 and persuaded Emperor Frederick II (1194-1250) not to sack Gubbio, as he had Spoleto during one of his forays into Italy. Being sick the last two years of his life, Ubald died at Gubbio on May 16, and was canonized in 1192. His feast day is celebrated each day on May 16th.

Based on what is known about this type of production today, this inscription is considered rare in comparison to some of the other surviving Christian inscriptions from Norwalk. The lot sold for $700 plus the buyer's premium.

Slip-Script Decorated Red Earthenware from Norwalk, Connecticut

Group of 7 Red Earthenware Objects that Sold Yesterday

See Article for More Information

Photo Courtesy: Schwenke Auctioneers

19th Century Slip-Script Decorated Red Earthenware Plate From Norwalk, CT

Inscribed "St. Ubaldus Bishop"

Made at the Asa Edward Smith (1798-1880) Pottery (ca. 1825-1887)

Measures 11 1/2" in Diameter

See Article for More Information

Photo Courtesy: Schwenke Auctioneers

Another View of the Plate

See Article for More Information

Photo Courtesy: Schwenke Auctioneers

This is Ubaldo Baldassini (1084-1160)

Also Known as St. Ubaldus Baldassini or Ubaldus of Gubbio

See Article for More Information

This is also Ubaldo Baldassini (1084-1160)

Also Known as St. Ubaldus Baldassini or Ubaldus of Gubbio

See Article for More Information

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

Tuesday, May 21, 2024

Some Interesting Facts About the 19th Century Snowden Family Pottery in Haddonfield (and Possibly Camden), New Jersey

It was published in The Clay Record in Chicago on April 29, 1905, that, "The Haddonfield (N.J.) Pottery, the oldest in New Jersey, is a thing of the past. Work at this plant was carried on continuously for 100 years, commencing on March 15, 1805, by John Thompson." Interestingly, among the places the circa 1890-1950 Wingender Pottery shipped their production was Chicago.

Nonetheless, I have not been able to find much information about John Thompson's career as a potter or where he may have trained, however, I am currently working with the Historical Society of Haddonfield, in order to try and determine this information. Although, it is known that he taught Richard W. Snowden (1791/1792-1868) the potter's trade, who was born in New Jersey around 1791 or 1792. Snowden eventually acquired Thompson's business about 1816 or so, where his family then produced red earthenware until the early 1880s. Snowden died in 1868, but his son Richard Snowden Jr. (1819/1820-1882/1883) then took ownership of the pottery. The younger Snowden had previously worked for his father, where he first appears as a potter in Haddonfield in the 1860 United States Federal Census. He may have been working for his father for years, but this appears to be the first time that he is credited with the profession of "potter."

According to census records from 1850, 1860, 1870 and 1880, the family continuously produced red earthenware, which I demonstrated in a post from yesterday, where some production seems to share a southeastern Pennsylvania influence in form and decoration: http://www.earlyamericanceramics.com/2024/05/some-examples-of-circa-1816-1883-red.html.

Interestingly, though, the census records spell the family's last name two different ways, "Snowden" or "Snowdon." Some previous accounts also suggest that the Snowdens produced some stoneware, although there does not appear to be any evidence of this type of production. The Wingenders may have been the first business to produce stoneware at 50 Potter Street in Haddonfield; the street name was changed to Potter about 1805 when Thompson first established the pottery business.

Also cited in the 1850 United States Federal Census is a 16-year-old apprentice working at the Snowden Pottery named John Smith, although he does not appear in the 1860 Census. Past publications also suggest that a Barton Rixon was an employee of the Snowden Pottery; the published information indicates that he then purchased the company in the early 1880s, but I cannot find any evidence of a man with this name living in Haddonfield at this time or acquiring the pottery company.

But something does appear to have happened with the Snowden Pottery in the early 1880s - production may have stopped in Haddonfield, the business may have been sold/leased to Rixon or a second pottery location was established.

According to the Camden, New Jersey City Directory from 1882, Richard Snowden Jr. is now listed as operating a pottery on Main Street in Camden, which is located about seven miles northwest of Haddonfield, and closer to the Delaware River and Philadelphia. The success and longevity of this business is unknown, seeing that he died in either 1882 or 1883. I also cannot find any record of Snowden operating a business in Camden prior to 1882, but that does not mean it did not happen.

What happened with the site of the Haddonfield Pottery next is also somewhat unknown, whether Barton Rixon actually did run a red earthenware business at 50 Potter Street for a short period or not, may be debatable. But when the Wingenders relocated from Philadelphia and established their business at this location in 1890, all accounts seem to suggest that this was an abandoned pottery.

Note: Here are two articles that I posted in the last week about the Wingenders production in Haddonfield:

1) Some Interesting Facts About the Late 19th and 20th Century Wingender Pottery in Haddonfield, New Jersey: http://www.earlyamericanceramics.com/2024/05/some-interesting-facts-about-late-19th.html.

2) A First-Hand Account Published in 1910 About Production and Some Distribution From the Wingender Family Pottery in Haddonfield, New Jersey: http://www.earlyamericanceramics.com/2024/05/a-first-hand-account-published-in-1910.html.

Facts About the Snowden Family Pottery in Haddonfield, N.J.