Friday, February 27, 2026

A Red Earthenware Ring Bottle or Flask Owned by "Daniel Squier" in Vermont

Cornelius Weygandt (1871-1957), who was an English professor at the University of Pennsylvania, wrote a book in 1941, titled, November Rowen: A Late Harvest From the Hills of New Hampshire; on page 272, he wrote, "I had heard much talk, from my first summering in Sandwich (New Hampshire), of the encouragement that rum gave to the harvesters in old time, but hard cider had driven out rum by the time I came along to observe men and manners in our hill town. I heard of the rum ring, a hollow tube of redware pottery slung over the shoulder by a strap, and I finally secured one down by Boscowan (New Hampshire)."

The ring flask or bottle is a form that is often associated with nineteenth century American red earthenware and stoneware production, although the shape dates back to ancient times with Phoenician and Chinese pottery. The form was also commonly produced in Europe in the eighteenth and nineteenth century, and frequently used as a portable or wearable water container for farmers. 

Nonetheless, I cannot prove the history of this ring bottle, but it was acquired by the Vermont Historical Society in 1953 and reportedly used during the Revolutionary War by a man named Daniel Squier: https://vermonthistory.org/catalog?search_collection=redware&search=Search.

There were a few different men named "Daniel Squier" who fought in the American Revolution, seeing that Squire or Squier was a common surname in Connecticut during this period, but only a few of the solders with this name had connections to Vermont. 

This probably represents either Daniel Squier Sr. (1725-1805) or Daniel Squier Jr. (1751-1828), both of whom fought in the American Revolution, as part of Colonel James Mead's (1730-1804) Regiment of the Vermont militia (see below). This was an active Revolutionary War unit that was authorized by the Vermont Republic to defend its western borders, particularly near Rutland and Ticonderoga. Led by Colonel James Mead, a key early settler and founder of Rutland, Vermont, the regiment served during 1777-78 period of the conflict to protect the area from British and Loyalist incursions. 

Furthermore, Daniel Sr. and Jr. were both born in Connecticut, although the family relocated to Rutland, where the elder Squier lived until his death in 1805. There were also subsequent family members living in Vermont in the nineteenth century.

As stated, it is difficult to prove if this ring bottle was actually made in the 1700s since it does not fit with any known production from New England before 1800, although that does not mean it did not happen. The glaze seen on this ring flask is also a type found with some nineteenth century production in Vermont. 

However, the younger Squier was living in Ontario County, New York by the early 1800s, although he does not appear in the first federal census for Ontario County (1790), as the area was only just beginning to be settled by New Englanders. This migration was part of a broader wave of "Vermont Fever," where Revolutionary War veterans moved westward into the Finger Lakes region of New York, as well as Western New York for more fertile farmland. Daniel and his wife Elizabeth are both buried today in the Main Street Cemetery in Canandaigua, New York.

Note: For information about red earthenware production in Western New York - see my latest two-volume book, titled, America's Great Awakening and Migration: The Red Earthenware of Western New York: https://historicbeverly.net/product/americas-great-awakening-and-migration-the-red-earthenware-of-western-new-york/.

Also for some more information about ring bottles or flasks - see my eighth book, titled, An Influential Family of Early Potters: The Clarks of New Hampshire and Related Businesseshttps://historicbeverly.net/product/an-influential-family-of-early-potters-the-clarks-of-new-hampshire-and-related-businesses/.

Ring Bottle or Flask Owned by "Daniel Squier" in Vermont

Late 18th or 19th Century Red Earthenware Ring Bottle or Flask
Reportedly Owned by "Daniel Squier" in Vermont
See Article for More Information
Photo Courtesy: Vermont Historical Society

Daniel Squier Jr. (1751-1828) Listed in the Vermont Militia in the American Revolution
Both Squiers Served in Colonel James Mead's (1730-1804) Regiment
See Article for More Information 

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

Thursday, February 26, 2026

Some Forthcoming Published Material About Late 18th and/or 19th Century Red Earthenware Production in Bennington, Vermont

There will be a lot of exciting new information included from a group of researchers and scholars that will be published as part of my forthcoming 600-700 page, eleventh book, titled, A Monumental History: Stories of Red Earthenware Production in Western Massachusetts, the Berkshires and Vermont.

This new information will include research from New York author and historian Warren Broderick, who finally identified part of the life of a man named Abel Wadsworth, who worked for a time as a red earthenware potter in Bennington, Vermont, circa 1792-1810/1817.

In fact, some of this information will be included in one of my forthcoming published feature stories that should be out in the next month or so, where the article also discusses a nineteenth century slip decorated red earthenware jar with its original lid. The jar was discovered about ten to fifteen years ago by Sagamore, Massachusetts antiques dealer and the former art director at the Heritage Museums and Gardens on Cape Cod, Brian Cullity. The style of the slip on the jar closely resembles a late eighteenth century slip decorated red earthenware jug owned by the Bennington Museum. The jug is believed to have been made by a potter named Abel Wadsworth (born 1770), while working at the Captain John Norton (1758-1828) Pottery in Bennington. Both Norton and Wadsworth were natives of Connecticut, with Wadsworth living in Bennington, as early as 1792, until the 1810-1817 period. The jar also also retains a fascinating history of ownership with the Dickinson family, which was part of a broader network of families living in western Vermont after the American Revolution. This new information will also be included in the forthcoming book!

Note: In the meantime - for more information about Captain John Norton - see my sixth book, titled, A City on the River: The Early Red Earthenware of the Hartford, Connecticut Area: https://historicbeverly.net/product/a-city-on-the-river-the-early-red-earthenware-of-the-hartford-connecticut-area/.

Late 18th and/or 19th Century Red Earthenware Probably from Bennington, VT
All Adorned with Slip Decoration
See Article for More Information
Photo Courtesy: Private Collection, Vermont Historical Society and Bennington Museum

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

Black History Month Feature Story Published in Antiques And The Arts Weekly: Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House

This is the print version of my latest two-page feature story published on pages 16-17 in the February 27, 2026 issue of Antiques And The Arts Weekly, titled, Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House. 

Here is a link to a PDF of the February 27 issue: https://antiquesandthearts.pressreader.com/antiques-and-the-arts-weekly/20260227

Here is also a link to a PDF of the story: https://www.scribd.com/document/1000329848/Nineteenth-Century-Red-Earthenware-Recovered-at-Boston-s-African-Meeting-House

Black History Month Feature Story Published in Antiques And The Arts Weekly

This is the Feb. 27, 2026 Issue of Antiques And The Arts Weekly
See Article for More Information
Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 16
See Article for More Information
Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 16
See Article for More Information
Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 16
See Article for More Information
Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 17
See Article for More Information

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

Friday, February 20, 2026

Published Feature Story in Antiques & Auctions News - An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items

This is the print version of a feature story I wrote that was published on pages 7-8 in the January 30, 2026 issue of Antiques & Auction News, titled, An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items.

Link to a PDF of page 7: https://www.scribd.com/document/986008076/ant-007-013026-page-7

Link to a PDF of page 8: https://www.scribd.com/document/986007791/ant-008-013026-page-8

Published Feature Story in Antiques & Auctions News

This is the January 30, 2026 Issue of Antiques & Auction News
See Above for More Information
An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items
Published in Jan. 30, 2026 Issue of Antiques & Auction News
This is Page 7
See Above for More Information
An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items
Published in Jan. 30, 2026 Issue of Antiques & Auction News
This is Page 7
See Above for More Information
An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items
Published in Jan. 30, 2026 Issue of Antiques & Auction News
This is Page 7
See Above for More Information
An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items
Published in Jan. 30, 2026 Issue of Antiques & Auction News
This is Page 8
See Above for More Information
An Examination Of Presentation Stoneware: A Look At Two Lesser-Known American Items
Published in Jan. 30, 2026 Issue of Antiques & Auction News
This is Page 8
See Above for More Information

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

Thursday, February 19, 2026

Black History Month Feature Story Published in Antiques And The Arts Weekly: Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House

As part of Black History Month - my latest two-page feature story is published on pages 16-17 in the current February 27, 2026 issue of Antiques And The Arts Weekly, titled, Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House. 

This is actually one of my favorite stories that I have written over the past fifteen years, which includes archaeology, the abolitionist movement, Frederick Douglass (1818-1895), Quaker potters, pre-1775 production in New England, etc. 

Here is a link to a PDF of the February 27 issue: https://antiquesandthearts.pressreader.com/antiques-and-the-arts-weekly/20260227

Here is also a link to a PDF of the story: https://www.scribd.com/document/1000329848/Nineteenth-Century-Red-Earthenware-Recovered-at-Boston-s-African-Meeting-House

Black History Month Feature Story Published in Antiques And The Arts Weekly

Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 16
See Article for More Information
Nineteenth Century Red Earthenware Recovered At Boston's African Meeting House
Feb. 27, 2026 Issue of Antiques And The Arts Weekly
This is Page 17
See Article for More Information

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

Wednesday, February 18, 2026

Americana Symposium Next Month at Historic Trappe in Pennsylvania!

I will be speaking about this nineteenth century hound-handle red earthenware pitcher next month at Historic Trappe's Americana Symposium in southeastern Pennsylvania, March 13-15. The base of the pitcher is impressed, "Nathaniel Sellers / Upper Hanover, Pa."

My talk will focus on how I accidentally came across this object in the summer of 2023 in the kitchen of a penthouse located on the 18th floor overlooking Manhattan on Park Avenue. I will also discuss the history of the form, the life of Nathaniel Sellers (1808-1867) and the attention this object has received in the past few years, including an article published in the 2025 issue of Americana Insights

This pitcher has also traveled a bit since 2023, from its presentation at the bi-annual ceramics conference at Historic Eastfield Village in New York, known as "Dish Camp," to its recent sale at Brunk Auctions in Asheville, North Carolina, where it is now displayed as part of Historic Trappe's exhibitFrom Hubener to Medinger: Redware Potters of Southeastern Pennsylvania.

Here is a link to purchase the 2025 issue of Americana Insights: https://www.pennpress.org/9798988533122/americana-insights-2025/.

Here is also a link to sign up for the Americana Symposium: https://historictrappe.org/americanasymposium/.

I Will be Speaking About this Pitcher Next Month at Historic Trappe
See Article for More Information

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

A Preview of Forthcoming Eleventh Book: The Halls and Their Potteries of Dorchester, Roxbury and Northampton, Massachusetts

As I have previously mentioned - my two-volume, 1,654 page, tenth book, titled, An Early Industry of Household Wares: The Red Earthenware of Salem Village, Danvers, Peabody, Beverly and Salem, Massachusettsshould be heading to publication in the next month or so, where I am now looking forward to the eleventh book, which I'm hoping for a fall 2026 publication date. This new book, titled, A Monumental History: Stories of Red Earthenware Production in Western Massachusetts, the Berkshires and Vermont, will be about 600-700 pages in length, and it will include research from other scholars, such as Boston City Archaeologist Joe Bagley. 

In fact, Chapter 2 in the book is titled, The Eighteenth Century Businesses of Northampton, Massachusetts; this can be traced back to colonial red earthenware production in the Boston and Charlestown, Massachusetts area. The first potter in Northampton was Jonathan Hall (1732-1776), who originally owned a business in Roxbury, Massachusetts in the 1760s (and perhaps earlier).

Some of the history of Hall’s production in Western Massachusetts has been preserved in notes taken by author and Unitarian minister Sylvester Judd (1813-1853), now owned by the Forbes Library in Northampton. However, Hall’s production in Northampton did not last long, seeing that he died in 1776. He was a captain in the American Revolution, although his death was unrelated to the war, and instead a result of an illness.

Hall appears in the Boston Gazette, twice in 1763, and then again in 1765. The 1765 advertisement announces the sale of his pottery business, which he eventually sold in 1767. He was then living in Hampshire County, Massachusetts by 1769. It is unclear where Hall learned how to manufacture red earthenware, but he may have trained in Charlestown before establishing his business in Roxbury for the fact that he was related through marriage to the Parker family in Charlestown. Isaac (1692-1742) and Grace Parker (1697-1754) were a prominent family of potters, operating a red earthenware business during the circa 1714-1754 period, whereas a son, John Parker (1719-1762) kept an account book of his activities during the 1747-1761 period, now owned by the Baker Library at Harvard University.

Jonathan Hall's Advertisements from the Boston Gazette, 1763, 1763 & 1765
See Article for More Information

Interestingly, there were other members of the Hall family who operated as red earthenware potters in Dorchester, Massachusetts before the American Revolution, perhaps having trained in Charlestown, which at the time was a bordering community.

According to the research of Boston City Archaeologist, Joe Bagley - The Hall family operated a multi-generational red earthenware business in Dorchester in the eighteenth century. Joseph (1701-1762) and Palatiah (1704-1784) were the grandsons of Richard (1620-1691) and Elizabeth Collicott Hall (1629-1693). Richard arrived in the Boston area in 1639 from Kent, England. There is also another brother named Jonathan, and this is possibly the same Jonathan who worked as a potter in Roxbury and later Northampton, otherwise the Jonathan in Roxbury was related in another way.

According to Bagley, “The area where the Hall kiln may have been located is possibly on property near Mother's Rest on Washington Street in Dorchester. Additionally, Joseph’s will from 1762 mentions the potting shop, as does his probate from 1762 that notes his potter’s mill & millstone, potting shop, kiln and kiln house.

Also in 1762, the deed of Joseph and Palatiah split their 8 ¾ acres of land with Joseph receiving the northern half and kiln. Joseph then wills his kiln to his nephews Solomon (1732-1791) and Paul (1735-1816). Solomon is a victualer (a person providing or selling food or other provisions) and Paul is a potter.”

It is unclear how long production may have continued under Paul, but it may have stopped around the start of the American Revolution, which altered the physical appearance, atmosphere and landscape of the Boston area in 1775, such as Battle of Bunker Hill in Charlestown on June 17, 1775, etc.

Furthermore, I am not going to post it here (you will have to wait for the book), but an example of eighteenth century production from the Hall Pottery in Northampton may have been recovered by archaeologists in the twentieth century from an eighteenth century privy at the Dr. Thomas Williams (1718-1775) house in Deerfield, Massachusetts. The house was built about 1748, and this is about when the privy was constructed, then being used over the next few decades. The slip decoration applied on this object is similar to techniques produced in Charlestown, although unrelated to that production.

Note: For more information about pre-1775 production in Charlestown, Massachusetts - see my second book, titled, The Dawn of Independence, the Death of an Industry: The Pottery of Charlestown, Massachusetts: https://historicbeverly.net/product/the-dawn-of-independence-the-death-of-an-industry/.

Part of Joseph Hall's 1762 Will from Dorchester, Massachusetts
Note His Potting Shop is Left to His Nephews
See Article for More Information
Courtesy: Research of Joe Bagley
This is the Part of the Will that Mentions the Potting Shop
See Article for More Information
Courtesy: Research of Joe Bagley
This is Joseph Hall's 1762 Probate from Dorchester, Massachusetts
Mentions His Potter's Mill, Potting Shop, Kiln and Kiln House, Etc.
See Article for More Information
Courtesy: Research of Joe Bagley
This is Part of the 1762 Deed of Joseph and Palatiah Hall
They are Both Referred to as "Potter"
See Article for More Information
Courtesy: Research of Joe Bagley
This is the Remainder of the 1762 Deed of Joseph and Palatiah Hall
They are Both Referred to as "Potter"
See Article for More Information
Courtesy: Research of Joe Bagley
Here are Both Men Called "Potter" in 1762 in Dorchester, Massachusetts
This is the Same Period that Jonathan Hall was Working in Roxbury, Mass.
See Article for More Information

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

Monday, February 16, 2026

Some Red Earthenware Available in Massachusetts, Including Two Good Sgraffito Decorated Plates Made by Jacob Medinger in Montgomery County, PA

This is a good selection of nineteenth and early twentieth century red earthenware that has been consigned to Antiques Associates At West Townsend in Massachusetts. There are a few really good objetcs displayed here, which includes two sgraffito decorated red earthenware plates shown on the top row to the far left. Both of these plates were made by Jacob Medinger (1856-1932) in Montgomery County, Pennsylvania. Medinger is regarded as the last of the traditional red earthenware potters in Montgomery County, continuing a craft that his father, William Medinger (1823-1888), began in 1872. 

These particular plates are notable examples of Medinger' work, where one plate features a central floral design with six circular pinwheel-like blossoms emerging from a heart-shaped base (shown second from left on the top row). The plate is inscribed with the year "1803," although it was actually produced in the early twentieth century; Medinger often included earlier dates on his work to reflect traditional folk styles or historical subjects

The second plate made by Medinger is shown to the far left on the top row and features a central sgraffito decoration that depicts a flowering basket (or urn) with emerging stems and blossoms

Interestingly, it was around 1980 that antiques dealer Scott Tyson acquired an entire collection in the Philadelphia area from a gentleman who had purchased his items directly from Jacob Medinger in the 1920s and early 1930s. These objects included the original receipts and a letter from Medinger. Some of the prices indicate that Medinger was selling his wares as cheap at $0.40 for a pitcher and $2.50 for a sgraffito decorated plate.

For more information about any of these objects - contact A.A.A.W.T. - https://www.aaawt.com/about/.

Note: For more information about the Medinger family - see the 2025 issue of Americana Insightshttps://americanainsights.org/book-release-2025/

Some Red Earthenware Available in Massachusetts

19th and Early 20th Century Red Earthenware Plates from Pennsylvania
Two Plates Top Left on Top Row Made by Jacob Medinger in Montgomery County, PA
See Article for More Information
Photo Courtesy: A.A.A.W.T.
These are Original Receipts from Jacob Medinger (1856-1932)
They Date from the 1920s to the Early 1930s
See Article for More Information
Photo Courtesy: Scott Tyson

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

Sunday, February 15, 2026

A Comparison of 19th Century Red Earthenware Jars: One Owned by the Smithsonian Institution Attributed to Morgantown, West Virginia

The second picture posted below shows a nineteenth century red earthenware jar that I acquired years ago in the Mid-Atlantic region, while the third picture shows a matching jar kept as part of the important Dr. Walter Hough (1859-1935) Collection at the Smithsonian Institution in Washington, D.C., which was made in Morgantown, West Virginia before 1850 (actually it was Virginia then since West Virginia's statehood wasn't established until June 20, 1863).

Interestingly, Dr. Hough worked at the Smithsonian for nearly fifty years, where he documented a variety of Morgantown red earthenware, stoneware and potter's tools in a report published in 1899, titled, Annual Report of the Board of Regents of the Smithsonian Institution, Part 2

Dr. Hough was born in Morgantown on April 23, 1859, and received his schooling at the Morgantown Academy and the Preparatory School of West Virginia Agricultural College; from West Virginia University he obtained his B.A. degree in 1883, his M.A. in 1884, and his Ph.D. in 1894. 
Dr. Walter Hough (1859-1935)
Assistant Curator for the Division of Ethnology at the Smithsonian
See Article for More Information
Photo Courtesy: Smithsonian Institution

As part of this report, thirty-two different types of pottery were described, together with their provenance, including a whisky flask, ointment jars, pitchers, preserve jars, spice bottles, a sugar purifier, molasses jars, jugs, a churn, a jar or tea caddy, a fat-lamp, muffin rings, a cream pitcher and flowerpots, as well as dozens of potter’s tools and molds.

Furthermore, Morgantown, is where some of the most accomplished red earthenware and stoneware was produced in West Virginia, beginning as early as 1785. Some of the key figures included Francis Billingsley (1781-1861), the Thompson family, and Jacob Foulk Junior (ca. 1764-1821), who was born in Berks County, Pennsylvania, with the industry transitioning from red earthenware to stoneware production around the mid-nineteenth century.

Nonetheless, the aspect that I find interesting about these jars is how the use of glaze colors is similar to some colors applied in other locations in West Virginia, especially on some late nineteenth century stoneware figures made in Clarksburg.

Note: For more information - see Dan Horvath and Richard Duez’s article in the 2004 issue of Ceramics in America, titled, The Potters and Pottery of Morgan's Town, Virginia: The Earthenware Years, Circa 1796-1854: https://chipstone.org/article.php/153/Ceramics-in-America-2004/The-Potters-and-Pottery-of-Morgan's-Town,-Virginia:-The-Earthenware-Years,-Circa-1796-1854.

A Comparison of 19th Century Red Earthenware Jars
19th Century Red Earthenware Jar Possibly Made in Morgantown, West Virginia
Closely Matches a Jar Owned by the Smithsonian Institution
See Article for More Information
19th Century Red Earthenware Jar Reportedly Made in Morgantown, West Virginia
Made Before 1850
Stands 7 3/4" Tall
See Article for More Information
Photo Courtesy: National Museum of American History at the Smithsonian Institution

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

Friday, February 13, 2026

A Preview of Forthcoming Western Mass. and Vermont Book: 19th Century Black Glazed Red Earthenware Teapots Recovered at the Daniel Shays Settlement in Vermont

With my two-volume, 1,654-page, tenth book, heading to publication in the next month or so, titled, An Early Industry of Household Wares: The Red Earthenware of Salem Village, Danvers, Peabody, Beverly and Salem, MassachusettsI wanted to take a look at the next book that I am working on now, which will feature great research from a group of scholars. This eleventh book is titled, A Monumental History: Stories of Red Earthenware Production in Western Massachusetts, the Berkshires and Vermont. I am really excited over this 600-700 page book that I hope will be published in the fall of 2026. 

One of the subjects that will be covered in this book is the nineteenth century black glazed red earthenware teapots manufactured at the Thomas Crafts (1788-1831) Pottery in Whately, Massachusetts. The main source of information for these teapots is the archaeology collected by Massachusetts author Lura Woodside Watkins (1897-1982), now kept at the National Museum of American History at the Smithsonian Institution in Washington, D.C. 

The new book also takes a deeper look at this production by comparing possibly related examples recovered from various archaeological contexts in Boston, Salem, Massachusetts, Portsmouth, New Hampshire, Yarmouth, Maine, Vermont, New York City and Philadelphia, etc. There were also similar teapots made on Long Island in New York, as well as other locations in the American Northeast that will be illustrated in the book.

Nonetheless, the nineteenth century black glazed red earthenware teapot remains shown below are from the Daniel Shays (1747-1825) settlement site in Vermont, where Shays had relocated from Western Massachusetts in the late 1780s. Shays had previously led a rebellion and an armed uprising of farmers in Western Massachusetts (in places like Lee, etc.), who protested high taxes, debt, and economic hardship following the Revolutionary War. They blocked courts to prevent foreclosures, highlighting the weakness of the Articles of Confederation and helping prompt the U.S. Constitutional Convention.

The rebellion manifested as part of a broader movement in Berkshire County to forcibly shut down courts and stop debt-related property foreclosures. Protesters, known as Regulators, closed the Berkshire County Court to prevent judges from ruling against debt-ridden farmers. Locally, the movement was supported by prominent figures like Chief Justice William Whiting (1730-1792), who publicly argued that the state's wealthy elite were exploiting impoverished farmers.

Following the collapse of his rebellion in Massachusetts in February 1787, Daniel Shays and his followers fled to Vermont, establishing a hidden, fortified settlement on Egg Mountain in Sandgate shortly after. This mountain retreat was inhabited by rebels from roughly 1787 until the settlement was abandoned around 1815.

A.I. Generated Image of Daniel Shays and His Following Moving to Vermont
See Article for More Information

According to archaeologists from the Shays Settlement Project in Vermont, "The archaeology of this site is the first formal archaeological study of the ruins of a fortified eighteenth century settlement located in the mountains of Southern Vermont. The settlement was founded by Captain Daniel Shays and his fellow refugees who fled Massachusetts following the uprising he commanded there in 1787.

Shays was a Revolutionary War soldier who fought in the Battles at Lexington and Concord in 1776, as well as a farmer, and probably best known for being one of the leaders in Shays' Rebellion, an uprising against controversial debt collection and tax policies in Massachusetts in 1786 and 1787.

Several hundred participants were eventually indicted on charges related to the rebellion, Shays being one of them, and he fled and hid in Vermont with many people involved in the uprising. But he was eventually pardoned and returned to Massachusetts in 1788. Afterwards, he moved to upstate New York, where he died in 1825.

Incredibly, the site of Shay's Settlement in Vermont lay hidden and untouched for over 200 years until its rediscovery in April 2013."

Note: I posted an article to this website in December 2025 that showed the remains of another nineteenth century black glazed red earthenware teapot found in a similar archaeological context in Washington County, Vermont: http://www.earlyamericanceramics.com/2025/12/a-quick-look-at-forthcoming-eleventh.html

19th C. Teapots Recovered at the Daniel Shays Settlement in Vermont

19th Century Black Glazed Red Earthenware Teapot Remains Recovered in Vermont
Found at the Shays Settlement Site
Possibly Made in Whately, Mass.
See Article for More Information
Photo Courtesy: The Shays Settlement Project
(Arrow) 19th Century Black Glazed Red Earthenware Teapot Remains
Found at the Shays Settlement Site
Possibly Made in Whately, Mass.
See Article for More Information
Photo Courtesy: The Shays Settlement Project

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

Thursday, February 12, 2026

Salt-Glazed Stoneware Art Pottery Made at the Pennsylvania Museum School of Industrial Art in Philadelphia in the Early 1900s

A subject that may not be widely recognized today is that there were some types of artistic salt-glazed stoneware produced at the Pennsylvania Museum School of Industrial Art in Philadelphia in the early twentieth century. Salt-glazed stoneware art pottery is a subject that is well-recognized today with some potters who worked during this period in Massachusetts, such as Russell G. Crook (1869-1925) in South Lincoln, Massachusetts, who had previously worked at the William Grueby (1867-1925) Pottery in South Boston, Massachusetts, but salt glazed stoneware art pottery is lesser known in other parts of the American Northeast.

The Pennsylvania Museum and School of Industrial Art (PMSIA), chartered in 1876 and opened in 1877, is the parent institution that eventually split to become the Philadelphia Museum of Art and the University of the Arts. Its historical connection to stoneware and ceramics is rooted in its founding mission to train craftsmen for industrial design and to document the history of American manufacturing.

However, in 1938, the institution formally separated into two distinct entities; the museum became the Philadelphia Museum of Art, while the school became the Museum School of Industrial Art, later the Philadelphia College of Art, and eventually The University of the Arts in 1985, which just closed in 2024.

This is a Circa 1905 Picture of the School
See Article for More Information
Photo Courtesy: The Library Company of Philadelphia
This is a Picture of the School Taken in 2024, the Same Year it Closed
See Article for More Information

The museum and school's first home, known as Memorial Hall in Fairmont Park in Philadelphia, was originally built for the 1876 Centennial World's Fair Exposition, although the school later acquired the former Pennsylvania Institution for the Deaf and Dumb (now known as Hamilton Hall) in 1893.

One of the students who studied at the school was Parke Edwards (1890-1973), where an example of his stoneware art pottery from 1913 is displayed as part of the Robert A. Ellison Jr. (1932-2021) Collection of Art Pottery at the Metropolitan Museum of Art in New York City. Pottery was one of the fields that students were exposed to at the Pennsylvania Museum School of Industrial Art; other areas included textile engineering & design, industrial arts and applied arts. Overall, the institution was foundational in combining artistic design with industrial application.

Early 20th Century Stoneware Vase Made by Parke Edwards (1890-1973)
Made While He was a Student in Philadelphia in 1913
This was a Part of His Studies at the Pennsylvania Museum School of Industrial Art in Philadelphia
See Article for More Information
Photo Courtesy: Metropolitan Museum of Art

The skill of the stoneware vase displayed at the MET is comparable to some stoneware produced by Susan S. Frackelton (1848-1932) in Milwaukee, Wisconsin. Frackelton's art pottery is displayed at the Philadelphia Museum of Art and the Metropolitan Museum of Art, among other museums across the country today: http://www.earlyamericanceramics.com/2021/12/outstanding-stoneware-manufactured-by.html.

Parke Edwards was born in Lancaster County, Pennsylvania in 1890; his parents were Jesse (1858-1924) and Mary Eckman Edwards (1865-1952). Census records from 1900-1920 list Jesse Edwards as both a cabinet maker and a farmer in Lancaster County.

Parke was a career artist in the twentieth century, where he became a prominent Arts and Crafts metal designer and craftsman in the Philadelphia area, best known for his intricate architectural metalwork. In fact, Winterthur Museum in Delaware gained an interest in his work in the twentieth century; according to Winterthur, “Parke’s formal education took him as far as the 8th grade.  Edwards became interested in art and enrolled in a mail-order course in show-card writing and sign painting with the International Correspondence School.  He then attended the Pennsylvania Museum School of Industrial Art, now known as the University of the Arts.  As a sophomore, Edwards was awarded a scholarship to travel in Europe, where he documented the artistic talents of Europe's best craftsmen.  He studied metalwork under the blacksmith Samuel Yellin (1884-1940).”

After his studies, Edwards major work included as undertaken at the Swedenborgian Cathedral at Bryn Athyn, Montgomery County, Pennsylvania, where he was responsible for making and installing much of the decorative metalwork, such as decorative doors, windows, and hardware using traditional techniques. Later he worked at the residence of Raymond Pitcairn (1885-1966), the financial sponsor of the Bryn Athyn Cathedral.

Furthermore,  his designs often featured neo-Gothic and Moresque influences. Collections of his work, including sketches and metal objects, are held at the Philadelphia Museum of Art, the Metropolitan Museum of Art and the Winterthur Museum.

Interestingly, another example of salt-glazed stoneware art pottery recently emerged in southeastern Pennsylvania, which is most likely related to production at the Pennsylvania Museum School of Industrial Art in Philadelphia. The shape of the vase is similar to some ancient styles, as well as some vases made at the Grueby Pottery in South Boston in the late nineteenth and early twentieth century. The base of the vase is inscribed and highlighted with cobalt, "E. Warwick / Jan 1910," along with the number "322."

This represents the work of Edward Warwick (1881-1973), a well-known Philadelphia painter, printmaker, and art educator. He was the son of Charles F. Warwick (1815-1913), who served as the mayor of Philadelphia in the late 1890s.

Warwick also taught at the Philadelphia Museum School of Industrial Art for at least twenty years before serving as its dean from 1933 to 1955. He frequently exhibited at the Pennsylvania Academy of the Fine Arts (PAFA) and the Philadelphia Watercolor Club. His wife, Ethel Herrick Warwick (1881–1961), was also a distinguished artist.

Nonetheless, even though there is no evidence that Parke Edwards studied with Edward Warwick, they were both at the Pennsylvania Museum School of Industrial Art in 1913, where Warwick served as a teacher and lecturer, although Warwick was most likely already at the school in 1910, when he created the stoneware vase, perhaps linking Edwards and Warwick through stoneware art pottery.

Note: For more information about this type of production in Massachusetts - see a feature story I wrote for the February 9, 2024 issue of Antiques And the Arts Weekly, titled, The Salt-Glazed Stoneware Made By Russell Crook, South Lincoln, Mass.: http://www.earlyamericanceramics.com/2024/01/published-feature-story-in-antiques-and.html.

Also see my eighteenth book, titled, An Influential Family of Early Potters: The Clarks of New Hampshire and Related Businesseshttps://historicbeverly.net/product/an-influential-family-of-early-potters-the-clarks-of-new-hampshire-and-related-businesses/#:~:text=In%201775%20when%20Peter%20Clark,White%20Mountains%20and%20into%20Vermont.

Early 20th Century Salt-Glazed Stoneware Vase Made in Philadelphia
Made by Edward Warwick (1881-1973)
Base Inscribed "E. Warwick / Jan 1910"
Also Inscribed with the Number "322"
Stands 8 3/4" Tall
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Photo Courtesy: Greg Kramer
A View of the Base
Inscribed "E. Warwick / Jan 1910 / 322"
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Photo Courtesy: Greg Kramer
This is a Portrait of Edward Warwick (1881-1973)
Painted by Sue May Westcott Gill (1887-1989)
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Photo Courtesy: Woodmere Art Museum in Philadelphia

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

Tuesday, February 10, 2026

A Significant 19th Century Patriotic Scroddled Earthenware Pitcher, Dated "December 25th, 1868"

In the next few days or week or so, the March 2026 issue of Maine Antique Digest will be published, and there will be a full-page advertisement for this nineteenth century presentation patriotic hound-handle pitcher. The pitcher is adorned in a striking scroddled appearance, a type of production that is unusual for American potteries, but it did happen in the 1800s. This is probably also a one-of-a-kind type piece made in support of German unification in America, perhaps in New Jersey or Philadelphia.

Scroddling is a technique where different colored clays are mottled and swirled into the main clay body to create a mixed or mottled pattern on the surface. The word "scroddle" describes the process of mottling pottery with various colored clays, resulting in a marbled or patterned appearance, sometimes it is a combination of both. Examples of scroddling with American potters happened in Bennington, Vermont, as well as a bank or money box in the form of a bureau reportedly made in Philadelphia in the late nineteenth century that is owned by the Philadelphia Museum of Art: http://www.earlyamericanceramics.com/2023/11/a-marbled-glazed-red-earthenware-money.html.

There has been some debate whether the handle on this pitcher portrays a cat or a hound, although it appears in-hand like a hound, differing from some of the more typical hound-handle pitchers made in America, circa 1840s-1870s, such as an article that I wrote for the 2025 issue of Americana Insights, titled, Nathaniel Sellers: A Postmaster and Potter of Upper Hanover, Pennsylvania: http://www.earlyamericanceramics.com/2025/10/2025-issue-of-americana-insights.html.

Nonetheless, the idea of the hound-handle pitcher was brought to America in the late 1830s by Daniel Greatbach (1810-1881), an English master potter. He worked for a group of American potteries, circa 1838-1860s, although his most famous hound-handle is one that he created for the United States Pottery Company in Bennington, Vermont: https://artgallery.yale.edu/collections/objects/99702.

This pitcher is adorned on both sides with applied sprig molds of Lady Liberty, surrounded by thirteen stars, along with two great seals applied on the front of the pitcher. In the nineteenth century, as the country grew and faced new challenges, Lady Liberty changed to reflect the times. The image of Lady Liberty portrayed on this pitcher closely resembles her appearance, as published around the mid-nineteenth century and the few decades that followed, where she is presented holding in one hand a liberty cap on a pole and in the other hand an American shield, while she is standing in front of a bustling American industry behind her.

Mid-19th Century Image of Lady Liberty
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Photo Courtesy: Smithsonian Institution

Additionally, the words “Liberty and Lager” are stamped below the pitcher's rim; according to the research of Connor Rush, "This was a briefly-used political slogan or rallying cry for anti-Prohibition agitators during the 1868 presidential election, seemingly used primarily by the Democratic party to pander to the large German immigrant population in Northern cities and try to get some votes there. The election was contested by Republican Ulysses S. Grant and Democrat Horatio Seymour. However, it did not work, and Grant won the election becoming the 18th President of the United States. But the “don’t take away our beer!” sentiment was strong and may have remained an issue in the politics of northern cities."

American artist and poet, Charles Dawson Shanly (1811-1875) noted in the Atlantic Monthly in 1867, where he described the conditions, when he said: "Liberty and Lager-Bier! are vibrating upon the air in gutteral German acccnts.”

It was also published in a book in 1926 written by Dartmouth College history professor John Gerow Gazley (1895-1991), titled, American Opinion of German Unification, 1848-1871: “As early as 1862, the German-Americans began to be dissatisfied with the Republican party. One cause for German dissatisfaction was the gradual increase of power within the Republican party of the old Whig elements which the Germans so disliked. It is certainly true that to a large extent the Republican party came under the control of big business. More important still was the return to power of the Puritan elements. A good example is furnished by the Excise Law of 1866 in New York, which forbade the sale of all intoxicating liquors on Sunday. The New York Tribune claimed that the Excise Law had cost the Republican party five thousand German votes in the elections of 1866. The New York Times and Nation felt that the Republicans had made a serious blunder, and blamed the more puritanical papers like the Tribune. Charles Dawson Shanley (1811-1875) in the Atlantic Monthly described the conditions early in 1867 when he said: “’Liberty and Lager-Bier!’ are vibrating upon the air in guttural German accents.” In 1868 the New York Times reported a meeting of Germans in the Bowery to protest against the law. The issue was still a live one in 1870 and played an important part in the campaign of that year along with the Franco-German War.”

During the nineteenth century, particularly around 1868, Philadelphia's brewing industry also underwent a revolution driven largely by German immigrants and the growing popularity of lager beer. This period saw a significant increase in the number of breweries in the city, with Philadelphia becoming a major center for beer production.

Furthermore, this pitcher is adorned on both sides above Lady Liberty and along the rim with the impressed name of “HENRY RODEARMEL.” This likely represents Henry Rodearmel (1816-1890) who was born in Philadelphia in 1816 and died in Philadelphia on September 10, 1890. The handle of the pitcher is also impressed “DECEMBER” and inscribed “25th 1868,” suggesting this was a presentation pitcher given as a Christmas present.

Rodearmel seems to have been a career engineer, where he is listed with this occupation, as early as the 1837 edition of McElroy's Philadelphia City Directory at 1319 Wallace Street (see below). He is then cited as an engineer in the 1870 and 1880 United States Federal Censuses in Philadelphia (see below). The 1881 Philadelphia City Directory also lists him as an engineer, where he is still working at 1319 Wallace Street (see below).

Among the engineering projects he was involved with was one cited in the 1860 issue of Laws of the General Assembly of the Commonwealth of Pennsylvania: "Section 1. Be it enacted by the Senate and House of Representatives of the Commonwealth of Pennsylvania in General Assembly met, and it is hereby enacted by the authority of the same, That the auditor general, state treasurer and attorney general be and they are hereby authorized and required to examine into the claim of the sureties of Henry D. Rodearmel, late supervisor (in this case the use of the word "late" likely signifies that Rodearmel was no longer employed or had left that position) on the Susquehanna division of the Pennsylvania canal, and they, or a majority of them, to report to the legislature, at their next session, whether anything is justly and equitably due said sureties from the commonwealth; and if anything is so due, the nature and amount thereof."

The Rodearmel family is a Philadelphia name with roots tracing back to Germany. The family name first appeared in Philadelphia in the eighteenth century, where the surname is also spelled in historical records as Rothermel and Roadarmel.

The word “UNION” is stamped below each figure of Lady Liberty, where there is also a Civil War connection with Henry Rodearmel; his son, George Rodearmel (1844-1915) served in the 91st Pennsylvania Volunteer Infantry (see below), which was a Union infantry regiment that fought in multiple key engagements of the American Civil War, including the Battle of Fredericksburg, the Battle of Chancellorsville and the Battle of Gettysburg.

Lady Liberty was also portrayed on a print published by Kimmel and Forster in New York City in 1866, titled, The End of the Rebellion In the United States, 1865. According to the National Museum of American History at the Smithsonian Institution in Washington, D.C., “The print features a symbolic representation of the downfall of the Confederacy and the end of the Civil War. Upon an altar carved with relief portraits of Washington and Lincoln, stand two robed females figures, Liberty, who wears a Phrygian cap and holds an American flag, and Columbia, who is adorned with a crown of stars. Below them to the left, Lady Justice triumphantly raises her sword and balance. In the foreground of the scene, a black soldier and a freedman kneel before the central pedestal. Behind Liberty stand President Andrew Johnson and the Union generals, Grant, Sherman, and Butler. In the background, behind these officers, an outfit of solemn, well-postured Union troops face opposite a disorganized grouping of defeated Southern fighters. A selection of notable Confederates is gathered in the right of the scene, including Jefferson Davis, Robert E. Lee, and John Wilkes Booth. An eagle grasping thunderbolts flies above all these figures and in the background, an American flag waves over Fort Sumter.”

This Print of Lady Liberty was Published in 1866
"The End of the Rebellion in the United States, 1865"
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Photo Courtesy: Smithsonian Institution

It is also important to note that sprig molds were used by a number of American red earthenware and stoneware potters in the nineteenth century, including those located in New York, Pennsylvania and Ohio, some of which incorporated various designs of American Eagles. The Great Seal was also a popular means of design used by some nineteenth century American stoneware potters on monumental and presentation objects; Baltimore, Charlestown, Massachusetts, etc.

This object is also published in my most recent two-volume, ninth book, titled, America's Great Awakening and Migration: The Red Earthenware of Western New York: https://historicbeverly.net/product/americas-great-awakening-and-migration-the-red-earthenware-of-western-new-york/.

For more information about this pitcher - contact Antiques Associates At West Townsend in Massachusetts: https://www.aaawt.com/about/.

Patriotic Scroddled Earthenware Pitcher, Dated "December 25th, 1868"

19th Century Molded Hound-Handle Pitcher
Adorned with Figures of Lady Liberty, a Shield, Thirteen Stars and Eagles
Dated "December 25th, 1868," and Inscribed with the Word "Union"
Stands 10 1/4" Tall
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Photo Courtesy: A.A.A.W.T.
Additional Pictures of the Pitcher
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Photo Courtesy: A.A.A.W.T.
Another Picture of the Pitcher
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Photo Courtesy: Private Owner
A View of the Base
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Photo Courtesy: Private Owner
Henry Rodearmel Listed as an Engineer at 1319 Wallace Street Philadelphia
This is from the 1837 edition of McElroy's Philadelphia City Directory
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Henry Rodearmel Listed as an Engineer in Philadelphia
This is from the 1870 United States Federal Census
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Henry Rodearmel Listed as an Engineer in Philadelphia
This is from the 1880 United States Federal Census
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Henry Rodearmel Listed as an Engineer at 1319 Wallace Street Philadelphia
This is from the 1881 Philadelphia City Directory
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George Rodearmel's (1844-1915) Record of Service in the 91st Penn. Volunteer Infantry
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Please Stay Tuned...Much More to Come...