Saturday, June 7, 2014

Discovery: Two Important Red Earthenware Products Found on Maine's Seacoast Likely Related to the State's 19th Century Potters

I had to make a quick trip to beautiful coastal Wiscasset, Maine this morning to pick something up that a friend had told me about. I didn't have a lot of time to spend in the area, but I chose to pick some of the lesser quality shops on my way home. I made two significant discoveries of previously undocumented examples of nineteenth-century Maine red earthenware in a short amount of time - and I am quite excited over it!

The first was found in a shop directly on Route 1 in Wiscasset. It may be one of the most important examples of Maine red earthenware I have found to-date. It is unglazed, but modeled with a hound-handled pitcher and decorated with cherubs and fruited vines around the top. Similar earthenware hound-handled pitchers were made in parts of New Hampshire, Vermont and New Jersey; however this is a red earthenware product, which makes it much rarer. It was also made in Maine, which makes it that much better. The only other region I can recall that made similar red earthenware pitchers was in the Shenandoah Valley region of Virginia by such businesses as Solomon Bell & Sons in Strasburg and John Bell in Pennsylvania. The pitcher I found could be a much-rarer story - since no modeled red earthenware pitchers like this have ever been attributed to the potters who worked in Maine before. That's not to take away from the Virginia products because those are exceedingly rare and important, as well.

 Hound-Handled Red Earthenware Pitcher
Purchased in a Shop in Wiscasset, Me
Stands 10" Tall
Ca. 1840-1860
 Nicely Decorated in Cherubs and Fruited Vines
Nicely Accomplished Pouring Spot with More Decoration Directly on the Front

I asked the shop owner where the pitcher came from - and he told me it was found in a home in Newcastle, Maine. The reason I asked is because the pitcher has an obvious stamp on its base. It's marked with an unmistakable snowflake - a mark that the Safford Pottery in Monmouth, Maine is known for, but never before - have I seen a form like this attributed to any Maine red earthenware potter before. The distance between Newcastle and Monmouth is only about thirty-five miles - so it is possible this pitcher is original to the home it was found inside of. All the evidence suggests to me that this pitcher was made in Monmouth and the snowflake stamp is indicative of that. Very exciting!

 Base is Stamped with a Snowflake
The Safford Pottery in Monmouth, Me was Known for Using Snowflake Designs
The Pitcher Was Found in a Newcastle, Me Home
Safford Pottery Handled Jar - Monnmouth, Me
Nicely Decorated in a Cream and Raspberry Glaze
Front is Stamped with Snowflakes and the Safford Pottery Name
Ca. 1820-1840
Photo Courtesy: Maine State Museum - Augusta, Me

Luck was still on my side as I traveled home - I stopped into a vintage shop (not exclusively an antique shop) in downtown Bath, Maine - where I found a nice small red earthenware pitcher made at the nearby Corliss Pottery in Woolwich, Maine. Woolwich is the next town over and the important Corliss Family Pottery worked in the Days Ferry neighborhood in the nineteenth-century.

The shop keeper told me she just purchased the contents of a home in Bath. She said everything her and her business partner purchased had been with the family for generations and this little pitcher was included with the sale. She said she knew nothing about it. The pitcher is in a very-rare small size with an unusual Corliss Pottery glaze. I have seen similar formed pitchers attributed to the Corliss Pottery with more traditional glazes. I love the rounded foot or base. It's just a wonderful form.

Corliss Pottery Red Earthenware Pitcher - Woolwich, Me
Purchased Today in Bath, Me
Recently Removed from a Bath, Me Estate
Stands 4 3/4" Tall
Ca. 1820-1860

My adventures did not stop here. As I continued on my way home, I stopped at an indoor flea market just south of Bath - where I met a local potter who sold me four pieces of incredible pottery he had just removed from his home. He told me they were all probably foreign products, but I have since been able to attribute them all to C.A. Lawrence Pottery in Beverly, Massachusetts. One in particular you will be amazed with! I promise! I will try and write about this experience tomorrow.

Please Stay Tuned…Much More to Come...







Wednesday, June 4, 2014

A Very Important 19th Century Red Earthenware Vase - Attributed to Merrimacport, Massachusetts

According to Lura Woodside Watkins (Early New England Potters and Their Wares), "…This trend of bric-a-brac may be observed at other redware potteries that were running in the 1870s and 1880s. At Exeter (NH), at Merrimacport (Ma)…(page 223)" - This is a statement that has puzzled me ever since I first recognized what Watkins meant by the phrase bric-a-brac. Defined - it means: A miscellaneous collection of small articles commonly of ornamental value or decorative quality.

According to Wakins, below are the potters who worked in Merrimacport (formerly West Amesbury), Massachusetts - there is no indication that a potter or potters were employed in this area in the 1870s or 1880s; although she does include the sentence seen above in her book. I truly believe for her to make such a statement - she must have received this information from talking with old-timers, period advertising or early publications. There was obviously a strong recollection for her to write such a definitive statement.

It is very possible that one of the later potters listed below owned a business in the 1870s and 1880s. Richard Chase may be that potter - especially since he is related to all the previous potters who owned businesses in Merrimacport.

Merrimacport (formerly West Amesbury) Potters
1) Benjamin Bodge (West Amesbury, MA) – bapt. 1746 – Pecker trained under & brother in-law
2) William Pecker (Merrimacport, MA) – 1758-1820 – trained under Benjamin Bodge
3) James Chase – Pecker’s nephew (Merrmimacport, MA) – 1779-1849
4) Phinieas Chase – James’ son (Merrimacport, MA) – 1820-1863
5) Sargeant Smith (Merrimacport, MA) – 1825 – may have worked at Chase Pottery
6) (?) Mann (Merrimacport) – 1852 – may have worked at Chase Pottery
7) Richard Chase (Merrimacport, MA) – 1856

After careful consideration of what was happening in the 1870s and 1880s with coastal Massachusetts potters - it has been my belief that whatever this business was that operated in Merrimacport during this period - must have made similar products like those seen at the business run by Charles A. Lawrence in Beverly, Massachusetts. It would make the most sense especially considering what was happening to country potters during the Industrial Era. In order for potters to compete with the larger factories they had to become creative. Sadly, no piece has ever been properly identified to Merrimacport after 1870 -- until recently!

This is very exciting!

I managed to find a piece today from a local Newburyport-area home with many characteristics shared with wares made by William Pecker in Merrimacport (Ca. 1784-1820) and C.A. Lawrence Pottery in Beverly (Ca. 1866-1906). The piece is in the form of a vase. It is very-thinly potted in a wonderful-mastered form with great proportions. 

To start, it is painted in a goldish-reddish color, which is similar to paint colors used in Beverly. The base is also painted like the Beverly products. That's not the exciting part. The exciting part is the fact that the top of the vase is nearly identical to the tops of most William Pecker-made jugs - and it shares a sharply cut base that is nearly identical to how William Pecker added his footed bases. The way Pecker made his bases are also somewhat unique. It's all very small, but noticeable if you look at it up close. The bases come down at a sharp angle and then they are cut off at another sharp angle towards the base or bottom. This is exactly how the footed base on the vase is done. That's absolutely incredible to me! It appears that whoever this mystery potter was attempted to pay homage to William Pecker with how he made some of his products - or he at least stayed with the ways of old for the new. Most of the potters who worked in Merrimacport were related so there is a chance this potter may have been a descendant of Pecker.

I have to find out who this potter is - to begin, they were definitely accomplished. As far as I know (and I've seen a lot of private and museum collections all-over the east coast), this is the first piece ever attributed to this period in Merrimacport, Massachusetts. Now that's exciting!

(Center) Merrimacport, Ma Red Earthenware Vase
Ca. 1870s or 1880s
(Left) William Pecker Red Earthenware Pitcher - Merrimacport, Ma
Ca. 1784-1820 (Notice the Base)
(Right) William Pecker Red Earthenware Jug - Merrimacport, Ma
Ca. 1784-1820 (Notice  the Top)

This was not the only discovery I made at this location…there will be more to this story in time!

Please Stay Tuned…Much More to Come...

Monday, June 2, 2014

Interesting Red Earthenware Artifacts Found in Newbury, Massachusetts of a Possible 18th Century Origin

My nephew, Jason and I set out on a bike ride over the weekend that brought us through parts of Newburyport, West Newbury and Newbury, Massachusetts. He had asked if we could go somewhere we had never ridden to before - and considering the amount of riding we do - it seemed like somewhat of a lot to ask. We've ridden to William Pecker's place of operation in Merrimacport (here is a link to a story written about that ride for the October 2013 New England Antiques Journal), Massachusetts before. We've gone past the places where the Bayley family and Ebenezer Morrison worked in Newburyport in the eighteenth-century. We've even gone past numerous locations on the Merrimac River - where large amounts of eighteenth and nineteenth-century trash used to be deposited. Today, the partial remains of some of these deposits sometimes appear on the shoreline after storms. We have occasionally found some red earthenware sherds - which help define some of the locally made potter's wares; although these deposits also provide many others products of interest. Rivers all over world can tell stories of the past in a similar manner since dumping local trash was a popular practice in urban environments. There was no such thing as a trash pickup day back then - so it had to go somewhere a river was sometimes the easiest solution.

We thought up a plan - I told him he could take a few minutes to look for frogs in a swampy part of a place known as the Artichoke (which is also the local water supply for Newburyport) along the city's boundaries to the southwest. I quickly took that statement back when I saw the amount of poison ivy. I used to go to the Artichoke with my childhood friends as a kid looking for frogs, turtles and to fish in the 1980s and early 1990s. The area has always had myths and legend into the size of huge snapping turtles that were mostly made up by the imagination of children. The Artichoke Reservoir is also the place of a very-early Quaker settlement that all that remains of its memory today is a cemetery. All the buildings and meeting houses vanished years ago.

Jason and I took this route for at least a mile riding past springtime flowers in full-bloom, early New England homes and what I would purely describe as a beautiful county New England setting - with lots of wildlife, swamps, ponds, streams and trees. We could occasionally hear the songs of birds and bullfrogs in the air. Our route was entirely lined with early-built rock walls. We did venture off our path a little bit, but we always found our way back to the main road. We both ride Giant Mountain Bikes so we occasionally put them to good use.

This road eventually brought us to a road that ran next to an Interstate 95 on-ramp and off-ramp near the Newbury State Police Barracks known as Scotland Road.

Scotland Road was our way back to Newburyport. It brought us to the Newburyport industrial park, which we then took to the Newburyport MBTA train station, the scenic rail trail and through Newburyport before we arrived home. Scotland Road is also a scenic ride. We went by a working farm with chickens and sheep out front, running brooks, blossoming springtime trees and an occasional home.

In all, our ride probably lasted for about five-miles. The longest ride we've taken together was when we visited the workplace of William Pecker last summer. That ride was about twelve-miles with plenty of hills that stretched along the beautiful Merrimac River.

Before we were about to re-enter Newburyport and a short distance from the industrial park, I noticed a huge pile of dirt that laid just off Scotland road to the left of a dirt driveway. The dirt driveway went uphill for a little bit leading to a newly built house. Out of curiosity, I entered the driveway to see if the dirt pile had any red earthenware shards laying on top of it, but as soon as I made that turn into the driveway - I noticed this was not only one dirt pile, but one of many. The piles looked like one succeeded the next from the back of dump trucks. There must have been at least a dozen piles - and as soon as I saw that first pile, I could clearly see discarded artifacts, sherds and shards. All the piles appeared this way. The dirt was likely not random piles either, but rather - it was likely landfill taken from somewhere (possibly the newish house up on the hill) and this was where it had been deposited.

 A Few of the Dirt Piles Facing Back Towards the Dirt Driveway
They Went for Quite a Distance
 The Row of Dirt Piles Facing Away From the Dirt Driveway
The Piles Were Littered with 19th and 20th Century Trash
 The Dirt Piles Looking Back at Scotland Road in Newbury, Ma
 More of the Dirt Piles Looking Back at Scotland Road in Newbury, Ma
Each Pile Probably Stood About 8 Feet High
There Were About a Dozen or-so Piles of Dirt Dumped in this Area
All the Piles Appeared to be a Dump Truck Size

Among the artifacts we saw included - transfer decorated nineteenth-century ceramics, nineteenth-century ironstone, twentieth-century glass, nineteenth-century glass, Chinese export ceramics, cow bones, a nineteenth-century canning jar, an early horse shoe, a couple of glass marbles and many examples of red earthenware - which I presume were mostly made by local potters.

 Broken Glass and Ceramics
 Unglazed Red Earthenware Sherd Protruding From One of the Piles
 Broken Ceramics
 More Broken Ceramics
 Even More Broken Ceramics and Red Earthenware

My nephew almost immediately found a broken spade, which he toted around for much of the our adventure looking over all the artifacts that laid atop the piles of dirt. We did not do any digging - we just observed what could visibly be seen. The possession he appears to have cherished most was probably a horse shoe - because it likely reminded him of a farm he has been hanging out at on Saturdays this spring - which has a few horses.

My Nephew, Jason with a Broken Spade 
 One of the Marbles My Nephew Found
Probably 20th Century
 A Second Marble My Nephew Found
Also Probably 20th Century

The most interesting New England-made artifacts I saw were the partial remains of a  rim to a red earthenware milk pan, a hand-turned nineteenth-century flower pot, a chunk from a thickly potted black glazed red earthenware sherd (probably 18th century)  and a very interesting slip decorated pan or deep dish of some-sort (also probably 18th century).

The milk pan rim reminded me of some products made in the southern part of Maine in the nineteenth-century with a typical glaze often associated with that area; although I assume dairy products like this were also made in the Newburyport-area - since the towns that surround Newburyport were - and still are farming communities. There must have been a demand for products like milk pans and utilitarian crocks in all farming communities across America.

The black glazed sherd could very-well be related to the eighteenth-century industry that roughly operated between 1765-1799 in Newburyport. There were two main businesses located across the street from each other - the first was run by Daniel Bayley and his family and the second by Ebenezer Morrison. Products from each of these companies appear similar. I have viewed shards collected by Lura Woodside Watkins (Early New England Potters and Their Wares) at the site of the Bayley Pottery, now kept at the Smithsonian in Washington, D.C. and this is how some of those products appear - thickly potted wares with black glazes.

 Black Glazed Red Earthenware Shard
Possibly from One of the Potters Who Worked in Newburyport, Ma
Possibly Dates Back to the 19th Century
Appears Thickly Potted

This next sherd fascinates me - it is approximately three inches long. It appears to be the remains of some kind of small pan or a deep dish, which was covered in slip decoration at one-time. It is also thinnly potted. Similar products have been found at the site of the Daniel Bayley Pottery Company and other parts of New England that have been properly attributed to the Bayley Pottery. It appears eighteenth-century to me. If it were left up to me - the form and decoration suggest an eighteenth-century potter - and the businesses in Newburyport would make the most sense.

 Possible 18th Century Slip Decorated Red Earthenware Pan or Deep Dish
Form and Decoration Conforms with Some Products Made in Newburyport, Ma Before 1775
Exterior of Pan or Deep Dish
Appears Thinly Potted
Interior of Pan or Deep Dish
Measures About 3" Long - the Size of the Pan Wouldn't Have Been A Great Amount Larger

I would love to learn more about the dirt that was trucked into this area. I don't believe it came from the house that sat atop the hill. I have many questions that surround it; Where did the dirt come from? Why was it removed? What is the land's history that it was removed from? What has the land's ownership been like? These are the types of questions that I think of - especially since I am seeing what may be colonial red earthenware artifacts from important Newburyport potters. It's all a bit of a mystery at the moment. I can only imagine the information that may lay within these piles. Fascinating! Isn't it?

Much More to Come...

Saturday, May 31, 2014

The Utilitarian Crocks of William Pecker (Ca. 1784-1820) - An Important Potter of Merrimacport, Massachusetts

I now have a better understanding of the idea behind partially glazed and even unglazed utilitarian crocks made by the colonial eighteenth and early nineteenth century potter, William Pecker of Merrimacport (formerly West Amesbury), Massachusetts. This is a subject that I have always been curious about. Let me explain...

A friend of mine, Dr. Mark Chaplin showed me a red earthenware crock he found in Portland, Maine a few months ago that he felt was made by William Pecker in Merrimacport, Massachusetts. I have always wondered about the partially glazed crocks made in Merrimacport; after all, all potters made utilitarian crocks for a variety of purposes. I have never had anything previously to go by for attribution so it was difficult to determine a place to start. There are also no known shards from Pecker's worksite. They all still reside underground in Merrimacport. Lura Woodside Watkins did not discuss anything about this subject in her book, Early New England Potters and Their Wares. She also had nothing in her collection that I have seen at the Smithsonian in Washington, D.C. It was basically a mute subject with no place to begin, but still a fascinating subject that I have often thought about.

The crock Mark Chaplin found matched many known characteristics seen on known multiple Pecker forms. It was only glazed on the interior in a caramel-like color that has never been seen on a Pecker product before. I wouldn't say I was skeptical over the attribution, but I was rather unsure because there was nothing else out there like it. That was until another friend, Sam Herrup found a very rare crock a few weeks ago at the outdoor antique shows in Brimfield, Massachusetts that was without a doubt - the work of William Pecker. This particular crock was glazed in an exact known Pecker color with incredible wavy line incised decoration that is typically associated with parts of Essex County (Massachusetts) more to the south and closer to Boston and Salem, Massachusetts. Both forms were also very similar - especially the rounded necks. I am now convinced that the crock Mark Chaplin found in Maine was definitely made by Pecker. He's really the one who began my research into this subject because of the wonderful pot he found. I had previously thought about this subject, but I now had a form to work with.

Based on this information, I have been able to properly attribute a second partially glazed crock likely made by Pecker likely after 1800. It's in mint condition, too. The crock was originally found by a man (not a redware collector or a dealer) at a barn sale in Southern New Hampshire in 1974 - who I just recently purchased it from. It's been in his house for roughly forty-years.

The crock's form is very similar to the crock Mark Chaplin found in Portland, Maine; however the interior is glazed in a dark greenish color - which happens to be only the fourth example of Pecker's work known today with a green glaze. The first was formerly in the collection of Maine antique dealer and artist, John Sideli - which sold through a  Maine auction house more than a decade ago. The second example was pictured in an article I wrote for the October 2013 edition of the New England Antiques Journal that helped contribute to Pecker's significance. A third example was recently found at a Salvation Army store on Route 1 north of Boston (see previous reports) - and now this example. Wakins gave a great deal of emphasis to Pecker in both her writing and collecting, but she never indicated Pecker ever used a green glaze. Her collection also did not show any Pecker examples with a green glaze. Very little information is also known about Pecker's work with slip decoration; although there are two jugs that show he did work with slip. Both are discussed in the article I wrote; the first is a jug dated in slip 1798 and the second is a jug (which is pictured in the article) that is covered in slip for color.

The green-glazed crock also retains what appears to be its original lid - which is a bit of an off-color possibly due to it being fired in another part of the kiln. This is not the first time I have seen off-colored lids attributed to Pecker. A straight-sided jar pictured in the same October 2013 New England Antiques Journal showed the same discoloration (see below).

* For the archaeologists reading this report -- both of these crocks are covered in fingerprints, which I have never seen in this amount on a product made by Pecker before (see pictures below).

 Pair of William Pecker Red Earthenware Utilitarian Crocks - Merrimacport, Ma
Both Only Glazed on the Interior
Ca. 1784-1820 (Both Likely Early 19th Century)
 Caramel-Orange Glaze
Color Never Before Attributed to William Pecker
 Dark Greenish Glaze
Very Few Green Glazed Pieces are Known from William Pecker
 (Left) Stands 9" Tall
(Right) Stands 7 1/2" Tall
 Likely William Pecker's Fingerprints
 Likely More of William Pecker's Fingerprints
 William Pecker Jars with Likely Their Original Lids
Jar to the Right was Pictured in the October 2013 Edition of the New England Antiques Journal
Pair of William Pecker Discolored Red Earthenware Lids
(Left) Lid Measures 5" in Diameter
(Right) Lid Measures 3" in Diameter

Here is a link to the October 2013 article I reference above.

Please Stay Tuned…Much More to Come...


Wednesday, May 28, 2014

Ancient Greek-Style and Ancient Chinese-Style Products Made in Chelsea, Massachusetts in the 1870s and 1880s: A Newly Discovered Pot Possibly Related to this Business

About a month ago, I purchased a wonderful decorated red earthenware planter from a Beverly Farms, Massachusetts estate that was made at C.A. Lawrence Pottery in Beverly in the 1870s or 1880s. It is very similar to a larger Beverly-made pot I wrote about a few weeks ago, that I described as having an "incised fish scale exterior." A second unusual pot also came from that Beverly Farms estate that my parents purchased for their antique collection -  and it too, was most-likely made by a local nineteenth-century potter from around the same period known as the Chelsea Keramic Art Works.

According to Lura Woodside Watkins (Early New England Potters and Their Wares) - the Robertson family immigrated from Scotland to America (by way of England) in 1853. They landed in New Jersey - where they were taught the potter's craft - and by 1866, a family-run business had opened in Chelsea, Massachusetts with a simple output of red earthenware flower pots and vases - some of which were painted green. The flower pots were not of a generic nature, but were intended for specific flowers like hyacinths and crocuses. A decade later, the product focus changed - and the business became known as Chelsea Keramic Art Works; "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." 

The most-prominent of the Robertson family potters was Hugh Robertson - who was responsible for the more elaborate products made at the Chelsea Keramic Art Works. He later went onto achieve even more recognition when he established the Dedham Pottery (Dedham, Masachusetts) that lasted well into the twentieth-century.

The following Greek-style vase (painted by John G. Low) was acquired by the Museum of Fine Arts in Boston in 1877 - at the time it was considered contemporary pottery. Very few of these Grecian forms made in Chelsea have survived today. If you go back and search through this website - you will see a few other Grecian forms made in Chelsea.

Chelsea Keramic Art Works Red Earthenware Grecian-Style Vase - Chelsea, Ma
Decorated by John G. Low
The Form is Known as a Stamnos
Ca. 1870s
Photo Courtesy: Museum of Fine Arts - Boston, Ma
Chelsea Keramic Art Works Red Bisque or Terra Cotta Vase - Chelsea, Ma
Unmarked
Found in Salem, Ma
Ca. 1870s
Stands 7" Tall

The vase my parents purchased had nothing to do with the undecorated wares or Grecian products made in Chelsea in the 1870s; instead it was modeled after an ancient Chinese style vase. "In 1876 Hugh Robertson visited the Centennial Exhibition (in Philadelphia, Pa). He was so much impressed by the Korean and Chinese porcelains that he returned to Chelsea eager to imitate their glazes, especially the glowing "dragon's-blood" red of the Ming wares." 

All of the  "dragon's-blood" red forms I have seen made in Chelsea are formal art pottery products intended for use around formal parts of the household. I also think the term "dragon's-blood" red is interchangeable with the color "oxblood" red, which is more-often used by American potters and Lura Woodside Watkins throughout her book, Early New England Potters and Their Wares. 

According to Watkins, "Nickerson devoted much of his life to discovering the secrets of various glaze colors and especially to the reproduction of the famous oxblood red...the best of his dragon's-blood red is a pure rich color, glowing with a golden luster that catches the light in changing hues. Only three hundred pieces of this description were complete...These vases were severely simple, in forms that always expressed the oriental influence. In the course of his attempts to produce red, Robertson also obtained a deep sea green, an apple green, mustard yellow, greenish blue, maroon and rich purple...These many colors and combinations of color, were a delight to the eye, and were, indeed, one of the first sources of ceramic inspiration to me."

The jar found in Beverly Farms is the first time I have seen a Chelsea product with a red glaze modeled after an ancient Chinese form of this size. They are usually a lot smaller measuring only a matter of inches. In fact, I have never seen another form such as this attributed to Chelsea before. This jar appears to fall more in line with the products that were made under the direction of John G. Low rather than the typical products of the Chelsea Keramic Art Works. It is possible that Low also made Chinese-style vases with very-little evidence of their manufacture known today. There were many maker's marks used in Chelsea; unfortunately, this jar is not marked, but it fits many of the descriptions of products associated with Chelsea. I would be very-surprised to learn it is from another maker.

There is a chance this jar was made at C.A. Lawrence Pottery since the company is known for making a large selection of ancient Chinese-style products (and it was found in Beverly); however I have not seen anything like this attributed to Beverly before. My belief may change at a later date, but for now - everything about it suggests it was made in Chelsea - especially the color of it.

 Probably Chelsea Keramic Art Works Red Earthenware Jar - Chelsea, Ma
Modeled After an Ancient Chinese-Style with an Oxblood Red Glaze
Unmarked
Ca. 1870s
 Wonderful Form and Applied Ring Handles
Stands 10" Tall
The Red Clay Color is Pale, But Not White

Products made in Chelsea and Beverly appear to have been a popular product with the residents of Cape Ann Massachusetts in the the nineteenth-century. This is not the first time I have found products made by these two businesses in the same household. Below is another Chelsea product that was found in a Maine home along with two garden planters made at C.A. Lawrence Pottery.

There is a chance this jar was also made at C.A. Lawrence Pottery in Beverly, but it's smooth feel suggests Chelsea. It feels like it has been polished. The form is a known Beverly form, but the feel of the clay appears to set it apart from the Beverly products. My future studies will hopefully give me an exact attribution. This also may be related to the paint-work done by John G. Low in Chelsea.

Likely Chelsea Keramic Art Works Red Earthenware Jar - Chelsea, Ma
Possibly C.A. Lawrence Pottery Red Earthenware Jar - Beverly, Ma
Unmarked
Found in a Maine Home Along with 2 Beverly Products
Nicely Decorated in Hand-Painted Blueberries and Apples on Top of a Vibrant Yellow
Ca. 1870s or 1880s
Stands 10" Tall

I haven't written much about the Beverly and Chelsea businesses together on this website; although a study of both provides a better understanding of what was happening to the Massachusetts potter after the Industrial Revolution had begun. The way these two businesses either A) altered their company, or B) established their company - really helped define and shape what the coastal Massachusetts potter's industry turned into as industries changed the face of production forever. Smaller potters were no longer scattered from town-to-town. Larger potters instead expanded the reach of their product lines - and better forms of transportation contributed to the wholesale and retail distribution of companies like C.A. Lawrence Pottery and the Chelsea Keramic Art Works. These were two of the businesses that were able to thrive in Massachusetts all while the Industrial Revolution happened.


Much More to Come...

Saturday, May 24, 2014

North Shore Massachusetts Yard Sales and Estate Sales - A Memorial Day Weekend Hunt

More than a year-ago, I wrote about my great-interest in still-life paintings from the Dutch Golden Age of Art (Ca. 1568-1648). Desirable examples can achieve prices that reach into the hundreds-of-thousands-of-dollars. Dutch artists often used objects of utilitarian European pottery as subjects on their canvases. I guess that's why I enjoy the still-life medium from this period so much - it portrays everyday people and everyday objects as paintings that have been preserved through time. There are not a lot of forms of art or artists where the everyday utilitarian nature of a household is shown, but some Dutch still-life artists chose to paint in this context. Today's lasting Dutch still-live art show collectors, museums, antique dealers, archaeologists and others who complement these fields - how particular utilitarian ceramic objects were used in the household - and with these pictures, materializes the people who used these objects. For me personally, this was a fascinating period in the history of European art.

Here is a link to the report I am referring to - it's worth reading or at the very least, viewing to see the type of art I am writing about (Dutch Still-Life Report).

---------------

Earlier this morning, I drove about twenty-miles south of Newburyport, Massachusetts - to Beverly, Salem and Danvers in search of any interesting pottery at the dozen or so yard sales that were happening this Memorial Day weekend; although the yard sales were not my priority destination - they were merely a secondary cause of why I traveled in this direction around 7:30am.

Before I get into what I found - I am going to tell a brief interesting story; I was at a yard sale in Salem, Massachusetts towards the end of my trip (9:30am or so). The yard sale was in a working-class neighborhood with a mixed class of single-family homes and multiple apartment buildings. It was also a mixed neighborhood with families of multiple ethnic backgrounds. I parked across the street from the yard sale. I quickly walked through it and I left empty-handed in a matter of only a few minutes. When I crossed the street to get back into my Jeep, I noticed an incredible group of Charles A. Lawrence red earthenware urns or vases just sitting on a group of brick steps - that led up to the front door of a small single-story home. These urns or vases were loaded with painted colors, incised leaves, incised fish, the rims flared out and they were all different sizes. They were definitely from the 1870s and probably modeled after a Grecian form. They went with nothing else on the property, which was mostly car parts  and old cars.

I own a similar matching pair of urns or vases made in Beverly - that I happen to cherish very-much. The three that sat on the brick steps all showed separate styles, none matched and they were also different from the pair I own. As I think back about it now -- all I can remember was the vivid paint colors and incised decoration that really drew me into their beauty.

On first sight, my heart began to race out of excitement. They were incredible. I bet you can probably guess what went through my mind and what happened next.

I have never even considered knocking on a door before to ask to buy something, but I couldn't resist. It was my naturally instinct.

I asked Robesonia, Pennsylvania antiques dealer, Greg Kramer once about how he felt about knocking on doors because I see the American Pickers do it all the time - in what they refer to as freestyle picking. The reason I asked him is because he has done it before all-over Pennsylvania. Greg said to me, "You have to have a big set balls to do something like that. You never know who is going to come to the front door. They could pull a gun on you."

I thought of what Greg said to me as I walked up to the front door, but I had to do it. I had to knock. I just had to. It was my natural reaction. These three urns or vases are among the most accomplished products I have seen to-date from Charles A. Lawrence's businesses in Beverly. The only problem with them is they looked like they haven't left these steps in many years. I assume they are out there 365 days a year. They certainly appeared that way. The affect of New England's weather was seen.

If I didn't knock - it would bother me...So I had to do it. I had to. I knocked once. Nobody answered. I waited a minute. I knocked again. I heard somebody come near the door, but nobody answered. So I knocked again and a large middle-aged man came from around the house and said, "WHAT DO YOU WANT?" He looked like he was car mechanic or a machinist from the way he was dressed. He didn't seem too happy to see me.

I said, "I've never done this before, but I was at the yard sale across the street and on my way back to my Jeep - when I noticed the vases on your stairs. Are they for sale? Can I buy them?" 

The vases had a small American flag placed in each probably for the upcoming holiday. That's the only use I could see for them. They were not used as planters.

He said, "They're my mom's. What are you offering." I said I would do $30 each. He said, "I doubt she'll sell them. Let me go ask her." I was surprised that it went this well and it had progressed to this. He came back and told me she didn't want to sell them.

Now I'm stuck knowing where there are three incredible Charles A. Lawrence Pottery products in Salem - and there's nothing I can do about it. I wish I had offered the $30 each plus I would go and buy three brand-new pots from the local garden center to replace the ones I wanted to buy - but I didn't. I'll probably stop back again this fall before winter begins so I can give it a second shot - especially since I don't think the urns or vases are going in for the winter.

To get back on track, the main reason I went to Beverly and Salem today was because of a few estate sales - in hopes there may be some Beverly pottery that emerged from one of these homes. I did the yard sales because I was in the area.

I found the following early twentieth-century oil painting at an estate sale in Beverly around 8:00am. It reminds me of the Dutch still-life paintings I reference above, but from a much-later artist. It shows a grouping of pink and yellow roses with an earthenware jug that was probably intended to be used as a harvest jug while people were busy in the fields. I cannot tell from the painting if the jug is stoneware or red earthenware. The artist appears to have painted it green to show the reflection of the green leaves that surround it. It's in my opinion that it was done by a local Cape Ann (Massachusetts) artist.

Newly Discovered Early 20th Century Still-Life Oil Painting
The Frame Appears Original
Measures 25 1/2" by 13 1/2"
It Was Found in a Beverly, Ma Estate
Shows a Nice Assortment of Roses and an Earthenware Harvest Jug
The Artist is Not Currently Identified: Probably an American Artist
Close-Up of the Earthenware Harvest Jug

The painting appears professionally done. I've compared it to a few late nineteenth-century still-life paintings with roses from known professional artists and the roses appear similar. It reminds me of some of the still-life done by Cape Ann artists in the nineteenth-century. The painting is signed and dated, AJH, 1900. I do know a little bit about art since it is something I have had a passion in since college, but I am not familiar with these initials. Maybe somebody reading this report with a stronger art background will recognized the signature.

Painting is Signed by the Artist: AJH
Painting is Also Dated by the Artist: 1900

When I initially saw the painting, I thought it may have been painted by a local Beverly or Salem artist  since I have seen a red earthenware harvest jug attributed to Charles A. Lawrence's business; however the two jugs are very different in form. It was a wishful thought, but if it is a Cape Ann artist with real-life objects then the jug is probably a Beverly product. I just don't have proof of it at the moment.

 Purportedly C.A. Lawrence Pottery Red Earthenware Harvest Jug - Beverly, Ma
Ca. 1880s or 1890s
Photo Courtesy: CollectorsWeekly.com
 Purportedly C.A. Lawrence Pottery Red Earthenware Harvest Jug - Beverly, Ma
Ca. 1880s or 1890s
Photo Courtesy: CollectorsWeekly.com

I thought the painting would go really well with my collection of pottery. It will act as a nice backdrop some-where and I really couldn't argue the $2 they charged me. As my parents have always told me about antiques - you buy it because you like it - not because you think it's worth something. I bought this painting because I liked it. 

My Newly Found Painting with a 19th Century Stoneware Harvest Jug
Harvest Jug Stands 12" Tall

Please Stay Tuned…More to Come...

Wednesday, May 21, 2014

The Final Report (For Now) About a Recently Discovered Red Earthenware Piggy Bank Uncovered in a Central Massachusetts Home

I have done some more reading behind a possible interpretation of the word NORN as seen incised on the base of a red earthenware piggy bank recently discovered in a central Massachusetts (Hubbardston, Ma) home. I purchased the bank from the dealer who discovered it - this past weekend at a coastal Massachusetts flea market. All the letters are capitalized, which wouldn't normally be an indicator of much, but it may mean something in this instance (see below). The word is placed between the pigs four legs/feet and is prominently centered on its belly.

This is some of the information I have found:

"Norse mythology also known as the Scandinavian mythology is a kind of religion that was and is still practiced by some of the people in the Scandinavian countries (Denmark, Norway, Sweden) and Northern parts of Germany (previously the Vikings)...In the middle age, it is believed that the Norse and people of Germanic origin had their own complex and sophisticated religion before Christianity, specifically during the Viking age - and Norse mythology (Gods and Godesses) was apart of this religion. It was practiced through most of northern and central Europe.

The ideas and beliefs of Norse mythology have been salvaged through archaeology, literature and the evolution of words - and their meaning over time.

The Norse people believed that there were two types of gods; The Aesir were the gods believed to be the source of war, power and death - and the Vanir were responsible for fertility. Specific gods (by name) were voiced in Norse mythology over-time. The tales of these gods were then passed down through generations - often in written poems.

According to records - the beginning of Norse religion is debatable, but it has been traced as far back as the 2nd century AD. It is not regarded as an actual established religion, but rather a religion that falls under folk lore and folk tradition. The religion purportedly sometimes took on its own meaning as it spread from one European culture to the next, but overall the general idea was the same. Rituals were a strong part of the Norse religion in order to please the gods and goddesses."
(Viking-Mythology.com)

"One of the key concepts of the worldview of the pre-Christian Norse and other Germanic peoples was their intriguing and extraordinary unique views of destiny. It shares the same Indo-European origins as the Greek concept of fate (destiny), and the Hindu concept of karma...Due to its uniqueness, it's also one of the hardest parts of the indigenous worldview for modern people to understand. 

According to one scholar, destiny (when analyzed in a Norse religion context) is the often inscrutable force that causes the past to exert its particular influences upon the present, which in this image, necessarily also includes the influence of the present upon the past and, thereby, the potential for a new and different present. An example or expression of the influence of the past onto the present lives with the idea of Norns, three wise women, who carve the lives and destinies of children. These three Norns are probably (I believe) part of the Vanir gods."

As I continued to read, I found, "A capitalized Norn (word) references the three female goddesses. A lower cased norn (word) represents countless other meanings, which includes the Old World word for a generic practitioner of magic." (Norse-Mythology.org) In the case of this piggy bank, the word NORN is entirely capitalized.

This is from a report I wrote earlier this week:

(Notice how the letters are capitalized or not capitalized below)

"A Norn was a part of the Norse mythology of Scandinavia, Britain and Germany until the establishment of Christianity. Norns are thought to be related to Germanic female deities…A Norn is any of three virgin goddesses of destiny or fate; the goddess of the past (Urd), the goddess of the present (Verdandi) and the goddess of the future (Skuld)…Norse legend suggests Norns were female beings who rule the destiny of gods and men. They also arrive when a person is born in order to determine his or her future.

There are both good and bad norns which can cause tragic events in the world - while others act as kind and protective goddesses. Some norns are regarded as shadowy, background figures who only ever reveal their fateful secrets to men as their fates come to pass…norns are also sometimes associated with death and the after life; however not all aspects of Norns were negative as they were equally associated with life and birth."

After writing this - I still wonder if this could all simply be a coincidence. Was the potter who made this bank named with the last name, NORN? Of course that's a possibility, but I am very doubtful of that theory at this point.

I feel the pig was probably made as a gift for a child or a newborn at some-point in the nineteenth-or-early-twentieth-century. When the bank was made, the idea behind the name on the pig's belly may have been merely folk lore and family tradition at that point. I do think there's a chance the pig is American-made. Everything about it suggests American-made to me and the weight is especially indicative of that notion. If it wasn't made by an American potter, it must have been hand-made by a potter in one of the continental European nations where the Norse religion thrived; although I still do feel it was made in America. How else would a pig like this possibly travel from continental Europe to central Massachusetts? As far as I can see the bank is unique. The whole idea behind this bank and its true meaning is absolutely fascinating! The idea that the word NORN is written on the base is even more fascinating!

 Red Earthenware Piggy Bank
Probably 19th Century or Early 20th Century
Wonderful Folk Decorated Face
Measures 3 1/2" Tall and 6" Long
Country of Origin not Currently Known
 The Word NORN is Inscribed on the Base of the Piggy Bank
  Unusual Decoration on the Back
Pig Decorated in a Greenish Lead Glaze
The Entire Bank is Hand-Made
Found in a Hubbardston, Ma Home
Purchased Recently at a North Shore Massachusetts Flea Market

The bank appears primitive, but it also appears folky; although the money hole placed on the pig's back appears professionally done - similar to holes placed on highly accomplished banks made in nineteenth-century Pennsylvania, New York and throughout New England. It is also similar to holes placed on some nineteenth-century English red earthenware banks made by country potters.

I wish I knew more about the ownership and occupancy of the house the bank was found inside of. The family or families that used to live in the home may provide more information into the bank's history. Hopefully more information will come forward and my understanding of the bank will continue to evolve in the future.

Much More to Come...