A Scheier Pottery Pig Made in Durham, New Hampshire Compared to Another Pig that was Found at a Flea Market in Massachusetts in 2014

Yesterday afternoon, I visited the Discovery Center in Portsmouth, New Hampshire to view a collection of twentieth-century Edwin and Mary Scheier Pottery that had been loaned by the University of New Hampshire, the Currier Art Museum in Manchester, New Hampshire - and, private collectors for a tastefully assembled exhibit that the museum has on temporary display.

Dover, New Hampshire auctioneer, Devin Moisan is among the auctioneers who regularly sell Scheier Pottery today - he often receives consignments from around the country, which, in recent years, have seen prices rise above $10,000 for a single object. Devin Moisan is located about six-miles away from where the Scheier's originally produced their New Hampshire-made objects in Durham.

According to the Currier Museum, "The Scheiers left a legacy of ceramic art that has strong ties to New Hampshire. Ed and Mary moved to New Hampshire from Virginia in 1940 at the invitation of David Campbell, director of the League of New Hampshire Craftsmen. From 1940 to 1968, they lived in Durham, New Hampshire where Ed taught at the University of New Hampshire (UNH) and where Mary was an artist in residence. 

The Scheiers are considered the pioneers of the studio pottery movement when in the early twentieth century potters once again focused on making individual, handcrafted functional vessels as a source of making a livelihood. Mary Scheier became known for her thin-walled pots of elegant proportions, reminiscent of the finest Sung-Dynasty porcelains. Ed threw larger, bolder shapes that were often decorated with fanciful, figural designs of themes of love, birth and entrapment. From the start of their careers as potters in the late-1930's, their creations won awards in national exhibitions. The Scheiers inspired a younger generation of ceramic artists. When Ed retired from teaching at the University of New Hampshire in 1968, they moved to Oaxaca, Mexico, where Ed produced carved wooden sculptures, paintings in oils and wax, and designs for weavings. In 1978, they relocated to Green Valley, Arizona, where Ed again worked in ceramic, creating some of the largest works of his career. At age 89 he was forced to put aside ceramics. To find expression, he taught himself to use the computer to create digital drawings that he printed with archival inks on watercolor paper.

The Scheier's pottery is represented in many major museums and private collections (today) including the Metropolitan Museum of Art (New York City), the Detroit (Michigan) Institute of Art and the American Craft Museum (New York City)."

An object that really caught my attention yesterday at the Portsmouth Discovery Center was produced by Mary Scheier during her residency at the University of New Hampshire - and, it is also currently owned by UNH. The object is in the form of an adult pig with a smaller pig standing on its back. The pigs are carefully decorated with colorful floral motifs. The University has owned this object since the Scheiers were employed by the school. The reason that I have chosen to write about this unusual twentieth-century object is a result of it prompting similarities (to me) of a red earthenware pig bank that I found at Todd's Farm Flea Market in Rowley, Massachusetts a little more than a year ago. The dealer told me the bank was found in central Massachusetts. The word 'NORN' is inscribed on the base, which is an idea tied with the mythology of the early Germanic and Scandinavian nations.

The main difference between the two pigs seen below is that the object that I found at the flea market appears to have served a functional purpose (i.e. bank) - while, the Scheier pig was purely decorative.

The focus for the remainder of this report will be to merely visually compare and contrast these two unusual objects. They both demonstrate some-type of folk art in the field of twentieth-century pottery (assuming the bank is from the 1900's).

Mary Scheier Pigs

 20th Century Red Earthenware Pig Made by Mary Scheier - Durham, NH

Stands Approximately 5" Tall

Measures Approximately 6" Long

Circa 1940-1968

Photo Courtesies: Portsmouth, NH Discovery Center & University of New Hampshire

View of the Larger Pig's Face

Photo Courtesies: Portsmouth, NH Discovery Center & University of New Hampshire 

 View of the Top of the PIg

Photo Courtesies: Portsmouth, NH Discovery Center & University of New Hampshire

 View of the Smaller Pig

Photo Courtesies: Portsmouth, NH Discovery Center & University of New Hampshire

View of the Base

Photo Courtesies: Portsmouth, NH Discovery Center & University of New Hampshire

Pig Found at Todd's Farm Flea Market in Rowly, Mass.

Probably 20th Century Red Earthenware Pig Bankf the Side 20th C

 Origin Not Currently Known

Measures 3 1/2" Tall and 6" Long

Purchased Last Year at Todd's Farm Flea Market in Rowley, Mass.

Dealer Said He Discovered it in Central Massachusetts

 View of the Side

 Another View of the Pig with the Coin Slot on the Pig's Back

View of the Base with the Inscribed Word 'NORN'

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

A 19th Century Red Earthenware Jug Recently Discovered in an Early Barn in Southern Maine

Tonight, I wanted to quickly show a red earthenware jug that was recently discovered by a New England picker, who lives in Madison, New Hampshire, which is nearly a neighboring community of the Maine border. The jug was discovered just over the Maine border northwest of Portland, Maine inside an early Maine barn. I wish I had more of a history to provide about the barn, but I don't currently have any information to provide past where it was found that being what appears to be an early Maine context.

Afterwards, the jug was sold to a friend of mine in southern New Hampshire - and, I later acquired it from him. The jug has obviously seen its share of use over the years, but the mere fact that it was recovered in such an interesting context is what drew my initial interest. The jug was partially covered in red paint (pictured below) and plenty of dirt; however, I have since removed the paint (also pictured below). I have also cleaned a lot of the dirt and grunge from it that built up over the years from everyday use - and, also while it sat in places such as a weathered New England barn. Removing this material really uncovered a beautiful light colored glaze (see pictures below).

Map Showing Madison, NH in Respect to Portland, ME and Portsmouth, NH

Photo Courtesy: Google Maps

The straight-sided form suggests a mid-nineteenth-century production date (to me), which seems to correspond with the trends in the stoneware industry during the same period.

The glaze appears like a style that may have been produced by a potter in Maine in the 1840-1860 period - the thumbprint, (sometimes an attributable characteristic) at the base of the handle also seems familiar to me; however, I just can't pinpoint where I have seen this style of handle before. The overall straight-sided form is reminiscent to some jugs made at the Safford (family) Pottery in Monmouth, Maine - unfortunately, I don't believe there is any relationship between that important nineteenth-century business (actually multiple Safford businesses) and this jug

Personally, I believe there is still plenty to be learned (today) about the potters who were employed in Maine no matter the period whether it happens to be before - or, after Maine become its own state in 1820. I believe that today's knowledge can certainly be expanded upon given the variety of objects - and, the diversity of any specific form that was produced in the state in  the 1800's. This jug seems to poses a number of attributable characteristics (i.e. glaze, form, handle, tooling around the lip, rounded base, etc.) that could be tied to a certain area, business or potter today, but more archaeology and historical research are needed to potentially solve these types of mysteries.

I should also note that there's a chance that a New Hampshire argument could be made for this object, too, but I really believe it is a Maine-made jug. Without any further delay - here are the before and after pictures of the jug.

Before Cleaning

 19th Century Red Earthenware Jug Likely Made in Maine

Recently Found in a Maine Barn Near Madison, NH

Circa 1840-1860

Stands 9 1/8" Tall

*Before Cleaning*

 View of the Handle

Another View of the Jug

After Cleaning

 19th Century Red Earthenware Jug Likely Made in Maine

Recently Found in a Maine Barn Near Madison, NH

Circa 1840-1860

Stands 9 1/8" Tall

*After Cleaning*

 View of the Handle

 Another View of the Jug

View of the Base

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

A Rare Molded Red Earthenware Lion Made by Lorenzo Johnson in Western New York After 1850

The important Bell family of potters, who were employed throughout the Shenandoah Valley in Pennsylvania, Maryland and Virginia producing stoneware and red earthenware - are probably the most notable group of potters, who produced molded reclining animals for decorative functions in the nineteenth-century in America; although, it was also accomplished elsewhere in countries such as England during the same period. The most popular of the form was undoubtedly the whippet (dog), but the Bell's also produced other animals, too. Crocker Farm, based in Sparks, Maryland described this product line in a detailed description that was written for an important matching pair of whippets that were made by Samuel Bell in Winchester, Virginia in 1841 that sold for more than $100,000 to the Museum of the Shenandoah Valley in Virginia in July of 2013; "The Bell whippet remains one of the most iconic and highly-prized forms in the genre of Shenandoah Valley pottery (today)."

Pictured here - are two red earthenware whippet examples that were manufactured by the Bell family in Winchester, Virginia, which include one-half of the near-matching pair of whippets that Crocker Farm sold in 2013 - along with a rare whippet that was made by Solomon Bell in Winchester, Virginia about the same period as the dated example that Massachusetts antiques dealer, Samuel Herrup sold a few years ago.

19th Century Molded Red Earthenware Whippet Made by Samuel Bell in Winchester, VA

Stands 6 1/2" Tall

Measures 10" Wide

Base is Inscribed 'Samuel Bell / Winchester / September 21, 1841'

This Object Was Part of a Pair that Sold at Crocker Farm in Maryland in 2013

Photo Courtesy: Crocker Farm - Sparks, MD 

 View of the Base

Base is Inscribed 'Samuel Bell / Winchester / September 21, 1841'

Photo Courtesy: Crocker Farm - Sparks, MD

19th Century Molded Red Earthenware Whippet Made by Solomon Bell in Winchester, VA

Similar Size to the Samuel Bell Whippet Shown Above

Base is Inscribed 'Solomon Bell / Winchester'

Photo Courtesy: Samuel Herrup Antiques - Sheffield, MA 

 View of the Back

Photo Courtesy: Samuel Herrup Antiques - Sheffield, MA 

View of the Base

Base is Inscribed 'Solomon Bell / Winchester'

Photo Courtesy: Samuel Herrup Antiques - Sheffield, MA 

As far as I know, the molded style seen with the whippets - and, other animals produced by the Bell family in the Shenandoah Valley was almost an exclusive style to that area in regards to American potters; however, it doesn't appear to be entirely exclusive. Arguably, these type of forms were produced in the Shenandoah Valley more than any other American potter's region. None-the-less, I have known about the following object for a few years now, but for some reason - I have neglected to write about it.

The following nineteenth-century century molded red earthenware reclining lion decorated with a wonderful face and mane seems to be related to the wares that were made in western New York - and, in some sense, neighboring Ontario after 1850. I apologize for the picture quality, but these images are all that I currently have available; although, I have asked the owner for better quality photos. It is possible that I can post those images, again at a later time.

This rare lion was reportedly produced by Lorenzo Johnson in Erie County, New York during the 1850-1880 period. Despite the lack of an actual image - the lion is said to have been stamped 'L. Johnson' which is the known stamp that was employed by Johnson that is sometimes seen on the variety of red earthenware that he produced in western New York. 

Johnson also produced red earthenware in forms that emulated the trends in the stoneware market of the period - and, he also used glaze techniques that made those forms actually appear like locally produced stoneware. This lion is decorated in a cream-colored glaze that does resemble in some capacity the types of cream-colored glazes that he also dedicated for his line of imitation stoneware that was made in spurts throughout the span of his career.

Personally, I have never seen another object that even closely resembles this object associated with the potters employed in western New York before. I know there was a strong Pennsylvania-German migration that influenced the wares that were produced in neighboring Ontario in the 1800's; however, there doesn't appear to have been that type of influence in western New York - where, generally, the wares remained with more utilitarian functions - and, it was also an area that was strongly supported by the local stoneware industries. 

Honestly, it wouldn't surprise me to see such a form attributed to Ontario today, where those potters were frequently creative with their often German influenced decoration; however, I'm not trying to take anything away from the wonderful wares that were made in western New York, but it surprises me to see this object since it doesn't exactly fit in with the norm or the more traditional, but colorfully glazed wares that are regularly associated with western New York today. Ultimately, this is a fabulous object!

 19th Century Molded Red Earthenware Lion Made by Lorenzo Johnson Erie County, Newstead, NY

Circa 1850-1880

Stamped 'L. Johnson Manufacturer of Pottery & Drain Pipe'

Stands 6 1/2" Tall

Measures 9" Wide

Photo Courtesy: Faith Viland's Antiques - Arizona

View of the Lion's Face and Mane

 Photo Courtesy: Faith Viland's Antiques - Arizona

View of the Base

Photo Courtesy: Faith Viland's Antiques - Arizona

A Few More Examples of Lorenzo Johnson's Work

 19th Century Red Earthenware Pitcher Attributed to Lorenzo Johnson in Erie County, Newstead, NY

Circa 1850

Stands an Estimated 9" Tall

Photo Courtesy: Artists in Buffalo

19th Century Red Earthenware Jug Attributed to Lorenzo Johnson in Erie County, Newstead, NY
This Jug was Made to Imitate Stoneware with a Cobalt-Type Decoration

Circa 1850

Stands 12" Tall

Photo Courtesy: Crocker Farm - Sparks, MD 

View of the Mark 'L. Johnson'
Photo Courtesy: Crocker Farm - Sparks, MD

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

A Wonderful Cobalt Glazed Red Earthenware Jar Acquired Today that was Made at the Frey Pottery in Pennsylvania - and, Related to an Object Owned by the American Folk Art Museum in New York City

I also wanted to include that after writing today's report about the Frey family pottery in rural Pennsylvania that I was able to acquire a jar, this afternoon, that is nearly identical to the jar which is owned by the American Folk Art Museum in New York City. The museum's jar was discussed in an article titled 'Blue' by Stacy C. Hollander written for the Fall 2004 edition of the museum's quarterly magazine, 'Folk Art: Magazine of the Folk Art Museum'. The article discusses the significance of the color blue in the history of American decorative arts - the Frey Pottery red earthenware jar is pictured next to a massively important cobalt decorated stoneware punch bowl made in New York City by John Crolius, Jr. (1755-c. 1835) in 1811. Furthermore, the article mentions how the blue glaze seen on the Frey jar is a color that is regularly seen on stoneware - however, it is rarely found on any red earthenware today.

Pages 42-43 from the 2004 Edition of 'Folk Art: Magazine of the Folk Art Museum'

Frey Pottery Jar Seen in the Upper Left on Page 42

Crolius Stoneware Bowl Seen in the Lower Right on Page 42

Photo Courtesy: American Folk Art Museum - New York City

19th Century Stoneware Punch Bowl

Made by John Crolius, Jr. in New York City

The Bowl is Inscribed 'Elizabeth Crane'

The Bowl is Also Dated '1811'

Stands 7 3/4" Tall

Measures 15 1/2" in Diameter

Photo Courtesy: American Folk Art Museum - New York City

19th Century Red Earthenware Jar with Cobalt Glaze

 Made at the Frey Pottery in Washington, Township, PA

Pictured in the Fall 2004 American Folk Art Museum Magazine

Reportedly Circa 1810-1846 - Could Also be Later 19th Century

Stands 11" Tall

Photo Courtesy: American Folk Art Museum - New York City

According to the American Folk Art Museum, "Variegated and iridescent blues resulting from the firing of cobalt glaze on this beautiful wide mouthed jar create a rippling, water effect over its visible turnings. Occasional streaks of pure pigment in the glaze are possibly the result of hand-grinding, which leaves some irregularity in the size of the particles. Cobalt is usually applied as a calligraphic or representational element on American stoneware, and, because of its high expense, was typically used sparingly. Its appearance on a redware clay body is in itself rare; the sheer extravagance of the overall cobalt glaze on the museum's jar is virtually unparalleled. 

Little is known about the Frey pottery (today), whose mark is impressed on the base. It was in operation by 1810, when Henry Frey moved onto his father-in-law's farm in a rural area of Washington Township, Pennsylvania (which was very close to where John Bell's pottery was located in  the Shenandoah Valley in Waynesboro, Pennsylvania). After Frey died in 1821, the farm was divided among his four sons. The pottery continued to be run by (his sons) Henry Jr. and George, and during this period the area was renamed Freytown. After Henry Jr.'s death, George Frey maintained the pottery until (his death) 1846."

Thereafter, it is believed that the Frey Pottery continued in some capacity into the early-twentieth-century where they were last seen producing beautiful hand-thrown red earthenware lamp bases for when lamps became fashionable in American homes.

The following cobalt decorated jar comes with a strong provenance - it was originally owned by York, Maine auctioneer, Hap Moore's mother for many years until it sold recently to the most recent owner before I acquired it today on the New Hampshire seacoast.

Finally, I should add that I could see some of these wares mistaken for products made in Nova Scotia in the late nineteenth-century if they were decorated with the usual dark colored speckled glaze that is seen on most of the interiors on the Frey Pottery products that I have handled.

19th Century Red Earthenware Jar with Cobalt Glaze

 Made at the Frey Pottery in Washington, Township, PA

The Base is Stamped 'Frey'

Nearly Identical to the Example that is Owned by the American Folk Art Museum in New York City

Reportedly Circa 1810-1846

Stands 11 1/8" Tall

Owned for Many Years by Maine Auctioneer, Hap Moore's Mother

View of One Handle

Another View of the Jar

View of the Other Handle

View of the Interior

View of the Base with the 'Frey' Mark

Close Up of the 'Frey' Mark

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

The Frey Pottery in Pennsylvania: A Relatively Unknown 19th Century Potter's Business that Should be Known Today

Over the past few years, I have accumulated two pieces of green-glazed hand-thrown red earthenware from shops in Salem, Massachusetts and New Bedford, Massachusetts that I initially thought were produced at Thomas Nickerson's Merrimac Pottery Company (Circa 1897-1908) in Newburyport, Massachusetts; however, that idea soon faded the more I examined each object. The objects appeared early (i.e. 19th century) to me, but I just couldn't pinpoint where they were made. Never-the-less, they have both sat in the upstairs part of my house with the majority of my art pottery collection since they were first discovered.

I guess it's ironic that a few days ago, a woman, from Maine posted a red earthenware pitcher in a private redware research group on Facebook that she discovered in Caribou, Maine - she was seeking more information about the multi-colored pitcher that was stamped on the base, 'Frey'. The pitcher's form matched the object that I had discovered in New Bedford. Undoubtedly, it was the same potter. She had already conducted some research about this potter - and, she identified that the American Folk Art Museum in New York City shared an equal interest with this potter's work.

The museum published an article in the Fall 2004 edition of the museum's magazine, 'Folk Art: Magazine of the Folk Art Museum' that identified these products as having been made at the Frey Pottery in Washington Township in Pennsylvania before 1846; however, I do question what was made during this period and what may have been made afterwards in what I describe in the later part of this report. Undeniably, these are products made by what I would describe as an important nineteenth-century and early twentieth-century potter's business from rural Pennsylvania. From what I have briefly read and studied - it seems that there could be some comparison made between the Frey, Stahl and Medinger family names in Pennsylvania today. I will eventually explain why I make this connection in this report.

 (Left) 19th Century Green Glazed Red Earthenware Vase Made at the Frey Pottery in PA

Stands 5 3/4" Tall

Recently Found in a Shop in Salem, Mass.

(Right) 19th Century Green Glazed Red Earthenware Pitcher Made at the Frey Pottery in PA

Stands 6 3/4" Tall

Recently Found in a Shop in New Bedford, Mass.

 View of the Interiors

View of the Bases

The questions I will pose before this report moves forward - Why is this potter's business not better known today? Why is this family of potter's products not held in the same regards as potters who were employed elsewhere in America who operated behind a similar idea? Let me explain.

19th Century Red Earthenware Pitcher with a Multi-Colored Glaze

 Made at the Frey Pottery in Washington, Township, PA

The Base is Stamped 'Frey'

Recently Discovered in Caribou, ME

Reportedly Circa 1810-1846

Stands 5 1/2" Tall

Photo Courtesy: Alyssa Levesque - Maine

View of the Handle

Photo Courtesy: Alyssa Levesque - Maine

View of the Interior

Photo Courtesy: Alyssa Levesque - Maine

View of the Base with the 'Frey' Mark

Photo Courtesy: Alyssa Levesque - Maine

Close Up of the 'Frey' Mark

Photo Courtesy: Alyssa Levesque - Maine

According to the American Folk Art Museum, "Variegated and iridescent blues resulting from the firing of cobalt glaze on this beautiful wide mouthed jar create a rippling, water effect over its visible turnings. Occasional streaks of pure pigment in the glaze are possibly the result of hand-grinding, which leaves some irregularity in the size of the particles. Cobalt is usually applied as a calligraphic or representational element on American stoneware, and, because of its high expense, was typically used sparingly. Its appearance on a redware clay body is in itself rare; the sheer extravagance of the overall cobalt glaze on this jar is virtually unparalleled. 

Little is known about the Frey pottery (today), whose mark is impressed on the (jar's) base. It was in operation by 1810, when Henry Frey moved onto his father-in-law's farm in a rural area of Washington Township, Pennsylvania (which was very close to where John Bell's pottery was located in  the Shenandoah Valley in Waynesboro, Pennsylvania). After Frey died in 1821, the farm was divided among his four sons. The pottery continued to be run by (his sons) Henry Jr. and George, and during this period the area was renamed Freytown. After Henry Jr.'s death, George Frey maintained the pottery until (his death) 1846."

19th Century Red Earthenware Jar with Cobalt Glaze

 Made at the Frey Pottery in Washington, Township, PA

The Base is Stamped 'Frey'

Pictured in the Fall 2004 American Folk Art Museum Magazine

Reportedly Circa 1810-1846

Stands 11" Tall

Photo Courtesy: American Folk Art Museum - New York City

After reading about the American Folk Art Museum's interest in this business' work - I decided to research the pottery produced at this company since some of it appears to have an art potter's type glaze - and, what I found is that this family must have kept producing red earthenware past 1846. Surprisingly, this business appears to have embraced the art potter's movement that happened during the Arts & Crafts Period. I was rather surprised with what my quick research revealed.

What I found online (past auction results) was an absolutely impressive rare group of hand-thrown vibrantly glazed red earthenware lamp bases that should be held in the same regard today as the lamp bases that were made at companies like the William Grueby Pottery in South Boston, Massachusetts and the Merrimac Pottery Company in Newburyport, Massachusetts in the early twentieth-century. Tiffany even contracted with some of these companies to produce lamp bases that eventually stood below early Tiffany lamp shades. The Frey Pottery products certainly appear rare today. Is it possible that not all of this output is understood today? Personally, I believe that if these were New England-made products from the Arts & Crafts Period that they would be highly sought after today - and, held in the highest regards.

It is my interpretation that the American Folk Art Museum is completely correct when they said that "not a lot is known about the Frey Pottery today"; however, the family must have kept producing pottery after 1846. My initial theory is that either - A) the pottery continued with production after George Frey died in 1846 by another family member, or B) the family saw an intermission with their production for years, if not, decades that resumed during the Arts & Crafts Era employing the same 'Frey' stamp that was reportedly used on products before 1846. It should be noted that John Bell operated a pottery in nearby Waynesboro, Pennsylvania where the majority of the Bell Pottery products were marked with a stamp. Could the Bell Pottery have influenced the Frey Pottery to incorporate their own stamp? The idea is only theory, but it is definitely worth a consideration. I should also mention that the Frey Pottery operated close to a number of important potters who were located in Haegerstown, Maryland and Thurmont, Maryland - but, they were also tied to the larger group of potters, who were employed throughout the Shenandoah Valley.

I'm actually very-surprised that some of these products have not received more attention today - I feel a significant art potter employed in a rural part of Pennsylvania producing hand-crafted (art) pottery with wonderful bright colored glazes is a 'BIG' deal today.

These lamps are especially a big deal (at least to me) because they date from the period when lamps first became fashionable in the American household from around the turn of the twentieth-century - and, the years (or, few decades) that followed. The use of the household table lamp first became popular in urban areas before their availability later spread to rural parts of America. The fact that a traditional red earthenware potter was throwing red earthenware lamp bases and glazing them with beautiful (expensive) colors in rural Pennsylvania seems significant (to me). I also assume that it's a sure fact that the later Frey pottery was also producing other forms aside just from red earthenware lamp bases. For this reason, I think it is difficult to say whether certain objects are from the 1810-1846 period - or, the later nineteenth and early-twentieth-century period since the stamp is said to be the same impressed mark employed during both periods. This is certainly an instance that would truly benefit from archaeology to accurately identify what was made at the Frey Pottey between 1810-1846.

The reason I am willing to compare the Frey, Stahl and Medinger family names today is a result of these names successfully operating red earthenware businesses in the twentieth-century that grew from companies that were originally established in the nineteenth-century. Few Pennsylvania family businesses were able to accomplish this feat - and, all three names are also associated with the German community in Pennsylvania. 

Late 19th or Early 20th Century Red Earthenware Lamp Base with a Vibrant Colored Glaze
The Base is Stamped 'Frey'

Circa 1890's-1920's

Stands 13" Tall

Photo Courtesy: Embassy Auctions International - Kinzers, PA

 Another View of the Lamp Base

Photo Courtesy: Embassy Auctions International - Kinzers, PA

View of the Base Stamped 'Frey'

Photo Courtesy: Embassy Auctions International - Kinzers, PA

Late 19th or Early 20th Century Red Earthenware Lamp Base with a Vibrant Colored Glaze

Recently Found in a Farmhouse in Audubon, PA
The Base is Stamped 'Frey'

Circa 1890's-1920's

Lamp Base Stands 8" Tall

Photo Courtesy: WorthPoint

However, this pottery doesn't appear to be completely unknown today - this pitcher was pictured on the website, 'Antiques & Auctions News' - where Pennsylvania collector and dealer, Brad Hamilton brought it with him to the 2013 Leesport Holiday Antique Show in Berks County, Pennsylvania. He asked $1,000 for the beautiful multi-colored object. It was marked 'Frey' on the base.

19th Century Red Earthenware Jar with Multi-Colored Glaze

 Made at the Frey Pottery in Washington, Township, PA

The Base is Stamped 'Frey'

Reportedly Circa 1810-1846

Photo Courtesy: Antique & Auctions News and Brad Hamilton

Here is another beautiful polychrome decorated pitcher that was sold in a group lot at a Discovery Americana Sale at Skinner Auctions in Marlborough, Massachusetts in 2013. Overall. the lot brought $1,400 before the auction premiums were added; however, my guess is that overall interest was devoted to other objects in this lot rather than the relatively unknown pitcher that sold in New England.

19th Century Red Earthenware Jar with Multi-Colored Glaze

 Made at the Frey Pottery in Washington, Township, PA

Reportedly Circa 1810-1846

Photo Courtesy: Skinner, Inc. - Boston & Marlborough, MA

I really feel that this is a family potter's name that needs more attention today - these were skillfully made objects that were adorned in some of the most beautiful glazes that I have ever seen from a red earthenware potter before - no matter if it was an art potter or a more traditional utilitarian red earthenware potter. I'll certainly be on the look out for Frey Pottery objects in my future travels.

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