Late-18th Century Stoneware Jug Marked "Rum" in Script Owned by the National Museum of American History at the Smithsonian

I have previously written about the John Paul Remensnyder (1898-1981) Stoneware Collection at the National Museum of American History at the Smithsonian in Washington, D.C., which happens to be one of the all-time great stoneware collections ever assembled by a private collector or a museum.

According to an obituary published in the New York Times, "Mr. Remensnyder was born in the Bronx, and he went to work at Heyden Chemical in 1920. He was named a director and vice president in 1944, president in 1950 and chairman of the board in 1952. But his avocation of collecting antique stoneware and metalware also brought him fame. His acquisitions have been shown and then donated to museums throughout the northeast. 

Among the principal showings was his 150-piece stoneware collection at the Smithsonian Institution in 1978 and 1979, representing the product of a hobby that began more than a half century ago."

But the Smithsonian also owns other examples of American stoneware acquired from other resources, such as this late-eighteenth century ovoid stoneware jug marked "Rum" in script, probably made in either New York City or New Jersey. I viewed this jug last summer with my nephew Jason, while we toured the National Museum of American History.

The information on display with this jug describes an interesting history: "Winning independence from Britain meant that the United States had to develop its own trade strategies and markets. Rum was a valuable commodity in the new nation; it could be traded to Africa for slaves, traded to American Indians for furs, and sold to fishermen in Newfoundland. Americans purchased their fair share, too, with adult males each drinking close to 20 gallons per yer."

New York City or New Jersey Stoneware Jug Marked "Rum" in Script

18th Century New York City or New Jersey Stoneware Jug

Marked "Rum" in Script

Circa 1790

Stands 14 1/4" Tall

Currently on Display at the National Museum of American History in Washington, D.C.

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Photo Courtesy: National Museum of American History at the Smithsonian

Information on Display with the Jug

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Photo Courtesy: National Museum of American History at the Smithsonian

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

Century Vases Made at the Union Porcelain Works in Brooklyn, New York

I posted a followup article today about a porcelain pitcher, bowl and dish used at the Shaker community at Mount Lebanon in New York, which were made at the Union Porcelain Works (ca. 1863-1922) at Greenport in Brooklyn in New York City in the 1880s. Writing that article made me realize today would be a good time to post this article that I have meaning to write about another type of production from the Union Porcelain Works.

I viewed both of these objects, in two separate trips with my nephew Jason in the past year; we saw the first vase last summer at the Metropolitan Museum of Art in New York City, and the second vase was on display at the National Museum of American History at the Smithsonian in Washington, D.C.

According to the National Museum of American History, "The American Industrial Revolution transformed the nation from a scattering of isolated communities into an economic and industrial giant, in part due to the country's wealth of natural resources. Forests, minerals, waterways and huge tracts of arable land for farming and ranching provided the raw materials that fueled growth and development, often at the expense of the environment.

This vase celebrates 100 years of American progress and depicts now-vanished icons of the American landscape, such as bison, a wooden reaper, and a steampship."

However, the vase on display at the MET (they actually own a matching pair and two others, but I only pictured one from the pair) further describes the decoration, "Nationalistic motifs embellish this pair of vases designed by sculptor Karl Muller (1820-1887) in honor of America's 1876 Centennial. Native American plants decorate the body and North American bison heads serve as handles. A profile portrait of George Washington embellishes each side, and the six biscuit relief panels around the base depict scenes from American history - among them a minuteman with his cannon, William Penn signing a treaty with Native Americans, and the Boston Tea Party."

Century Vase in the Collection of the Metropolitan Museum of Art

19th Century Porcelain Century Vase in the Collection of the MET
Made at the Union Porcelain Works in Brooklyn, NY
Circa 1876
Stands 12 3/4" Tall
See Article for More Information
Photo Courtesy: Metropolitan Museum of Art

Century Vase in the Collection of the National Musem of American History at the Smithsonian

19th Century Porcelain Century Vase in the Collection of the Smithsonian

Made at the Union Porcelain Works in Brooklyn, NY

Circa 1876

Stands 12 3/4" Tall

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

Another View of the Vase

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Photo Courtesy: National Museum of American History at the Smithsonian

Another View of the Vase

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Photo Courtesy: National Museum of American History at the Smithsonian

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

19th Century Porcelain from New York City Utilized at the Mount Lebanon Shaker Community in New York

Yesterday, I posted an article about some of the pottery utilized at the Mount Lebanon Shaker community in New York, which included these three pieces of nineteenth century porcelain. These objects are currently on display at the National Museum of American History at the Smithsonian in Washington, D.C.

I had written that I knew these objects were American-made, but I wasn't sure what business was responsible for their production. However, I was told by Gary Hammond, who is a museum specialist for the Nassau County Museum System on Long Island, that these objects were actually manufactured at the Union Porcelain Works (ca. 1863-1922) in Brooklyn in New York City in the 1880s. He also kindly provided a document from the Mount Lebanon Shaker Museum, which further describes this specific production: "An 1887 entry in a sister's diary from Mount Lebanon's Church Family mentions some new dishes bought for the family - she wrote, "We have a set of new dishes on our table [this] morning, marked Shakers, Mt. Lebanon, they are pretty and costly we know.

Further examination of Shaker records expanded the sister's initial comment about new dishes. Church family trustee, Brother Benjamin Gates and family deaconess Sisters Cornelia French and Mary Hazard went to New York City on October 12, 1886 "on business concerning dishes for table use; to be made by order." Exercising their duty to see to the domestic concerns of the family, they placed their order for new china with the Union Porcelain Works, once located in the Highpoint (now Greenport) section of Brooklyn, New York. The manufacture of the dishes is clearly identified by the UPW trademark on the bottom of each dish. The trademark on the Mount Lebanon dishes include the numberals "12" and "86" or "1" and "87" indicating that they were made in either December 1886 or January 1887 - a period that fits perfectly between the date the Shakers went to New York and the date the dishes appeared on the family's table. Only two pieces in the Museum's collection, two shallow saucers, bear the 1887 date, suggesting that most of the order was completed in 1886.

To date, no documentation of the cost of the new dishes has been discovered, but an entry in another Shaker sister's diary suggests that it was not cheap. She wrote, "We have a surprise of great value, on our breakfast table, a set of new dishes. Porcelain ware marked for us. We hope it may be long before we need another set."

Porcelain Made for the Shakers at Mount Lebanon in New York

 19th Century Pitcher from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 
Manufactured at the Union Porcelain Works in Greenpoint in Brooklyn in New York City

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

 19th Century Bowl from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 
Manufactured at the Union Porcelain Works in Greenpoint in Brooklyn in New York City

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Plate from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 
Manufactured at the Union Porcelain Works in Greenpoint in Brooklyn in New York City

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

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

A Stoneware Jar Marked "H. Wilson & Co." on Display at the National Museum of American History at the Smithsonian in Washington, D.C.

It is well-documented today that both enslaved and freed African-Americans were involved with the manufacture of stoneware in South Carolina in the nineteenth century. For instance, I have recently written about some of the production that transpired in the Edgefield District in South Carolina, such as the outstanding wares made by Dave Drake (ca. 1801-1875) at Lewis Miles' plantation; all of Dave's production is remarkable, but the best objects are likely the massive examples that he inscribed with the date of manufacture, a signature and an original poem.

I have also written about some of the Edgefield face jugs in existence today from the late-1850s and 1860s, especially those in museum collections, like the Museum of Early Southern Decorative Arts in Winston-Salem, North Carolina, the Art Museums of Colonial Williamsburg in Williamsburg, Virginia, the National Museum of American History at the Smithsonian in Washington, D.C., New York City's Metropolitan Museum of Art and Boston's Museum of Fine Arts. These type of objects have been desired for decades, but it would it seem that the current market views Edgefield face jugs as one of the most sought after forms of domestic pottery from the 1800s.

However, the involvement of African-Americans in the manufacture of utilitarian pottery dates back to Colonial America, with known production in places like Charlestown, Massachusetts and Portsmouth, New Hampshire. But there are many more cases, and probably even more-so that are not documented today.

For example, I learned about a small group of African-American potters employed in Texas, while visiting the National Museum of American History with my nephew Jason last summer. I remember walking up to this simple brown-glazed jar, wondering why it was on display, and quickly learning about its significance after reading about it.

According to the National Museum of American History, "This stoneware jar was made in Guadalupe County, Texas by H. Wilson and Company, as shown by the impressed mark on the shoulder. The company was formed when a group of former enslaved potters, Hyrum, James, and several others bearing the surname Wilson, separated from the Guadalupe Pottery when John Wilson sold his remaining interest in the latter company in 1869.

The shape of this stoneware jar and others at H. Wilson and Company suggest a strong connection to the Edgefield District of South Carolina, where some Edgefield potters brought their skills when they moved to eastern and central Texas."

But I wanted to learn more about this business, so I turned to the Bullock Museum in Austin, Texas, "John M. Wilson, Jr. became a key figure in the pottery trade in Texas after founding the Guadalupe Pottery in 1857. Wilson's enslaved workers, Hyrum, James, Wallace, George and Andrew were instructed locally in the craft, where they honed their skill through practice and exposure to other potters.

Following the end of the American Civil War in 1865, Wilson's newly emancipated laborers took his surname, a common practice at the time, and then formed their own company in 1869. H. Wilson and Company went into production between 1869-1872 on land granted to them by John Wilson, and is considered to be the first African-American business in Texas.

The freedmen created a new style of pottery, breaking from the older traditions of their teachers. These techniques included adding horseshoe shaped handles and signing their work. The potters of H. Wilson and Company marked their wares with the company name, a promotional tool for identifying and advertising. More than that, the mark served as a symbol of their remarkable achievement within just a few years of emancipation. 

For Hyrum Wilson, the company provided a means to support his family and community, as well as serve as a spiritual leader. H. Wilson and Company became a symbol of what was now attainable in a new society.

Today, the archaeological evidence at the site of H. Wilson and Company provides an immeasurable amount of information about the company, as well as the community. This company's production can still be found today throughout central Texas in old barns and homes, as well as in antique shops, private collections and museums."

Hyrum Wilson and Company Stoneware Jar, Guadalupe County, TX

19th Century Stoneware Jar

Made at the Hyrum Wilson and Company Pottery in Guadalupe County, TX

Marked "H. Wilson & Co."

Circa 1869-1884

Stands 9 1/2" Tall

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

John Wilson, Jr. Pottery, Guadalupe County, TX

19th Century Stoneware Jug

Made at the John Wilson, Jr. Pottery in Guadalupe County, TX

Circa 1857-1865

See Article for More Information

Photo Courtesy: Bullock Museum

19th Century Stoneware Jug

Made at the John Wilson, Jr. Pottery in Guadalupe County, TX

Circa 1857-1865

See Article for More Information

Photo Courtesy: Bullock Museum 

19th Century Stoneware Jar

Made at the John Wilson, Jr. Pottery in Guadalupe County, TX

Circa 1857-1865

See Article for More Information

Photo Courtesy: Bullock Museum

Interestingly, while I studied the Bullock Museum's website, I learned about another piece of stoneware that is connected to production in South Carolina: "This decorative face vessel, created by James Prothro (1803-1871) in the mid-1850s, was crafted with an alkaline glaze, made by mixing ash or lime with clay, and reflects African traditions in American pottery. This method was perfected in South Carolina and brought to Texas by Prothro, who operated one of three Texas potteries listed in the 1850 Census of Industry and Manufacture."

James Prothro Face Jug, Texas

19th Century Stoneware Face Jug

Made by James Prothro in Texas

Circa 1850s

Stands 13" Tall

See Article for More Information

 Photo Courtesy: Bullock Museum

 View of the Side

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 Photo Courtesy: Bullock Museum

View of the Back

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 Photo Courtesy: Bullock Museum

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

19th Century Pottery Utilized at the Shaker Community in Mount Lebanon, New York

I have previously written about the production of red earthenware, including slipware at the Union Village Shaker community in Warren County, Ohio, as well as a type of marked stoneware sometimes found from the Shakers in Sabathday Lake in Maine. In fact, some of the Warren County products were displayed a few years ago by Ohio potters, Greg and Mary Shooner at the 2016 session of Historic Eastfield Village's ceramic conference in Nassau, New York. However, an interesting group of ceramics are also associated today with the Shaker community in Mount Lebanon in New York.

According to the Shaker Museum of Mount Lebanon, "The Shakers owned many ceramic vessels. At the Mount Lebanon community, stoneware jugs and crocks were generally made at local commercial potteries - and there were plenty of those in the area. The only clay products the Shakers at Mount Lebanon made themselves were smoking pipes and pipes for draining wetland (although there is at least one small stoneware jar known today marked with this community's name).

The Shaker Museum at Mount Lebanon holds a collection of 60 pieces of stoneware. The Shakers had a considerable need for these vessels. Jugs, holding from one quart to ten gallons of liquid, were used to store and sell medicinal extracts and distilled liquids such as witch hazel. Crocks were traditionally used for putting up pickles and preserving other foodstuffs. Large jugs fitted with bung holes at the bottom were used as water coolers that could be taken to the brothers in the working fields."

This photo seems to demonstrate the Shakers need for stoneware - whereas, I was also informed by Connecticut antiques dealer, David Schorsch that the following photo of an attic in a building at Mount Lebanon, which reveals a large collection of New York stoneware was taken by William F. Winter, Jr. (1899-1939), circa 1930. This photo was also used in a catalog published by David Schorsch in 1989.

Stoneware Used at the Shaker Community in Mount Lebanon, NY

19th Century Stoneware Vessels in the Attic of a Building at Mount Lebanon, NY
Presumably All Made Locally in Upstate New York

Photo Taken Circa 1930s

See Article for More Information

Photo Courtesy: Library of Congress

While on vacation last summer with my nephew Jason at the National Museum of American History at the Smithsonian in Washington, D.C., we also saw three examples of nineteenth century household pottery from the Shaker community at Mount Lebanon. Each object was decorated with a floral pattern and the words "SHAKERS MT. LEBANON N.Y." 

These pieces were displayed as part of an exhibit at the museum; although, I cannot remember having seen this type of marked pottery from any Shaker community before, which I presume must have been produced by an American manufacturer.

Household Pottery on Display at the National Museum of American History at the Smithsonian

19th Century Pitcher from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Bowl from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Plate from the Shaker Community at Mount Lebanon in New York

Marked "SHAKERS MT. LEBANON N.Y." 

Currently Part of an Exhibit at the National Museum of American History

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

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

Examples of Edgefield, South Carolina Stoneware on Display at the National Museum of American History at the Smithsonian in Washington, D.C.

I recently wrote about a large selection of southern red earthenware and stoneware that I viewed with my nephew Jason earlier this summer at the Art Museums of Colonial Williamsburg in Williamsburg, Virginia, the Museum of Early Southern Decorative Arts in Winston-Salem, North Carolina and the National Museum of American History at the Smithsonian in Washington, D.C. However, this was actually our second visit to the Smithsonian in less than one year.

Last year, we spent a good amount of time at the museum's red earthenware and stoneware storage department, but we also toured the exhibits on display at the National Museum of American History. In fact, one of the first objects we saw on display was a huge alkaline-glazed stoneware jar from South Carolina, which we later learned served as inspiration for two collectors, who eventually acquired a similar object for their own personal collection.

According to the National Museum of American History, "This large alkaline-glazed stoneware jar was made in 1862 by David Drake (ca. 1801-1875), an enslaved black potter working on Lewis Miles' plantation in the Edgefield District of South Carolina. In a state that outlawed literacy among slaves, Dave definitely proclaimed his ability to read and write by signing his name and sometimes inscribing poetry on the stoneware vessels he made.

Dave was a master potter, regularly producing massive storage jars and jugs that required enormous skill and strength. About 20 surviving Dave pieces are inscribed with Dave's original two-line poems - wonderful and sometimes cryptic ruminations on topics as diverse as pots, love, money, spirituality, life as a slave, and afterlife. The poems reflect Dave's intelligence, creativity and wit."

A few weeks ago, I wrote about one of the known jars in existence inscribed with an original poem from Dave, along with three nineteenth century stoneware face jugs from the Edgefield District. These objects are currently on display in the Art of the Americas Wing at the Museum of Fine Arts in Boston. According to the MFA, "African American slaves worked in the pottery manufactories in South Carolina's Edgefield District, producing sturdy, utilitarian pots sold throughout the South. On their own time, they made distinctive face vessels. Thrown on a potter's wheel, they feature carefully added eyes and teeth shaped by hand from white kaolin clay, a practice possibly related to the use of kaolin in central African art. While their meanings and usage is unknown (and currently an ongoing research subject), new research suggests direct connections between these pots and Edgefield slaves imported in 1858 from the Congo aboard an illegal slave ship, the Wanderer.

The craftsman who signed his work "Dave" is now considered the foremost member of the group of African Americans in Edgefield, which included both slaves and, later, free blacks. Dave's thick walled storage vessels are usually large and show enormous technical skill. Dave was the only potter in this group to sign and date his work. The MFA's pot made by Dave is signed and dated "LM August 22, 1857 / Dave," and inscribed "I made this jar for Cash / though its called lucra trash."

Nonetheless, the large jar made by Dave on display at the National Museum of American History is also dated, signed and inscribed with a poem - on one side it is written, "LM May 3, 1862 / Dave," while the other side reads, "I made this jar all of cross, if you don't repent you will be lost."

The museum also displays one of the better Edgefield stoneware face jugs from the Smithsonian's collection, "(Standing only five-inches in height) This distinctive type of ceramic face vessel first appeared in the American South in the mid-1800s. Jugs such as these are attributed to a small number of black slaves working as potters in the Edgefield District. None of these skilled potters have been identified by name and their inspiration for making face vessels is unknown. Scholars speculate the vessels may have had religious or burial significance, or that they reflect the complex responses of people attempting to live and maintain their personal identities under harsh conditions." 

Edgefield, SC Pottery on Display at the National Museum of American History

My Nephew Jason with a Large Dave Drake Jar in August 2017

See Article for More Information

19th Century Alkaline-Glazed Stoneware Jar

Made by Dave Drake in Edgefield, SC

Signed "LM May 3, 1862 / Dave"

Inscribed "I made this jar all of cross, if you don't repent you will be lost"

Stands 20 1/2" Tall and Measures 18" Wide

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

View of Dave's Original Poem

Inscribed "I made this jar all of cross, if you don't repent you will be lost"

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

View of One of the Handles

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Photo Courtesy: National Museum of American History at the Smithsonian

Information on Display with the Jar

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Edgefield, SC Stoneware Face Jug

Circa Late-1850s or 1860s

Stands 5" Tall

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

Another View of the Face Jug

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

Another View of the Face Jug

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

Another View of the Face Jug

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

Information on Display with the Face Jug

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

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

Ceramics in Opposition of Slavery in the West Indies on Display at Colonial Williamsburg and the National Museum of American History at the Smithsonian

According to Colonial Williamsburg in Williamsburg, Virginia, "Sugar production in the West Indies was dependent on enslaved labor. English abolitionists therefore urged consumers not to purchase sugar from the West Indies but rather from the East Indies where it was produced by free labor. This tactic was used in the 1790s during the campaign to abolish the English slave trade. It was revived during the 1820s as the English movement turned its objective toward the abolition of slavery in the British colonies, including the West Indies."

This sentiment was widely published throughout England, including ceramic production, as well as other forms of late-eighteenth and nineteenth century decorative arts; it was also a topic for an essay written by Sam Margolin for the 2002 issue of Ceramics in America, entitled, "And Freedom to Slave": Antislavery Ceramics, 1787-1865.

I recently observed a few examples of English ceramics related to this subject, while on vacation with my nephew Jason in Williamsburg and Washington, D.C. For instance, a wonderful circa 1825-1830 English soft paste porcelain sugar bowl is on display at the Art Museums of Colonial Williamsburg - the decoration reveals a kneeling slave in a tropical environment. "Displayed on a tea table, this sugar bowl would have proclaimed its owners sentiments and support of a boycott of sugar from the West Indies."

This bowl was published in Margolin's article, where he suggests that "it may have been produced for a special anti-slavery fair or occasion." Imprinted on the back of the bowl are the words, "East India Sugar not made / By Slaves. / By Six families using / East India, instead of / West India Sugar, one / Slave less is required."

We also saw similar objects on display at the National Museum of American History at the Smithsonian, such as a ceramic medallion, a teacup and saucer and a wonderful platter. The image on the medallion later provided some manufacturers a means of motivation for many of the anti-slavery ceramics produced in England. But similar ceramics are also on display at the Daughters of the American Revolution Museum in Washington, D.C., as well as other institutions across the country.

According to the National Museum of American History, "The medallion, first made in 1787, became a popular icon in the British movement for the abolition of the slave trade in the late-eighteenth and early-nineteenth centuries. Staffordshire, England pottery manufacturer Josiah Wedgewood (1730-1795) probably engaged sculptor Henry Webber (1754-1826) to create the design of a kneeling slave, his hands in chains, a figure based on the cameo gemstones of antiquity. The modeler, William Hackwood (1757-1839), then prepared the medallion for production in Wedgewood's black jasper against a white ground of the same ceramic paste. Above the figure the words "AM I NOT A MAN AND A BROTHER" appeal to the reason and sentiment of late-eighteenth century men and women, disturbed by accounts of atrocities committed on the trans-Atlantic slave trade routes, and informed by abolitionist literature distributed in coffee-houses, taverns, public assembly rooms, reading societies, and private homes. 

The medallion expressed in material form the growing horror of the barbarous practices of the trans-Atlantic slave trade, and the premises upon which that trade thrived. Wedgewood produced the medallion for the Committee of the Abolition of the Slave Trade, founded in 1787 by Thomas Clarkson (1760-1846), who in 1786 published his essay on the Slavery and Commerce of the Human Species. Wedgewood was a member of the Committee - later known as the Society for the Abolition of Slave Trade - and it is likely that distribution of the medallions took place through the organization and that Wedgewood bore the costs himself.

The medallion became the emblem for the British movement carried forward by Thomas Clarkson and William Wilbeforce (1759-1833), leading to Parliament's abolition of the slave trade in 1807."

Art Museums of Colonial Williamsburg

19th Century English Soft Paste Porcelain Sugar Bowl

Circa 1825-1830

Stands 4 5/8" Tall

See Article for More Information

Photo Courtesy: Art Museums at Colonial Williamsburg

Information on Display with the Sugar Dish

See Article for More Information

Photo Courtesy: Art Museums at Colonial Williamsburg

National Museum of American History at the Smithsonian

18th Century Ceramic Medallion Made in Staffordshire, England

Made at the Josiah Wedgewood and Sons Pottery

Made After 1787

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Earthenware Teacup and Saucer

Circa 1820-1830

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

19th Century Earthenware Platter

Circa 1820-1830

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian

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