Saturday Morning Auction in Southern Maine

A nice selection of early ceramics and furniture were offered this morning at Hap Moore Auctions in York, Maine. The consignments were all fresh-to-market from Maine, New Hampshire and Massachusetts homes. Take a look at what caught my eye.

Pearlware Set with a Peafowl Design - English Made
Circa 1795-1820

What we have here is a pearlware teapot, covered sugar bowl and a cup with saucer. Each example was lathe-turned and hand decorated. These would all fall under the category "Blue and Ochre Bands" according to George and Mickey Deike's book, "Feathers and Foliage: The Life and Times of the Pearlware Peafowl." The cup and saucer are described as the most common form of this group, the sugar bowl is less common and of the blue and ochre bands catagory, the teapot is more than just rare. While the form is a bit different than the example pictured in the book (I think this form is better), it is described on page 83 that, "they have only seen three teapots with blue and ochre covered bands." If in fact this teapot is that rare, I sure hope it is going to a good home!

I would like to share a few statistics from this book about the survival rate of pearlware today. It is written that of the nearly three-million bird decorated pieces which were manufactured between 1795 and 1820, only roughly 1,300 have survived. That is broken down into a survival rate of a mere one out of every two-thousand. It is safe to say that this pearlware set is rare and this probably gives the average reader an idea of the importance of redware, stoneware, earthenware, ceramics and porcelain. The majority of it has been destroyed and is long gone. That's why there is such an importance for its study  today. While redware is no longer used for a utilitarian device in the American household, at one point it was an everyday tool. This idea stands true for all early ceramics.

Marblized Mochaware Pitcher - English Made

Likely Late 18th Century

I really enjoyed handling this marblized mochaware pitcher. The design on it was attractive and unusual. It reminded me of the marblized redware plates of Dorchester, Massachusetts. This example was discovered in a Portsmouth home.

Creamware Basket - English Made

Likely 18th Century

This creamware basket really took me for a surprise. On first look, it did not do much for me, but after carefully looking it over - I realized how much skill it took to achieve. Look at all the detailed wiring around the ribs and along the edge of the basket. That took a lot of skill from the potter to create. This too, came out of Portsmouth home.

Thomas Whieldon Type Tortoise Shell Plate - English Made

18th Century

This is your typical Thomas Whieldon style plate made wtih a tortoise shell glaze in England. It was made in the eighteenth-century.



Early American Chair

Likely 17th Century

This chair is extremely early. I assume all the woodwork is original, but that is a very loose assumption. It has certainly seen its better days, but so wouldn't have I if I were more than three-hundreds years old. There may be some very early repairs. I did not look it over that well. It dates from the seventeenth-century and likely of Northern New England origin. I would classify the chair as possibly a piece of furniture from the Pilgrim Centuiry.

Whale-Tail Chair - New England Made

Likely 18th Century

I am a fan of whale tail chairs and for those who do not know - look carefully at the crest (woodwork on top of chair). The crest resembles a whale's tail. This was done intentionally. These are not terribly difficult to attribute as they were mainly made in Ipswich, Massachusetts, Portsmouth, New Hampshire, Kittery, Maine and in York, Maine. It is my belief that this particular style was made in Portsmouth in the eighteenth-century.

E. Swasey Stoneware Jug

Made in Portland, Me

I thought this stoneware jug was unusual. The Swasey stoneware company of Portland, Maine is more-often known for making a molded type of stoneware. This jug did not come from a mold. Stoneware of this sort is also rare for the state of Maine due to a lack of potters working within the medium caused from an insufficient source of proper clay beds in the state.

It was a fun morning in York previewing all the latest fresh-to-market finds that Hap Moore was offering. I did not stay for the auction, but I could tell it was going to be an exciting day for the auctioneer with the crowd that was gathering. All the quality antiques had phone lines and left bids. I assume the prices were decent.

More to come...

Update: The Peafowl tea set sold for $475 (not including sales tax or buyer's premium).

North Carolina Redware Charger: A Fine Example of Early Southern Art

An absolutely wonderful example of early North Carolina redware will soon be offered at public sale through Pook and Pook Auctions in Downington, Pennsylvania.

Here is a link to the listing. Unfortunately, there is no provenance cited, but it is assumed the consignor is an accomplished collector, unless this is the first time it has been offered and as a result, it is fresh to the market. At the moment, I do not know the details.

North Carolina Redware Charger
Early 19th Century
Estimate: $40,000 to $60,000
Photo Courtesy: Pook and Pook Auctions

Back of Charger

Photo Courtesy: Pook and Pook Auctions

Side View of Charger
Photo Courtesy: Pook and Pook Auctions

Professional photography in a sense, does absolutely no justice for the quality of what this redware charger represents. This is an idea in which I have always believed. I understand the need and importance of professional photography for cataloging, but for my personal preference, I would rather see a real-life photo. The photo actually takes away the real-life appearance and  demonstrates some-what of a false experience. If you were to look at these photos and then see this example in-person, the reaction would be much different. This is in a pure sense, an absolute piece of work and accomplishment by the potter that can only really be seen for what it is in-person.

I am not an expert on North Carolina earthenware or redware, but I do feel this is one of the better examples of early American made flatware (no matter the region) - to ever be offered at a public sale. 

Pook's is describing the example as a redware charger made in Alamance County, North Carolina. It sits fifteen inches across. The decoration is phenomenal! Notice the three blooming tulips - they are just as I wrote about a few weeks ago (March 29th Report), but this is not a Pennsylvania example. I assume the influence is either German or Dutch. The art work was all applied by hand. There is not much more to be said, other than this being a wonderful example of early Southern folk art that truly speaks for itself.

I own the following two plates as part of my-own collection. I have always felt the decoration in each resembled the work of the North Carolina potters. These plates have been shown  to a handful of nationally recognized southern pottery experts and all have felt the plates are continental (European) made. Regardless of what they are in maker and origin, I can not deny their beauty or craftsmanship.

Early and Finely Decorated Earthenware Plate

Circa 1800
Maker and Origin Not Currently Identified

Early and Finely Decorated Earthenware Plate

Circa 1800
Maker and Origin Not Currently Identified

It is in my opinion that both date towards the early nineteenth-century. Each can be described as more of an earthenware or stoneware product rather than redware. Both measure nine inches in diameter. If anyone has any recommendations for further knowledge, attribution or origin, I would love to hear it.

For more reading on the early potters of North Carolina, I recommend the 2009 Edition of Ceramics in America. The potters of this region can be defined today through an extremely accomplished and in some cases, unique contribution to the study of the early American pottery industry.

I am not going to get into the details, but the Moravian potters of Salem, North Carolina are known for wonderful creations and among those are the well-sought after animal redware bottles. Kelly Young's (Texas Oil) collection recently went up for sale at Crocker Farm Auctions in Sparks, Maryland and as a part of this sale, were two extremely rare animal figurals.

Here are links to each result:

#219 - Moravian Redware Squirrel Bottle

#220 - Moravian Redware Bear Bottle

Salem, North Carolina Redware Flask

Photo Courtesy: American Folk Art Museum - New York, NY

The talented and accomplished potters of the Salem area included many names and of those individuals - are the better known John Holland and Rudolf Christ. Holland and Christ can be described as members of the group of area-potters who were the most talented, experimental and artistic of the period. Plates, jugs, bowls, flasks, bottles and even earthenware cooking stoves were all a part of the utilitarian wares made within the Salem area.

Earthenware Tile Stove - Salem, NC

Made: 1772-1800
Photo Courtesy: Rob Hunter, Ceramics in America and Old Salem Museum & Gardens

These early cooking and what I perceive to be, wood burning stoves - are absolute masterpieces and a utilitarian work of art. There are a handful of examples known to exist today. It is assumed these stoves may have heated homes as well.

The 2009 Edition of Ceramics in America is a wonderful resource for this region and period of potters. The photography in this specific edition is arguably some of the best achieved in all of the series.

Left: Rudolf Christ (Salem, NC) Redware Squirrel Bottle - Early 19th Century
Right: Michelle Erickson Redware Squirrel Bottle - 21st Century

Photo Courtesy: The Magazine Antiques

Even world-class modern ceramist, Michelle Erickson has imitated the work of the Salem potters. She demonstrates in the above example (right) as what I perceive to be a political statement. The figural on the left is a Rudolf Christ original. Many examples of her work are represented in museums the world-over.

It will be fascinating to see what the North Carolina redware charger sells for on April 19th. I have a feeling with prominent collectors, high-end dealers and museums all bidding - the final hammer price will outdo the high presale estimate.

I will revisit this subject soon-after the charger sells.

More research to come...

Wonderful Incised Decoration of Early New England Redware

Glaze, form and rarity are assumed to be among the important driving factors behind many American redware collectors today. Above all that - condition in many instances is most important. I personally agree that glaze, form and rarity are important, additionally, the use of incised decoration is a characteristic that can be overlooked within the field and study of early American redware. Incised decoration is a wonderful technique and such examples that exhibit a great amount of this elaborate style, are often exclusive to eighteenth-century Massachusetts. I especially have a passion for the extensive wavy line technique that some early potters incorporated into their potting styles.

In-fact, I have developed a theory and arguement that this use began in early eighteenth-century Essex County, Massachusetts and through training and influence, the idea spread to other regions of New England.

Essex County, that at the time included Salem, Danvers and South Danvers, Massachussetts (among other cities and towns) produced wonderful examples of this exceptional decoration. It is assumed that some-type of comb device was used for application. Many of the Essex County examples have been left without an attribution.

By the late 1700s, there were more than seventy potters working in Essex County and because of this, attributions are based loosely on popularity of a last name with many of the working potters real names left unknown. I feel the safest attribution is the use of "Essex County" rather than naming a specific potter. There are too many eighteenth-century Essex County potters who are not known. It is likely that they manipulated and imitated each others style. With so few of these examples surviving today and no real archaeological sites left, an exact potter's attribution in many cases will be tough to properly determine.

Below are a group of examples that show this detailed technique.

Covered Redware Dish - Essex County, Ma

Made Circa 1760

Photo Courtesy: “Ceramics and Glass at the Essex Institute”

by Mudge, Nylander, Montgomery, and Barter, page 50

Redware Terracotta Flower Pot - Essex County, Ma

Narbonne House Archaeological Collection (Salem, Ma)

Made Before 1780

Photo Courtesy: Norm Eggert for Northeast Museum Services Center

Nicely Decorated Redware Jar - Essex County, Ma

Likely 18th Century - Very Thinly Potted

Photo Courtesy: Crocker Farm Auctions - Sparks, Md

Peter Clark is considered by many to be one of the more outstanding eighteenth-century potters of early Massachusetts. According to Lura Woodside Watkins' book, "Early New England Potters and Their Wares," Clark was born and trained in Danvers before setting out on his own and moving to Braintree, Massachusetts to begin his career. Clark's Braintree examples have often been found with a wavy and straight line incised decoration similar to the Essex County types. This idea leads some to believe his Danvers roots are likely the reason for his use of this technique rather than a Southeastern Massachusetts influence. The form of the following jar has arguably been copied by potters that followed Clark's work on Massachusetts south coast. It is believed to be eighteenth-century and possibly made by Clark.

Possibly Peter Clark Redware Jar - Braintree, Ma

Likely 18th Century

Photo Courtesy: Northeast Auctions - Portsmouth, NH

Clark eventually left Braintree to work-out the remainder of his life's work in Concord and Lyndeboro, New Hampshire. The following example is from Clark's career in New Hampshire, which demonstrates the wavy line incised decoration that was apparently a constant detail in much of his work no matter his location.

Peter Clark Redware Jar - Concord, NH

Photo Courtesy: Northeast Auctions - Portsmouth, NH

The redware industry that worked alongside the Taunton River in Southeastern, Massachusetts has produced a similar decoration. The following example descended through the family of Charles D. Cook and was a long-time focus of his important collection. Skinner, Inc of Boston offered it more than ten years ago and more recently, Northeast Auctions did the same in 2011 with the elaborate pitcher selling for tens of thousands. While I have no proof of who exactly manufactured this wonderful pitcher, I would still consider a strong argument for an Essex County influence within its decoration.

Southeastern, Massachusetts Redware Pitcher

Ex Collection of Charles D. Cook - Cape Cod, Ma

Photo Courtesy: Northeast Auctions, Portsmouth, NH

Early Vermont potters are believed to have used this same technique as well. My belief is that this type of incised decoration all began on Boston's North Shore and of all the New England potters who practiced the technique, the Essex County potters worked with it most-often. 

Incised decoration was used all over American up through the latter years of the nineteenth-century. In most cases, the degree of the decoration's use was lesser. The type and excess of Essex County's technique was not comparable to any other regions of America beyond New England. It really is a beautiful technique that is hardly seen today.

I have briefly seen this style surface within the artifacts of the Charlestown, Massachusetts collection. However, I do strongly feel that the practice first began in the American colonies within the communities that made-up Essex County, Massachusetts. It's a decorative technique that really became exhausted by the nineteenth-century. Any examples today are considered rare and if you ever have the priveledge of seeing such an example, be sure to take a moment and carefully look over the detail and craftsmanship that went into the form. I am personally fascinated with the technqiue for its history, rarity and overall skill. The previous examples not only demonstrate a wonderful incised design, but the overall accomplishment of the glaze, leads one to believe the idea of the wavy and straight line technique was saved for the overall best examples of hollow ware from the potter.

It is in my opinion that the earthen ware industries of Danvers and South Danvers were the most influential in New England. The influences really have been that compelling. This report is only a small example of what was potentially happening through training, culture and influence to New England's large redware industry by the hands of Essex County.

More research to come...

Discovery: "New Hampshire" Redware Butter Churn

In a previous discussion, the idea and use of the early American redware milk pan was analyzed for its importance within the history of the American household. The notion of use behind the utilitarian ware was defined as both a kitchen and dinner table ware. A redware or stoneware butter churn is similar to the redware or stoneware milk pan, as it too, was essential in the early American homestead. It is assumed that the butter churn not only served a purpose for butter production, but included dry good storage through a means of hollow ware.

The butter churn's body was not exclusive to clay as a medium - additionally, there are many early wooden forms known to exist today. Beyond clay and wood, churns were likely made from other substances as well. The butter maker's use has been purportedly dated as far back as 2000 BC with biblical works. The idea behind the butter churn and its practice was created by a means of converting cream to butter through a mechanical process. In the case of a stoneware or redware example, the lid would have a pole inserted through it and with rapid up and down movements, cream would eventually be turned into butter. A wooden churn's cream to butter mechanics varied, depending on how the device was manufactured.

Redware Butter Churn Discovered in Stratham, NH
Churn Measurements: 14.5 Inches Without Pole, 44.5 Inches With Pole

This fine redware example pictured above, was just recently discovered in a Stratham, New Hampshire estate. According to the previous owner, this was the place of its residence for many years. The churn's exterior clay-type does somewhat resemble an English example of redware, but the interior glaze leads me to believe it was the product of a domestic potter.

Interior Before Cleaing

The interior of the churn was extremely dirty. I took a damp cloth (with water) and I carefully cleaned the sides in the same manner that the potter's hands once turned the jar. The following picture was the result after cleaning.

Interior After Cleaning

The wooden plunger's age and wear can clearly be seen in the next photo. I believe the butter churn, lid and plunger to all be original and native to each other.

Bottoms of Wooden Plunger and Redware Lid

Massachusetts redware potter, Rick Hamelin and myself exchanged a few emails in regards to the origin of the churn. Without seeing it in person, Rick suggested the Old Exeter Pottery Works and the Lamson Family of potters in Exeter, New Hampshire as a potential attribution. I was leaning more towards the Plymouth and Moultonboro, New Hampshire areas for attribution, but after consulting my library, I agree with his suggestion.

On page 63 of Diana and J. Garrison Stradling's book, "The Art of the Potter" and on page 28 of Everett C. Lamson Jr's book, "The Old Exeter Pottery Works" a group of utilitarian ware's from the Lamson Pottery are shown. Of all the the pieces, the most unusual is a chimney safe, which is described as a redware form that was set in the wall for a stovepipe to pass through. The pictured chimney safe is nearly identical in form to the butter churn. The clay type looks similar, too. The exterior of the butter churn resembles the early twentieth-century sewer tiles that occasionally wash up on coastal river and ocean shores. Based on this picture, the form and apparent clay-type - I feel an Exeter, New Hampshire attribution is likely. Stratham and Exeter basically border each other and with that idea, the home the churn was found within is only a matter of minutes or miles of where the old Lamson factory used to operate.

Lamson Pottery Chimney Safe - Exeter, NH

Photo Courtesy: The Art of the Potter - The Stradlings

The history of the Exeter Pottery Works began in 1771 with Jabez Dodge and continued into the twentieth-century with the Lamson Family of potters. Exeter, New Hampshire is one of the more overlooked potting communities in New England. The culture was rich and the early nineteenth-century wares were extremely accomplished in color, form and skill. 

I have never seen a butter churn like this before. I assume it is rare. It could possibly be the only one to exist today. I am quite happy with the find!

Left: Lamson Pottery Dye or Lard Pot - Exeter, NH

Right: Likely Lamson Pottery Butter Church - Exeter, NH

Both Circa 1860-1890

Stoneware was the most prominent of all the early pottery butter churns and the best arguably were made in New York followed by the Norton Pottery in Bennington, Vermont.

 J. Burger Jr - Rochester, NY

Photo Courtesy: Crocker Farm Auctions - Sparks, Md

 T. Harrington - Lyons, NY

Photo Courtesy: Crocker Farm Auctions - Sparks, Md

J&E Norton - Bennington, Vt

Photo Courtesy: Crocker Farm Auctions - Sparks, Md

A potter by the name of Abner S Wight also reportedly made butter churns in nineteenth-century New Hampshire. Northeast Auctions in Portsmouth, New Hampshire sold a wonderful example of Wight's work a few years back. I guess it is feasible to say that the butter churn discovered in Stratham could be a creation of Wight's or the potters working in Moultonboro, but I feel much stronger about the Exeter attribution at this time.

I'm not ruling out the idea of another unknown New Hampshire potter producing the butter churn, however, for now - I feel the argument for Lamson Pottery is strong.

For more information on the earthenware industry in Exeter - see this newspaper article.

More research to come...

Early American Handled Redware Jar

I recently brought what I believe to be an American eighteenth-century redware jar from my personal collection, into the Boston Archaeology Department in West Roxbury, Massachuetts. I wanted to compare glazes of the redware artifacts from the Charlestown, Massachusetts collection to the interior of my jar. The black streaking metalic-like glaze on the exterior is seen throughout the Charlestown remains and the style is not exclusive to any one area or potter. This metallic-type glaze is seen elsewhere including eighteenth-century Essex County, Massachusetts, a few maritime colonial cities, parts of New York and parts of Pennsylvania. The metallic-type glaze is not exclusive to the eighteenth-century either. There are many nineteenth-century examples. For one to attribute an example only through this glaze idea is difficult to do and more-often-than-not would be left open for skepticism. The information that lead to the attribution would have to be solid. However, the interior glaze is extremely unique and as I far as I can remember - I have never seen such a glaze before. It consists of a streaking caramel and brown glaze that quickly turns into a freckled blue and green glaze with peach halos that covers the majority of the interior.

These are the results of my comparative research.

Early American Redware Jar with Charlestown, Ma Artifact

I am not going to release any more information at this time. It's up to your eyes if you think the glazes conform with one another. I will tell you the interior glazes are some-what similar and the exteriors of each do match accordingly as previously described. I am open to any suggestions at this point. I will tell you there is much more to the story and background of both the jar and the artifact that I am not ready to publicly deliver or acknowledge.

A similar redware jar is seen in the Little Compton, Rhode Island Historical Society's collection.

Photo Courtesy: Little Compton, RI Historical Society

The stoneware jar below was made in Charlestown around the turn of the nineteenth-century by Frederick Carpenter. It is similar in form to the aforementioned redware jar. I have hinted at this before and I will open the idea up again for discussion. Did the latter stoneware potters of Charlestown try to mimic the work of the town's early redware potters - much like those redware potters copied the styles of the colonial imported wares? That's all up for discussion and interpretation at this point. It's all a part of my ongoing research.

I am making no reference to the redware jar being a Charlestown product at this time. 

Likely Frederick Carpenter Stoneware Jar - Charlestown, Ma

Late 18th or Early 19th Century
Stamped "Boston" and Number 3

Photo Courtesy: Skinner, Inc. - Boston

I will admit that I am fascinated by the ceramic stories and visuals that are emerging from Colonial Charlestown - and in-time, I feel it is going tell a wonderful story.

More research to come...

Early American Redware Milk Pans

Redware milk pans have been a part of the American utilitarian potter's inventory and craft for centuries. Production of such household tools more-than likely began during the pilgrim period, demand grew and reached its height through the colonial and federal years and at the latter half of the nineteenth-century, a colonial revival idea with many potters began.

Milk pans have never been unique to any one town, city, state, region or American potter. The form was made all over the country. The idea is not even exclusive to America. The milk pan has been a part of cultures the world over for thousands of years and the use of clay has not been the exclusive medium for creation - as wood and metal have also served its purposes.

Likely New England Made Redware Milk Pan

Conceivably 18th Century

Maker Not Known

Found in a Privy within the City Square Archaeology District of Charlestown, Ma

Photo Courtesy: Boston Archaeology Department

Probably Danvers-Area Made Milk Pan

Likely Late 18th or Early 19th Century

Photo Courtesy: Peabody, Ma Historical Society

Probably Danvers-Area Made Milk Pan

Late 19th Century

Colonial Revival Example

Photo Courtesy: Peabody, Ma Historical Society

Notice the similarities between the eighteenth-century Charlestown, Massachusetts found and colonial revival milk pans. The form, style and glaze are all extremely similar. While the two examples agreeably resemble each other, there is no association shared. The creation date sets the two apart by much more than a century. The history behind these types of milk pans excites me, but I find it hard to show enthusiasm for the plain glaze. Needless to say, I do own a few examples with this described simple glaze. Its a form that all serious collectors should have represented in their collections. It can be compared to a starter piece for many collectors, but the history behind any surviving example of early redware really excludes the whole notion of "starter piece." While some surviving redware may be more important than others - there should be no American redware that is shown little appreciation or respect towards. It's all equally important.

A long-time prominent American redware collector and dealer described to me recently his appreciation towards the milk pan "form."

"The fact is, with the exception of the Norwalk, Connecticut area's molded plates and loaf dishes and possible "Dorchester, Ma" marbleized loaf dishes - all plates and pans were wheel thrown in New England.

These products were slip decorated in the 18th century and early 19th century. 

There are the mid 19th century utilitarian plain ones, and in addition to the plain ones,

there are some with beautiful glazes.

I believe that besides being a "milk pan," it seems probable that they also were used to serve food ,eat and bake from, as were the same with the molded plates and pans."

There is plenty of slip decoration mixed in within the thousands of redware artifacts of the Charlestown archaeology collection. Who made what has not yet been defined, but it can be said, that there are a number of wonderful slip decorated plates, bowls, dishes and pans. In a sense these forms are all related to each other.  It can be argued  all these defined examples have a place in the kitchen and at the dinner table. The major distinction among the forms being holloware versus flatware. 

Below is an example of an eighteenth-century slip decorated deep dish or pan. It was made at the Daniel Bayley Pottery Company in Newburyport, Massachusetts. This is an  example of the beautiful slip decoration we are referring to. It's outstanding in form and decoration!

Daniel Bayley Potter Company - Newburyport, Ma

Plate Found During Excavation in New Brunswick

Size: 8 cm x 36 cm

Photo Courtesy: New Brunswick Museum - Saint John, New Brunswick

Like previously mentioned, plain milk pans do not appeal as much to me when compared to the better examples that are either decorated in slip or wonderful glazes. Below are examples of these described glazes.

Possibly Maine Milk Pan with Wonderful Glaze

19th Century

Photo Courtesy: Tim Gould Auctions - Smithfield, Me

Likely New York Milk Pan with Wonderful Glaze

19th Century

Photo Courtesy: Crocker Farm Auctions - Sparks, Md

Plain milk pans are arguably the most common of the form in today's marketplace. Slip decorated examples, like most eighteenth-century American redware, is near impossible to find. I have never seen an example living above ground. Hervey Brooks and Nathaniel Seymour made wonderful slip decorated examples in Connecticut during the nineteenth-century.

Possibly Hervey Brooks Milk Pan or Dish - Goshen, Ct

19th Century - Great Slip Decoration

Potters in Maine, New Hamphire, Vermont, Connecticut, New York, Pennsylvania, Maryland and North Carolina produced the best and most dramatic nineteenth-century decorated pans. The most prominent eighteenth-century examples were manufactured in Charlestown, Boston, New York City and Philadelphia by a number of potters - and unfortunately, there are very few of these examples known to exist today.

North Carolina Redware Shallow Bowl

Late 18th to Early 19th Century

Photo Courtesy: Pook and Pook Auctions - Downington, Pa

Bucks County, Pa Redware Bowl 

19th Century

Photo Courtesy: Pook and Pook Auctions - Downington, Pa

Maryland or Pennsylvania Redware Bowl

19th Century

Photo Courtesy: Brunk Auctions - Asheville, NC

The milk pan may not have the appeal to collectors that a decorated loaf dish or plate demonstrates. It may not prove the skill of a delicate and finely potted bowl, but the form should not be ignored considering its importance and role within the history of the American household.

More research to come...

Boston Common Redware Bowl Part 2

It appears the American redware bowl of the Boston Archaeology Department's Boston Common collection discussed in yesterday's post, generated an overall interest, based on the feedback received from a group of interested persons. The bowl is large and despite its current condition, it gives the impression that at one time it was durable all while appearing delicate at the same time. Its the type of bowl I would enjoy owning as a part of my own personal collection. This particular redware bowl gives off a presence that sets it apart from many other bowls and something about its appearance and feel develops an aura about it that seems special.

As promised, here are additional photos for a better look.

 Likely 19th Century American Redware Bowl

Bottom of Redware Bowl

Interior of Redware Bowl

Close Up of Manganese Decoration with Traces of Yellow in Glaze

Close Up of Glaze with Traces of Green

Close Up of Base Inside Interior of Bowl

Notice the Slight Variation in Glaze Color

The bowl was excavated atop Flagstaff Hill on Boston Common in Massachusetts years back. Flagstaff Hill is considered the central point of the common area. It has been reported that the hill was the encampment at one time of the British Army during the American Revolution. It is assumed the hill has a strong native and prehistoric history with the shores of the Atlantic Ocean once reaching this area. The archaeology site of the common is not contained and its potential artifacts are not confined to one time period. Results can be broad - beginning with prehistoric artifacts and covering everything in between up through modern times.

The bowl was reportedly found an estimated sixty-centimeters below the surface level. To translate that into inches or feet, that would be nearly twenty-four inches or two feet - so it was buried well below the ground level.

I made reference yesterday that this bowl's glaze shared similarities with the glaze style of John Corliss and his pottery factory in the Days Ferry neighborhood of Woolwich, Maine. I still do feel there are legitimate comparisons. However, a long-time dealer and collector of American redware suggested a more proper attribution and directed me towards the many potters of Danvers, Massachusetts. Based on his opinion, I can see a strong likeness towards the many potters who worked in the South Danvers and Danvers factories of the late eighteenth and well into the nineteenth-century.

John Osborn Redware Pitcher - South Danvers, Ma

Circa Late 18th to Early 19th Century

The Osborn pottery shop of South Danvers (today known as Peabody) most-likely shares the most similar attributes in glaze of all the Danvers-area potters with the aforementioned bowl. The pitcher above does demonstrate a similar glaze style in both the reddish or deep orange body glaze and black manganese decoration carefully placed on top. The bowl likely does share a proper creation date with when the Osborn's were working in the South Danvers area (early 18th century to around 1870). Based on all these factors, I feel it is safe to say an Osborn Family attribution of South Danvers becomes extremely possible.

If the bowl is in-fact a product of Danvers, the questions appear as to how this bowl ended up on the Common, its use and travels to Boston and then the obvious additional questions of how, who, what, where when and why.

These same ideas I asked when I discovered the Moses Paige Pottery terracotta flower pot along the shores of the Merrimac River in Newburyport, Massachusetts two weeks ago. Interestingly, Moses Paige purchased the old Osborn shop in Peabody for his own pottery business that worked well into the twentieth-century.

Mose Paige Pottery Terracotta Flower Pots - Peabody, Ma

Made Circa 1900

Left: Discovered on the Shore of the Merrimac River in Newburyport, Ma in 2013

I do not believe there will ever be a complete documented answer as to how either of these Essex County examples made there ways north and south of where they were manufactured. The obvious assumption is each made its way to its destination of discovery today through means of a peddler selling the pottery in Newburyport and Boston or it was purchased by the owner in South Danvers/Peabody and brought to live in the area it was unearthed. There will never be a completely accurate and truthful answer, but it is fun to imagine and guess what was happening at the time of its use.

The study of early ceramics, no matter the origin, is a fascinating subject that can be both extremely frustrating and extremely rewarding. The frustrations result when nearly unlikely and in some cases, impossibly questions are asked, but the rewards are satisfying when a proper answer and attribution is found. This bowl is a wonderful example of both frustrations and rewards.

Was this redware bowl Danvers-made? Yes, it was more than likely, but a slight argument can still be made for Corliss, even though I have ruled that theory out. I have never personally seen this form before, but like I wrote yesterday - the day-to-day work of a utilitarian potter can be unpredictable.

Who's to say how many of these bowls were really made. There may have only been a few produced and this example could possibly be the loan remainder of these examples today. The scholarly discussions of American redware in this manner can go on forever and that is why I find it so interesting. Its art, history and education all grouped together in the world of American redware.

Early American redware milk pans is a topic I will write about in the near future. This was also a part of yesterday's discussion.

More research to come...