Sometimes What Was Once Old - Never Gets Old

The understanding of normal - daily day-to-day life can change as the years and generations pass. The way one generation may have gone about a certain household chore may be completely different today. The ice box revolutionized the way perishables were stored in the earliest years of the twentieth-century. The electric and gas stove - and the microwave have all revolutionized the modern kitchen of the twentieth-century. The society we all know today lives at a much faster pace - with a constant demand that lives for the moment. The colonial kitchen may be comparable to the nineteenth-century kitchen, but the modern twenty-first-century kitchen has been transformed with technology, better stoves, indoor grilles, microwaves, freezers and refrigerators. It's all about efficiency today and accomplishing a maximum measure in a minimum amount.

Most households no longer purchase the menu of the nightly dinner each day at the local marketplace - instead, it's preheated, thawed or quickly put together. Two-hundreds years ago, the nightly meal was an all-day process. This idea still serves true in some European and global cultures today, but the nightly ritual of preparing a dinner in colonial America has transformed into a small part of the modern household's daily schedule. Two-hundred years ago - it may have been a celebration that the whole day culminated around - while today, it's more of an end of the day meal that is more out of necessity than a family gathering.

The automobiles of the 1950s are no way near comparable to the hybrid cars of today. The horse-drawn carriages of many years past - could not sustain the desire for speed and regular long-distance travel of today's daily demand. The carriage was more about traveling through a scenic country side in style, while the automobile gets us to a destination as fast as humanly possible.

However, it's interesting to see how some ideas never change. What was once old - never actually got old and somehow has managed to remain relevant and new for hundreds or even thousands of years - have a look at this one simple example.

The redware milk pan or deep dish dates all the way back to ancient times, but it is still in use today in some settings. The form or style has differed very little in its use from country to county, civilization to civilization and period to period. Compare the examples below - there has been virtually no change.

Greek Redware Deep Dish or Milk Pan

1st Century, BC

Hellenistic to Early Roman Period

Photo Courtesy: Harvard University Art Museums - Cambridge, Ma 

Colonial Redware Deep Dish or Milk Pan

Mid 18th Century

Massachusetts or New Hampshire Potter

Photo Courtesy: Private New Hampshire Collection

Federal Period Redware Deep Dish or Milk Pan

Early 19th Century

Likely a Portsmouth NH Potter

Yellowware Deep Dish or Milk Pan

Early 20th Century

Possibly Made in Sterling, Ma

Photo Courtesy: Frank Kaminski Auctions - Beverly, Ma

There may not be many posts next week as I begin work on a group of upcoming projects. We'll see, but I will promise - there will be much more to report on soon enough.

Limington Village, Maine - A Possible Early Stoneware Maker?

Limington Village, Maine Pottery - Report 1

There appears to be a great deal of excitement towards the potential idea of archaeological findings on Maine antique dealer, Bill Kelly's eighteenth-century property in Limington Village, Maine. The vast majority of artifacts are redware sherds, but that's not all.

I am personally fascinated at the idea of introducing a new potter to the short list of already known talented potters who worked in Maine's Saco River region. It is believe that this list should be much longer than it is, but there is real lack of understanding towards who this group of small shop potters were. The area's talent is already abundant in skill, form and glaze - however, I would like to see its utilitarian legend expand.

Maine and Massachusetts (resides) redware collector, Mark Chaplin, Ph.D. - told me over the weekend, "It seems like every town in Maine had some local pottery, but we only know about the ones that lasted more than a decade. Most of the course redware (seen with a lack of attribution found in Maine) was used in the dairy industry and for home use before other alternatives like metal were affordable."

The two photos below - easily define the abundance of redware artifacts hidden beneath Bill Kelly's Limington Village property. The hole was dug for a tree that will eventually be planted.

Hole Dug for New Tree

 Redware Sherds Easily Found When Digging Tree Hole

The Property is Covered in Them

Martin Crafts is the first known potter to manufacture stoneware in the state of Maine. He did so around 1834 or 1835 in Portland. Many followed in Gardiner, Farmingdale, Portland and Bangor, but Crafts was the pioneer potter who first introduced the utilitarian ware. Crafts work was short-lived in Portland, but stoneware production in the maritime community continued for decades. In fact, the Portland Stoneware Company is still in business today. Both Albany and salt glazed products were produced in Maine.

The state's clay beds were not suitable for proper stoneware production so clays had to be shipped from New Jersey and New York - which added an extra cost that stoneware potters from other American regions did not experience.

The stoneware industry became most-successful in the latter years of the nineteenth-century when redware had all, but disappeared from the marketplace in Maine. Known forms include ovoid shaped jugs, straight sided jugs, double handled lidded jars, open mouth lidded jars, lidded storage jars, teapots, bean pots, pitchers, oyster jars, garden ornaments, butter churns and butter pots. The later nineteenth-century potters working in Portland are especially known for producing stoneware for local merchants with their names prominently displayed on the jar.

Maine Made Ovoid Stoneware Jugs - 19th Century

Photo Courtesy: Tim Gould Auctions - Smithfield, Me

Known Maine decorative styles include - a decorative painted gallon (size) number; drawn and incised flower motifs; folk art motifs; birds; drawn and incised cows; fern leafs and feathers designs; and eagles. The styles were either incised - or drawn in a cobalt blue or brown decoration.

As part of the sample findings on Bill Kelly's property were salt-glazed stoneware sherds. The study sample below is only 3/16 of an inch thick - which seems unusual for stoneware produced in Northern New England. It was found amongst the redware sherds, wasters and kiln furniture in the front yard of his property - take a look.

Stoneware Sherd Found in Limington, Village, Me

Site dates to Early 1790s

Thickness: 3/16 of an Inch

Interior of Stoneware Sherd Found in Limington Village, Me

It Has Been Left Unglazed

It is very interesting seeing the inner part of the stoneware sherd left unglazed. The lack of interior glaze likely means the form may have at one time served a use exclusively for dry goods. The absence of glaze left the inside of the stoneware porous and basically useless with any type of liquid substance. It seems rather unusual to me. Most American stoneware is entirely glazed inside and out - and top to bottom. Maybe this was some-kind of experiment?

Additionally, the stoneware sherd seems awfully thin. It is in my opinion that this thickness is more of what is expected of the earlier Connecticut makers - such as eighteenth-century potter Abraham Mead of Greenwich, Connecticut and the many early New Haven, Connecticut potters.

New Haven, Ct Stoneware Gemel

Early 19th Century

Sold: $24,725 in 2009

Photo Courtesy: Crocker Farm, Inc - Sparks, Md

Abraham Mead trained under the Dutch-American stoneware potter Adam Staats. Mead was known as the "Deacon Potter" of Greenwich. His work is extremely desirable today and can bring more than $30,000 when sold publicly. 

Abraham Mead Stoneware Jar - Greenwich, Ct

Dated 1791

Photo Courtesy: Brooklyn Museum - Brooklyn, NY

The salt-glaze on the sherd found in Limington Village is similar to what is seen within the Charlestown, Massachusetts makers, but not exact. It can also be compared to the salt-glaze styles used by Martin Crafts in Portland and Nashua, New Hampshire. Crafts was also the first stoneware maker in the state of New Hampshire. (I have previously written a report on Martin Crafts stoneware production in Nashua)

Potters in Connecticut typically imported their clays from New York - and more specifically, occasionally the source was Long Island. Martin Crafts is believed to have imported his clay from New York state. The clay source likely helped contribute to the similarities between the Limington Village sherd found - and the Martin Crafts and Connecticut examples. It is assumed the Limington Village stoneware sherd may have been produced from New York clay.

The question becomes - did this possible early nineteenth-century redware potter working in Limington Village make an attempt at a stoneware product? We know that William Pecker (West Amesbury, Ma) was a dominate redware maker who experimented with stoneware - could this be the same with this undocumented Saco River region potter? It would be very interesting to see what else is in Bill Kelly's ground.

William Pecker Stoneware - Ceramics in American Report
William Pecker Stoneware - Justin Thomas Report 

This will be last of the discussion of this site for now. I feel I have made its potential importance obvious. We hope to get a group of archaeologists and the Maine State Museum excited about this potential project and possibly commit to a dig later this year. The idea of this stoneware sherd and its use around the household from an entirely different maker is not out of the question.

My beginning objective is to identify who this potter may have been and the type wares which were produced - stoneware versus redware. I feel my initial report on this property gave a very good idea of the colorful wares which may have been a product at Limington Village.

My end objective with this research (pending results) is to identify an important new, previously unknown potter to the Saco River region of Maine - and find a way to place the results (if important) into publication.

I want to personally know if there are remains of a potter's kiln buried. Most importantly, if this were an experiment at stoneware production - it would likely predate the work of Martin Crafts - making Limington Village the state's first stoneware potter. Fascinating! Stay tuned!

I plan on bringing some Limington Village examples with me to "Dish Camp" in two weeks so people can have a look and possibly get some feedback.

Much more to come...

The Remains of a Late-18th or 19th Century Red Earthenware Potter's Business Possibly Identified in Limington Village, Maine

According to a book written by Paul E. Rivard, 'Made in Maine', "Redware potteries existed in Maine as early as the 1730s and were sometimes produced as a joint effort with bricks and lime. These first redware makers produced a fairly large range of domestic containers including pots for cream, brown bread and beans; jars for molasses; jugs for cider and vinegar; and milk pans."

I recently visited Limington, Maine antiques dealer, Bill Kelly's eighteenth century house in Limington, Maine to review a large collection of sherds, wasters and kiln furniture that have been recovered on his property while gardening and during the process of replacing the home's sills.

The ownership of the property is somewhat questionable; although, it is believed that the first minister of Limington may have been the first owner. The home is currently under a restoration project. Unfortunately, the potter responsible for the artifacts is currently unknown, but the evidence certainly suggests that a potter was employed at this location or nearby.

According to Massachusetts author, Lura Woodside Watkins (Early New England Potters and Their Wares), "Miss (Margaret) Jewell, in her article on Maine potteries, has noted the presence of a shop in Limington. She has since learned that this works was actually in the town of Standish, at the end of the bridge over the Saco." 

Neverthelesss, M. Lelyn Branin wrote in 'The Early Potters and Potteries of Maine,' "John Bickford, the oldest son of James Brickford (Buxton, Maine) apparently setup a pottery on his nineteen acres of land in Limington in the early years of the nineteenth-century. The land was purchased in 1819. John purchased another thirty acres in 1829 that bordered the Saco River. In 1839, he purchased another four acres, also along the Saco River. Purportedly, much of the land was purchased for its wood and use in Bickford's kiln."

Robert Davis was also listed as a working potter in Limington in Branin's book, but he worked in the latter years of the nineteenth-century. The evidence discovered on Bill Kelly's property appears to be production from the late-eighteenth and early-nineteenth-centuries, but before 1830.

The recovered forms include bowls, unglazed crocks and pots, interior glazed crocks and pots, possibly porringers or cups, plates, jugs, mugs, milk pans and flower pots.

Neighboring houses include a home built around 1792 and the McArthur House, which was built in the 1770s and purchased in the 1790s by an eighteenth and nineteenth-century lawyer  named McArthur. The McArthur children's portraits were painted by Maine artist, Royal Brewster Smith and owned today by Historic New England as part of the Nina Fletcher Little acquisition at Cogswell's Grant in Essex, Massachusetts.  The village church is also only a few hundred yards away; whereas, it was built in 1792.

Note: Here is a link to an article that I wrote about an important pitcher recovered next door to Bill Kelly's property that may be related to what is discussed in this article.

Limington Village, Maine

Limington Village, Maine

Bill Kelly's House in Limington, Maine

Early-20th Century Photograph of Bill Kelly's House

The House was Built in the 1790s

See Article for More Information

Photo Courtesy: Bill Kelly - Limington, ME

The Front of the House is Where a Number of Artifacts Have Been Recovered

Photo Courtesy: Bill Kelly - Limington, ME

Sign Attached to Maine Antique Dealer, Bill Kelly's Home in Limington Village, ME

Front of House

Many Sherds Discovered Around the Edge of House

Side of the House

Back of the House

Driveway and Gardens Next to the Driveway

Many Sherds Discovered in These Two Locations

McArthur House in Limington, Maine

 McArthur House Built in the 1770s in Limington, Village, ME

Built in the 1770s

Barn on the McArthur Property in Limington Village, ME

But Original to Bill Kelly's Property

Sherds, Wasters and Kiln Furniture Recovered in Limington, Maine

Kiln Furniture Recovered on Bill Kelly's Property in Limington Village, ME

Wasters Recovered on Bill Kelly's Property in Limington Village, ME

Green Glazed Sherds Recovered on Bill Kelly's Property in Limington Village, ME

Additional Glazes Recovered on Bill Kelly's Property in Limington Village, ME

Handle and Appears to Be a Cup or Porringer with Handle Attachment

 Recovered on Bill Kelly's Property in Limington Village, ME

More Glaze Colors Recovered on Bill Kelly's Property in Limington Village, ME

Sherds from Utilitarian Pots and Crocks
Recovered on Bill Kelly's Property in Limington Village, ME

Possibly Unglazed Flower Pots Recovered on Bill Kelly's Property in Limington Village, ME

Possibly a Mug Sherd Recovered on Bill Kelly's Property in Limington Village, ME

 Exterior Base of Mug

Recovered on Bill Kelly's Property in Limington Village, ME

Possibly Mug Bases Recovered on Bill Kelly's Property in Limington Village, ME

Interior of Plate or Pan Sherd Recovered on Bill Kelly's Property in Limington Village, ME

Exterior of Plate or Pan Sherd Recovered on Bill Kelly's Property in Limington Village, ME

Very Delicate Reconstructed Bowl

Recovered on Bill Kelly's Property in Limington Village, ME

Another View of the Bowl

Recovered on Bill Kelly's Property in Limington Village, ME

Bowl Sheds Recovered on Bill Kelly's Property in Limington Village, ME

Refined Sherds Recovered on Bill Kelly's Property in Limington Village, ME

Another View of the Refined Sherds Recovered on Bill Kelly's Property in Limington Village, ME

 More Glazes Recovered on Bill Kelly's Property in Limington Village, ME

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

Early Southern Pottery - Interesting, Potential Alabama and Georgia Jars

Pennsylvania, Virginia, New England, New Jersey and New York are among the many early American redware and stoneware cultures that are known today for its early manufacturing skills. These individual wares are typically seen today as a cross-over creation from ceramics, to folk art and as a utilitarian means, to  primitive art and even an example seen in the huge world of American fine art. Without mention, all antiquities can typically be considered some form of art. Art is much-more than purely a vision put on a canvas or board. Furniture, pottery, hooked rugs, embroidery, carvings and such all represent a form that can eventually be symbolized into someone's interpretation of art. Wherever and whenever individual skill is obvious in a creative way and sometimes even imitation - can typically be considered a form of art.

Georgia, Mississippi, Alabama and Texas are known in the south for an accomplished group of nineteenth-century potters. I cannot say the respect is on a national level. If I were to estimate - I would say that not much is known about this regions early potters in the north, but this idea may stand true for wares produced in the north and its knowledge in the south.

The majority of wares produced in these mentioned southern areas was stoneware. Prices can be huge at auction due to the amount of collectors in the market. A long-time, nationally recognized dealer once told me that prices of southern pottery achieve higher than expected prices when compared to other areas because of the amount of collectors and lack of available examples. The amount of working potters was smaller and with that thought, the pottery produced in the south was much less when compared to such areas as New England or Pennsylvania. This idea even stands true for furniture and artwork. Quality southern examples usually achieve much higher prices than similar forms in states where the industries and early demands were much greater. Of course, there are always exceptions.

I recently discovered the following diminutive example of Georgia redware stamped, "Brown Pottery, 76" in Brimfield, Massachusetts this past May. I found it within the first few minutes of daylight on the opening day. The seller told me, he had just purchased the entirety of a lifelong collection from a family in the Buffalo, New York area. I tend to believe what he told me based on the variety of what he had for sale - with relatively cheap prices for each piece of all under a hundred dollars. I bought nearly every piece he had.

It seems unusual to see an example of redware from Georgia - as far as I know, the majority of pottery produced in the south was stoneware. The jar stands 3.5 inches tall. There was likely a lid at one time.

Brown Pottery Redware Jar - Atlanta, Georgia

Signed by the Potter and Dated, 1876

Height: 3.5 Inches

Lid Likely Missing

Nice Variation in Glaze Color

(Note: I was not able to photograph the stamp and date on the bottom.  They are both faint and tough to read with glaze covering them.)

Much of the following information came from John Burrison's 1983 book, "Brothers in Clay: The Story of Georgia Folk Pottery."

The earliest known potters in the Atlanta, Georgia area were John and Holland Leopard, who trained in the Edgefield, South Carolina area - before moving to Atlanta to work. They both appear in the 1830 Atlanta census as working-class potters. 

The first factory within the Atlanta area appeared in 1846 by the Craven family of potters, who were of African-American decent and actively involved in Atlanta's first black church, the African Methodist.

Bowling Brown apparently had at least three sons and they were all listed as working potters in the 1860 Atlanta census. It is strongly suggested that some of the Brown's may have served for the Confederate Army in the Civil War. That is fascinating to say I own a piece of pottery that was produced by possibly a Confederate soldier after serving in the Civil War. 

By the 1870s, Brown and his sons were listed as working in Howell's Mills - which was several miles northwest of Atlanta. The majority of Atlanta's potters worked in this area - of the fifty potters working in nearby Atlanta, about thirty were located in Howell's Mills. "That's where the clay source was and the potters stuck together."

The Brown's are described in period advertising as jug makers. I do not personally have an answer for this, but some of the potters working in the Atlanta area were known African-Americans. On March 13, 1865, the confederacy approved the use of black troops in its army due to the mounting odds against Union troops. It was roughly around 1864 or 1865 when the Brown's served in the Confederate army. I am sure there are some experts out there who know the Brown family of potters background, but if in-fact they were of African decent, what a great piece of pottery to own. It would have ties to early southern potters, the Civil War and African-Americans of the south!

Interestingly, some potters who worked in Georgia - were known to have traveled to work in Alabama, South Carolina, Mississippi and Texas - and likewise.

A few years ago, I came across this alkaline glazed canning jar at a country auction in New England. It nicely demonstrates a typical southern alkaline glaze with the initials "JH" incised on both the jar and original lid.

Brandt Zipp, of Crocker Farm Auctions in Sparks, Maryland suggested to me that it may possibly have been produced by an Alabama potter. Jeffrey Evans of Jeffrey Evans Auctions in Mount Crawford, Virginia has suggested the same. I had really hoped the initials stood for John Holland of Salem, North Carolina, but that was an extreme long-shot. Holland is one of North Carolina's most important early potters.

Alkaline Glazed Stoneware Jar - Likely Alabama

Signed "JH" On Both Original Lid and Jar

Likely Made 1840-1860

Height: 9.5 Inches

"JH" Signed on Lid

"JH" Signed on Jar

A similar glazed form is seen on page 90 of Joey Brackner's 2006 book, "Alabama Folk Pottery." It is possibly attributed to Presley Hill in Redland, Alabama. The author says the site may represent a pottery operated by Aaron Evens in 1829. Besides this little information - the book does not provide any information of potters who signed their work, "JH."

Brackner does described each potter who worked in Alabama and through simple speculation of when this jar was likely produced - I was able to narrow my search down to all potters working in Alabama with the initials, "JH." I will guess and say that this jar was made around 1860 and with that idea in mind, I feel one of these potters may have produced my jar. Any thoughts? Suggestions? Are there any southern pottery experts reading this?

John Hutcher - Born: 1836 Died: Not Known

     Worked in both Alabama and Edgefield, South Carolina.

James Henry - Born: 1822 Died: Not Known

     Worked in both Alabama and Edgefield, South Carolina.

John Hicks - Birth and Death Not Known

     He is cited in an 1836 advertisement as a working Alabama potter.

John Franklin Hill - Born: 1842 Died: 1920

     Worked in Alabama, South Carolina and George.

John Robert Holcomb - Born: 1837 Died: 1925

    Worked in Alabama, Georgia and Mississippi.

It's interesting seeing some of these Alabama potters working in the Edgefield, South Carolina area at one time. Each may have received their training there. By today's standards, it is a well-known pottery center with many known accomplished African-American and slave potters of the past.

Aiken County, South Carolina Face Jug

An Early Note Inside of It Indicates It was Made in 1862 By Slave Potters

Sold: $56,000 in 2012

Photo Courtesy: Skinner, Inc - Boston, Ma

Dave "The Slave" Drake Stoneware Jar

Dated 1857

Sold: $17,250 in 2013

Photo Courtesy: Crocker Farm, Inc - Sparks, Md

Much more to come...

18th Century Redware of Manhattan, Charlestown and Philadelphia

The idea of eighteenth-century redware produced locally in nearby Boston, New York City and Philadelphia has always fascinated me. The potters industry no longer exists today, but more than two hundreds years ago - it was a part of everyday culture. The lone ceramic artifacts of any early homestead, town or city can tell the story of everyday life as much as any other relic or antiquity can.

I have had the honor of seeing examples from all three areas and surprisingly, each area has its own distinctive characteristic. Unfortunately, I have only handled local New England remains. The idea of New York City and Philadelphia would be exciting. I feel this could be the greatest and most important study ever attempted in the field of early American ceramics - the opportunity to see the redware from these three major colonial cities and compare the work. If it were ever assembled and published, it would make for potentially the most important book ever written on early American pottery.

The following photos are a sample glimpse of the potential eighteenth-century domestic sherds excavated from each area. There are no attributions at this time to either a domestic or foreign potter, but all examples can easily be argued for a local maker.

Likely 18th Century New York City Redware

Slip Decorated Redware Bowl - Late 18th Century

Likely a Local Domestic New York City Potter

Excavated in Manhattan - South Street Seaport

Photo Courtesy: Chrysalis Archaeology - Brooklyn, New York

Exterior of Slip Decorated Redware Bowl - Late 18th Century

Excavated in Manhattan - South Street Seaport 

Photo Courtesy: Chrysalis Archaeology - Brooklyn, New York

It's interesting seeing the exterior of the bowl demonstrating slip decoration. Typically, this area would have been left unglazed by the potter. It didn't serve any means for the potter or owner besides a decorative tool. The slip was probably rarely seen when in use at the dinner table or around the kitchen. The decoration style on this bowl is similar to a milk pan I own as part of my collection - made more than fifty-years later. Could there be a connection? Was this nineteenth-century potter trying to imitate the work of the early New York potters? It seems this decorative style was popular with many of Connecticut's nineteenth-century potters. Can we make an association between early New York and later Connecticut?

Connecticut or Southeastern, Massachusetts Redware Milk Pan

Early to Mid 19th Century

Hervey Brooks (Goshen, Ct) and Nathaniel Seymour (Hartford, Ct) also worked with similar slip styles. Massachusetts potter, Rick Hamelin told me once, that Hervey Brooks is regarded as not having a steady hand when applying slip to a vessel. It is only theory, but it appears the maker of the bowl found in Manhattan did not have a steady hand. Nathaniel Seymour is also seen as not having a steady hand. Could Brooks and Seymour have possibly been trying to imitate the early New York style? Nathaniel Seymour's skilled hands appears most similar to the work found in Manhattan. It's certainly interesting to see and compare! Take a look and compare for yourself.

Hervey Brooks Milk Pan or Deep Dish - Goshen CT

Early to Mid 19th Century

Photo Courtesy: reggiesreenactments.blogspot.com/

Redware Dish or Plate Pictured Bottom - Middle

Nathaniel Seymour Slip Decorated Redware Dish or Plate - Hartford, Ct

Late 18th to Early 19th Century

Photo Courtesy: Nadeau's Auctions - Windsor, Ct

It's interesting seeing how slip decorative techniques differed from the Northeast to Pennsylvania and the many more relevant American redware communities and regions. Unless there was a potter who had roots from another region - it appears that the use of slip really was unique to each isolated area, but within each area - potters appear to have influenced others through style, form and technique.

The ensuing eighteenth-century redware pitcher seemed incredible to me. It's style is unique. It may have served an obvious household purpose as a pitcher, but additionally the use may have been on a stove, too - for coffee or tea. There was likely a lid at one time. The only comparison I can make between this form and other period wares were the redware forms produced in Jackfield, England. I personally do not believe its a good comparison aside from a similar use and glaze color. The form appears purely unique.

Redware Pitcher Type - 18th Century

Likely a Local Domestic New York City Potter

Excavated in Manhattan - South Street Seaport 

Photo Courtesy: Chrysalis Archaeology - Brooklyn, New York

 Redware Deep Dish or Bowl - 18th Century

Likely a Local Domestic New York City Potter

Excavated in Manhattan - South Street Seaport 

Photo Courtesy: Chrysalis Archaeology - Brooklyn, New York

 Redware Dish or Plate - 18th Century

Likely a Local Domestic New York City Potter

Excavated in Manhattan - South Street Seaport 

Photo Courtesy: Chrysalis Archaeology - Brooklyn, New York

Likely 18th Century Charlestown, Massachusetts Redware

I am not ready to make any attribution for this chamber pot. It was found in the City Square District as part of the Big Dig's archaeology project of the 1980s. It was likely made between 1750 and 1770 by a local potter, but for archaeology purposes - more research still needs to be conducted for complete accuracy. An attribution for nearly all redware and stoneware found in Charlestown will eventually have an attribution.

 Likely Charlestown, Ma Redware Chamber Pot
Circa 1750-1775
Excavated in City Square District of Charlestown, Ma
Photo Courtesy: Boston Archaeology Department - West Roxbury, Ma

Nicely Applied Ribbed Handle
Excavated in City Square District of Charlestown, Ma
Photo Courtesy: Boston Archaeology Department - West Roxbury, Ma

 Side Shot of Applied Handle - Notice Where It Was Attached
Excavated in City Square District of Charlestown, Ma
Photo Courtesy: Boston Archaeology Department - West Roxbury, Ma

Unglazed Bottom of Chamber Pot

Excavated in City Square District of Charlestown, Ma
Photo Courtesy: Boston Archaeology Department - West Roxbury, Ma

This is only one example of the many forms and decorative styles seen in the enormous amount of redware unearthed in Charlestown. I have always found it interesting seeing the style used by this potential one Charlestown potter. This is not the only instance the "swag type" design is obvious within the artifacts collection. 

Very interestingly, Frederick Carpenter, a stoneware potter of late eighteenth and nineteenth-century Charlestown, Massachusetts used a similar decorative technique on his jugs. Could there be a connection? Is it possible that Carpenter only expanded his perception of the "swag" to what many would see as a folk art technique used in colonial Charlestown?

My suspicions towards this idea are continuing to grow - especially with what I have most recently seen in Manhattan.

Frederick Carpenter Stoneware Jugs - Charlestown, Ma

Early 19th Century

Photo Courtesy: Skinner, Inc. - Boston

 "Swag" Type Design Used by Frederick Carpenter

 "Swag" Type Design Used by Frederick Carpenter

 "Swag" Type Design Used by Frederick Carpenter

I have previously reported on this idea of imitation in only Charlestown, but with idea of Manhattan - I am now realizing it could potentially be on a national level. The decorative technique seen in slip within Manhattan is not currently seen in Charlestown. The styles and forms of both areas appear to be individual to the region.

Report: Swag Design in Charlestown, Ma

Early 18th Century Philadelphia Redware

Reportedly Hillegas Brothers Redware - Philadelphia, Pa

Circa 1720-1746

Photo Courtesy: Bill Liebeknecht, Hunter Research, Inc - Trenton, NJ

According to Bill Liebeknect, "George-Peter Hillegas and Michael Hillegas were German immigrants of French Huguenot decent. They came to Philadelphia in the ealy 1720s and began making pottery around 1728. They owned property on Second Street in the years between 1735 and 1746. In 1991, Hunter Research, Inc. conducted archaeological investigations at this location and encountered large pits filled with redware waster materials. Other recovered (aside from those pictured above) vessel forms thought to be made by the Hillegas brothers are storage vessels/crocks, a milk pan with a distinctive incised wavy line, a dark brown porringer and a wheel thrown plate or chargers." (Archaeologist George Cress Master Thesis, 2002) 

Here is a link to George Cress' thesis.

It appears that early colonial Philadelphia used a combination of slip and trailing green glaze with its redware. These are known decorations used by Pennsylvania potters for decades later - which continued into the nineteenth-century. 

The redware forms may have varied from city to city in America's earliest years, but the British rule still dictated what could and could not be manufactured within the colonies. The forms may have differed, but the intended uses were limited to only a number of household functions.

"During the 17th and 18th centuries, locally produced redware was usually utilitarian and sometimes of poor quality. From the 1680s through Revolutionary War, potters were restricted by the British from making fancier wares and could only make the more basic forms such as chamber pots, pans, butter pots and other common pieces found in the kitchen and pantry. These types of wares were not economical to ship from Europe and so local production was tolerated." (American Potter - Julia Smith)

I begin my research at the Strawbery Banke Archaeology Department's collection of early Portsmouth, New Hampshire redware today. It's an incredible collection that will be a strong part of my future writing and research. There will be much more to come...