Marked 19th Century Kiln Furniture Recovered at the Site of the Bickford Pottery in Buxton, Maine

This is a piece of kiln furniture, which was recovered at the site of the Bickford Pottery in Buxton, Maine, circa 1825-1880. I would normally say that it is just another piece of kiln furniture; however, this is a special piece, where it appears that one of the potters was using it for math when it was still wet or green.

It is tough to say what these numbers exactly mean, but it would be exciting to learn if these numbers were related to the number of pots that were thrown on a particular day in the 1800s or even how many pots were needed for the kiln. But the numbers may also pertain to supplies that were used at the Bickford Pottery. Nonetheless, this is an exciting piece of kiln furniture!

I have also shown a colorfully glazed red earthenware pot that I believe was made at the Lorenzo Johnson Pottery in Western New York in the mid-nineteenth century. But this pot is also pictured with sherds that were recovered at the site of the Bickford Pottery that are decorated in basically the same glaze. This is why an attribution should be developed with the form first and then a glaze can sometimes help afterwards when it is compared to archaeological evidence or known objects.

Note: This is an amazing site in Buxton, Maine that is privately owned today; whereas, the location remains a secret until the property owners and the State of Maine determine how they want to proceed with the site. I have visited this site on a few occasions and I feel this site can really contribute extensively to what is known about the nineteenth century southern Maine potter's industry today.

Kiln Furniture Recovered in Buxton, Maine

19th Century Kiln Furniture
Recovered at the Site of the Bickford Pottery in Buxton, Maine
A Potter Used this Object for Math
Circa 1825-1880
See Article for More Information

 A Closer Look at the Numbers

Another Look at the Numbers

Western New York Object with Sherds from Buxton, Maine

19th Century Pot Attributed to Western New York
Sherds Recovered at the Site of the Bickford Pottery in Buxton, Maine
The Glazes Match
See Article for More Information

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

17th and 18th Century Earthenware Found in New Sweden (Delaware) with Possible Ties to Potters in Pennsylvania

According to the Swedish Colonial Society, "In 1637, Swedish, Dutch and German stockholders formed the New Sweden Company to trade  for furs and tobacco in North America. Under the command of Peter Minuit, the company's first expedition sailed from Sweden late in 1637 in two ships, Kalmar Nyckel and Fogel Grip. Minuit had been the governor of the Dutch colony, New Netherland, centered on Manhattan Island from 1626-1631.

The ships reached Delaware Bay in March 1638, and the settlers began to build a fort at the site of present-day Wilmington, Delaware. They named it Forte Christina, in honor of Sweden's twelve-year-old queen. It was the first permanent European settlement in the Delaware Valley.

During the next seventeen years, twelve more Swedish expeditions left the homeland for New Sweden. A total of eleven ships landed, carrying more than six-hundred passengers in all. The settlement grew into areas of present-day Delaware, New Jersey, Pennsylvania and Maryland. After much turmoil and conflict - the settlement was eventually overtaken by Dutch settlers in 1654/1655 and incorporated into New Netherland."

Although, the migration of Swiss immigrants was not largely recognized until the nineteenth century; whereas, the idea behind this settlement's beliefs and culture is rather interesting considering it was led by a group from Switzerland instead Dutch, English or German settlers.

Map Shows New Sweden and Delaware River Valley Settlements

17th Century New Sweden and Delaware River Valley Settlements

While presenting at the Annual Council for Northeast Archaeology Conference at the University of Delaware last weekend - I saw a group of artifacts that were unearthed in areas of the New Sweden settlement in Delaware. This year's conference showed a large focus towards this settlement, where each artifact was not necessarily directly related to the original settlement, but it was rather a collection that demonstrated materials which related to the people, who lived in the area of the New Sweden settlement in the seventeenth and eighteenth centuries.

The  New Sweden Archaeology Collection demonstrates artifacts that were used in everyday life, such as coins, various domestic and imported ceramics, household wares and accessories used for daily attire.

A jug was displayed that appeared like a nineteenth century New England or Pennsylvania form, but it may be related to the early potters in the area. I have, yet to determine its origin; although, the jug is said to have been found in a late-seventeenth or early-eighteenth century archaeological context.

Jug Recovered at New Sweden, Delaware Settlement

Late-17th or Early-18th Century Red Earthenware Jug

Recovered at the New Sweden Site in Delaware
Form Appears American-Made

Photo Courtesy: University of Delaware & The New Sweden Archaeology Conference & Delaware State Division of Historical and Cultural Affairs

The collection also included the remains of a wonderful slip-decorated red earthenware bowl, which was recovered within an early-to-mid-eighteenth century archaeological context. The bowl's decoration closely resembles a pan that was recovered within a similar context in Philadelphia. It is believed that the pan found in New Sweden was made by a potter in Philadelphia, which is not completely shocking since the potters in Philadelphia are known to have exported pottery to Delaware in the eighteenth and nineteenth centuries.

Bowl Recovered at the Site of the New Sweden, Delaware Settlement

Early-to-Mid-18th Century Slip Decorated Red Earthenware Pan
Likely Made in Philadelphia

Recovered at the New Sweden Archaeological District in Delaware
Decoration is Similar to the Pan Recovered in Delaware Shown Below

Photo Courtesy: University of Delaware & The New Sweden Archaeology Conference  & Delaware State Division of Historical and Cultural Affairs

Pan Recovered in Philadelphia

Mid 18th Century Slip Decorated Red Earthenware Pan

Found at the Site of Independence Park in Philadelphia

Decoration is Similar to the Bowl Recovered in Delaware Shown Above

Photo Courtesy: National Parks Services Philadelphia Archaeology Department

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

Unusual Glass, Brass and Redware Candlesticks of the 19th Century in Massachusetts

Not too long ago, I found an extremely rare unglazed nineteenth century domestic redware candlestick. It had just been pulled by a person who cleans out homes on Boston's North Shore. This particular example was found in a home on one of Cape Ann's coastal communities. I have shown it around to a few long time dealers and collectors - and its been a consensus that New England made earthenware candlesticks are almost nonexistent.

They told me they could not recall having ever seen an example made by a New England potter. Redware candlesticks are not common to Pennyslvania, but they do appear now-and-again. The candlestick I discovered was made by Charles Lawrence at his Beverly, Massachusetts pottery probably in the 1870s.

Charles Lawrence Pottery Redware Candlestick - Beverly, Ma

Circa 1870s

Found in a Coastal Mass Community North of Boston

It's great to see just a redware candlestick, but having it been made by such accomplished potter is even better. I have written extensively of Charles Lawrence's business in previous reports. (The search box on the main page of this website will allow you to go back and read those reports…just type in Lawrence Pottery.) 

The form on this particular candlestick really caught my eye. It resembled a known nineteenth century form used by the South Boston Glass Company and the Sandwich Glass Company - both of Massachusetts. The redware candlestick shows its own variations, but the overall form must have been inspired by a candlestick made by one of these companies - or a similar related business.

The base is probably a design made up by its maker at Lawrence Pottery. A finger was used to apply the symmetric design.

Base of Candlestick

Finger Used to Apply Design

Base of Candlestick
Typical Clay Seen in Beverly at Lawrence Pottery

The body demonstrates a column design that is very similar to styles used by the Sandwich Glass Company, the South Boston Glass Company and a glass maker in Cambridge, Massachusetts - the New England Glass Company.

 (Middle) Beverly, Ma Candlestick

(Right, Left) Pair of Likely Sandwich, Ma Candlesticks

All 19th Century

All Show an Ancient Column Type Design in the Body of Each Candlestick

I doubt this is a coincidence seeing two forms so similar to each other from two completely different industries. Charles Lawrence had to have been inspired by a Massachusetts made glass candlestick he saw somewhere in his travels. It may have been one of the retail stores in Boston that occasionally sold Lawrence Pottery in the 1860s. That will likely never be answered; however, an even better question may be how many of these candlesticks were manufactured. I have never seen another one. This one has been broken, but regardless - its rarity makes it very special. Could it possibly be unique? Very few may have been made and this may be a lone survivor - but there may be others, too.

The idea behind the similarities of these candlesticks really has puzzled me since I found the redware candlestick about a month ago. I feel its a special piece. I had not intended on sharing it until I found another unlikely collaboration today from another house clean out on Boston's North Shore.

Pictured below is another candlestick; its made of brass, but the center is unusual having a glass body. My guess is the candlestick was made by a brassiere or a person who works with brass - and the glass was a special order applied to a product line of candlesticks possibly made in Boston. Its glass body certainly resembles the products made by the South Boston Glass Company and the Sandwich Glass Company. I would like to say the glass is a product of the South Boston Glass Company since it was found so close to South Boston where it likely lived for many years. It has possibly been there all along; however South Boston Glass is very rare and difficult to properly attribute since it closely resembles other glass makers in Massachusetts.

I am not a glass expert, but the color of the glass appears right for both companies which I have previously mentioned. I believe the painted decoration to possibly be original. The imperfections seen are wax that has not yet been removed. It appears green on the brass in the photos.

 Brass and Glass Candlestick

Possibly the South Boston Glass Company - South Boston, Ma
Brass Maker is Not Known, But Likely American

19th Century
Found on Boston's North Shore

 Color of Glass Resembles Similar Colors from South Boston and Sandwich, Ma

 Brass Top

Brass Bottom

Its interesting to see the collaboration between unlikely industries in Boston of the nineteenth century. Potters certainly collaborated with each other in the eighteenth and nineteenth centuries, but its not often that you can find ties between brass makers, glass companies and utilitarian potters.

The Art Pottery Movement of the late nineteenth and early twentieth century saw manufactures like Tiffany establish partnerships with companies like the Merrimac Pottery Company and Grueby Potter with its line of lamps. The links between the above candlesticks are not often seen before major manufacturers like Tiffany began working with high-end products at the start of the twentieth century. This is fascinating to see!

I wonder how many glass and brass candlesticks like this were made. I wonder how many earthenware candlesticks were made in New England. The idea behind the collaboration is what is so interesting.

Much More to Come…I visited the University of Delaware this week for an archaeology conference that myself and a few friends participated at. I will post the research abstract on Early American Ceramics next week. While at the conference, I saw some very interesting artifacts that demonstrate ties between potters in eighteenth century Delaware and Philadelphia…More on All This to Come...

An Interesting Mass Jug with Comparisons to the 17th & 18th C.English Potters

Willis Henry Auctions will be offering the Curry collection of early American redware on November 16th in Plymouth, Massachusetts. The collection was assembled over a lifetime. There are nice examples of Massachusetts and Maine redware included in the sale. The most fascinating for me is a yellow, orange and black redware pitcher or jug that was likely made by the early potters of southeastern Massachusetts. The jug resembles the characteristics seen at one time applied on pottery of a well-establish industry in England.

I feel the jug is a product of the eighteenth century, rather than the nineteenth century like many may suggest. The style and glaze are typical for wares produced in southeastern Massachusetts in the earliest years of the 1800s, but the form may suggest otherwise. The handle is unmistakable for the potters who worked along the Taunton River. They supplied much of the region with earthenware. They were probably the dominant potters who exported products into Rhode Island. These same potters probably exported into Connecticut, too.

18th or Early 19th Century Redware Pitcher Made in SE Massachusetts
Possibly Made Before 1775

To Be Sold November 16th

Photo Courtesy: Willis Henry Auctions - Marshfield, Ma

The form reminds me of a line of ceramics that was most popular with the English and American markets of the seventeenth and eighteenth centuries. It was probably most popular in the American colonies by the mid 1700s. Similar jars to the form Willis Henry has for sale were manufactured in the Staffordshire region of England - some had black dots applied and fell under a term known as slipware - while others were simply glazed in a black and yellow color similar to the jar from the Curry collection. The jar photographed below from the Bennington Museum in Vermont is very-similar to the jar Willis Henry will be offering. It's almost unmistakable how similar both are. Could there be a familiar connection? I feel there is.

 (Top Right) Staffordshire, England Earthenware Jar Similar to that in the Curry Sale - 18th Century

(Bottom Left) Staffordshire, England Earthenware Cup - 18th Century

Photo Courtesy: Bennington Museum - Bennington, Vt

Variations of English Forms with Slip - 17th and 18th Century
(Top Middle) Similar Jar to that in the Curry Collection - Here Seen with Black Dots

Photo Courtesy: Colonial Williamsburg - Williamsburg, Va

Yellow Earthenware often related to the Staffordshire region of England was an extremely popular import into the American colonies of the eighteenth century. It has been excavated in major areas up and down the American seaboard - which indicates it must have been distributed throughout major ports of the entire eastern coast. Many merchants acted as agents selling such wares, but it was probably purchased directly at the docks by individuals who wished to sell such wares in both urban and rural environments as well. I have personally seen it strongly represented at the Faneuil Hall (Boston); Charlestown, Massachusetts; Salem, Massachusetts (Narbonne House); and Strawbery Banke (Portsmouth, NH) archaeological collections.

It appears whoever the potter was in southeastern Massachusetts attempted to copy the Staffordshire form. This was not an uncommon practice for colonial America. Similar imitation was seen in Philadelphia, New York City, Virginia, South Carolina and New England. Many potters are known to have carried their known crafts from the Old World to America. This idea is why so many forms of the eighteenth century resemble products of other countries. This is especially the case with the products seen in archaeological contexts in Philadelphia where a strong German, English and Dutch influence was seen. This may have been the case with the potter who made the jar from the Curry collection. Could that potter have had an English background? Or is it a coincidence that the forms and glazes are so similar?

I personally believe the jar is earlier than what some may realize based on the English form it certainly resembles. The American form may be nineteenth century, but there was much-less attempts at imitation after the American Revolution. When independence was won - many potters began producing their own lines of redware and stoneware in America. It was when the colonies were still under English rule that imitation of mostly German and English products were most seen. Independence allowed nineteenth century potters to branch off in directions they wished that eighteenth century potters often did not attempt.

It's interesting at the least to see the comparison of the jar from the Curry collection and the known Staffordshire styles. The glaze technique on the Curry pitcher appears to transcend into further areas of styles used by the potters of eighteenth and nineteenth century southeastern Massachusetts. Could the Curry jar be a representation of the glaze techniques used by these Massachusetts potters? I think its at least worth a consideration.

Early 19th Century SE Massachusetts Lidded Redware Jar

Photo Courtesy: Northeast Auctions - Portsmouth, NH

Much More to Come...

William Pecker Redware Jug Found in Sandwich, NH

The Hanks family estate of Sandwich, New Hampshire was sold at auction to the highest bidder yesterday (Saturday November 2). It was an eclectic sale that included nearly everything the property had to offer from lawn mowers, to 19th century globes, maps, stoneware, furniture, garden accessories, early imported ceramics, fine art, made-up furniture, old signs, old maps, early glass, horse drawn sleighs, early furniture, high-definition televisions, redware, exercise equipment, couches, folk art and the list goes on. As the saying goes, "Everything, but the kitchen sink was sold." 

The sale included a pair of large black and white photographs from the 1930s. Seen in one of the photographs was a redware milk pan made in the Saco River area of Maine - that was being used in an everyday setting. It was unmistakably the same milk pan which sat on the auction room floor. I purchased the milk pan. It had basically no wear. It appeared nearly brand new. Nearly no scratches, nicks or chips. It probably dates from around the 1840s to 1860s and was probably made in the Limington, Afred or Buxton area.

Milk pans were most commonly made in Maine. They were less often made in New Hampshire. Some were made in Vermont. Massachusetts potters did not make many. Connecticut potters did make a lot, but most were applied with either manganese or slip decoration. There were a lot made in Maine. Almost every potter in the state showed a special emphasis towards the production of such a household ware. I personally feel Maine redware milk pans are special. They really demonstrate what the state's industry was all about. They made simple wares, in unique forms and often applied special glazes unlike anything else seen in New England.

There was also a nice black stew pot likely made by Peter Clark in Lyndeboro, New Hampshire; a redware flask probably made in the northern half of New England; an early partially glazed storage crock probably made in Maine - it had been painted red on the exterior; and a number of damaged jugs. All the redware had strong ties to the Hanks family.

The jugs were all made in either Massachusetts, New Hampshire or Maine - a yellow jug with a bit of glaze loss was likely made in the Gonic, New Hamphshire Pottery. Gonic is a neighborhood in Rochester, New Hampshire. Rochester itself employed more than a dozen potters. A lot of redware today is attributed to Gonic. It's not often I hear an example attributed to Rochester. It is likely Gonic and Rochester glazes were similar, but that's a report in itself for a whole other day.

There was also a jug missing a handle that resembled some of the jugs sometimes attributed to Yarmouth, Maine. 

The last jug was covered  in dirt. It was filthy, but I recognized the form. It was the largest William Pecker jug I had ever seen. It measured a little more than 13 inches in height. There was a bit of damage to the jug and the handle was missing, but condition is less of an issue with utilitarian redware than many other types of household wares today. Plus, the glaze was a color I have never seen before from Pecker. The glaze is more commonly seen with Maine potters. The creamish glaze is far from anything else know of Pecker's work today. There are only a handful of Pecker's jugs known and most show his common glaze style of a pumpkin orange body with applied black brush strokes. A creamish glaze is considered very-rare for Pecker. The jug form was unmistakable. The Smithsonian in Washington, D.C. owns the Lura Woodside Watkins collection of redware. The majority of it is pictured in her book, Early New England Potters and Their Wares. The collection has a half dozen examples of Pecker's work, but nothing remotely close to this in color.

The history behind the jug is not entirely known. It can be assumed it descended through the Hanks family. It may have been purchased new by the family similar to the milk pan; however, it is more likely the jug was purchased as a second-hand product many years ago.

New Hampshire appears to have been a major area for potters of Vermont and Maine to import their wares into. I believe the reason for such an industry in the Saco River area of Southern Maine was the demand in New Hampshire. There were industries in New Hampshire, but it doesn't appear those industries met the public's demand. Many of the forms in New Hampshire were also different to those made in Maine. Glaze styles were much different, too. The variation in colors likely made it possible for industries from multiple states to compete in New Hampshire.

I also believe Pecker's products were imported up and down the Merrimack River in Massachusetts and by road into New Hampshire. I do not believe he exported south of where he worked in Merrimacport, Massachusetts often. That area was almost entirely supplied by the potters of South Danvers and Charlestown, Massachusetts.

It is very-interesting to see jars, jugs and crocks appear from early households where they had probably lived for many years. This is probably the case with the cream colored Pecker jug. The rope was most-likely tied around the neck for carrying purposes. It probably replaced the broken handle. It's just a fascinating  idea to understand the travels of early utilitarian redware. My guess: Pecker probably peddled his wares into New Hampsphire to merchants - who then sold his redware to the marketplace. Pecker may have occasionally sold his products directly to households, but his approach was less similar to the major industries that existed just to the south of him and rather, comparable to the potters who worked in the Saco River area of Maine to the north.

 William Pecker Redware Jug - Merrimacport, Mass

Circa 1790-1820

Recently Found in a Home in Sandwich, NH

 Typical William Pecker Handle, Lip and Neck

Rope was Probably Added to Supplement the Function of the Broken Handle

Nice Cream Colored Glaze

William Pecker worked with many glaze colors. The colors outside of his traditional pumpkin orange and black brush stokes are extremely rare. The condition does not matter at all to me when it comes to these rare glazes - I feel they are rare enough to see past the condition. I personally know of less than twelve of these rare glazed jugs that exist. There may be more - and in reality - there be many more that I do not know of. It does appear Pecker placed most the unusual glazes on his jugs before other forms like pitchers, pots, jars and crocks.

Much More to Come...

William Pecker Stoneware - Merrimacport, Ma: 1790-1800

A 2004 article published in Ceramics in America introduced me to a stoneware jar made by William Pecker. It was discovered at a southern flea market. I have since speculated, theorized and studied the idea behind Pecker's stoneware. I personally know of six pieces in existence. Three jars and three jugs. None are flashy or over the top with splashes of color - like Pecker's redware was; however, the idea behind it is certainly fascinating. There have been a few pieces seen locally that I have speculated may have been made by Pecker. The texture and glaze felt exactly like Pecker's redware - a feel not  typically seen on stoneware. Those also appeared to have been manufactured more around 1820, but without a maker's mark for actual proof. The six known jars and jugs all bear a stamp that reads, Wm PECKER.

I left this subject out of the article I recently wrote for the New England Antiques Journal because it is all theory. There is no real proof to identify how many stoneware forms Pecker actually made - or why he made them, but please hear me out.

Pecker probably had two separate kilns. A kiln was likely built to sustain proper conditions for redware and likewise for stoneware. It is my belief both of these kilns were located in Merrimacport, Massachusetts where he operated. There is no evidence to suggest otherwise. If Pecker had a kiln, there were certainly more than six pieces made. In fact, if he had a proper kiln there were probably hundreds if not thousands of pieces made. My idea is that the cost to import proper clay for manufacturing stoneware proved too costly. The clay beds in Massachusetts, New Hampshire and Maine were not appropriate for manufacturing stoneware. All the stamped Pecker stoneware forms I know of appear eighteenth century. They appear similar to the jugs Jonathan Fenton was manufacturing in Charlestown, Massachusetts; New Hampshire; and Dorset, Vermont. The jugs also appear similar to those made by Frederick Carpenter in Charlestown. The form is also seen in eighteenth century Connecticut and New York City. I do not believe Pecker worked with any other potter. He appears to have been a very-smart man considering the achievements he made with redware. I do not believe he traveled anywhere to make his stoneware. It has been suggested to me that he may have traveled to New York City or Charlestown to learn of stoneware - and that is where these stamped forms developed from. I do not believe that is the case. I believe he made the known stoneware in Merrimacport. Most the known forms have recently appeared from homes North of Boston - not all, but most.

In 2012, a Pecker stoneware jug was found in a Wenham, Massachusetts home on a house clean out. It appeared in decoration like the dual tone stoneware jugs and jars Carpenter was known for. There was also a splash of blue decoration like Fenton was known for. The form appeared like a Fenton jug. The man who found it told me he had seen Pecker stoneware jugs before, but not usually ones that are  signed. That comment has always stayed with me. I did not continue the conversation much-more, but I wish I had asked him what he meant by that. Did he know something that I am missing today? Could Pecker have made more stoneware than I realize, but rather, only a few pieces were impressed with his mark?

A western Massachusetts collector recently got in contact with me after my article was published. He told me he had a special stoneware piece that I should see. I took a ride out west this week. I saw his wonderful collection. He was kind enough to contribute this piece to my collection of William Pecker redware. Take a look:

 William Pecker Stoneware Jug - Merrimacport, Ma

Circa 1791-1799

 Classic 18th Century Handle Form

William Pecker's Stoneware Mark

The form appears like the traditional late eighteenth century stoneware jugs made in the northeast. There is so little evidence to support why Pecker made stoneware that it all really becomes opinion and theory. My theory is when Pecker began his business  in 1791 - he was manufacturing both redware and stoneware. He had to have had two kilns considering redware and stoneware are fired under separate elements. I believe by 1800, the cost to import, manufacture and sell stoneware was too costly. His redware business flourished until 1820 while his stoneware business was limited at the best. 

Since 2004, six marked pieces have emerged. There are probably more out there. Stoneware collections across the country may contain more examples of Pecker's work that the redware world is not aware of. Pecker is relatively unknown in the stoneware field, but a master at his craft in the redware world. It's anyone's guess as to why these forms were really made, but I feel my theory is a strong case as to what really happened.

Much More to Come...

James Chase Pottery - Merrimacport, Mass: 1820-1860

My recent visit to various important archaeological and pottery collections in New York, Pennsylvania, Maryland and Washington D.C. opened my eyes to the skill of American potters as a collective industry. Pennsylvania's artistry with its German and Dutch influenced wares was arguably ahead of many other regions with its skill through applied decorations. The state or region arguably created the most accomplished wares of the entire collective American utilitarian earthenware industry. Redware made in Maine was different to that made in Connecticut and Massachusetts. Western New York redware was really unlike anything made in Virginia. New York City and New Jersey stoneware was different to  that made in Charlestown, Massachusetts. The Moravian potters of North Carolina were really unique with little similarities seen in America outside of Philadelphia. The potters of South Carolina were different to those who worked in George and Alabama. Of course there are exceptions, but each area really did demonstrate its own characteristics when compared to the next. The American utilitarian pottery movement of the eighteenth and nineteenth centuries was one of many areas that showed America's desire and eventual accomplishment of independence. The American industry was really one whole entity that altered its regional appearance, but should be seen as a total achievement.

The Lura Woodside Watkins collection of early New England pottery opened my eyes to the variety that each potter worked with. Most potters had a common form and glaze which they are most known for today; however, potters did shy away from their tradition techniques. Glazes did vary and so did forms. Unfortunately, many of these exceptions have not survived today beyond shards - and shards do not typically represent an entire potter's output either.

The Daniel Bayley Pottery site in Newburyport, Massachusetts produced many colorful glazes that ranged from black and browns to greens and oranges with wonderful incised decoration. I did not previously realize the use of wavy line decoration was seen in eighteenth century Massachusetts beyond Essex County and Braintree.

Shortly after Watkins death - the National Museum of American History in Washington D.C. put together an exhibit of many of the redware jars, jugs, bowls, dishes, plates, pans and such forms that she had collected in her lifetime. The brochure described how Watkins collected so many wonderful examples of American pottery:

"Taking advantage of the mobility provided by a new form of transportation, the automobile, Mrs. Watkins drove through the countryside and often found objects still near their place of original use or manufacture. In many cases, her careful study of local historical documents enabled her to identify the makers or previous owners of the artifacts. By thus collecting and documenting objects made and used by common men and women, Mrs. Watkins was one of several innovative scholars of her time who studied artifacts in the hope of discovering their importance in the everyday life of the past."

After spending some time studying the Watkins collection - I began to realize that simple forms commonly attributed to a potter were sometimes made by another related potter. Forms did travel or live-on from one generation to the next. Potters did not tend to completely copy each other, instead imitation was commonly seen.

I recently wrote an article about William Pecker and his work in West Amesbury, Massachusetts (today known as Merrimacport) for the New England Antiques Journal. West Amesbury is a small riverside community north of Boston. It's a matter of miles from New Hampshire and located directly on the Merrimack River. The river likely served as a means of transportation for Pecker's business. Wares were probably shipped in both directions. They may have been peddled by dirt roads to the north, too. Pecker died in 1820 when his kiln collapsed on top of him. His nephew, James Chase took over the business.

All I had known of Chase's work until recently were partially glazed utilitarian wares in traditional forms. Watkins does not mention much more than that in her book, Early New England Potters and Their Wares. She only really attributes one crock that is only glazed on the interior. As part of her collection in the Smithsonian - are a few examples of Chase's more prolific work. All were found within the Merrimacport area. The glaze colors are vibrant. They include bright greens, yellows and a wonderful array of orange and yellow halos seen throughout the glazes. The forms include bowls and wonderful pitchers. These forms are typically attributed to Maine potters or William Pecker. They are actually the work of James Chase. Chase Pottery from 1820 to 1860 created wonderful redware. There is no proof of it, but stoneware may have been attempted as well.

It's this concept that I am trying to suggest - that forms and glazes from potters do vary. They did not always stick to any one exact form for their jugs or related jars. They may have manufactured a number of forms. If you read the Pecker article above - I mention a redware jug he made that was decorated in slip with a written date of 1797. It was one-time a part of the important Nolan collection of redware. It has since become a part of another important collection.

I saw this jug last week. Its form is different than the traditional jug form Pecker is most-known for. Pecker may have used a few styles for his jugs. Some of his forms appear to have transformed in the nineteenth century. This is probably what happened with Pecker's jugs. It is not entirely known because there are not enough surviving examples to go by. It should always be kept in mind that the inventory of any potter will probably never be known. We only understand today - what has survived and the shards that are available.

I suggest studying more about your favorite potter. The only work to go by for James Chase is the sole picture seen in the back of Early New England Potters and Their Wares. That example shows his simplest work. The following photo is a covered pot (lid missing) found in a house in New Ipswich, New Hampshire. New Ipswich is a short distance from Merrimacport. It matches one example of Chase's work in the Watkins collection at the Smithsonian. It is simple, but highly skilled and very-well potted. Chase's work from here on transcends into colorful wares that are very influenced by Pecker's forms and ability. Chase did not copy, but rather - he took what Pecker taught him and developed that knowledge into his own style. I'll leave that up to you to determine how those forms appear today. I will say…it is surprising!

 James Chase Pot - Merrimacport, Mass

Circa 1840

Missing Original Lid

Form Similar to Some Jars Seen at the Lawrence Pottery in Beverly, Mass

 Nicely Applied Handle

Interior Glaze Color Used on Some of Chase's Utilitarian Work

Similar to that Seen in South Danvers, Mass at the Osborn Pottery

Much More to Come...