A Great 19th Century Multi-Colored Red Earthenware Jug Attributed to Maine

At this point, there are no surprises with Crocker Farm's ongoing fall 2020 auction in Sparks, Maryland, although, this large nineteenth century Maine red earthenware jug is of particular interest, seeing that it may be related to a research story I wrote that was published in the November 2019 issue of Maine Antique Digest. The high bid for this jug is currently $4,500 plus the auction premium. 

The obvious characteristic about this piece that really stands out is the intentional multi-colored glaze, which changes depending on what side of the jug is viewed. I noted in that research story, titled, "The North Yarmouth, Maine Pottery Industry, 1791-1890" that this type of glaze is found in archaeology recovered in North Yarmouth, Maine, as well as at least one surviving jar, decorated in a very similar glaze that is published in the story. 

19th Century Multi-Colored Red Earthenware Jug Attributed to Maine

19th Century Maine Red Earthenware Jug

Possibly Made in North Yarmouth, Maine

Stands 11 1/4" Tall

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

Another View of the Jug

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

Another View of the Jug

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

View of the Handle

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Photo Courtesy: Crocker Farm Auctions of American Redware and Stoneware

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Early Dated Example of Dave Drake's Stoneware from Edgefield, South Carolina Sells for Over $300K

By now, the success of this nineteenth century alkaline glazed stoneware jar attributed to the African-American enslaved potter Dave Drake (b. ca. 1800 d. ca. after 1873) in Edgefield, South Carolina is no surprise, seeing it eclipsed all southern pottery records over the weekend at Brunk Auctions in Asheville, North Carolina, selling for an amazing $369,000 including the auction premium. Undoubtedly, the stoneware made by Dave is currently the most sought after American utilitarian wares by both collectors and museums today. 

Aside from the aesthetic appeal of this object, it was the early date of manufacture that was so desirable - dated "12 April 1836," as well as inscribed "Catination."

According to an article written by Arthur Goldberg and Jim Witkowski published in the 2006 edition of Ceramics in America, titled, "Beneath His Magic Touch: The Dated Vessels of the African-American Slave Potter Dave, "This is the eighth earliest known dated work from Dave and the fourth earliest known to hold a dated inscription." It is believed to be a companion work of the earliest known scripted piece dated "June 12 1834," inscribed with the phrase "Concatination."

Interestingly, it was earlier this year that Crocker Farm in Sparks, Maryland set the previous auction record for a piece of southern pottery and Dave's work when an eight gallon jar sold for $216,000 including the auction premium. That jar was inscribed "Lm / Decr. 17 1857 / Dave."

Although, I can only image what the monumental stoneware jar made by Dave currently displayed in the Americana Wing at the Metropolitan Museum of Art in New York City would sell for in today's marketplace. That jar is inscribed "this jar is to Mr Segler who keeps the bar in orangeburg / for Mr Edwards a Gentle man / who formerly kept / Mr thos bacons horses / April 21 1858 / when you fill this jar with pork or beef / Scot will be there; to get a piece, / Dave."

Other outstanding examples of Dave's work can be found in the Museum of Fine Arts, Boston, the National Museum of American History at the Smithsonian Institute in Washington, D.C., the Art Museums at Colonial Williamsburg in Virginia, the William and Susan Mariner Southern Ceramics Gallery at the Museum of Early Southern Decorative Arts in Winston-Salem, North Carolina, among other museums, as well.

About Dave Drake

The history of Dave Drake is compelling: he was born into slavery in 1800 in the Edgefield District in South Carolina; although, he is thought to have been born to the plantation owner, Harry Drake, a religious man, who may have taught some of his slaves to read and write to help with their religious studies. There is also some evidence that suggests Dave may have lost a leg in an accident in his younger years, but I do not have evidence to prove this other than reading about it. 

Dave reportedly learned the potter's trade at a young age from white men of European descent employed where he lived as a slave in South Carolina. His original poems were usually related to the vessel's use, religion or a family member. Examples of Dave's unsigned work are sometimes attributed to him today by either the "Lm" mark or two incised slashes sometimes placed carefully unobtrusively on the pot

I would describe Dave as a master potter, who occasionally threw huge vessels, which were intended to hold gallons of material not regularly found in this size from potters who worked elsewhere in America in the nineteenth century. The skill and raw strength it took to throw some of these forms is remarkable; whereas, Dave can even be considered today as the kind of person who's life manifested into folk lore and legend. 

In a historical context, Dave was an educated enslaved potter, who could read and write, but he was also an artist and a poet in a tumultuous period laying witness to America's Civil War among other historical events. Nevertheless, I can only imagine that some of Dave's work must have been destroyed during the war. 

Early Dated Example of Dave Drake's Stoneware from Edgefield, South Carolina 

19th Century Alkaline Glazed Stoneware Jar Attributed to Dave Drake in Edgefield, SC

Dated "12 April 1836" as well as Inscribed "Catination"

Just Sold for $369,000 Including the Buyer's Premium at Brunk Auctions in NC

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Photo Courtesy: Brunk Auctions

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A 19th Century Stoneware Spaniel Made in Limestone County, Texas

This is a nineteenth century stoneware figure of a spaniel that I have always admired made by John Lewis Stone (1850-1927) in Limestone County, Texas. Stone was born in Kentucky, and before he arrived in Texas, he was a Midwestern trained potter. Stone wrote a letter published in the May 1923 issue of Brick and Clay Record that provided a brief, but detailed account of his training. He wrote that in 1860 he worked for the Kirkpatrick Brothers in Anna, Illinois, when he was only ten years old. He later apprenticed in the late 1860s in Mound City, Illinois. And by 1870, he had moved to Texas, where he managed William Knox's pottery in Oletha; he also worked for the pottery's subsequent owner John Fowler until 1875. Later on he worked for the Kosse Brick and Tile Company/Kosse Pottery and Brick Works in Limestone County.

The Kirkpatrick influence in Stone's Texas production is obvious today by some figural temperance snake jugs that exist, including one that is in the collection of  The Museum of Fine Arts, Houston. Although, this circa 1870-1880 spaniel is also in the museum's collection; the front is marked with Stone's initials "J.L.S." It may have been originally manufactured with the intent to be used as a doorstop. The spaniel is molded with some of the features created with hand incising. This type of figural production from Texas is considered extremely rare today.

19th Century Stoneware Spaniel Made in Limestone County, Texas

19th Century Stoneware Figural Spaniel Marked "J.L.S."

Made by John Lewis Stone (1850-11927) in Limestone County, Texas

Circa 1870-1880

Stands 11" Tall

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Photo Courtesy: The Museum of Fine Arts, Houston

View of the Spaniel's Face

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Photo Courtesy: The Museum of Fine Arts, Houston

View of the Initials "J.L.S."

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Photo Courtesy: The Museum of Fine Arts, Houston

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A Late Nineteenth Century Earthenware Face Jug Created with a Wonderful Folk Expression

I have been intrigued with this late nineteenth century earthenware face jug for a few years now; I was first introduced to it when it was owned by Brooklyn, New York antiques dealer Steven Powers. The jug is attributed to Ontario about 1880, and more recently sold through Crocker Farm in Sparks, Maryland in the Spring of 2020. The Zipps described it as, "a glaze treatment that is among the more sophisticated that we have seen in North American earthenware, reminiscent of a style employed by Pennsylvania master potter, John Bell (1800-1880). The object's applied face creates an important work of folk expression, which transcends the ceramic medium. The jug is among the most brilliantly-glazed North American face vessels that we are aware of."

Interestingly, this face jug was previously owned by Ron Korman, Robert Girouard and Peter Brams. I asked Ron Korman of Muleskinner Antiques in Williamsville, New York a few days ago where he found it, but he could not remember. My guess is that it was found in the western New York and Ontario area. 

Among the reasons this piece is believed to have been made in Ontario is the distinct color of the white earthenware clay, a type of clay rarely found with utilitarian production in America, outside of factory made wares in places like Bennington, Vermont, Boston, New Jersey, the Midwest and other locations. This is a type of clay that was used much more prominently by utilitarian potters in Canada. 

I have also included pictures of a second earthenware face jug also thought to have been manufactured in Ontario in the late 1800s. The style of the glaze found on the top half of this jug is the same color as that used on the piece of discussion. However, this piece reveals a bearded white man, perhaps representing an historical or political figure.

Unfortunately, I am unable at this time to provide more information about where exactly these pieces were made and whether or not it was a potter who was trained and later relocated from the Pennsylvania or the Shenandoah Valley area. Nonetheless, I think these are rather important pieces of nineteenth century North American folk pottery.

Late 19th Century Earthenware Face Jugs

Late 19th Century Earthenware Face Jug

Reportedly Attributed to Ontario

Circa 1880

Stands 9 1/4" Tall

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

View of the Broken Handle and the White Earthenware Clay

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

Another View of the Jug

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Photo Courtesy: Justin Enger

View of the White Earthenware Clay

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Photo Courtesy: Justin Enger

View of the Spout

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Photo Courtesy: Justin Enger

View of the Base

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Photo Courtesy: Justin Enger

Late 19th Century Earthenware Face Jug

Reportedly Attributed to Ontario

Circa 1880

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Photo Courtesy: Justin Enger

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A Red Earthenware Plate Modeled After an English White Salt Glazed Form Found in an Old Massachusetts Estate About 30 Years Ago

Over the weekend, I posted pictures of this fascinating eighteenth century red earthenware plate to my Instagram account; the plate is adorned in a pinkish glaze, while the exterior edge is carefully decorated with slip. The plate was a part of a collection of early ceramics that was just acquired by the circa 1716 Warner House Museum in Portsmouth, New Hampshire, although, this particular piece in now in the private collection of Portsmouth antiques dealer Hollis Brodrick.

However, what makes this piece so interesting is the fact that it is modeled after eighteenth century English white salt glazed stoneware plates that were shipped all over the world, including the American colonies before the American Revolution. I can only speak for myself when I say that I have never seen anything like this particular plate before. 

A nearly identical English stoneware example was recovered from a mid-eighteenth century archaeological context at the site of the Three Cranes Tavern in Charlestown, Massachusetts (see below). Perhaps some research will reveal who was copying these stoneware plates with red earthenware seeing that the refinement and color of this object is remarkable.

The complete history of this red earthenware plate is currently unknown, but it was discovered about thirty years ago inside an old Massachusetts estate.

Interestingly, a potter by the name of Paul Flanders manufactured a set of ten Rococo-style shaped English salt glazed stoneware plates made of red earthenware at the Clark Pottery in Concord, New Hampshire in 1843. There are also some examples that are unglazed that are believed to be related to this production, as well. Some of these plates are now owned by Historic New England in the Nina Fletcher Little Collection at Cogswell Grant in Essex, Massachusetts. But I do not believe there is any relationship between that production and this incredible plate; although, I thought it was noteworthy to mention that this type of production was also copied by American potters.

A Red Earthenware Plate Modeled After an English Salt Glazed Form

My Niece Alexis Holding the Red Earthenware Plate

The Plate is Modeled After an English White Salt Glazed Example

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18th Century Red Earthenware Plate Modeled After an English Salt Glazed Example

Discovered About Thirty Years Ago Inside an Old Massachusetts Estate

See Below for an English White Salt Glazed Example Recovered in Charlestown, Mass.

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View of the Exposed Red Earthenware Clay

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View of the Back of the Plate

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(Left) 18th Century English White Salt Glazed Stoneware Plate

Recovered from a Mid-18th Century Context in Charlestown, Mass.

The Plate Above is Modeled After this Type of Production

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Photo Courtesy: City of Boston Archaeology Program

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A Great 19th Century Red Earthenware Teapot with Tulips Manufactured Near Milwaukee, Wisconsin

According to the Wisconsin Historical Society, "Conrad Langenberg (1830-1899) was a German trained potter before he relocated to the German Calvanist settlement of Franklin, Sheboygan County, Wisconsin in 1855 (at the time known as Lipper's Mills). Using red earthenware clay he dug from the banks of the Sheboygan River, Langenberg produced pottery in the summer kitchen attached to his house between 1856 and 1893. He reportedly sold his pottery from a two-wheeled cart, as well as from his front porch and at local agricultural fairs. Regarding his craft, he is said to have commented, "Wir machen unser Geld aus Dreck" (We potters make our money from dirt)."

Some of  the wares manufactured by Langenberg may have even traveled to Milwaukee, Wisconsin, but, even so the Wisconsin Historical Society actually owns a number of examples of his red earthenware, although, this teapot is probably the most significant surviving piece of his production known today. And while a lot of the Langenberg pottery that exists is not glazed on the exterior, this particular object is entirely glazed and decorated with a brushed tulip in slip on both sides.  Records indicate that this teapot was made by Langenberg for his own personal use. 

Other forms manufactured by Langenberg include milk pitchers, bean pots, jars, batter bowls, mugs, muffin pans, crocks, pipkins, jugs and flowerpots, Interestingly, some of the forms are similar to wares mad by Carl Ludwig Heinrich Mehwaldt (1809-1887), another German trained potter who migrated to the Village of Bergholz near Niagara Falls in western New York in the early 1850s. A research article I wrote about Mehwaldt will be published in a forthcoming issue of Antiques & Auctions News, which I worked on with the Das Haus Museum in Bergholz.

19th Century Red Earthenware Teapot with Tulips Manufactured in Franklin, WI

19th Century Red Earthenware Teapot Decorated on Both Sides with Tulips in Slip

Attributed to Conrad Langenberg in Sheboygan County, Wisconsin

Circa 1856-1893

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Photo Courtesy: wisconsinstoneware.com

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A Remarkable Survivor: 19th Century Stoneware "Miner's Water Pot" Sells at Cowan's Auctions in Cincinnati, Ohio

Cowan's Auctions in Cincinnati, Ohio sold an important western Pennsylvania stoneware collection yesterday, among other select pieces from the Midwest that were owned by Louis Hahn (1928-2020) of Slippery Rock, Pennsylvania. The historic auction of western Pennsylvania makers included over 200 lots, and was the largest group of this region's stoneware to have been offered in a public sale in decades. 

The highlight of the sale was certainly some of the giant freehand and stenciled cobalt decorated crocks, as well as a nineteenth century eight gallon stoneware watercooler from Ohio, decorated with a patriotic eagle that sold for $9,500 plus the auction premiums. Although, of all the objects in the Hahn Collection, it was actually another watercooler that caught my attention that came with a fascinating history. 

The Louis Hahn (1928-2020) Collection of Stoneware

The Louis Hahn (1928-2020) Collection of Stoneware

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Photo Courtesy: Cowan's Auctions

According to Cowan's Auctions, "While the history of this remarkable watercooler is currently lost to time, the script "Miner's Water Pot" leaves no doubt of its intended use, and is further emphasized with the word "Miner" in cobalt-filled incised block lettering below. A stylized device featuring leaves and flower pods in cobalt completes the decoration on the front; similar floral devices, though with drooping flowers, decorate the sides. The back side of the cooler is decorated with a large bird standing on a floral device. Cobalt also decorates the base of each handle at the point of application to the body.

Though unmarked, the decorative elements of this jar suggest a southeastern Ohio origin. Coal mining began in this part of Ohio as early as 1800, and active mines were located in Meigs County by 1806. By 1820, ten southeastern counties were mining coal. Mining accelerated thereafter, and by 1870, thirty eastern Ohio counties were producing coal.

Coal mining in the Pittsburgh area has a similarly hoary past. By the late eighteenth century, coal was being mined at "Coal Hill," just across the Monongahela River from present-day Pittsburgh, and by 1830, the city was consuming 300 tons of locally-mined coal on an annual basis."

Even though there were some apparent condition issues from use, this remarkable survivor should probably be displayed in a museum. It sold for $450 plus the premiums. To my knowledge, I have not seen anything else like this before in a private or museum collection.

For those who were not aware of this sale, the auction catalog can be found on LiveAuctioneers or on Cowan's Auctions website.

A Remarkable Survivor: 19th Century Stoneware "Miner's Water Pot"

19th Century Stoneware Miner's Watercooler

Attributed to Southwestern Pennsylvania or Southeastern Ohio

Inscribed "Miner's Water Pot Miner"

Decorated with a Bird and Various Floral Motifs

Circa 1840s

Stands 16" Tall

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Photo Courtesy: Cowan's Auctions

View of the Inscription "Miner's Water Pot Miner"

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Photo Courtesy: Cowan's Auctions

View of the Back

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Photo Courtesy: Cowan's Auctions

View of One Twisted Handle

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Photo Courtesy: Cowan's Auctions

View of the Other Twisted Handle

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Photo Courtesy: Cowan's Auctions

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