A Slip-Decorated Red Earthenware Pot Recovered from the Site of William Henry Harrison's Army Camp Near Mansfield, Ohio

Among the most surprising artifacts that I have come across (and there have been many) while working on my forthcoming two-volume Western New York book, titled, America's Great Awakening and Migration: The Red Earthenware of Western New York is a slip decorated red earthenware pot recovered in Ohio. The pot was illustrated in an article written by Rhea Mansfield Knittle and published in the October 1933 issue of The Magazine Antiques, titled, Ohio Pottery Jars and Jugs, although I have no idea where this object resides today. But I believe the pot was made in Western New York, where it also retains a fascinating context of ownership.

While growing up in Virginia, Nathaniel Rochester’s (1752-1831) childhood friend was James Monroe (1758-1831), who was elected President of the United States from 1817-1825. It does not appear that Rochester had any relationship with William Henry Harrison (1773-1841), who was President in 1841, but this slip decorated red earthenware pot was recovered by archaeologists (I think they were archaeologists?) in the twentieth century near Mansfield, Ohio, from the site of where Harrison’s army camped during the Maumee Valley Indian campaign. 

Furthermore, a similar pot is owned by the Rochester Museum & Science Center in Rochester, New York, which is thought to have been made at the Nathaniel Rochester Pottery; Rochester owned a red earthenware company from the circa 1818-1831 period in West Bloomfield, New York.

For more information about Nathaniel Rochester's pottery business - see a  feature story I wrote published on pages 42-43 in the June 7, 2024 issue of Antiques And The Arts Weekly, titled, Nathaniel Rochester's Red Earthenware Pottery: http://www.earlyamericanceramics.com/2024/05/new-published-feature-story-in-antiques.html.

Slip-Decorated Red Earthenware Pot Recovered Near Mansfield, Ohio

19th Century Slip-Decorated Red Earthenware Pot Recovered Near Mansfield, Ohio

Recovered from the Site of William Henry Harrison's Army Camp

A Similar Object is Owned by the Rochester Museum & Science Center

See Article for More Information

Photo Courtesy: October 1933, The Magazine Antiques

19th Century Slip Decorated Red Earthenware Pot Made in Western New York

Possibly Made at Nathaniel Rochester's Business in West Bloomfield, New York

A Similar Pot was Recovered Near Mansfield, Ohio

See Article for More Information

Photo Courtesy: Rochester Museum & Science Center

Another View of the Pot

See Article for More Information

Photo Courtesy: Rochester Museum & Science Center

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

19th Century Stoneware Jug with Incised Decoration of a Man Holding a Jug that Sold Today at Brunk Auctions in North Carolina

Some great objects sold today at Brunk Auctions in Asheville, North Carolina, although one of my favorites in the sale was a nineteenth century stoneware jug with some cobalt highlighting an incised decoration of a man wearing a top hat and tails, holding a jug (probably representing alcohol) and possibly keeping his balance with a walking stick or cane. The jug was consigned as part of a very good collection of antiques in the Portsmouth, New Hampshire area, however it previously sold at Pook and Pook in Downington, Pennsylvania in 2012 for $5,214 including the buyer's premium, whereas today it sold for $8,500 plus the buyer's premium.

Nevertheless, the jug also slightly reminded me of a nineteenth century stoneware jar that sold earlier this year, which was described by the auctioneer at Summer Antiques in Essex, New York: "I believe the figure on this crock is a long haired drunk with a hat on the front looking at a drink with a crazy happy look. Then you see on the back what the drink did to him - it made him turn into a devil and decapitate his whole body with all his members floating around his devil body with a tail and knife in hand, and sticking something up his butt of decapitated torso. All the designs are incised and decorated in blue. The design could be a temperance piece or just a person struggling with alcohol and that person could be the potter who made it" -- http://www.earlyamericanceramics.com/2024/04/two-good-examples-of-19th-century.html.

It is certainly much later than the manufacture of this jug, although one of Bill Brandt's (1904-1983) famous photographs is titled, "After the Celebration," where he photographed a drunken man in a top hat and tails clinging to a lamp-post in early morning fog in London in 1934. This photograph has been copied and imitated throughout twentieth century British popular culture; Brandt is regarded as the finest British photographer of modern times. 

However, the subject incised on this jug certainly makes me wonder what the circumstances were that got a potter or someone at a pottery business to create such a scene. A wonderful example of American Folk Art, nonetheless! 

Stoneware Jug with Incised Decoration of a Man Holding a Jug

19th Century Stoneware Jug Made in the American Northeast

Incised with a Decoration of a Man Holding a Jug

Some of the Decoration is Highlighted with Cobalt

Stands 16 1/4" Tall

See Article for More Information

Photo Courtesy: Brunk Auctions

"After the Celebration"

Photographed by Bill Brandt in London in 1934

See Article for More Information

Photo Courtesy: Victoria & Albert Museum

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

A 19th C. 4-Gallon Stoneware Crock from Chelsea, Massachusetts Decorated with an Urn in Cobalt and the Year "1850"

As I noted in a post from yesterday, "Amos Seavey's (1818-1879) stoneware production in Chelsea, Suffolk County, Massachusetts is a long-overdue research project, seeing that he is not even mentioned or listed in Lura Woodside Watkins' (1897-1982) 1950 book Early New England Potters and Their Wares, suggesting that this potter has been overlooked through the years for the industry in neighboring Charlestown, Massachusetts. Seavey's production may have even been completely forgotten for part of the twentieth century, prior to Winterthur Museum in Delaware acquiring an eight-gallon stoneware cooler in 1957 that was manufactured with Seavey's name and place of manufacture on it, which was then published in Donald Blake Webster's 1971 book, Decorated Stoneware Pottery of North America."

According to the Massachusetts Historical Commission Renaissance Town Report for Chelsea from 1980, "Chelsea clay proved valuable both for brick making and pottery. By 1845, 67 men were employed producing $28,500 worth of bricks; Amos Seavey manufactured stoneware."

Interestingly, there was also another stoneware potter who worked in Chelsea named Loammi Kendall; he may have originally trained in Charlestown. Kendall first appears as a potter in Chelsea in the 1830s, where he may have also worked with Seavey. 

Kendall is first documented as a potter in Chelsea in 1837 when he exhibited at The First Exhibition of the Massachusetts Charitable Mechanic Association at Faneuil and Quincy Halls, in the City of Boston, although he ran into some financial problems in the 1840s. But he is thought to have produced stoneware and some red earthenware from the circa 1836-1870s period. Among the objects he displayed at the fair in 1837 were three urn-shaped flowerpots; this may be the same type of urn found on a four-gallon stoneware crock marked “Chelsea” that is decorated with a hand-drawn urn in cobalt and dated “1850.”

Watkins noted in her book, Early New England Potters and Their Wares, "The pottery Kendall erected stood near the present Chelsea Square. Stoneware marked Chelsea or Loammi Kendall represents the potter's output." 

However, as I mentioned yesterday, Watkins does not appear to have been aware of Seavey's production in Chelsea when her book was published, and taking into account that some of the forms marked "Chelsea" are also similar to some of Seavey's production (as is some of the cobalt decorations), then I wonder if both potter's used the "Chelsea" mark. Her information about Kendall came from a first-hand account of the business in the twentieth century, from a man who witnessed Kendall's output as a teenager. But this person made no mention of Seavey's business to Watkins, suggesting at the time that Kendall was the only stoneware business owner in Chelsea in the 1800s. Although, it was from this person that Watkins learned that Kendall produced both stoneware and red earthenware, whereas Seavey may have only been a stoneware potter.

Note: There was also stoneware production in nearby Medford, Massachusetts during this period that not a lot is known about at a company called, T. Sables & Co.

A 19th C. 4-Gallon Stoneware Crock from Chelsea, Mass.

19th Century 4-Gallon Stoneware Crock Marked "Chelsea"

Decorated with an Urn in Cobalt and the Year "1850"

Circa 1850

Made in Chelsea, Massachusetts

See Article for More Information

Photo Courtesy: Royka's

This Example of Chelsea Stoneware is Owned by the Smithsonian

It is Part of Lura Woodside Watkins' Collection

It was Published in The Magazine Antiques in 1957

The Article Said the Crock was Made by Loammi Kendall

The Crock is Marked "Chelsea"

See Article for More Information

Photo Courtesy: National Museum of American History at the Smithsonian Institute

19th Century 4-Gallon Stoneware Crock from Chelsea, Mass.

Stamped "Loammi Kendall / Chelsea"

Circa 1837-1870s

See Article for More Informatin

Photo Courtesy: Bill Turnbull

A View of the Mark "Loammi Kendall / Chelsea"

See Article for More Informatin

Photo Courtesy: Bill Turnbull

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

Amos Seavey's Stoneware Production in Suffolk County, Massachusetts, and a Crock that Sold Last Weekend in York, Maine

The most recognizable examples of nineteenth century stoneware made by Amos Seavey just to the north of Boston in Suffolk County, Massachusetts are likely objects that are displayed at museums today, such as an eight-gallon cobalt decorated cooler with a pair of incised birds perched on a branch that is owned by Winterthur Museum in Delaware; this object was also published in Donald Blake Webster's 1971 book, Decorated Stoneware Pottery of North America. The cooler is marked "Amos Seavey / Chelsea."

Additionally, there is an ornate decorated object owned by the Brooklyn Museum in New York City that is described as an "eighteenth century wine press," which is marked "Amos Seavey Chelsea," although it was actually made in the nineteenth century. The wine press was acquired by the museum from the collection of Arthur W. Clement (1878-1952), who was a collector of early American ceramics and an important donor of pottery to museums, including the Metropolitan Museum of Art in Manhattan and the Brooklyn Museum. Seavey actually displayed the wine press in 1850 at the The Sixth Exhibition of the Massachusetts Charitable Mechanic Association at Faneuil and Quincy Halls, in the City of Boston.

Amos Seavey's Stoneware Production in Suffolk County, Mass.

19th Century 8-Gallon Cobalt Decorated Stoneware Cooler

Made by Amos Seavey in Chelsea, Mass.

Marked "Amos Seavey / Chelsea"

Decorated with a Pair of Incised Birds Perched on a Branch

Circa 1840-1860

See Article for More Information

Photo Courtesy: Winterthur Museum

19th Century Stoneware Wine Press with Ornate Decoration

Made by Amos Seavey in Chelsea, Mass.

Marked "Amos Seavey Chelsea"

Circa 1850

See Article for More Information

Photo Courtesy: Brooklyn Museum

Stoneware Displayed by Seavey in Boston in 1850

The Wine Press was Included with this Group

See Article for More Information

Photo Courtesy:

The Sixth Exhibition of the Massachusetts Charitable Mechanic Association at Faneuil and Quincy Halls, in the City of Boston

Interestingly, I was first introduced to Seavey's production about fifteen to twenty years ago, while visiting a vintage type shop in southern Maine, where I saw a black glazed molded stoneware pitcher. The pitcher was marked on the base "Amos Seavey / Chelsea," and decorated with ornate designs on the exterior, similar to the way the wine press is decorated in the collection of the Brooklyn Museum.

However, I did not know what to make of that object at the time, seeing that I was not familiar with Seavey's name, but I did take a couple of pictures of it for my records. This pitcher showed up years later at Crocker Farm in Sparks, Maryland, whereas Crocker Farm has also sold other related molded stoneware in recent years, also bearing Seavey's name: https://www.crockerfarm.com/stoneware-auction/2015-10-17/lot-12/Very-Rare-Molded-Stoneware-Pitcher-and-Soap-Dish-Pitcher-Marked-AMOS-SEAVEY-CHELSEA/.

This type of production may also be related to a specific type of molded stoneware pitcher published in the 2002 issue of Ceramics in America: https://chipstone.org/article.php/44/Ceramics-in-America-2002/“The-Very-Man-for-the-Hour”:-The-Toussaint-L’Ouverture-Portrait-Pitcher--

19th Century Molded Stoneware Pitcher with Ornate Decoration

See in a Vintage Shop in Maine About 15-20 Years Ago

The Base is Marked Marked "Amos Seavey / Chelsea"

Circa 1840s-1850s

See Article for More Information

The Base of the Pitcher is Impressed "Amos Seavey / Chelsea"

See Article for More Information

Furthermore, what actually got me to write this story today is the result of a nineteenth century cobalt decorated two-gallon stoneware crock that sold last weekend, as part of an estate auction by John McInnis in southern Maine. The contents of that onsite online-only sale came from the 1770 Brigadier General Jotham Moulton House in York, Maine. A number of pieces of nineteenth century stoneware were found inside the house from various manufacturers in New York and New England, including a crock marked "Amos Seavey / Chelsea," embellished with a hand-drawn bird in cobalt perched on a branch. The crock sold for $276 plus the buyer's premium.

Seavey's production is a long-overdue research project, seeing that he is not even mentioned or listed in Lura Woodside Watkins' (1897-1982) 1950 book Early New England Potters and Their Wares, suggesting that this potter has been overlooked through the years for the industry in neighboring Charlestown, Massachusetts. Seavey's production may have even been completely forgotten for part of the twentieth century, prior to Winterthur acquiring the cooler in 1957, where it was then published in Webster's book in 1971.

Based on the information on file with Winterthur, it seems that Seavey worked as a potter during the circa 1840s-1850s period, although it is unclear what happened after that, seeing that he is listed as a carpenter in Chelsea in the 1860 United States Federal Census. 

Amos Seavey (1818-1879) is also listed as dying in Chelsea in 1879, where his profession was still listed as a carpenter, although the death record also notes that he was born in Rye, New Hampshire, where the Seavey family has a long colonial and post-American Revolution history. Seavey's marriage record indicates that he married Eliza Jane Slade Seavey (1820-1912) of Chelsea in 1843, and the couple had four children; Letta (1844-1927), Anna (1847-1871), Royal (1852-1857) and Sarah (1859-1877). 

Perhaps someone reading this will have more information, but I suspect that Seavey likely trained at the potter's industry in Charlestown, possibly learning from the Edmands family, otherwise he learned from another local potter. My feeling is that he may have relocated to Chelsea after the 1840 federal census was taken, where Seavey is listed as a potter in Chelsea in the 1850 federal census alongside three other potters. But I did write about two jugs adorned with eagles made at the Edmands Pottery in Charlestown earlier this year - one of the Edmands eagles is similar in stance to the eagle that Seavey used on the wine press owned by the Brooklyn Museum.

1) An Important 19th Century Stoneware Jug from Charlestown, Mass. that Sold Today at Crocker Farm in Maryland, Among Other Known Important Objects From Charlestown: http://www.earlyamericanceramics.com/2024/04/an-important-19th-century-stoneware-jug.html

2) A Second 19th Century Stoneware Jug with an Incised Eagle from the Barnabas Edmands Pottery in Charlestown, Massachusetts: http://www.earlyamericanceramics.com/2024/04/a-second-19th-century-stoneware-jug.html

Note: There are also various stoneware pieces known today simply marked "Chelsea," where some of those objects were also possibly made by Amos Seavey in the 1840s and 1850s: https://www.crockerfarm.com/stoneware-auction/2024-04-05/lot-262/CHELSEA-Massachusetts-Stoneware-Lidded-Jar-w-Cobalt-Bird-Decoration/. However, there is also some stoneware known that is marked "Loammi Kendall / Chelsea," so it is possible that Seavey may have also been involved with this stoneware production; Kendall also made some/most of the pieces marked "Chelsea," circa 1836-1870s.

A Stoneware Crock that Sold Last Weekend in York, Maine

19th Century 2-Gallon Cobalt Decorated Stoneware Crock

Made by Amos Seavey in Chelsea, Mass.

Marked "Amos Seavey / Chelsea"

Decorated with a Bird Perched on a Branch

Circa 1840-1860

A Similar Style of Bird is Found on Various Types of Stoneware Marked "Chelsea"

See Article for More Information

Photo Courtesy: Winterthur Museum

Amos Seavey Listed with an Occupation of a "Potter" in Chelsea, Mass.

This is From the 1850 United States Federal Census

He is Listed Living Alongside Three Other Potters

Also Noted is that Seavey was Born in N.H.

See Article for More Information

Amos Seavey Listed with an Occupation of a "Carpenter" in Chelsea, Mass.

This is From the 1860 United States Federal Census

Also Noted is that Seavey was Born in N.H.

See Article for More Information

Amos Seavey Listed with an Occupation of a Carpenter in Chelsea, Mass.

This is His Record of Death in 1879

He was Born in Rye, New Hampshire in 1818

His Profession is Still Listed as a Carpenter

See Article for More Information

19th Century 3-Gallon Cobalt Decorated Stoneware Crock

Marked "Chelsea"

Decorated with a Bird Perched on a Branch

Circa 1840s-1860s

See Article for More Information

Photo Courtesy: Tim Auxier

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

Some Great Stoneware Photographs!

I really enjoy seeing old photography from decades ago of objects once owned by prominent collectors, now owned by other prominent collectors and museums, such as the case with these late eighteenth and nineteenth century stoneware objects. A number of these pieces have recently been through Crocker Farm in Maryland or are owned as part of Adam Weitsman's Collection in the New York State Museum in Albany, New York, as well as by other collectors. Nonetheless, all of these objects were once owned by Richard Hume Sr.

Some Great Stoneware Photographs!

All Once Owned Privately by Richard Hume Sr.

See Article for More Information

Photo Courtesy: Richard Hume Sr.

All Once Owned Privately by Richard Hume Sr.

See Article for More Information

Photo Courtesy: Richard Hume Sr.

All Once Owned Privately by Richard Hume Sr.

See Article for More Information

Photo Courtesy: Richard Hume Sr.

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

A 19th Century Red Earthenware Figural Bank of a Monk or a Saint Recently Found in an Estate in Southeastern Pennsylvania

The most prolific selection of banks to ever sell in America is likely the collection of mechanical and still banks sold on Behalf of the F.D.I.C. (formerly from the Seamen's Bank for Savings F.S.B.) at Christies in New York City on March 13, 1991. The Seamen's Savings Bank served people in the maritime industry, especially seamen; it was founded in 1829 and operated until 1990, when it was seized by the U.S. Government for being insolvent and its assets were sold to Chase Bank. The bank was chartered on May 11, 1829, in New York City, as a mutual savings bank for the benefit of seamen and their families. It was one of the oldest savings banks in the country and the first to be established in New York City. The bank had $2.1 billion in assets and 170,000 depositors at the time of its closure.

A number of great red earthenware and stoneware banks from various American manufacturers that were sold as part of the Seaman's sale in Manhattan in 1991 have since been resold at other auction houses, such as perhaps my all-time favorite bank, a nineteenth century Santa Claus figural from Pennsylvania that is privately owned today, although it last sold at Crocker Farm in 2005 for $33,000, including the buyer's premium: https://www.crockerfarm.com/stoneware-auction/2005-05-21/lot-160/Antique-Pennsylvania-Redware-Santa-Claus-Bank/.

Furthermore, every now and again, I am surprised by a figural bank that I have never seen before, such as a green and orange glazed religious example that I recently acquired from an estate sale in southeastern Pennsylvania, whereas I also believe it was made in this part of Pennsylvania in the 1800s. Additionally, I believe there may be more to the story of the monk or priest figure that this object portrays and possibly even the purpose that it was manufactured.

Nevertheless, the first Benedictine monk or priest to live in America was Pierre-Joseph Didier (1763-1823). He came to the United States in 1790 from Paris and served in the Ohio and St. Louis areas until his death in 1823. However, the first actual Benedictine monastery in America was Saint Vincent Archabbey in Latrobe, Westmoreland County, Pennsylvania. It was founded in 1832 by Boniface Wimmer (1809-1887), a German monk, who sought to serve German immigrants in America. In 1856, Wimmer started to lay the foundations for St. John's Abbey in Minnesota. In 1876, Herman Wolfe, of Saint Vincent Archabbey established Belmont Abbey in North Carolina. By the time of his death in 1887, Wimmer had sent Benedictine monks to Kansas, New Jersey, North Carolina, Georgia, Florida, Alabama, Illinois, and Colorado.

Interestingly, there were religious slip-script plates produced in Norwalk, Connecticut in the 1800s, which are probably the most recognizable form of religious red earthenware produced in the United States today, although there is also a plate that was made by John Betts Gregory (1782-1842) in Clinton, New York about 1820 or perhaps earlier that is inscribed with the religious script, "Why Will you Die." The plates that were produced in Norwalk may have a similar meaning in relationship to who this bank's figure represents; according to an article that Richard Miller wrote for the 2016 edition of Ceramics in America, titled, Norwalk (Connecticut) Slip-script Pottery, the Potters, and Related Ware, "Customers of the Asa Edward Smith Pottery (in Norwalk) could order dishes inscribed with the names of saints who served as models for a Christian life."

Note: For more information about this type of religious production in the Mid-Atlantic region and Ontario, Canada - see a feature story I wrote published on pages 42-43 in the April 19, 2024 issue of Antiques And the Arts Weekly, titled, Religious Red Earthenware Tobacco Jars Manufactured In The Mid-Atlantic Region & Waterloo, Ontario, Canada: http://www.earlyamericanceramics.com/2024/04/new-published-feature-story-in-antiques_11.html.

19th Century Red Earthenware Figural Bank of a Monk or a Saint

19th Century Red Earthenware Figural Bank of a Monk or a Saint

Recently Found in an Estate in Southeastern Pennsylvania

Likely Also Made in Southeastern Pennsylvania

Stands 5" Tall

See Article for More Information

Another View of the Bank

See Article for More Information

Another View of the Bank

See Article for More Information

Another View of the Bank

See Article for More Information

A View of the Coin Slot

See Article for More Information

View of the Base

See Article for More Information

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

A Wonderful Example of Pottery Made as a Gift by Hugh Robertson at the Chelsea Keramic Art Works in Chelsea, Massachusetts

Earlier this year, I posted a story to this website, titled, Four 19th Century Earthenware Vases Made at the Chelsea Keramic Arts Works in Massachusetts in 1879 for the John J. Glessner House in Chicago, although I just learned the story of another object that is perhaps even more fascinating, which was also made in Chelsea, Massachusetts in the late nineteenth century.

The history of the Robertson family's pottery production in Massachusetts and California is well-known today, whereas the Robertson family immigrated from Scotland to America (by way of England) in 1853. They arrived  in New Jersey, although by 1866, a family-run business had opened in Chelsea that produced red earthenware flowerpots and vases - some of which were painted green. The flowerpots were not of a generic nature, but were intended for specific flowers like hyacinths and crocuses. However, a decade later, the product focus changed - and the business became known as the Chelsea Keramic Art Works.

The Chelsea Keramic Art Works was the first American ceramics firm to designate itself as an "art pottery." It was founded in Chelsea by members of the Robertson family, all of whom had honed their skills in the ceramics industry in Britain before coming to the United States. Alexander W. Robertson (1829-1906), was a fifth-generation potter and he established the Chelsea Keramic Art Works in 1866. Alexander may have worked alongside his son Fred (1869-1952), as well as his other sons Hugh Robertson (1844-1908) George and James. Hugh was also involved with the Chelsea Pottery U.S. during the circa 1891-1895 period, and then the company's successor, the Dedham Pottery in Dedham, Massachusetts. But once the Chelsea Keramic Art Works closed its doors in 1889, Alexander and Fred relocated west in order to produce pottery in California, beginning in the 1890s.

Interestingly, I learned about this wonderful vase a few days ago that was made for the great-great grandmother of the current owner, who used to sell Hugh Robertson pies in New England in the late 1800s; in exchange one day, he presented her with this object, which still resides in New England, not all that far from Chelsea. The earthenware vase is decorated with two applied birds perched on branches, and possibly influenced by Japanese design.

A Wonderful Example of Pottery Made as a Gift by Hugh Robertson

A Wonderful Example of Pottery Made as a Gift by Hugh Robertson

Made by Hugh Robertson at the Chelsea Keramic Art Works in Chelsea, Mass.

Robertson Made it as a Present for the Woman he Purchased Pies From in the Late 1800s

See Article for More Information

Photo Courtesy: Private Collection

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