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Stoneware is described in Webster’s Dictionary as “an opaque pottery
that is fired at a high temperature, non porous, that may be glazed
and that is commonly made from a single clay.” Stoneware was produced
primarily in the 18th and 19th centuries in this
country as a utilitarian household necessity. We like to define it as
19th century “Tupperware”. Basic uses were for storage of
dried corn and grains, cooking fats and oils and salts and seasonings.
They were also used for preservation of foods in pickling and brines.
Smaller stoneware pieces such as pitchers, milkpans and mugs were used
for serving meals and drink. In any case, you could find stoneware in
abundance in any 19th century American household.
Around 1750, we see the first stoneware production in this country. It
began in the larger settled coastal areas of
New York City
and Boston. The European Old World influence can be seen in these
first potteries. This stoneware is identified by classic ovoid shapes,
open applied handles and overall crude appearance compared to later
American Pottery. Some of the first factory names were Crolius, Remmey,
and Morgan in NY and Fenton and Carpenter in Boston. The decoration
was primarily fine line incised abstract floral and bird designs. They
were usually further enhanced or accented with a blue cobalt wash
before firing. Little has survived from these early potteries. Today
as a collector, expect to pay premium prices of $1000 and up for good
signed examples of this early decorated stoneware.
As
we approach the middle of the 19th century, there is
tremendous growth in this cottage industry. The development of the US
river and canal systems makes for easy transportation of raw material
and finished goods throughout the Northeast. Literally 100’s of these
wood fired pottery kilns begin production to service the demand of the
burgeoning population. They varied in size from one and two man
operations to large factories with as many as 50 employees.
This is when decorated stoneware really became Americanized. Straight
sided crocks and jugs were the standard shape in the industry. Since
product lines were now so similar, decoration became an important
selling point in a very competitive industry. The type of decorating
technique also changed as this time. The painstaking detailed incised
lines and cobalt wash decoration gave way to the less time consuming
method of applied cobalt blue. Cobalt blue was used as it could
withstand the high firing temperature of a stoneware kiln. Salt was
thrown in during the firing and vaporized at this high temperature and
created a shiny glaze. Hence, the name to this collecting field – BLUE
DECORATED, SALT-GLAZED STONEWARE.
Stoneware became a medium for unsophisticated folk design. The unfired
clay crocks and jugs provided a large “canvas” for these new itinerant
imaginative artists. As we said, now the design was an integral part
of selling stoneware. Some factories could be recognized by their
trademark designs.
The paddletail and running birds are associated with the Whites Utica
NY Factory. The peacock on a stump and reclining deer designs has long
been associated with the Norton Factory in
Bennington,
Vermont. Also their distinctive bird and stylized floral dotted spray
are signature to this large Vermont pottery. The long running pottery
in
Fort Edward,
NY was known for their robin style bird on a plume design and
bull’s-eye abstract floral. The highly prized pottery from the
Rochester,
NY factories include artfully executed flowers, birds and animals. The
factory names to look for are Burger, Harrington, Stetzenmeyer and
Clark. In Pennsylvania and Maryland, the rolling flower and vine
designs are prevalent from the Remmy and Bell factories. In the
Midwest later factories in Red Wing Minnesota and Monmouth, Illinois
provided pieces with stylized gallon designations and leaf designs
that are highly prized today.
Unfortunately for this industry as a whole, refrigeration, glass and
tin cans were its demise. Most factories had closed by the turn of the
century due to the lack of demand. A few exceptions like Whites Utica
Pottery and Robinson Clay factory in Ohio continued in business. They
began making molded souvenir stoneware to compete with the Flemish
ware from Europe. These factories finally succumbed in the early 20th
century.
Today, interest in decorated stoneware as Americana is very high. The
present collector has found it’s decorative and display appeal in any
setting from country to modern. When you consider the many forms,
factories and designs, the collecting themes are endless. We have
summarized some tips and definitions to assist in your collecting
endeavors. Also, we may by able to give you a better understanding of
what to look for in decorated stoneware.
Stoneware was produced throughout the US and many collectors choose to
concentrate on a specific region. Signed examples and signature
attributed designs from a locale is a theme used by many people. Other
collectors seek obscure 1 or 2 year marks or early factories. The
Norton Factory in Bennington, VT, Cowden & Wilcox in Harrisburg, PA,
and John Burger in Rochester, NY produced some of the most dynamic and
imaginative art work. These “Cadillac’s” of the industry are
synonymous with stoneware and the theme of many great collections
today.
Form and size are another consideration. As an example, collectors can
choose pitchers as a theme and line an open cupboard with many varied
examples. Larger open crocks can accent a wall in a family room. Small
jars and mugs can hold kitchen utensils or desk accessories. Large
pieces are used in entrances for umbrellas and boots. Space
constraints might make you look to miniatures, or small sizes as an
alternative. Some other common forms to complete your collection are
spittoons, inkwells, footwarmers, batterpails, and bottles.
Early vendors, grocers and liquor dealers saw the potential in
stoneware for advertising their business. They commissioned potters to
imprint or script their name and wares across the front of the jugs
and crocks. Today’s collector looks for these as a theme to expand
their regional interests.
There are basically four methods that were used to decorate stoneware.
Incised and then blue accented lines were the first method. Impressed
into the wet clay were vines, florals and abstract bird designs.
Occasionally more elaborate fish, serpents, and sailing ships were
done. The more ambitious designs obviously the more expensive. One of
a kind, dated, special order or commemorative designs that are highly
detailed can go well into the tens of thousands of dollars today.
This time consuming deliberate decorating gave way to the faster
applied methods. The first is brush application. A small paint brush
was dipped into the cobalt blue and then painted designs were applied
to the clay “canvas”. Generally, these designs consist primarily of
abstract flowers, vines and number gallon capacity. Most are
repetitive and hastily done, but complex people, animal and houses
have been done using this method. This was the most common decorating
tool in the mid 19th century heyday of the industry.
A
slower but more precise method was the slip trail method. Much like
squeeze cake decorating, deliberate lines were applied to the clay to
create the designs. This is probably the most sought after artwork, as
the designs are imaginative and distinct in many themes.
Unsophisticated, self taught artists created repetitive signature
trademark designs to large freehand folk painting on clay. Prices run
the gamut. Common wreath, flowers and birds are priced in the hundreds
to the low thousands of dollars. ON the other end of the scale are one
of a kind special orders, animals, people, patriotic motifs and
presentation pieces. Today, prices approach $100,000 for these rare
American Folk Art masterpieces.
Remember stoneware was not originally intended as elegant expensive
objects created for beauty and display. They were utilitarian goods
meant to be used as well as admired. Therefore, minor flaws like rim
chips, hairlines and stains have to be accepted or your selection will
be limited. Cosmetic restoration may be necessary if the damage is too
distractive or severe. The extent of these conditions are part of
determining price on each individual piece.
Lastly and the most important thing is buy from reputable dealers and
auctions that stand behind their sales. Rely on knowledgeable sellers
that guarantee authenticity, age, and condition. Buy what you like and
the best you can afford. We have been selling decorated stoneware for
over 25 years. Feel free to contact us at
P.O. Box 434
Clarence, NY or email us at
waasdorp@antiques-stoneware.com. We would be
happy to hear from you.
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