DOCSLIB.ORG

A Guide to Historic Ceramics in the Antebellum South by Amy Bower

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Guide to Historic Ceramics in the Antebellum South by Amy Bower A Guide to Historic Ceramics in the Antebellum South Amy Bower 2009 Rhodes Institute for Regional Studies Ceramics play a key role in the analysis of a historic land base under excavation. Historic, as a term, refers to a time after intelligible writing was utilized by a society. This guide focuses on the historic time period of the 18th and 19th centuries in colonial America. Archaeologists and analysts excavating a site that was occupied during these years need to apply a great deal of focus on the ceramic wares they uncover to gather information on the social and economic status of the occupants and calculate an approximate date range for when the site was in use. These facts, among many others, are easily acquired through a basic physical analysis of the excavated ceramics. This guide will primarily address the importance of ceramics for understanding colonial America as a whole, while focusing on the historic land base of the Ames Plantation in West Tennessee as an exemplary excavation site. In addition, a condensed guide for indentifying diverse types of ceramics in America has been included to simplify the analysis process and improve understanding of the various lifestyles of the American people in the 18th and 19th centuries. Ceramic Analysis According to archaeologist James Deetz, “Archaeology is the study of past peoples based on the things they left behind and the ways they left their imprint on the world.”1 Among the most common objects uncovered at excavation sites, 1 ceramics, defined as inorganic, non-metallic materials formed into a pottery type or vessel, are essential for analyzing the society in question.2 Pottery is a specific form of ceramic that is manufactured as a container for a wide array of solid and liquid materials. Pottery was originally designed for transporting, cooking, and storing food and supplies, but it has since developed many productive and decorative uses. These artifacts are all made or modeled from a clay substance and then fired for a more durable finish.3 For most archaeologists, ceramics are a pivotal part, if not the most important aspect, of an archaeological excavation, as they are a highly informative form of material culture that are the most well preserved and easily recovered artifacts. Although pottery vessels are fragile, ceramic is a highly indestructible material. Ceramic breaks easily, but the remaining fragments are greatly unaffected by corrosion and discoloration.4 As pottery preserves well when buried but tends to get broken quickly by those who own and use it, it can be assumed that a piece found buried had not been broken or discarded long after its manufacturing. Thus, to date the ware would give a highly accurate date of occupation for the site. Types of ceramics found in the colonies were determined by four main factors: availability, need, function, and social status. Before the 1700s, American colonists depended on England to acquire ceramic wares. Problems of availability limited the amount of pottery in the colonies until craftsmen and industries began to produce local variations of the wares brought from Europe. Since ceramics are fragile, colonists making the journey to America most likely did not bring many vessels with them in their personal belongings. Trading organizations established 2 between the colonies and Europe therefore made a noticeable difference in which wares were found in homes. If availability was not an issue, a problem that was remedied when local wares were manufactured along with the English imports, the necessity of a particular type of pottery dictated what would be used. Need for a certain type of ware correlates with the function of the object.5 Pottery is fundamentally utilitarian; therefore, it directly illustrates everyday characteristics of the past life in which it was used.6 The individuality and value of various aspects of pottery provides information about many important characteristics of American society including, but not limited to, the social status of those who owned the ceramics, the economic relations of ceramics to food consumption, and the trading and selling of wares in different areas around the country.7 Studying the type of ceramic wares found in a house may provide some insight into the occupant’s social status, as various pottery forms reflect different levels of wealth. Chinese porcelain, for example, was more expensive, imported and traded the farthest, and the most rare of the wares found on American excavation sites. The presence of porcelain would indicate a higher social and economic status, as only the wealthy would be able to afford it. Whiteware, on the other hand, was more readily available and cost less to produce and acquire. Finding only whiteware at a site would suggest that the owner was less affluent than those who owned a significant amount of nicer wares. Though the type of ware found suggests status, finding a substantial amount of variety in the wares could actually imply 3 either a higher or lower status. If there is a wide array of ceramic types, it is possible that the occupant of the site kept their older pottery after acquiring new types, though each type would be found in a large set, displaying a greater sense of wealth. On the other hand, a plantation owner may have given his slaves an assortment of leftover ceramic vessels to use. This would result in a large quantity of pottery, but the lack of uniformity and incomplete ceramic sets would suggest a lower social status. In accordance with determining the social status of the owner, ceramics played a major role in determining the foodways of the people. A term coined by folklorist Jay Anderson, foodways refers to “the whole interrelated system of food conceptualization, procurement, distribution, preservation, preparation, and consumption shared by all members of a particular group.”8 In this way, the type of pottery available determines the food that the owner is capable of producing, and the food available determines the pottery that is sought after. If the foodways in America changed significantly, there would be a noticeable change in the patterns of ceramic use.9 Ceramics were not manufactured in America until European ceramists arrived from England, forcing the colonists to acquire their early pottery by economic means. China and Europe were mass-producing ceramic wares by the 18th and 19th centuries. Wealthier American colonists could purchase quality wares and have them shipped across seas. Less economically fortunate people were, therefore, forced to rely on unskilled local craftsmen to create crude pieces of 4 stoneware until European businesses opened. Those that could not afford to purchase their own wares, slaves and poor farm workers, were often given the left over wares that would otherwise have been discarded by the wealthy. An increase in skilled workers provided higher quality local wares that led to people of lower status having better quality products. This then gave them a better quality of life by improving their foodways and sense of social worth. In addition to ceramics providing information about the social and economic aspects of the people in a society, they can also give archaeologists an idea of when a society was functional. The ability of pottery to easily break, along with its durability in the earth, means that there is a very good chance that any given piece was broken in a relatively short time after it was produced.10 The manufacturing date of most ceramic types can be determined to within five years or less. This may be beneficial to an archaeologist’s analysis because a site can only be dated as early as the earliest deposit uncovered. “Terminus post quem” is the principle of dating artifacts based on the newest object found. For example, a site that does not contain any creamware pottery mostly likely predates the 1770s, since by that time this type of ware had become the most common form of ceramic in both America and England.11 Since the dates of production for many various pottery types are known, it is possible to determine the approximate manufacturing period for any specific ceramic and excavation site where ceramics are found. To do this, archaeologists utilize the Mean Ceramic Date Formula developed by Stanely South of the South 5 Carolina Archaeology and Anthropology Institute. Once an excavation is complete, all of the ceramic fragments should be arranged by type and counted. The organized pottery can be dated by ware type and, therefore, sorted by year of production. After separated and a mean manufacturing date is found for each ware, the midpoint of the period can be determined. For example, if a particular piece of pottery was produced between 1680 and 1720, the mean manufacturing date would be 1700, the year that is halfway between the two dates. Once the mean dates are calculated, they are assigned a level of importance based on the comparative quantity of each ceramic type uncovered at the site. The average of the mean dates can be taken to determine an estimated, but fairly accurate midpoint in the period when the site had been occupied.12 Another way to analyze ceramics is by identifying and dating makers’ marks. A makers’ mark is an identifiable design, usually incorporating the company icon or logo, which designates a specific manufacturer. Makers’ marks are sometimes identified as bottom marks, a reference to the location of most marks on the exterior underside of the vessel. Each mark is unique to the company that produced it (examples page 34-5). Although not all ceramic vessels were marked when they went through the manufacturing process, most that came from mass-producers carry these distinct marks that allow an archaeologist to determine where the pottery came from, establish when it was made, and speculate as to how it arrived at the site where it was uncovered.
Load more

Recommended publications
  • Leeds Pottery
    Leeds Art Library Research Guide Leeds Pottery Our Art Research Guides list some of the most unique and interesting items at Leeds Central Library, including items from our Special Collections, reference materials and books available for loan. Other items are listed in our online catalogues. Call: 0113 378 7017 Email: [email protected] Visit: www.leeds.gov.uk/libraries leedslibraries leedslibraries Pottery in Leeds - a brief introduction Leeds has a long association with pottery production. The 18th and 19th centuries are often regarded as the creative zenith of the industry, with potteries producing many superb quality pieces to rival the country’s finest. The foremost manufacturer in this period was the Leeds Pottery Company, established around 1770 in Hunslet. The company are best known for their creamware made from Cornish clay and given a translucent glaze. Although other potteries in the country made creamware, the Leeds product was of such a high quality that all creamware became popularly known as ‘Leedsware’. The company’s other products included blackware and drabware. The Leeds Pottery was perhaps the largest pottery in Yorkshire. In the early 1800s it used over 9000 tonnes of coal a year and exported to places such as Russia and Brazil. Business suffered in the later 1800s due to increased competition and the company closed in 1881. Production was restarted in 1888 by a ‘revivalist’ company which used old Leeds Pottery designs and labelled their products ‘Leeds Pottery’. The revivalist company closed in 1957. Another key manufacturer was Burmantofts Pottery, established around 1845 in the Burmantofts district of Leeds.
    [Show full text]
  • Philippa H Deeley Ltd Catalogue 17 Oct 2015
    Philippa H Deeley Ltd Catalogue 17 Oct 2015 1 A Pinxton porcelain teapot decorated in gilt with yellow cartouches with gilt decoration and hand hand painted landscapes of castle ruins within a painted botanical studies of pink roses, numbered square border, unmarked, pattern number 300, 3824 in gilt, and three other porcelain teacups and illustrated in Michael Bertould and Philip Miller's saucers from the same factory; Etruscan shape 'An Anthology of British Teapots', page 184, plate with serpent handle, hand painted with pink roses 1102, 17.5cm high x 26cm across - Part of a and gilt decoration, the saucer numbered 3785 in private owner collection £80.00 - £120.00 gilt, old English shape, decorated in cobalt blue 2 A Pinxton porcelain teacup and saucer, each with hand painted panels depicting birds with floral decorated with floral sprigs and hand painted gilt decoration and borders, numbered 4037 in gilt landscapes with in ornate gilt surround, unmarked, and second bell shape, decorated with a cobalt pattern no. 221, teacup 6cm high, saucer 14.7cm blue ground, gilt detail and hand painted diameter - Part of a private owner collection £30.00 landscape panels - Part of a private owner - £40.00 collection £20.00 - £30.00 3 A porcelain teapot and cream jug, possibly by 8A Three volumes by Michael Berthoud FRICS FSVA: Ridgway, with ornate gilding, cobalt blue body and 'H & R Daniel 1822-1846', 'A Copendium of British cartouches containing hand painted floral sparys, Teacups' and 'An Anthology of British Teapots' co 26cm long, 15cm high -
    [Show full text]
  • DAACS Cataloging Manual: Ceramics
    DAACS Cataloging Manual: Ceramics by Jennifer Aultman, Nick Bon-Harper, Leslie Cooper, Jillian Galle, Kate Grillo, and Karen Smith OCTOBER 2003 LAST UPDATED OCTOBER 2014 INTRODUCTION .......................................................................................................... 6 1. CERAMIC ARTIFACT ENTRY ...................................................................................... 7 1.1 COUNT ......................................................................................................................... 7 1.2 WARE .......................................................................................................................... 8 1.3 MATERIAL ..................................................................................................................... 8 1.4 MANUFACTURING TECHNIQUE .......................................................................................... 9 1.5 VESSEL CATEGORY .......................................................................................................... 9 1.6 FORM ......................................................................................................................... 10 1.6.1 Teaware ............................................................................................................ 10 1.6.2 Tableware ......................................................................................................... 11 1.6.3 Utilitarian .........................................................................................................
    [Show full text]
  • CREAMWARE: ITS ORIGINS and DEVELOPMENT by Pat Halfpenny
    CREAMWARE: ITS ORIGINS AND DEVELOPMENT by Pat Halfpenny Keeper of Centimes, City Museum & Art Gallery, Hanley, Stoke-on-Trent Crcamwarc, cream coloured earthenware, Queen’s Figure l. Interior of creamware bowl with underglazc painted decoration inscribed ‘W G’ and ‘1743’, possibly made to ware — are all names for a species of pottery made commemorate the Battle of Dettingen in June 1743, tenta­ from clays, which, when fired, burn to a white tively attributed to Enoch Booth, made in Staffordshire 1743, colour. The pots may be made by throwing on a this example and the bowl in the British Museum represent wheel or by the use of moulds, they are dried and the earliest recorded dated creaimvare. Diameter 2S5 mm. then fired to about 1100-1150°C. When removed City Museum Art Gallery, Stoke-on-Trent 117.P. 19S9. from the oven the pots are white, brittle and porous rather like a biscuit or cookie — hence once fired, cream, ranging from a deep butter colour to a pale unglazed ware is known as - biscuit. At this stage the primrose. The story of creamware is the story of the piece may be decorated or left plain, it then receives struggle to remove the iron contamination achieving a glaze and is fired in an oven at a lower temperature a clear untinted glaze thus producing white ware. of about 1050-1100°C. The first published reference to creamware is that The main ingredient of the glaze is lead, a well found in A Description of the Cotintr}' front Thirty to known glass forming material.
    [Show full text]
  • Deaccessioned Objects from the Permanent Collection in Fiscal Year2016
    WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 Tancrède Abraham Le Barrage de l'Etang ~ du ~ Merle, 19th century engraving on cream laid paper plate: 24.8 × 16.9 cm (9 3/4 × 6 5/8 in.) sheet: 28.2 × 19.2 cm (11 1/8 × 7 9/16 in.) 1941.18.2 Admiralty Islands Comb, 1940s to 1960s wood with red paint 24.8 cm (9 3/4 in.) 2004.151 Charles Avery Aiken Rhododendrons by the Roadside, early 20th century color plaster block print on cream laid Strathmore paper mounted on board image: 35.3 × 25.2 cm (13 7/8 × 9 15/16 in.) sheet: 48.2 × 31.7 cm (19 × 12 1/2 in.) mount: 56 × 45.6 cm (22 1/16 × 17 15/16 in.) 1927.35 Charles Avery Aiken The Oldest House, early 20th century black plaster block print on cream laid paper mounted on board image: 26.5 × 36 cm (10 7/16 × 14 3/16 in.) sheet: 31.8 × 48.4 cm (12 1/2 × 19 1/16 in.) mount: 45.6 × 56 cm (17 15/16 × 22 1/16 in.) 1927.36 Print Date: 11/28/2016 Page 1 of 220 WORCESTER ART MUSEUM 55 Salisbury Street Worcester, MA 01609 Deaccessioned Objects from the Permanent Collection in Fiscal Year2016 James Baylis Allen Gallery of the Louvre, 19th century offset lithograph on cream wove paper image: 11.7 × 8.6 cm (4 5/8 × 3 3/8 in.) sheet: 13.4 × 9.8 cm (5 1/4 × 3 7/8 in.) 1941.17.125 James Baylis Allen St.
    [Show full text]
  • Early 19Th to Mid-20Th Century Ceramics in Texas
    Early 19th to Mid 20th Century Ceramics in Texas Becky Shelton, TASN Training Fort Worth, July 18th 2015 Adapted from: Sandra and Johnney Pollan and John Clark Texas Archeological Stewardship Network 2006 Workshop Presentations Ceramics generally fall into two categories: High temperatures Low temperatures Vitreous Nonvitreous 1. Stoneware Earthenware 2. Porcelain 1. Creamware 2. Pearlware 3. Whiteware 4. Red earthenware OET Porcelain Compact and grainy in cross-section with glassy edges. Used all decorating techniques to make decorative as well as useful wares. England developed two kinds of porcelain – hard-paste and soft-paste. Soft-paste porcelain is fritted with crushed glass. Bone China, or bone ash porcelain (fritted with glass and animal bone ash), became the standard English porcelain body throughout the 19th Century. It is more translucent than hard-paste porcelain. Its broken edges will discolor, and the overglaze decoration often wears away with use. Soft-paste porcelain: very Bone China: ivory, white, vitreous vitreous Earthenware • Fired at low temperatures • Coarse, porous clay bodies • Non-vitreous; require interior surface coating to prevent leakage • Opaque body; transmits no light • Includes “red wares, yellow wares, and white wares” Earthenware-Red • Coarse, porous body that is fragile and must be glazed to prevent leakage. • Pinkish buff to red to brown body • Wheel-thrown and drape-molded most common • Pre-1830: bulbous, ovoid shapes • Post-1830: Straight-sided cylindrical vessels • Decor: Slip-trailing, Manganese glaze, and simple Lead glaze Earthenware-Red, cont. Tooling marks Manganese glaze mostly pre-1850 Slip-trailed and coggled pie plate Milk pan with simple interior glaze Majolica - Early 20th Century Earthenware - Yellow • Coarse, porous body that is finer and more durable than redware, but less vitreous than stoneware.
    [Show full text]
  • Polka Dot Antiques
    S-10 — Antiques and The Arts Weekly — January 10, 2020 SPECIAL SHOW The New York Antique Ceramics Fair • January -, SECTION The Bohemian National Hall, East rd St., rd Floor, NYC The New York Antique Ceramics Fair Returns January 23-26 NEW YORK CITY — The New York Antique Ceramics Fair, a New York exclusive boutique antiques exhibition and sales event of the year, will be conducted Thursday through Sunday, January 23-26 at the Bohemian National Hall. MARIA & PETER WARREN ANTIQUES, Monroe, Conn. Previously known as the New York Ceramics — A pair of English Staffordshire Disraeli spaniels, circa and Glass Fair, the show was rebranded in 1860. January 2019 to focus on antique ceramics. The Bohemian National Hall, at 321 East 73rd Street on the Upper East Side, is a short walk or cab ride from The Art, Design and Antiques Show, The Winter Show, Sotheby’s and Chris- tie’s, and the many events and exhibitions of Winter Antiques Week. Admission to the fair is complimentary. The small, beautifully appointed set of rooms at the Bohemia National Hall, provides the opportunity for collectors, curators, dec- orators and those who love fine objects a shopping experience unique to the city, with the finest material available in an intimate and elegant, yet laid back, setting. Top col- CIRCA1775, Wallingford, Penn. — A Wedgwood jasper circa 1790, lectors and designers, as well as representa- likely of the form presented to the tives from the Metropolitan Museum, Winter- Qianlong emperor of China in thur Museum, The Chipstone Foundation, 1793. The reaction by the Chinese and Colonial Williamsburg were sighted at court: “All eyes were fixed on the the 2019 fair, where sales were brisk.
    [Show full text]
  • John Bartlam's Porcelain at Cain Hoy, 1765-1770 Stanley South University of South Carolina - Columbia, [email protected]
    University of South Carolina Scholar Commons Archaeology and Anthropology, South Carolina Faculty & Staff ubP lications Institute of 2007 John Bartlam's Porcelain at Cain Hoy, 1765-1770 Stanley South University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/sciaa_staffpub Part of the Anthropology Commons Publication Info Published in Ceramics in America 2007, ed. Robert Hunter, 2007, pages 196-202. http://www.chipstone.org/ © 2007 by the Chipstone Foundation This Book Chapter is brought to you by the Archaeology and Anthropology, South Carolina Institute of at Scholar Commons. It has been accepted for inclusion in Faculty & Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Industry;' in Ceramics inAmerica, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2004.), pp. 60--77- 4. Stanley South, John Bartlam: Staffordshire in Carolina, South Carolina Institute of Archaeology and Anthropology Research Manuscript Series 23I (Columbia: University of South Carolina, W04); Bradford L. Rauschenberg, "John Bartlam, Who Established 'new Pottworks in South Carolina' and Became the First Successful Creamware Potter in America;' Journal ofEarly Southern Decorative Arts I7, no. 2 (I99I): I-66. 5. Stanley South, The Search for John Bartiam at Cain Hoy: American's First Creamware Potter, South Carolina Institute of Archaeology and Anthropology Research Manuscript Series 2I9 (Columbia: University of South Carolina, 1993). 6. South,fohn Bartlam, pp. 27-30. 7. Ibid., p. 157· • 8. Alfred Coxe Prime, comp., TheArts and Craft; in Philadelphia, Maryland and South Caro­ lina, I72I-I78S: Gleanings frrim Newspapers ([Topsfield, Mass.]: Walpole Society, I929), p.
    [Show full text]
  • BRITISH and EUROPEAN CERAMICS and GLASS | Knightsbridge, London | Monday 2 November 2015 22841
    BRITISH AND EUROPEAN CERAMICS AND GLASS Monday 2 November 2015 Knightsbridge, London BRITISH AND EUROPEAN CERAMICS GLASS | Knightsbridge, London Monday 2 November 2015 22841 BRITISH AND EUROPEAN CERAMICS AND GLASS Monday 2 November 2015 at 10.30am and 2.30pm Knightsbridge, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 30 October +44 (0) 20 7447 7447 Glass Monday to Friday 8.30am to 6pm 9am – 4.30pm +44 (0) 20 7447 7401 fax John Sandon +44 (0) 20 7447 7447 Saturday 31 October To bid via the internet please +44 (0) 20 7468 8244 11am – 3pm visit bonhams.com [email protected] Please see page 2 for bidder Sunday 1 November information including after-sale 11am – 3pm Please note that telephone British Ceramics collection and shipment bidding is only available on Fergus Gambon SALE NUMBER lots with the low estimate in +44 (0) 20 7468 8245 IMPORTANT INFORMATION 22841 excess of £500. Bids should be [email protected] The United States Government submitted no later than 4pm on has banned the import of ivory CATALOGUE the day prior to the sale. New European Ceramics into the USA. Lots containing £25.00 bidders must also provide proof Sophie von der Goltz ivory are indicated by the symbol of identity when submitting bids. +44 (0) 20 7468 8349 Ф printed beside the lot number Failure to do this may result in [email protected] in this catalogue. your bid not being processed. General Enquiries LIVE ONLINE BIDDING IS [email protected] AVAILABLE FOR THIS SALE [email protected] Please email [email protected] with ‘live bidding’ in the subject line 48 hours before the auction to register for this service Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No.
    [Show full text]
  • Technological Aspects of an Early 19Th C. English and French White Earthenware Assemblage from Bern (Switzerland)
    Periodico di Mineralogia (2015), Special Issue, 84, 1, 139-168 DOI: 10.2451/2015PM0009 An International Journal of PERIODICO di MINERALOGIA MINERALOGY, CRYSTALLOGRAPHY, GEOCHEMISTRY, established in 1930 ORE DEPOSITS, PETROLOGY, VOLCANOLOGY and applied topics on Environment, Archaeometry and Cultural Heritage Technological aspects of an early 19th c. English and French white earthenware assemblage from Bern (Switzerland) Marino Maggetti1,*, Andreas Heege2 and Vincent Serneels1 1 Department of Geosciences, Geology, Ch. du Musée 6, CH-1700 Fribourg, Switzerland 2 Im Roetel 3, CH-6300 Zug, Switzerland * Corresponding author: [email protected] Abstract Ceramic material from the Brunngasshalde town-waste-dump of Berne, the capital of Switzerland (infilling 1787-1832) encompasses 1% white earthenwares with impressed stamps of English, French and Swiss manufactures. All stamped English (WEDGWOOD, n = 3) and French (CREIL, n = 2; NIDERVILLER n = 1) material was analyzed by XRF, XRD, SEM-BSE and SEM-EDS. The Wedgwood pottery is rich in coarse SiO2 grains, interpreted as crushed flint fragments, with abundant signs of a high temperature treatment. They lay in a finely grained siliceous-aluminous matrix, in one specimen together with grog. The Creil material is very similar, but lacks grog. The English white earthenware differs chemically from Creil in its SiO2, K2O and Ba. Both bodies must be classified as siliceous-aluminous white earthenware. The CaO-rich (17 wt%) Niderviller fragment pertains to the calcareous white earthenware group. A comparison with 19 already published calcareous bodies from Lorraine shows similarities (grains of crushed sand or quartz pebbles and lead frit in a siliceous aluminous matrix), but its chemical composition differs from the published analysis of an object stylistically attributed to Niderviller.
    [Show full text]
  • A Comment on Alkaline Glazed Stoneware Stanley South University of South Carolina - Columbia, [email protected]
    University of South Carolina Scholar Commons Archaeology and Anthropology, South Carolina Faculty & Staff ubP lications Institute of 8-1971 A Comment on Alkaline Glazed Stoneware Stanley South University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/sciaa_staffpub Part of the Anthropology Commons Publication Info Published in The Conference on Historic Site Archaeology Papers 1970, Volume 5, 1971, pages 171-185. http://www.cas.sc.edu/sciaa/ © 1971 by The outhS Carolina Institute of Archaeology and Anthropology This Article is brought to you by the Archaeology and Anthropology, South Carolina Institute of at Scholar Commons. It has been accepted for inclusion in Faculty & Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. , 12 , A COMMENT ON ALKALINE GLAZED STONEWARE Stanley South , Nineteenth century historic sites in the South often have fragments , of alkaline glazed stoneware present along with the better known European and American ceramics. With the appearance of Dr. Greer's article, those of us working on historic sites now have a much clearer picture of this , southern made stoneware. which is characterized by its hardness and glossy glaze. Since, as Dr. Greer has pointed out, South Carolina is a possible area of introduction of this type stoneware into America, those of us work­ ing on historic sites in this state are faced with a fascinating research , challenge in the years to come in working out a greater understanding of this ware in time and space. This comment is designed to present an out­ line of some of the areas of exploration that must be pursued by those of , us involved with nineteenth century ceramics (South 1970b: 3).
    [Show full text]
  • Stoneware, About 1740S (Height 252 Mrn) About Two-Fifths Actual Slze
    Cover iiEustrutiun Two fine eanhenware coffee-pots. Contents The left-hand one is creamware painted with enamels; Melbourne, Derbyshire, about 1770. The other is colour-glazed ware, slip-cast 1. INTRODUCTION 5 as a cauliflower, Staffordshire or Yorkshire, about 1760s. Both about two-fifths actual size. 2. LOCAL EARTHENWARES 7 (Photograph: Northampton Museum.) Illwrration on rille page 3. SLIPWARE 15 - Bear of Nott~nghamstoneware, about 1740s (height 252 mrn) About two-fifths actual slze. 4. DELFT 25 - (Photograph: Nonhampton Museum.) 5. STONEWARE 33 6. FINE EARTHENWARES 41 - 7. CREAMWARE 47 - 8. PORCELAIN 53 9. AN EARLY EIGHTEENTH-CENTURY PIT GROUP 51 10. FURTHER READING 60 11. MUSEUMS 62 INDEX 63 Published by SHIRE PtJBLICAnONS LTD Cromwell House, Church Street. Princes Risborough. Aylesbury. Bucks. WP17 9AJ, UK. Series Editor: James Dyer Copyright Jo Draper, 1984 All nghts resewed No pan oith~s publication may be reproduced or transmitted in any form or by any means. electron~cor mechanical. includtng photocopy, recording, or any information storage and rerrieva! svstem, without perrn~ssionin wiring from the publishers. First published I984 Set in 11 paint Times and printed in Great Britain by C. I. rhomas R. Sons (Haverfordwest) Ltd. Press Buildings. Merlins Bridge. Havedordwest. Dyfcd. 6 Posr- Medieval Porierv century. of creamware, which was exported and prized all over Europe and beyond, as the best reasonably priced pottery of the period. Britain had been a backwater for ceramic production. Local earthenwares British ceramics were influenced by conrinen tal developments and seldom achieved the quality of, for example, tin-glazed Archaeofogically local earthenwares are often called coarse- earthenware produced in Europe.
    [Show full text]