Quick & Dirty Field Guide to Historic Artifacts

Millersville University Archaeology 2011

TABLE OF CONTENTS
COARSE EARTHENWARES Redware Agate Ware Philly Slip Moravian Slipware English Staffordshire Slipware North Devon Slipware, Sgraffito Jackfield-Type Ware REFINED EARTHENWARES Creamware Pearlware Transitional Whiteware Whiteware Ironstone Whieldon Ware Yellow Ware American Rockingham Ware DECORATION STYLES Hand-Painted, Blue on White Hand-Painted, Polychrome Transfer Printed Shell-Edged Sponged/Spattered Flow Blue Annular Wares Banded Dendritic Mocha Speckled SlipField Marbleized Cabled TIN-GLAZED REFINED EARTHENWARES French Faience Saint Cloud Polychrome Seine Polychrome Rouen (Brn), Plain Rouen (Brn), Polychrome Provence Blue on White Normandy, Plain Normandy, Blue on White Brittany Blue on White Delftware Plain Delftware Delftware, Blue on White 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 18 18 19 19 19 20 20 21 21 22 Delftware, Polychrome Delftware, Sponged STONEWARES German Brown Rhenish Stoneware Westerwald Stoneware English Fulham-Type Brown Salt-Glazed Stoneware English Brown Stoneware Nottingham Stoneware Elers-Type Stoneware Black Basalt Stoneware White Salt-Glazed Stoneware Scratch Blue Stoneware Debased Scratch Blue Stoneware American Stoneware PORCELAIN Chinese Dehua White Ching Blue on White Chinese Imari Ching Polychrome Overglaze Brown Porcelain Powder Blue Porcelain Polychrome Chinese English English Soft Paste Bone China Borderware Vessel Forms Bottle Anatomy Dutch and French Bottles Hand-Blown Bottle Seriation Dutch Gin Case Bottles Nails Pipes and Pipestems Lead Bale Seals Gun Flints Gun Parts Coins Glossary 33 34

35 36

37 38 39 40 41 42 43 44 45

46 47 48 49 50 51 52 53 54 55 56-62 63 64 64-65 66 67 68 69 69 70 70-73 74-77

23 24 25 26 27 28 29 30 31 32

COARSE EARTHENWARES
REDWARE

Body Profile

Various Redwares

Dark Brown Manganese Glazed Redware

Base Ceramic Type: Origin: Common Types: Vessel Forms:

Redware North America, Europe Manganese Glazed, Clear Lead Glazed

Category: Date Range:

Coarse Earthenware 1500-Present

BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT Red to red-orange

Body Color:

Glaze Color:

Dark manganese glaze; light manganese; clear lead glaze Note: The glaze if present is usually on the interior of the vessel, although both side may glazed.

Body Type:

Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery.

4 AGATE WARE

Agate Ware Agate Ware body with swirled red and white clay

Base Ceramic Type: Origin: Vessel Forms: Body Color:

Agate Ware England

Category: Date Range:

Coarse Earthenware 1740-1775

BOWL, DOOR KNOB, HANDLE, PLATE, PLATTER, TEA POT Paste consists of multiple colors, usually red and white colored clays mixed together to create veins seen both inside and out. Paste is relatively hard, and thin. Clear lead glaze, making the surface appear swirled with light and dark browns. The rim may be decorated with a yellow band incised with roulette impressions. Versions with a yellow decorated band were common in the third quarter of the eighteenth century. There was a revival of agate wares used as doorknobs in the late nineteenth century.

Glaze Color: Decoration Styles: Comments:

Sources:

Noel Hume 1969, South 1977

5 SLIPWARE, PHILLY SLIP SLIP-TRAILED REDWARE

Looped Decoration Philadelphia Slipware

Striped Decoration Philadelphia Slipware

Wavy Striped Philadelphia Slipware

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles: Redware North America Philadelphia Slipware BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT Red to red-orange The interior surface is covered with a clear lead glaze. Decoration is applied by slip-trailing in white, and is simple and geometric. Designs include broad bands, stripes, loops and lobes. Category: Date Range: Coarse Earthenware 1750-1820

Body Type:

Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery.

Comments:

Simple, slip-trailed redware vessels were produced at several locations in the Anglo-American colonies after 1750, initially by German potters who emigrated to Pennsylvania, New England and North Carolina. The simple geometric band and loop decoration on utilitarian forms is often referred to as "Philadelphia style", although as noted such wares were made in a number of centers in Eastern North America. The are most common from the third quarter of the eighteenth century into the first decades of the nineteenth century. Bower 1985; Magid and Means 2003

Sources:

6 SLIPWARE, MORAVIAN

Banded Moravian Slipware

Squiggled White, Brown and Green Moravian

Green Floral Moravian Slipware

Base Ceramic Type: Origin: Redware Category: COARSE EARTHENWARE

UNITED STATES

Date Range:

1750-1825

Common Types:

Moravian Slipware BOTTLE, BOWL, CANDLE HOLDER, CHAMBER POT, CUP, JAR, JUG, MUG, PAN, PITCHER, PLATE, POT, SAUCER, TEA POT Varies in color from light red or orange, and less commonly, buff and yellow. Clear lead glaze over the white slip decoration. Slip decoration could be trailed, marbled, overall slip washed, banded or sgraffito, using combinations of white, yellow, light brown, dark brown and green. Green decoration was usually applied over a base of white slip. Designs include a wide variety of floral and zoomorphic motifs, as well as inscriptions, dates, and abstract designs consisting of bands, stripes, squiggles, scrolls, dots and lobes. Interiors of many hollow forms were covered in a white slip wash before decoration.

Vessel Forms: Body Color: Glaze Color:

Decoration Styles:

Comments:

Moravian slip-decorated wares are distinct from English Staffordshire slipwares in their red-colored paste, their motifs, and their use of green decoration and highlighting. They were produced by German potters who settled in North Carolina and Pennsylvania in the 18th century, and the vessels exported widely in Eastern American by the late 18th century. For a more specific chronology of decorative categories, see South (2004).

Sources:

Bivins 1972; South 2004

7 SLIPWARE, STAFFORDSHIRE-TYPE, ENGLISH

Combed Trailed Staffordshire w/ Crimped Rim Combed Trailed Staffordshire w/ Crimped Rim

Dotted Staffordshire
Base Ceramic Type: Origin: Common Types: Staffordshire Slipware ENGLAND Trailed, Dotted, Combed

Dotted, Trailed & Combed Staffordshire

Category: Date Range: COARSE EARTHENWARE 1675-1770

Vessel Forms: Body Color:

BOWL, CANDLE HOLDER, CHAMBER POT, CUP, MUG, PITCHER, PLATE, PLATTER, POSSET, CUP

Buff or tan in color, often with visible mineral tempering.

Glaze Color:

A clear lead glaze is applied over the slip decoration, giving the pottery its characteristic yellow and brown appearance.

Decoration Styles:

Surface is covered with white and/or brown slip, and decorated in a variety of ways. Decoration methods include trailing slip designs, jewelling (placing dots of slip on bands of contrasting color); combing, marbling (joggling), and impressed designs. Platters are usually decorated only in one side, and typically have a crimped (piecrust) lip. This yellow and brown slipware is associated with Staffordshire; however it was produced in several centers in England. It was made in a wide variety of both utilitarian and tableware forms. Vessels can be either wheel-thrown or bat molded. http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm; Erikson and Hunter 2001; Grigsby 1993; Noel Hume 1970, 2001

Comments: Sources:

8 NORTH DEVON SLIPWARE, SGRAFFITO

Incised Sgraffito

Incised Sgraffito with Various Designs Incised Zoomorphic Sgraffito

Base Ceramic Type: Origin: Category: Date Range:

Sgraffito Slipware ENGLAND Incised BOWL, CANDLE HOLDER, JUG, MUG, PITCHER, PLATE

COARSE EARTHENWARE 1650-1740

Common Types: Vessel Forms: Body Color: Glaze Color:

Red to light reddish-brown in color. Many examples have a thin grey core. A lead glaze covered the slipped surface, giving a yellow color to the slip.

Decoration Styles:

Vessels are covered with a thin layer of slip, and patterns were incised through the slip to reveal the red body below. Designs include, birds, animals, portraits, letters, naturalistic scenes, geometric, and floral patterns

Comments:

This incised slipware variety was probably produced in the North Devon area of England. Although common on 17th century English sites, it is rare on Spanish colonial sites.

Sources:

Grant 1983; Noel Hume 1970; Outlaw 2002

9 JACKFIELD-TYPE WARE

Various Examples of Jackfield

Base Ceramic Type: Category: Origin: Date Range: Common Types: JACKFIELD-TYPE WARE LEAD GLAZED COARSE EARTHENWARE ENGLAND 1740-1790 Plain, Hand Painted

Vessel Forms: Body Color: Glaze Color: Decoration Styles: Body Type:

CUP, PITCHER, SAUCER, TEA POT Very hard, dark purple to dark reddish-grey paste. Deep, shiny, lustrous (often almost metallic-appearing) black glaze on interior and exterior. Decorated Jackfield wares can have oil gilded or enamel floral or foliate designs, or be decorated with slip designs in sprigs, bands or lines. Thin-walled vessels. Jackfield production is historically associated with the town of Jackfield in Shropshire, however it was also commonly produced in Staffordshire by potters like Thomas Whieldon (thus the use of "Jackfield-type" wares). Its peak period of use was from about 1740-1760. Jackfield type ware made by Thomas Wheildon is characterized by a redder body and slightly more brilliant black glaze. Noel Hume 1969, 2001; South 1977; www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

Comments:

Sources:

10

REFINED EARTHENWARE
CREAMWARE

Plain Creamware with Incised, Scalloped Rim

Plain Creamware with Scalloped Rim

Molded Creamware with Incised Rim

Base Ceramic Type: Origin: CREAMWARE ENGLAND Plain, Molded, Hand-Painted, Transfer-Printed BOWL, CUP, PITCHER, PLATE, PLATTER White to light cream-colored Creamy yellow surface glaze caused by the addition of copper to a clear lead glaze. Yellowish to greenish cast where glaze pools. Creamware with a raised lobe or feather design around rim was produced between 1765-1810. Royal Creamware which features a gently scalloped marly and rim shape, with a narrow molded band below that follows the shape of the rim, was produced between 1762-1820. Black transfer printed decoration in a variety of pastoral, naturalistic, social and commemorative designs was produced between 17701815. Thin, hard, compact (although slightly porous) paste Noel Hume 1969, Miller 1991, Sussman 2000b Category: Date Range: REFINED EARTHENWARE 1762-1820

Common Types: Vessel Forms: Body Color:

Glaze Color:

Decoration Styles:

Body Type: Sources:

11 PEARLWARE

Canton Style Hand Painted Pearlware

Plain Pearlware

Hand Painted Floral Design Pearlware

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Colors: PEARLWARE REFINED EARTHENWARE ENGLAND 1775-1840 Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated; sponged/spattered. BOWL, CUP, PLATE , PLATTER White to buff-colored Clear or faintly bluish clear lead glaze, caused by the addition of cobalt to the glaze. Bluish cast where glaze pools. Handpainted Chinese-inspired designs on pearlware were eclipsed by transfer printing by about 1812-1815. After about 1820, blue floral designs painted with a bolder stroke than was common in the chinoiserie examples, became more popular. Noel Hume 1969, South 1977, Miller 1991, Sussman 2000b

Comments: Sources:

12

TRANSITIONAL WHITEWARE

Hand Painted Polychrome Transitional Whiteware

Plain Transitional Whiteware

Hand Painted Transitional Whiteware

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Transitional Whiteware REFINED EARTHENWARE ENGLAND 1810-1840 Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated; sponged/spattered. BOWL, CUP, PLATE , PLATTER White to buff-colored White to faint bluish white clear lead glaze, caused by the addition of cobalt to the glaze. Slight bluish cast where glaze pools. Transitional Whiteware is the type of ceramic produced in the period when whiteware was becoming the more popular imitation of Chinese porcelain, and the characteristics of both pearlware and whiteware were evident in the glaze and decoration of the ware. This type was popular among the poorer classes. The paste of pearlware produced after 1810 is heavier and whiter with a harder glaze that may vary in color from almost clear to deeply bluish tinted. Noel Hume 1969, South 1977, Miller 1991, Sussman 2000b

Glaze Colors:

Comments: Sources:

13 WHITEWARE

Hand Painted Polychrome Floral Design Whiteware

Scallop Rimmed Whiteware

Plain Whiteware
Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: WHITEWARE ENGLAND Category: Date Range:

Plain Whiteware
REFINED EARTHENWARE 1830-present

Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated; sponged/spattered. BOWL, CUP, JAR, PITCHER, PLATE, PLATTER, TEA POT, TUREEN White to off white colored Clear lead glaze, background is pure, paper white. Glaze is clear to light grey where it pools, and may also be slightly bluish. Hand painted and sponged floral and geometric patterns in bright colors. Hand-Painted colors include blue, reddish-pink, green, purple, orange and pink Transfer printed designs made up of many tiny dots in red, pink, green, blue, brown and black May include: Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated; sponged/spattered. Flow painted in blue and purple, cut sponge designs and sprig painted wares gain popularity around 1840. Large painted floral polychrome designs in table and tea wares gain popularity in the 1870's. After 1850, Willow pattern is used for tea as well as table wares. During the 1830's romantic views were the most popular motif, and after 1870 Japanese styles gained popularity in brown designs on ivory backgrounds. South 1977, Miller 1991

Glaze Color:

Decoration Styles:

Comments:

Sources:

14 IRONSTONE

Plain Ironstone

Plain Ironstone

Plain Ironstone
Base Ceramic Type: Origin: IRONSTONE ENGLAND Category: Date Range: REFINED EARTHENWARE 1840-1930

Common Types: Vessel Forms: Body Color:

Plain, Transfer Printed BASIN, BOWL, PLATE, PLATTER, TUREEN White, hard, almost vitrified paste.

Glaze Color:

Thick, clear, glasslike glaze, with a network of very fine crazing appearing underneath the glassy surface. Background color is white, but may have a faint bluish cast.

Decoration Style:

Usually not decorated but can be transfer printed. This common nineteenth century utilitarian pottery is part of the general category of English "Stone China" It is referred to in the archaeological literature as "Undecorated White Granite Ware", or as "Undecorated Ironstone", after Masons Patent Ironstone China (which was a specific brand of stone china patented in 1813). Undecorated Stone China is most common after ca. 1840, and most of the granite wares, and ironstone pottery before that date were decorated with transfer printing, painting, enameling or a combination of these. Decorated Stone China /Ironstone dates to about 18051840 (Miller 1991). Noel Hume 1970; Miller 1991

Comments:

Sources:

15 WHIELDON WARE

Mottled Whiledonware Plate with Molded and Scalloped Rim

Mottled Whieldonware Vessel with Molded Decoration

Mottled Whieldonware Fragment

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles: Comments: Sources: WHIELDON WARE REFINED EARTHENWARE ENGLAND 1740-1770 Mottled, Spattered, Molded, Incised, Scalloped PLATE, PLATTER, TEA POT White to light cream colored, thin, hard, compact paste. Background glaze is cream to off-white in color. May have yellowish to greenish cast where glaze pools. Mottled and spattered designs in purple, blue, brown, yellow, green and grey. Whieldonware is the first of the refined earthenwares and as such is found in the same mold patterns as those used in white salt glazed stoneware, including barley, bead and reel, and dot, diaper and basket. This type is also known as "clouded" ware. Noel Hume 1969, South 1977

16 YELLOW WARE

White Slip Trailed Yellow Ware Vessel Fragment

Blue Annular Banded Yellow Ware Bowl

Blue Dendritic Annular Yellow Ware Mug

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles: Sources: YELLOW WARE REFINED EARTHENWARE ENGLAND 1840-20th century Plain, Hand Painted, Molded, Slip Trailed, Annular Banded, Annular Dendritic BOWL, CHAMBER POT Buff Transparent lead glaze makes interior and exterior appear yellowish. May be plain or decorated. Decorative techniques include slip decorating, painting, and molding. Noel Hume 1969; South 1977; www.stmarys.ca/academic/arts/anthropology/sdavis/ceramics/

17 AMERICAN ROCKINGHAM WARE

Mottled Rockingham Vessel Handle

Mottled Rockingham Pitcher

Mottled Rockingham Bowl

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: ROCKINGHAM WARE LEAD GLAZED REFINED EARTHENWARE UNITED STATES 1850-1950 Mottled CROCK, JAR, PITCHER, POT Buff or yellow paste.

Glaze Color:

Body is often covered in a clear lead glaze, fired and covered with an additional brown manganese glaze. The combinations of these two glazes result in a mottled look with the melting of the two glazes.

Comments: Sources:

Lead background glaze is similar to yellow ware. Gallo 1985

18 DECORATION STYLES

Hand-Painted Blue on White:

Hand Painted Blue on White designs are often simple floral or geometric patterns, or simple bands along the rim of a plate or vessel. Hand Painted designs can be distinguished from Transfer Printed designs by observing the brushstrokes still evident in the decoration on the glaze and the lack of tiny dots that usually make up a Transfer Printed Design.

Hand-Painted Polychrome:

Hand Painted Polychrome designs are very similar to the above Blue on White variety. Predominantly, they represent a floral design accompanied by a colored band along the rim of a plate or vessel. Again, you can tell Hand Painted Polychrome designs from their Transfer Printed counterparts by the visibility of brushstrokes in the design and the absence of the tiny dots inherent to Transfer Printed designs.

Transfer Printed Date Range: 1784 Present Blue: 1784-1840 Brown: Introduced 1809 Dark Navy Blue: 1818-1830 Red, Green, Purple: Introduced 1829 Transfer Printed designs are achieved by steam printing a prearranged design on a piece of cloth or paper onto the face of a ceramic. Through this method, these designs are usually more intricate than hand-panted decorations, containing much greater levels of detail that usually could not be achieved by applying a brush such a surface as a ceramic. Different transfer print designs came in and out of popular favor throughout the late 18th and through the 19th century, so thus dating of transfer printed pearlwares, creamwares, and whitewares is very design specific.

19

Shell Edged: Date Range: 1785-1840

Shell Edged decorations can occur on pearlware, whiteware, and creamware rims, and usually consist of a scalloped rim with parallel or stylized incised marks meant to mimic the characteristics of a shell. Colors can include blue, green, red, and sometimes even orange. Though blue Shell Edged decorations are common on both pearlware and whiteware rims, green Shell Edged decorations usually only occur on pearlware pieces. Dating of Shell Edged pieces is very design specific (see basic ceramic type sections for ceramic specific date ranges)

Sponged/ Spattered Date Range: 1770-1830

Sponged or Spattered decorations can be found on a wide range of ceramics, including pearlware, whiteware, and delft. Vessel exteriors are decorated by sponging blue or purple manganese powdered glaze over the surface. Sponging can cover the surface of the vessel, serve as a background for painted panels or cartouches, or form major elements of a design. Powder applied paint is referred to as spattered, and sponge-applied paint is referred to as sponged. After 1840 decorations were exclusively applied by sponge.

Flow Blue Date Range: 1825-early 1900s

The flowing color was produced by the reaction of volatile chlorides upon ceramic colors. The colors and designs are applied to the pottery surface are exposed to a chlorinated atmosphere in the kiln and the vapors cause the color to spread and blur--thus flow blue. Flow blue decorated ceramics resemble transfer printed designs that have simply been debased. This type of decoration is usually found on pearlware and whiteware pieces, as it originated in Staffordshire, England in 1825.

20

21 ANNULAR WARES

Banded Date Range: 1767-20th century

Banded annular ware is part of the Factory-made Slipware group of refined earthenware ceramics decorated with applied slip decoration. These were produced in great quantity during the last quarter of the eighteenth century through the nineteenth century in England and the United States. Some banded annular wares were decorated using a lathe turned on an engine, a technology for pottery called Engine Turned first developed by the famous potter Josiah Wedgewood around 1767. Banding occurred both as a primary decorative element and in conjunction with other design elements such as marbling, or the dendritic patterns found on mocha ware. It is most often found on white wares. After 1840 annular wares became available only in the blue banded variety and its use continued into the 20th century.

Dendritic Mocha: Date Range: 1780-1895

The technique dates from the 1780s, and was invented in Staffordshire in the UK. The original recipe involves a "tea" made by boiling tobacco, which is then colored with e.g. Iron oxide. The piece is first coated with a wet "slip" (very runny clay/water mixture). Then the tea mixture is touched onto the wet surface. The acidic tea reacts with the alkaline slip and the dendrites (tree-branch like designs) grow quickly from the point of contact. The dendritic pattern is clearly the result of a dynamic process in which the contact line between the two liquids, tea and slip, becomes unstable. The surface tension of the tea is less than that of the slip. The mocha pattern is found more often on creamware than pearlware or whiteware, and the same dendritic design is also commonly found on Yellow wares. These pieces date from the second half of the 19th century

22

Speckled SlipField Date Range: 1780-1925

Speckled slipwares were made by mixing colored ground glass in the slip, which was known as smalt. The glass would melt into the glaze in the glost firing to produce the speckled effect. Often, speckled bands are bordered by a roulette band, which refers to the checkered band seen in the examples above and to the left. Earliest archaeologically recovered examples of such speckled examples of annular slipwares come from Fort Watson, South Carolina, which was a site established by British forces in 1780 and destroyed by American troops in 1781. Such decorated wares were made into the first quarter of the 20th century. A general date range for this decorative type is approximately 1780-1925.

Marbleized Date Range: 1759-1820

This style of annularware decorated with horizontal bands of color in varying widths which can include bands of lathe turned grooves or patterns. The band colors are predominantly muted earth tones including, black, olive green, tan, rust, brown, ochre yellow, grey, and pale blue. The marbleized decorative elements occur in the widest bands, created by swirling of different colored slips applied to the vessel surface. Slip colors are usually earth tones including green, blue, light brown, cream, dark brown and rust.

23

24

Cabled & Cats Eye Date Range: 1775-1820

Cabled Annular Ware decorations consist of wavy lines of usually blue, black and white colored slip applied to a simple banded annular ware. Cabling and worming is also known as wormy finger painted, and is found most commonly on pearlwares of the multi-chambered pot variety.

Cats Eye decorations consists of swirls of blue, black, white, brown, and orange (among other colors) slip applied to a simple banded annular ware. Cats Eye can occur in conjuction with other decorations usually found on multichambered pots such as cabled.

25

TIN-GLAZED EARTHENWARES FRENCH FAIENCE

FAIENCE, SAINT CLOUD POLYCHROME

Hand Painted Blue with Black Outlined Band St. Cloud

Hand Painted Blue with Black Outlined Band St. Cloud

Hand Painted Blue with Black Outlined Band St. Cloud

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: FAIENCE FAIENCE FRANCE 1675-1766 St. Cloud Polychrome

Hand Painted Blue with Black Outlined Band St. Cloud

BOWL, CUP, PITCHER, PLATE, PLATTER,TUREEN Paste is hard, usually buff in color. Peach and salmon colored paste rare. Tin enameled, blueish-white to light blue background. Designs done in blue outlined in either dark blue, black, or purple. Interior rims have double banded designs with geometric and floral motifs, decorated with the flame-like motif or a hatched border. Central medallion sometimes decorated with floral design. Walthall 1991a; Waslekov and Walthall 2002

Decoration Styles:

Sources:

26 FAIENCE, SEINE POLYCHROME

Floral Banded Hand Painted Seine

Floral Design Hand Painted Seine

Floral and Zoomorphic Design Hand Painted Seine

Base Ceramic Type Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: FAIENCE FAIENCE FRANCE 1690-1765 Seine Polychrome

Hand Painted Banded Seine

Hand Painted Floral Design Seine

BOWL, PITCHER, PITCHER, PLATE, PLATTER Paste is hard, cream to salmon color. Tin enameled, white to off-white back ground. Stylized borders with floral and geometric designs. Designs painted in combinations of blue, black, yellow, green purple, and reddish-orange. A wide variety of polychrome floral patterns are grouped together under the type Seine Polychrome, named for the popularity of those designs at Parisian potteries. But these styles are poorly known and may derive from other regions of France, such as the La Rochelle area. Walthall 1991a; Walthall 1991b; Waslekov and Walthall 2002

Decoration Styles:

Sources:

27 FAIENCE, ROUEN (BRN) PLAIN

Plain Rouen Brun (Front)

Plain Rouen Brun (Back)

Plain Rouen Brun Bowl

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: FAIENCE FAIENCE FRANCE 1740-1790 Rouen (Brun) Plain BOWL, POT Paste is hard, buff to salmon or red.

Glaze Color:

Tin enameled, light blue to white interior. Exterior covered in a medium to dark manganese brown lead glaze.

Sources:

Walthall 1991a; Waslekov and Walthall 2002

28 FAIENCE, ROUEN (BRN) POLYCHROME

Black Outlined Hex-Mark Banded Brun Polychrome (Front)

Black Outlined Hex-Mark Banded Brun Polychrome (Back)

Black Outlined Hex-Mark Banded Brun Polychrome

Black Outlined Hex-Mark Banded Brun Polychrome

Base Ceramic Type: Category: Origin: Date Range: Paste: Glaze: Decoration:

FAIENCE, ROUEN POLYCHROME FAIENCE FRANCE 1740-1790 Paste is hard, buff to salmon or red. Exterior covered in a medium to dark manganese brown lead glaze. Tin enameled off-white to light blue interior. Interior rims borders with geometric or floral designs in blue outlines in blue, black, or purple. Central medallions can have floral or geometric design in blue outlined in blue, black, or purple. BOWL, PLATE Walthall 1991a; Waslekov and Walthall 2002

Vessel Forms: Sources:

29 FAIENCE, PROVENCE BLUE ON WHITE

Blue Hand Painted Banded Provence

Blue Hand Painted Banded Provence

Base Ceramic Type:

FAIENCE

Category:

FAIENCE

Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles: Comments:

FRANCE 1725-1765 Provence Blue on White BOWL, CUP, PITCHER, PLATE, PLATTER Paste is hard, cream to buff color. Tin enameled, near white to very light blue background. Interior of rim is double banded in blue with geometric and crude floral designs within. Walthall (1991a) lists a Date Range for Provence Yellow on White as 1750-1765. It is likely that Provence Blue on White was produced early, but the above listed date is tentative. Walthall 1991a; Waselkov and Walthall 2002

Sources:

30 FAIENCE, NORMANDY PLAIN

Plain Normandy

Plain Normandy

Plain Normandy
Type Name: Category: Origin: Date Range: Paste: Glaze: Vessel Forms: Comments: FAIENCE, NORMANDY PLAIN FAIENCE FRANCE 1690-1790 Paste is hard, cream to buff color. Plain, tin enameled white background BOWL, CANDLE HOLDER, CUP, PLATE, PLATTER

Plain Normandy

Normandy Plain has a white to slightly off-white tin enamel with no decoration. Some sherds classified as Normandy Plain may in fact be undecorated portions of other faience types. This type may actually date back to the first half of the seventeenth century.

Sources:

Walthall 1991a; Walthall 1991b; Waslekov and Walthall 2002

31 FAIENCE, NORMANDY BLUE ON WHITE

Hand Painted Geometric Banded Normandy

Hand Painted Dotted Banded Normandy

Hand Painted Dotted Banded Normandy

Type Name: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: Glaze Color: FAIENCE FAIENCE FRANCE 1690-1785 Normandy Blue on White BOWL, CUP, PITCHER, PLATE, PLATTER Paste is hard, cream to salmon color. Tin enameled white to pale blue background.

Hand Painted Floral Design Normandy

Decoration Styles:

Frequently interior of rim decorated with two thin blue bands surrounding dashes, dots, or wavy lines. Exterior may be decorated with crude floral or geometric designs mostly imitating Chinese styles. Walthall 1991a; Walthall 1991b; Waslekov and Walthall 2002

Sources:

32 FAIENCE, BRITTANY BLUE ON WHITE

Blue Hand Painted Rim with Floral Medallion Brittany

Blue Hand Painted Rim Brittany

Blue Hand Painted Rim Brittany

Base Ceramic Type: Category: Origin: Date Range: Common Types: Paste: Glaze: Decoration: FAIENCE FAIENCE FRANCE 1750-1765 Brittany Blue on White Paste is hard, light cream to salmon color. Tin-enameled, light to pale blue background.

Blue Hand Painted Rim Brittany

Usually a single blue band encircles the interior rim, double blue bands are rare. Central medallion may have a crude geometric/floral design PLATE Brittany Blue on White faience is only known to occur in flat bottom base plate forms. This faience type is characterized by having a blue band around the interior rim and either a plain interior or a crude geometric or floral design on the central medallion. Double bands around the rim do occur but are rare. Walthall 1991a; Walthall 1991b; Waslekov and Walthall 2002

Vessel Forms: Comments:

Sources:

33

DELFTWARE
DELFTWARE, PLAIN

Plain Delft
Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: DELFTWARE DELFTWARE ENGLAND AND HOLLAND 1640-1800 Plain BOWL, CHAMBER POT, DRUG JAR, PLATE, VASE Paste is cream to light buff-colored and often chalky feeling.

Plain Delft

Glaze Color:

Background enamel is white to bluish-white to very pale blue in color, without decoration. It is generally smooth and even, and tends to have a matte, or low-gloss surface finish, sometimes with pinholing. The tin enamel is often poorly bonded, and tends to flake off the paste body more readily than Spanish majolica or French faience.

Comments:

Undecorated delftware can sometimes be dated by form. Plates (table flatware less than 10" in diameter) were produced in the greatest numbers from about 1680 until 1800. Bottles occurred primarily between 1620 and 1680. Most drug jars were produced in the 17th and 18th centuries, and punch bowls (large and small) were produced in the greatest numbers between 1680 and 1780. See references for more specific information.

Sources:

Noel Hume 1970, 1977; 2001; Shlasko 1989; Black 2001; Miller 2002; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

34 DELFTWARE, BLUE ON WHITE

Hand Painted Blue on White Delft with Geometric Banded Rim and Floral Designs
Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: DELFTWARE DELFTWARE ENGLAND AND HOLLAND 1630-1790 Blue on White BOWL, MUG, PLATE, PLATTER, VASE Paste is cream to light buff colored and often chalky-feeling.

Hand Painted Blue on White Delft with Floral Designs

Glaze Color

Background enamel is white to bluish-white in color, is generally smooth, and tends to have a matte, or low-gloss surface finish.

Decoration Styles:

Designs are painted in blue or cobalt blue, with a very wide variety of styles and motifs, including geometric, floral, landscape, figural, animals and Chinese designs

Comments:

Design motifs and painting techniques on Blue and White Delftware provide chronological indicators, and can also help distinguish delftware from French faience or Spanish majolica. These decoration types and date ranges have been documented by Ellen Shlasko (1989, see also Miller 2002).

Sources:

Noel Hume 1970, 1977; 2001; Shlasko 1989; Black 2001; Miller 2002; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

35 DELFTWARE, POLYCHROME

Polychrome Delft with a Geometric Rim and Floral Designs

Base Ceramic Type: Category: Origin: Date Range: Common Types: Body Color: Glaze Color: DELFTWARE DELFTWARE ENGLAND AND HOLLAND 1571-1790 Polychrome Paste is cream to light buff-colored and often chalky feeling.

Polychrome Delft with Floral Designs

Background enamel surface is white to blueish-white to very pale blue in color. It is generally smooth and even, and tends to have a matte, or low-gloss surface finish, sometimes with pinholing.

Decoration Styles:

Designs, including geometric, floral, landscape, figural, animals and Chinese motifs, are painted in blue, green, yellow, black, red, and manganese purple. BOWL, MUG, PLATE, PLATTER, VASE

Vessel Forms: Comments:

Banding, cross-hatched line and dot, and floral elements are common eighteenth century rim treatments. For information on dating decorative motifs on Delftware see Shlasko (1989) and (Miller 2002).

Sources:

Noel Hume 1970, 1977; 2001; Shlasko 1989; Black 2001; Miller 2002; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

36 DELFTWARE, SPONGED

Purple Sponged Delft

Base Ceramic Type: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: DELFTWARE DELFTWARE ENGLAND AND HOLLAND 1708-1790 Sponged BOWL, MUG, PLATE Paste is cream to light-buff colored and often chalky feeling.

Blue Sponged Delft

Glaze Color:

Background enamel is white to bluish-white in color, is generally smooth, and tends to have a matte, or low-gloss surface finish.

Decoration Styles:

Vessel exteriors are decorated by sponging blue or purple (manganese) over the surface. Sponging can cover the surface of the vessel, serve as a background for painted panels or cartouches, or form major elements of a design. Interior can be plain or hand painted with blue or polychrome designs.

Sources:

Noel Hume 1970, 1977; 2001; Shlasko 1989; Black 2001; Miller 2002; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

37

STONEWARES GERMAN
BROWN RHENISH STONEWARE

Molded Male Face Design Rhenish Bellarmine Jar Neck

Base Ceramic Type: Origin: Common Types: Body Color: Glaze Color: STONEWARE GERMANY Brown Rhenish

Molded Human Scene Design Rhenish Bellarmine Jar

Category: Date Range: STONEWARE 1500-1700

Hard, thin stoneware body, usually light grey in color. Pinkish-grey or tan stoneware paste may also occur. Exterior surface is salt-glazed, and light golden brown or ginger colored. The salt glazing results in a fine, dimpled orange peel-like finish. Decoration consists of applied molded relief elements including bearded male faces at the neck, and heraldic or decorative medallions, flowers and leaves, and bands of inscription on the body. BELLARMINE JAR form is the long-necked, bag-shaped body bellarmine jar, and these are wheel-thrown. Brown Rhenish stoneware was produced primarily in the Rhine River valley of Germany and the Low Countries of Europe. "Brown Cologne Stoneware" has been used to refer to these brown stoneware jugs, however by the mid-16th century (after which most of this pottery appears on American sites), the nearby town of Frechen had replaced Cologne as a pottery center, and supplanted Raeren as the leading exporter of brown stoneware (Gaimster 1997). Brown cologne stoneware jars are also known as Bellarmines, Bartmanns, and greybeards because of the bearded male figures portrayed on the jar necks. In general, the precision and quality of the applied molded elements declines through time, however a number of exceptions to this trend have been documented.

Decoration Styles:

Vessel Forms:

Comments:

38 WESTERWALD STONEWARE

Westerwald Jug with Incised and Molded Decorations Westerwald Jug with Incised and Molded Decorations

Westerwald Fragment with Incised and Molded Decorations

Type Name: Origin: Paste: Glaze: Decoration: STONEWARE, RHENISH BLUE AND GRAY GERMANY - RHINE VALLEY

Westerwald Fragment with Incised and Molded Blue and Purple Decorations
Category: Dates: STONEWARE 1575-1775

Very hard, compact and vitreous stoneware paste. Color is most commonly gray, although grayish-tan paste also occurs. Surface is salt-glazed, producing a shiny, gray, pebbly or orange peel finish. Vessels are decorated with cobalt blue or manganese underglaze paint, in combination with applied molded relief ornaments (sprig molds), incising, stamping, and rouletting. Common stamped designs included hearts, circles, triangles, and floral motifs. See Comments and references below for chronological subdivisions based on decoration. CHAMBER POT, JAR, MUG Blue and gray stoneware developed in Raeren in the mid-16th century, and early examples have been reported from Spanish colonial sites. Primary production shifted to the Westerwald region by the end of the 16th century, and Westerwald blue and grey stonewares dominated exports after that time. Westerwald wares were characterized by elaborate floral and geometric designs in a combination of sprig moulding and combed lines. By the second quarter of the 18th century, the decorations on Westerwald-type pieces were becoming more schematic, relying on incised foliage, scrolls, and animals, with the outlines filled with blue. Chronological indices include: Molded human figures and portraits: 1575-1630; Sprig-molded and incised floral and geometric designs colored in cobalt blue: 1650-1725; Managanese purple:1650-1775; Stamped and incised central medallion design with blue: 1700-1775; Royal ciphers: WR (William III, 1688-1702) AR (Queen Anne, 1702-1714) or GR (George I & II , 1714-1760) Noel Hume 1970, 2001; Gaimster 1997; Klinge 1996

Vessel Forms: Comments:

Sources:

39

ENGLISH
FULHAM TYPE BROWN SALT GLAZED STONEWARE

Fulham Brown Salt Glaze Stoneware (Front)

Fulham Brown Salt Glaze Stoneware (Back)

Fulham Brown Salt Glazed Stoneware with Incised Medallion

Type Name: Origin: Common Types: Vessel Forms: Body Color: Glaze Color:

STONEWARE ENGLAND Fulham Type CROCK, JUG, MUG Thick, grey stoneware paste, often with a grainy appearance.

Category: Date Range:

STONEWARE 1690-1775

Vessels are dipped in brown slip, then salt glazed to produce a mottled, pebbly brown surface. Interiors are usually unglazed. Although usually undecorated, vessels can have impressed incised, or sprig-molded designs indicating royal initials, capacity standards, or tavern symbols and owners. English Brown Salt-glazed Stoneware is most commonly found in drinking vessel and serving forms. Its production is associated with Fulham, however since several other English production centers were also active it is often referred to as "Fulham-type" ware. It largely replaced Rhenish brown stoneware in England after 1700. By ca. 1730, American potters began producing brown stoneware that was often indistinguishable from the English Fulham-type. After ca. 1760, names on vessels were stamped rather than incised. Noel Hume 1969; Hildyard 1985; Noel-Hume 2001

Decoration Styles:

Comments:

Sources:

40 ENGLISH BROWN STONEWARE

Various Examples of English Brown Stoneware

Type Name: Origin: Common Types: Vessel Forms: Glaze Color: STONEWARE, ENGILSH BROWN ENGLAND English Brown Salt Glazed CROCK, JUG, MUG, BOTTLE The profile is gray to tan in color. Category: Date Range: STONEWARE 1690-1775

Comments:

English brown is essentially the same as Fulham ware except it came earlier. English Brown Salt-glazed Stoneware is most commonly found in drinking vessel and serving forms. Its production is associated with Fulham, however since several other English production centers were also active it is often referred to as "Fulham-type" ware. It largely replaced Rhenish brown stoneware in England after 1700. By ca. 1730, American potters began producing brown stoneware that was often indistinguishable from the English Fulham-type. After ca. 1760, names on vessels were stamped rather than incised.

Sources:

Noel Hume 1969; Hildyard 1985; Noel-Hume 2001

41 NOTTINGHAM STONEWARE

Nottingham with Incised Band Decoration

Crum-decorated, Slip Dipped Nottingham

Notting with Incised Band Decoration (Front)

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: STONEWARE ENGLAND Nottingham BOWL, CUP, MUG, PITCHER, VASE Thin, hard, grey, orange or buff stoneware paste.

Nottingham with Incised Band Decoration (Back)

Category: Date Range: STONEWARE 1700-1810

Glaze Color:

Surface is brown and lustrous, often with a burnished metallic appearance produced by the use of a lustrous brown slip under very fine salt glazing. Glaze color can vary from light brown to dark brown. Decoration can include applied grog or crumb elements, machine-turned and rouletted patterns, applied molded elements, sprigging, piercing, and incised names, dates and floral elements. Fragments often have a thin white line separating the glaze and body. Although referred to as Nottingham stoneware, this ceramic variety was also produced in other parts of England such as Burslem, Staffordshire, Derbyshire, and Yorkshire. The typical "orange peel" finish of salt-glazed wares is barely evident on Nottingham stoneware. Applied crumb and grog design was used between about 1740 and 1780, and the use of molded, pierced, sprigged and applied decoration developed around 1750. Incising and Engine turning were used throughout the 18th century. Noel Hume 1970, 2001; Oswald 1974

Decoration Styles:

Comments:

Sources:

42 ELERS-TYPE STONEWARE

Ellers Type Stoneware Vessel Lid

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles: STONEWARE ENGLAND Ellers Type (Red Basalt)

Incised Banded Ellers Type Stoneware Fragment

Category: Date Range: STONEWARE 1690-1800

COFFEE POT , MUG, TEA POT, TEACUP, VASE Thin, fine-grained stoneware body, usually dark red or brownish red in color. Unglazed. Vessels are often decorated with die-stamped relieves of floral, animal and human figures; sprig designs, or geometric engine turning. Also called "Dry-Bodied Stoneware", this fine red stoneware was first produced in England in the late seventeenth century by John Dwight, who patented wheel-thrown red stoneware vessels in 1684. They were copied by the Dutch Elers brothers, who moved to Staffordshire and continued to produce the red stoneware by slip casting until about 1700. There was a hiatus in production between ca. 1700 and ca. 1750, when many Staffordshire potters, including Josiah Wedgewood, began to produce both wheel thrown and molded dry bodied stoneware vessels. The Engine turned pieces date from after 1760. Noel Hume 1970; South 1977; Elliott 1998; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm

Comments:

Sources:

43 BLACK BASALT STONEWARE

Black Basalt Stoneware with Incised Rim Band

Black Basalt Stoneware Jar with Incised Bands and Molded Floral Design
Category: Date Range: STONEWARE 1750-1820

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: Decoration Styles:

STONEWARE ENGLAND Black Basalt CUP, SAUCER, TEA POT, VASE Thin, fine-grained black stoneware body. Usually unglazed.

Vessels are often decorated with die-stamped relieves of rococo floral, animal and human figures; sprig-molded designs, or geometric engine turning.

Comments:

Black Basalt ware is a dry-bodied stoneware fired in an oxidizing atmosphere to produce a black fabric. It was originally used by Josiah Wedgwood for his famous Etruscan vases, and it continued later in use for such everyday items such as tea wares. Engineturned designs date to after 1760. The black remained popular longer than the red Elers-Type stonewares, partially because it was fashionable to use it in times of mourning. Noel Hume 1969, South 1977

Sources:

44 WHITE SALT GLAZED STONEWARE

Molded Geometric Rim White Salt Glazed Plate Rim

Molded Geometric Rim White Salt Glazed Plate Rim

Molded Geometric Rim White Salt Glazed Plate Rim

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: STONEWARE ENGLAND White Salt Glazed CUP, PLATE, PLATTER, TEA POT

Molded Geometric Rim White Salt Glazed Plate Rim

Category: Date Range: STONEWARE 1720-1770

Thin, light grey or white, vitreous, dense stoneware paste. Salt-glazed surface, producing a glossy, white fine orange peel finish. When decorated, techniques include press molding, slip casting, engine turning, & incising. These were sometimes combined with overglaze painting and transfer printed designs. Early examples (before 1720) have grayer paste and are dipped into a thin white slip before firing, producing a slight division between glaze and body, and a diminution in orange peel finish. Dipped mugs often have a brown rim edge. After ca. 1740, molded plate rims in standardized patterns were introduced. Motifs include "dot, diaper and basket", "bead and reel", and "barley". Although early, brown edged dipped white salt-glazed pieces stayed in production through much of the 18th century. Molded plate rim motifs after 1740 included "dot, diaper and basket", "bead and reel, and "barley". White salt-glazed stoneware tablewares were gradually superseded by refined earthenwares after ca. 1760. http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm; Noel Hume 1970, 2001

Decoration Styles:

Comments:

Sources:

45 SCRATCH BLUE STONEWARE

Scratch Blue with Incised Floral Design

Base Ceramic Type: Category: Origin: Date Range: STONEWARE STONEWARE ENGLAND 1735-1775

Scratch Blue with Incised Floral Design

Common Types:

Scratch Blue

Vessel Forms:

CUP, PITCHER, PUNCH POT, SAUCER, TEA POT

Body Color: Glaze Color:

Thin, white, vitreous, dense stoneware paste. White salt-glazed surface, producing a glossy, white fine orange peel finish. Incised geometric and floral designs that are neatly filled with cobalt blue oxide. Excess pigment outside of the thin, incised lines is wiped off. Between 1720 and 1740, the Occasionally the "scratch" design was filled with iron oxide rather than cobalt blue. These are referred to as "Scratch Brown" Stoneware. Noel Hume 1969

Decoration Styles:

Comments:

Sources:

46 DEBASED SCRATCH BLUE STONEWARE

Debased Scratch Blue with Incised Floral Design

Base Ceramic Type: Category: Origin: Date Range: STONEWARE STONEWARE ENGLAND 1765-1795

Debased Scratch Blue with Incised Floral Design

Common Types:

Debased Scratch Blue

Vessel Forms: Body Color: Glaze Color:

CHAMBER POT, MUG, PITCHER Thin, grayish-white white, dense stoneware paste. Salt-glazed surface, producing a glossy, white fine orange peel finish.

Decoration Styles:

Incised geometric and floral designs that are filled with a heavy application of cobalt blue oxide. Excess pigment is left on the surface, producing cloudy blue areas outside of the incised design.

Comments:

This ware has been suggested (Noel Hume 2001) to have been an English version of Rhenish blue and gray stoneware. Although declining in popularity after 1795, it was produced until ca. 1820.

Sources:

Noel Hume 1969, 2001

47 STONEWARE, AMERICAN

American Gray Stoneware Pot with Debased Blue Decoration American Gray Stoneware Pot with Debased Blue Decoration
Type Name: Category: Origin: Date Range: STONEWARE STONEWARE UNITED STATES OF AMERICA 1775-1860

Common Types:

American

Vessel Forms:

CROCK, MUG, PLATE

Body Color:

The body of this ware appears gray, vitrified, and hard.

Glaze Color:

Background glaze is often a white salt glaze. Frequently decorated with cobalt blue glaze.

Decoration Styles:

Debased Blue, Incised Scripts, various other common stoneware decorations

48

PORCELAIN CHINESE
PORCELAIN, DEHUA WHITE

Dehua Body Close Up Dehua with Molded Floral Design

Base Ceramic Type: Origin: PORCELAIN CHINA Category: Date Range: PORCELAIN 1640-1750

Vessel Forms:

CUP, FIGURINE

Common Types:

Dehua White

Body Color:

White, highly vitreous paste that is slightly thicker and glassier than most other porcelain types.

Glaze Color:

Covered in a creamy, translucent, white or light cream-colored feldspathic glaze, with no painted decoration. Texture can vary from a lardlike, almost greasy feel to a smooth, almost blemish-less ware.

Decoration Styles:

Decoration consists of molded applied elements, that usually consist of floral motifs, but which may also include animals. This ware is also known as "Blanc de Chine", and is most commonly used for small libation cups and figurines. Mudge 1986

Comments: Sources:

49 PORCELAIN, CHING BLUE ON WHITE

Ching Body Close Up Ching with Brown Rim Band and Geometric Design Band
Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: PORCELAIN CHINA Ching Blue on White BOWL, CUP, JAR, PLATE, SAUCER, VASE White, thin, highly vitreous paste that is smooth and translucent. Background feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection. Decorations are precisely painted in clear blues ranging from pale to deep sapphire, often delicately outlined in dark blue. Common motifs include flowers, fish, animals, landscapes and humans involved in activities. Cross-hatched diaper designs often appear in a band around the rim, as well as a rust color on the lip of the vessel. Ching or Qing dynasty porcelains are quite difficult to date precisely without the aid of a specialist. Date ranges for many of the motifs on eighteenth century porcelains can be found in Miller (2002). Category: Date Range: PORCELAIN 1644-1912

Decoration Styles:

Comments:

Sources:

Mudge 1986; Shulsky 1999; Noel Hume 2001; Deagan 2002; Miller 2002

50 PORCELAIN, CHINESE IMARI

Imari Body Close Up Chinese Imari with Underglaze Floral Design

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: Glaze Color: PORCELAIN CHINA Chinese Imari BOWL, CUP, PLATE, SAUCER, TEA POT White, thin, highly vitreous paste that is smooth and translucent. Background glaze is white or bluish-white in color, well bonded to the paste, lustrous, and shows little evidence of imperfection. Category: Date Range: PORCELAIN 1700-1780

Decoration Style:

Decorated with underglaze handpainted cobalt blue Chinese designs, combined with overglaze enamel decoration in red, green and gold. Overglaze motifs are most commonly floral elements.

Comments:

Chinese Imari porcelain was made in imitation of Japanese Imari porcelain, which is rarely see in American colonial sites. Its peak of popularity was between about 1715 and 1735. The overglaze enamel elements are unstable in buried conditions, and are thus often fugitive on archaeological examples. Fugitive elements appear as faint outlines on the surface of sherds, visible only at certain light angles.

Sources:

Godden 1979; Mudge 1986; Noel Hume 1970

51 PORCELAIN, CHING POLYCHROME OVERGLAZE

Ching Polychrome Body Close Up Ching Polychrome Overglaze with Floral Zoomorphic Design
Base Ceramic Type Category: Origin: Date Range: Common Types: PORCELAIN PORCELAIN CHINA 1700-1750 Ching Polychrome Overglaze

Vessel Forms:

BOWL, CUP, PLATE, SAUCER

Body Color: Glaze Color:

White, thin, highly vitreous paste that is smooth and translucent. Background feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection. Decoration is overglaze enamel in red and gold, using the same motifs and techniques and floral motifs used in Chinese Imari porcelain overglaze decoration. Note: There is no blue underglaze design. This is essentially Chinese Imari without the underglaze blue paint. On archaeological examples the overglaze elements are often worn away, and are represented on the sherds only by iridescent "tracks" on the sherd surface.

Decoration Styles:

Comments:

52 PORCELAIN, BROWN

Brown Glaze Porcelain Body Close Up Brown Glaze Porcelain Fragment

Base Ceramic Type: Origin: Common Types: Body Color: PORCELAIN CHINA Brown Porcelain White, thin, highly vitreous paste that is smooth and translucent. Exterior: Covered with a lustrous brown glaze, ranging in color from very dark brown, to golden brown to pale tan. Interior: Usually white (lead/feldspathic glazed). Category: Date Range: PORCELAIN 1700-1780

Glaze Color:

Decoration Styles:

Exterior: The brown glaze can solidly cover the vessel surface, or can contain white reserve panels in leaf, cartouche, etc. The reserve panels may be solid white, or contain blue and white or polychrome painted designs. The Famille Rose pallete of polychrome design is common. Interior: Typically decorated with either blue underglaze or polychrome enamel overglaze designs. Design motifs are those typical of Ching dynasty export porcelain.

Vessel Forms:

BOWL, CUP, JAR, SAUCER, TEA POT, VASE

Comments:

Brown-glazed porcelain is found on Spanish-American sites from about 1700 through 1780. It seems to appear somewhat later on Anglo-American sites, beginning in about 1740. Examples with solid brown exteriors, or brown exteriors with undecorated white reserve panels are more common on Spanish sites than are examples with Famille Rose reserve panels. Specimen# 2597 is a rare example of the tan variety. Specimen #s 61-64 are from a context dating to 1733; #s 53-60 are from contexts dating to ca. 1765-1785. Other examples from the 1715 Higgs site have solid brown exteriors, with delicate overglaze red and gold enamel decoration on the interior.

Sources:

Aga Oglu 1956; Deagan 2002; Martin 1993

53 PORCELAIN, POWDER BLUE

Powder Blue Body Close Up

Powder Blue Chinese Porcelain Fragment

Base Ceramic Type: Origin: Common Types: Vessel Forms: Body Color: PORCELAIN CHINA Powder Blue BOWL, CUP, PLATE, SAUCER White, thin, highly vitreous paste that is smooth and translucent. Category: Date Range: PORCELAIN 1700-1750

Glaze Color:

Interior feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection. Exterior is covered in a deep blue glaze that contains specks of black, giving it a "powdered" appearance.

Decoration Styles:

Most examples have an overglaze enamel design painted in gold, but this is usually worn off, leaving only iridescent "tracks" on the surface. Overglaze motifs include scrolls and floral elements.

Comments:

This ware is sometimes called 'blown blue', because it was blown onto the porcelain in powder form, through a bamboo tube with a silk screen at one end. Carswell 1985, Deagan 1987, Kuwayama 1997

Sources:

54 PORCELAIN, POLYCHROME CHINESE

Polychrome Body Close Up Polychrome Chinese Porcelain with Zoomorphic Floral Design
Base Ceramic Type: Origin: Common Types: POLYCHROME CHINA Polychrome Chinese Export Category: Date Range: PORCELAIN 1680-1850

Vessel Forms:

BOWL, CUP, PLATE, SAUCER, TEA POT

Body Color:

White, thin, highly vitreous paste that is smooth and translucent. Background glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection.

Glaze Color:

Decoration Styles:

Decorated with opaque overglaze enamels and gilding in a variety of colors, including multiple shades of green, pink, blue, red, black, plum orange & yellow. Design motifs usually include floral elements combined with animals, birds, insects, geometric designs, symbols and figures. Motifs are detailed and finely executed.

Comments:

This category of Chinese porcelain encompasses a variety of color palettes and motif themes, some of which can be more narrowly dated. The "Famille Rose" palette (Specimen # 2532), is distinguished by its predominantly floral design featuring clear, bright, pink roses detailed in white, and dates between ca. 1720 and 1850. The "Famille Vert" pallete is distinguished by its decoration made up predominantly of several shades of bright, light green, and dates between about 1680 and 1780. The blue-dotted zoomorphic element in Specimen # 33 is characteristic of the 1820-1840 period.

Sources:

Mudge 1986; Nadler 2001

55

ENGLISH
PORCELAIN, ENGLISH SOFT PASTE

Soft Pase Body Close Up English Soft Pase with Geometric Underglaze Rim Band
Type Name: Origin: Common Types: Vessel Forms: Body Color: PORCELAIN ENGLAND English Soft Paste BOWL, CUP, PITCHER, PLATE, PLATTER, SAUCER, TEA POT, TUREEN A hard, compact, chalky-appearing and somewhat vitrified white paste, that is softer and more granular than Asian porcelains. Category: Date Range: PORCELAIN 1742-1800

Glaze Color:

Covered with a semi-gloss, transparent lead or feldspathic glaze that is not completely fused with the paste, appearing as a thin line in cross section. Running of the glazes can occur on some of the earliest examples.

Decoration Styles:

Decoration is most commonly underglaze hand painting, in a dark (sometimes almost navy) blue, as compared to the bright cobalt blue of Chinese porcelains. Blue transfer printed designs can also occur. Motifs include chinoiserie, floral and naturalistic designs.

Comments:

English soft-paste porcelains were largely replaced by Bone China (a variety of hard-paste porcelain) by the early 19th century. The English soft paste porcelains in this collection are most likely from Worcester, and date between: 1770-1780.

Sources:

Miller and Stone 1970; Noel Hume 1970; 2001; Miller 2002; www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm

56 PORCELAIN, BONE CHINA

Bone China Body Close Up

Bone China Fragment

Type Name: Category: Origin: Date Range: Common Types: Vessel Forms: Body Color: PORCELAIN PORCELAIN ENGLAND 1749-1900 Bone China BOWL, CUP, PLATE, PLATTER, TEA POT, VASE Thin, white, vitreous, nearly translucent paste. Surface glaze is white or light ivory and glossily reflective, with little evidence of imperfections. While well-bonded to the paste, the glaze is apparent in cross section.

Glaze Color:

Decoration Styles:

Examples with decoration generally have overglaze polychrome enamel and gilded designs. Floral patterns are very common, but a wide variety of design motifs can occur.

Sources:

Hughes and Hughes 1960

57 EARTHENWARE, BORDERWARE

Various Examples of Borderware

Base Ceramic Type: Boderware Category: EARTHENWARE

Origin: Common Types:

ENGLAND Plain, Pie Crust Rim, Incised

Date Range:

1640-1715

Vessel Forms:

FLANGED DISHES, BOWLS, JUGS, PIPKINS, PITHCHERS, CUPS, MUGS, TANKARDS, PORRINGERS, & CHAMBERPOTS The body of the ware is white to a reddish gray, and chalky. These wares are covered in a clear lead glaze that is colored by adding things like copper or manganese, to the glaze. Common glaze colors include yellow, green, and later brown. Vessels often are decorated with pie crust rims and/or incised designs. Noel Hume 1969; Noel-Hume 2001, Association for the Preservation of Virginia Antiquities

Body Color:

Glaze Color:

Decoration Styles: Sources:

58

VESSEL FORMS

59

60

61

62

63

64

65

BOTTLES
BOTTLE ANATOMY

66 DUTCH AND FRENCH BOTTLES

Typical Dutch (Left) and French (Right) wine-bottle forms of the second quarter of the 18th Century.

HAND-BLOWN BOTTLE SERIATION

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69 NAILS

NAIL CHARACTERISTICS & DATES Nails 1-6 Wrought Nails Colonial and up Nails 7-9 Cut Nails Nail 10 Wire Drawn Nails 1 & 2 - have rose heads Nails 3 & 4 - are L-headed Nail 5 - is headless Nail 6 - is T-headed Nail 7 - dates to 1790-1820 Nail 8 - dates to 1815-1830 Nail 9 - dates from 1820 present Nail - 10 dates to post 1850

70 PIPES AND PIPESTEMS

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LEAD BALE SEALS

1. Four-part official seal of James II 2. Alnagers seal of uncertain date 3. Typical merchants seal (17th-18th century) 4. Arms of the Mercerss Company of London or perhaps the Indian Queen crest of Virginia; probably 18th century. 5. Emblem of the French India Company; 18th Century

GUN FLINTS

Hume, 1974 1.) Gunspall 2.) English Gunflint, gray prismatic type 3.) French Gunflint, round back and pale brown

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GUN PARTS

COINS
BRITISH COINS
Identifying Coins by Monarch MONARCH Elizabeth I James I Charles I Commonwealth Charles II James II William & Mary REIGN 1558-1603 1603-1625 1625-1649 1649-1660 1660-1685 1685-1688 1688-1694 William III Anne George I George II George III George IV William IV Victoria 1694-1702 1702-1714 1714-1727 1727-1760 1760-1820 1820-1830 1830-1837 1837-1901

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British low-denomination coins, James I to George II. (Figure A) (Examples all copper and obverse unless otherwise stated.)
1 2 3 4 5 6 7 8 9 10 11 12 James I "Lennox" farthing. Obv. and rev. Charles I rose farthing. Commonwealth pattern pewter farthing. Charles II farthing, 1673. Charles II Scottish bodle. James II tin farthing, date illeg. William and Mary tin farthing, 1690. William III farthing, 1699. William III rare tin halfpenny, 1697 William III halfpenny, 1700. Obv. and rev. George I halfpenny, 1720. Obv. and rev. George I Irish "Wood" halfpenny, 1723. 13 14 15 16 17 18 19 20 21 22 23 George I farthing, 1720. George II young-head farthing, 1734 George II old-head farthing, 1754. George II young-head halfpenny, 1733 (forgery?). Obv. and rev. George II old-head halfpenny, 1744 and 1757. Obv. and rev. George III halfpenny, 1772 and 1775. Obv. and rev. George III Virginia halfpenny, 1773. Obv. and rev. George III "Soho" penny, 1797. Obv. George III "Soho" twopence, 1797. Obv. and rev. George III penny, 187. George III halfpenny, 1806.

74 SPANISH COINS

1708 SEGOVIA SPANISH SILVER 2 REALES

1711 SPANISH SILVER PIECE OF EIGHT MONOGRAM 2 REALES

1721 SPANISH SILVER PIECE OF EIGHT CROSS 2 REALES

1722 SPANISH SILVER PIECE OF EIGHT CROSS 2 REALES

1735 SPANISH SILVER PIECE OF EIGHT CROSS 2 REALES

1760 SPANISH SILVER PIECE OF EIGHT CROSS 2 REALES

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1766 SPANISH SILVER PIECE OF EIGHT CROSS 2 REALES

1776 SPANISH SILVER PIECE OF EIGHT PORTRAIT 2 REALES

1794 SPANISH SILVER PIECE OF EIGHT PORTRAIT 2 REALES

1805 SPANISH SILVER PIECE OF EIGHT PORTRAIT 2 REALES

GROUP of 3 1700's DUTCH VOC DUITS

SPANISH MILLED DOLLARS (REALES)

This popular form of colonial currency was made of silver. It was often cut up into smaller pieces for different transactions. The term pieces of eight refers to 1/8 of a Spanish Milled Dollars; in much the same way that 4 bits is and 2 bits is of the coin.

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GLOSSARY
Glossary taken from Maryland Archaeological Conservation Laboratorys Diagnostic Ceramics Glossary at http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Glossary.htm

B
Baluster Jar A tall pot or jar with a constricted neck that is used for food storage and shipping, such as for potted fish. Bellarmine A stoneware jug or bottle decorated with a molded bearded human face molded onto the neck. Also called a "Bartmann Krug." Bianco sopra bianco A white on white decoration found on tin-glazed earthenware and porcelain. Bottle A bulbous vessel with a narrow, cylindrical neck, used for storing and serving liquids. Butter Pot A large, cylindrical or slightly bulbous vessel, taller than it is wide, used to store dairy products.

C
Chafing dish A pedestaled vessel that holds coals used to warm food. Chamber pot A sturdy, handled vessel with a flat, flared rim, used as a portable toilet. Charger A large flat dish with a diameter greater than ten inches, often made for decorative use. Cobalt A blue pigment of cobalt oxide and alumina used for underglaze decoration. Coggle An engraved wheel which is rolled over an unfired vessel to create notching or other patterns. Colander A pan-shaped vessel with perforations on the bottom or sides for drainage. Combing Dragging pointed instruments through wet slip bands in order to create a zigzag pattern. Cordons Molded bands encircling a vessel. Crazing Cracking in the glaze that occurs when the glaze shrinks more than the body after firing. Cup A small drinking vessel with or without a handle.

D
Dish A large, flat serving vessel that can be shallow or somewhat deep. Drug Jar A cylindrical vessel for storing drugs, cosmetics, or condiments. Also called a galley pot or apothecary jar.

E
Earthenware Ceramics containing a low proportion of silica and fired at low temperatures (900 1150o F). Earthenwares are porous and must be sealed with a glaze to hold liquids. Engine Turned A decorative technique where relief designs are cut into vessels while in the leather hard stage by turning them on a lathe. Engobe A coating of slip applied to the surface of a vessel for decorative purposes or to cover up an imperfection in the vessel's surface.

F
Fabric The clay body or paste of a ceramic.

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Faience French tin-glazed ware similar to delftware and maijolica. Flat Ware Shallow vessels such as dishes, platters, chargers, plates, and saucers. Floral A design representing flowers or other plants. Flux A substance added to ceramics and glazes which lowers their melting point. Often used to fuse overglaze pigments to the glaze.

G
Glaze A thin coating applied to ceramic bodies for the purpose of making them impervious to liquid absorption and for decorative purposes. Grog Small pieces of crushed pottery or fired clay sometimes added to the primary fabric for strength or applied to a vessel's surface as decoration.

H
Hard-Paste Referring to porcelains which are composed of feldspathic clay fired at a high enough temperature to vitrify them. Chinese porcelains are true hard-paste porcelains, while many 18th century Continental and English porcelains are considered to be soft-paste. Hollow Ware Container forms such as tea and coffee pots, bowls, pans, cups, jugs, jars, tankards, and pitchers.

I
Imari Japanese porcelain or its Chinese imitations, decorated in underglaze blue and overglaze red and gilding. Incising Decorative technique in which lines are scratched, either mechanically or by hand, into the wet body of a ceramic.

J
Jug A bulbous, handled vessel with a cylindrical neck, with or without a spout, used for drinking or serving liquids.

K
Kaolin A fine-grained white clay that is a major component of porcelain. Kiln The oven in which ceramics are fired.

L
Lead Glaze A standard glaze for earthenwares containing silica and alumina and a lead oxide flux. Leather Hard The stage in which unfired pottery is no longer in a plastic or wet state, and can be handled without distortion to the form.

M
Marbling A decorative technique in which a vessel covered with bands of wet slip is sharply twisted, causing the slip to run across the piece and form abstract patterns. Marly The flat part of a plate bordering the rim. Milk Pan A large pan with sloping sides used to cool dairy products, as a wash basin, or for cooking. Mug A straight-sided, handled drinking vessel, taller than it is wide.

O
Overglaze Enameling Painted colors applied on top of the glaze and lightly refired at a low temperature. Oxidizing Referring to the oxygen atmosphere inside a kiln during firing, which causes color changes due to chemical reactions in the glaze or

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body. For example, fine stoneware fired in an oxygen atmosphere can be turned brick red, while the same clay fired in a reducing atmosphere can be colored black.

P
Paste The clays and other materials that constitute the body of a vessel (see fabric). Plate A flat, round eating or serving vessel that is less than ten inches in diameter, smaller than a charger. Pitcher A bulbous, handled vessel with a pouring lip. Pipkin An small, rod-handled earthenware cooking vessel, that often has three legs. Porringer A small, hemispherical, somewhat shallow vessel with one or two handles, used for eating foods like soup or porridge. Posset Pot A large, bulbous drinking vessel, often with multiple handles, that is also referred to as as "loving cup". Powdered Ground A decorative technique, usually found on tin-glazed wares, that is produced by sifting or sprinkling a powdered oxide over areas of a vessel. This techniques is also known as "Dusting." Press Molded A vessel or vessel element (such as a handle or spout) which was formed by pushing wet clay over a mold. Puzzle Jug A drinking vessel with a hollow handle and at least three spouts. A hole in the handle, and all but one of the spouts, had to be sealed with fingers to avoid spilling the liquids while drinking.

R
Reduction The absence of oxygen in the atmosphere of a kiln during firing. The lack of oxygen can affect color in glaze or body.

S
Salt-Glazed A high temperature glaze which is formed by the addition of common salt into the kiln when it is at the highest temperature. The vaporized sodium combines with the silica on the surface of the vessel to create a glossy, hard glaze. Salt glazes are characterized by a pitted "orange peel" texture and are only used on stonewares. Scratch Blue A decorative technique used on English white salt-glazed stoneware and pearlware. Before firing, decorative motifs were incised into the clay and filled with cobalt blue oxide. The excess paint was wiped away leaving only the blue filled lines. Referred to as Scratch Brown when a brown oxide is used. Sgraffito From the Italian word for "scratched" a decorative technique involving the cutting away of a slip layer to reveal the color of the paste beneath. Slip A liquid mixture of clay and water applied to vessel surfaces. Slip Casting A manufacturing technique in which liquid clay is poured into a vessel mold and then allowed to dry to the leather hard stage. After opening the mold, the vessel form inside can be trimmed, decorated, and fired. Slip Decoration Designs created by applying different colored slips to a vessel. Soft-Paste Porcelain paste composed of white clay mixed with various additives, such as ground soapstone or frit (ground glass that is partially vitrified). Eighteenth century English and Continental porcelains are often soft-paste, while Chinese porcelains are hard-paste, and fired at a higher temperature. Sprig-Molding A decorative technique in which molded clay ornaments are attached to a vessel before firing. Stamping A decorative technique in which a die or other tool is used to impress designs or manufacturer's marks onto unfired clay. Stoneware Non-porous ceramic paste in which there is enough silica content that when fired at a high temperature (ca. 1200 o C), partial vitrification occurs.

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T
Tableware Ceramic vessels such as plates, cups, saucers, dishes, tureens, pitchers, or other pieces which are designed for serving or consuming food and drink at the table. Tankard A large, cylindrical or bulbous drinking vessel with a handle, that is taller than a mug. Tea Ware Ceramic vessels that are used specifically which is for serving tea, including teapots, teacups, saucers, sugar bowls, slop dishes, cream jugs, and tea caddies. Throwing The manufacture of pottery by hand on a wheel. Tin-Glazed A glaze to which tin oxide has been added to make it opaque and white. Trailing A decoration technique in which tubes are used to dribble lines or dots of colored slip on a vessel surface. Transfer Print A decorative technique developed in the 18th century, in which an engraved copper plate is coated with ink and the pattern is then transfered by a glue bat to the vessel being printed. An improved method used thin sheets of tissue paper to transfer the design. Tyg A two-handled mug.

U
Underglaze Decoration Painted decoration on leather hard or bisque vessel surfaces added before applying a glaze.

V
Vitrify A process whereby the silicate fragments in a clay body fuse together when fired at high temperatures. Generally, the higher the firing temperature, the greater the degree of vitrification.

Z
Zoomorphic A decoration that represents animals or birds.

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