OFFICIAL WEB SITE
SINCE 2015
Pine Tree Bread Crock,
Deer In The Woods Water Cooler, and Sand Jar
by Steve and Karen Stone
The Pine Tree Bread Crock is highly decorated over its entire surface with a pine tree forest scene, and, on the back, there are rolling mountains and a two-track dirt road trailing off over the horizon; there are even clouds over the forest. The word “BREAD” is boldly embossed on the front and is decorated over the top and under the bottom with equally embossed and detailed scrolling resembling a cartouche. Just under the crock's top rim is a decorative ring of pine cones, conifer branches, and needles. This Pine Tree Bread Crock is 11-1/2 inches tall with a diameter of 13 inches. The pine cone, conifer branches, and needles decoration is repeated as an inner ring on the lid along with an outer ring of what could be pine boughs. The finial is a large, flat knob. Some lids have a small factory produced hole adjacent to the finial possibly to vent gasses as bread dough sits.
Most of the embossed forest scene on the Deer in the Woods water cooler and sand jar are virtually identical to the Pine Tree Bread Crock except the word BREAD is replaced with a truly magnificent embossed stag with his mate. The water cooler was provided with a factory installed brass faucet. The water cooler was available in sizes ranging from one to eight gallons. The sand jar is 15 inches tall with a diameter of 12 inches.
These pieces were produced in the Midwest in the early half of the 1900's by RedWing, Robinson Ransbottom Pottery Co., and Crown Pottery Co., and are illustrated in respective product catalogs of these potteries. Although inconsistently applied, some pieces were bottom marked with embossed or stamped manufacturers’ name. Each pottery produced thousands of pieces each month and there was money to be had in volume. Quality control was second to mass production and as a result a number of manufacture errors, most notably fingerprints in paint and glazes, were typically released to the public. A photo with this article reproduces the bottom of a Deer In The Woods sand jar with the potter’s finger prints of both right and left hands forever preserved.
These pieces were available in a variety of solid colors (including green, blue, and lavender), blended blue and white, blended blue and yellow, and blended green and cream. The water cooler and sand jar were also available as unglazed brushed ware and bisque. A stunning green Deer In The Woods sand jar is illustrated on page 237 in the 1996 Collector's Encyclopedia of Salt Glaze Stoneware by Terry Taylor and Terry & Kay Lowrance.
Anecdote: A friend of ours had the large 15 inch tall sand jar with the first mold embossed crispness and an emerald green glaze, truly breathtaking. They were babysitting their 6 year old grandson who enjoyed playing around and with the sand jar. Despite several requests and admonishments to stop playing around the stoneware, the grandson persisted. One day he sat in the sand jar on his feet so only his head, upper torso, and knees were visible, he was stuck, and stuck fast. After several attempts to separate him from the sand jar, he remained stuck fast. Then a call for the local fire department. Fire department arrived in a HUGE hook and ladder truck with red light flashing (yep, a bunch of the neighbors emerged to see what the commotion, quite the scene) and as the firemen entered the home and saw the nature of the emergency, the laughs and grins could barely be hidden. Various removal attempts followed ... positional, rotation akin to unscrewing, all kinds of physical efforts. No luck. Then followed a sea of lubricants ... lotions, potions, oils, and various other unguents. Still no luck....................................After a considerable time and innumerable techniques with no success and family becoming increasingly distressed and with something akin to impending panic looming in the grandson, it was with a very large sigh the firefighter supervisor handed the grandfather a hammer. As the grandfather related this story he admitted that, while he was holding the hammer and knowing what had to be done, he experienced a moment, just a moment, of hesitation.
.......................Grandson is a now college graduate.
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Dandy Pitcher
by Steve and Karen Stone
The Dandy pitcher stands 7 inches tall with applied handle and is decorated with an embossed two leaved plant sprouting two flowers, perhaps stylized daisies, on both sides of the pitcher. The body is Bristol glaze, the plants were hand decorated in various colors or combinations of colors according to the buyer’s requirements, some few are decorated with hand applied blue resulting in a lovely piece of early Blue and White stoneware. The Dandy pitcher is illustrated on page 266 of the 2005 Antique Trader Stoneware and Blue & White Pottery Price Guide. Kyle Husfloen, ed., Bruce & Vicki Waasdorp, Gail Peck, and Steve Stone.
The Dandy pitcher was produced by J. W. McCoy Pottery Company, Roseville, Ohio, in 1910. It is one of the few pieces of Blue and White stoneware to be named by the manufacturer. It is illustrated on sheet “H” of the 1910 J. W. McCoy Pottery Company product catalog. It is described as “Hand Decorated” and was available in a variety of color schemes and priced at $34/gross.
The Lakin – Kirkpatrick – Davis – Peterson Pottery
by Greg Mathis
Samples of Point Pleasant Clay pipes varities excavated by amateur archaeologist Parker Melvin from the LKDP pottery waster dump off the Ohio River bank, immediately southeast of Old Indian Creek. Mr. Melvin recovered in excess of a thousand ceramic artifacts from this LKDP clay tobacco pipe factory location that is comprised of 65 variations of clay tobacco trade pipes attributed to Nineteenth Century Point Pleasant, Ohio potters. While this Parker Melvin amateur archaeological decade long recovery and study at Point Pleasant, Ohio, remains unparalleled, State excavations were able to identify an additional 30 subtype variations.
Red Wing Dutch Boy and Girl Pitchers
by Steve and Karen Stone
These Blue and White Dutch Boy and Girl pitchers are amazing, beautiful, and rare. This Dutch Boy and Girl pitcher line was produced by Red Wing Pottery, Red Wing, Minnesota in the late 1920's to early 1930's.
One side of the pitcher is embossed with the decoration of a Boy and Girl clothed in traditional Nordic clothing. The other side prominently displays a windmill, and, in the background, a house complete with a large tree off to the side; the pitcher’s bottom is marked with the Red Wing stamp; the handle is attached. Blue tinting generally encircles the bottom half of the pitcher while the top half is Bristol glazed. Other colors are known and are extremely rare.
These Dutch Boy and Girl pitchers have a similar shape and capacity as Sleepy Eye pitchers and both were in production at about the same time. A set of four Dutch Boy and Girl pitchers is illustrated on page 88 of the 1983 book Red Wing Stoneware: An Identification and Value Guide, by Dan and Gail DePasquale, and Larry Peterson. The above photos are of a 6 inch tall pitcher.
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6" and 4" Zuni Art vases.
INDIAN GOOD LUCK SYMBOL HISTORY
By Steve & Karen Stone
Indian Good Luck Symbol History: In April 1910, Nelson McCoy (Senior), with help from his father (J.W. McCoy) and along with five stockholders, established the Nelson McCoy Sanitary and Stoneware Company in Roseville, Ohio. The pottery produced utilitarian stoneware and operated successfully until about 1918; at that time it joined with eleven other stoneware potteries and formed the American Clay Products Company (ACPC), which was located in Zanesville, Ohio.
All the member potteries produced unmarked stoneware to be marketed by ACPC which produced sales catalogs and hired salesmen to advertise and take orders. Orders received by ACPC were shared among the member potteries based on production capability, and the revenue received was proportionally distributed. The pieces these potteries produced were essentially the Rubber-Maid or TupperWare of their day. Nelson McCoy produced all the Indian Good Luck salts, butters, and pitchers (B&W, B&W and green sponge, powder blue, solid green, and brown/mahogany among others) which were then sold to and distributed by other potteries, wholesalers, and retailers. Each pottery produced thousands of pieces each month and there was money to be had in volume. Quality control was second to mass production and as a result a number of manufacture errors were typically released to the public. Common errors include drips from excessive color or glazes; skips, bubbles, pops, blowouts, blisters, and kiln-kisses in the glaze; fingerprints and smudges; irregular shapes (i.e., egg-shaped or oval openings rather than the intended circular openings); and absent stencils, double stenciling, the wrong stamping, and upside-down stamps. Also common were drying crevasses, chips, bumps, gouges, and creases in greenware and bisque that were simply glazed over as is and fired. These issues are not considered post-production damage, it’s just the way potteries did business in those days.
The Decorative Motif: The good luck motif or design is an equilateral cross with four arms bent at right angles, in either a right-facing form or its mirrored, left-facing form. Earliest archaeological evidence of ornaments with this design dates back to the Indus Valley Civilization of ancient India, about 3,000 BC or roughly 5,000 years ago.
This motif was conceived of, used, and is still in use, by many and diverse worldwide civilizations throughout time including many Native American groups. It has been found in excavations of Mississippian-era sites (about 1,000+/- years ago) in the Ohio and Mississippi River valleys. It is frequently used as a motif on objects associated with Southwestern people, most notably the Navajo. Among various tribes, however, the motif carried different meanings. To the Hopi it represented the wandering Hopi clan; to the Navajo it was one symbol for a whirling log, a sacred image representing a legend that was used in healing rituals. A brightly colored First Nations (native Canadian people) saddle featuring such motifs is on display at the Royal Saskatchewan Museum in Canada.
Some researchers hypothesize that the four arms of the cross represent four aspects of nature - sun, wind, water, and soil; some have said the four arms of the cross are the four seasons. Whatever, the design was in extensive use throughout the world for millennia prior to the 1930's rise of Germany.
An Interesting Anecdote: In the early 1900's Western America, and especially Southwest attractions like Grand Canyon, was enjoying a tourism boom from the East Coast populace. Native Americans were quick to set up roadside stands selling all kinds of souvenirs, including decorated pottery, to the tourists. In the Midwest, the Great Ohio Valley potteries saw an opportunity. In addition to the B&W Stoneware Indian Good Luck pitchers, salts, and various sizes of covered butters, Brush-McCoy Pottery, located in Roseville, Ohio, and a close associate of Nelson McCoy Pottery Company, produced a line of Native American Good Luck symbol decorated squeeze bag StoneArt named Zuni Art which included a plethora of pieces such as bulb bowls, vases, candlesticks and much more. Western wholesalers bought this Zuni Art by the boxcar-load, sold it to the Native Americans, who, in turn, sold it to visiting East Coast tourists. These tourists took it back home and proudly exhibited their genuine antique Southwest Native American decorated Good Luck pottery, which was actually made in Roseville, Ohio, specifically for their tourist trade. (For additional photos and a history of Zuni Art decorated stoneware refer to the 1992 book The Guide to Brush-McCoy Pottery, by Steve and Martha Sanford.)
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Blue & White On the Small Screen
by Steve & Karen Stone
There’s been another Blue & White sighting on the small screen. The 9" tall Western Stoneware/Monmouth Pottery Co. Cattail pitcher was used in an episode of HAVE GUN WILL TRAVEL entitled “Charlie Red Dog.”
HAVE GUN WILL TRAVEL is an American Western television series that aired on CBS from 1957 through 1963. The series is currently in syndication and running on several cable channels. The show was set in the post-Civil War era of the 1870's and followed the adventures of Paladin, a gentleman gunfighter (played by Richard Boone), who preferred to settle problems without violence, yet, when forced to fight, excelled. Paladin lived in the Carlton Hotel in San Francisco, where he dressed in formal attire, ate gourmet food, and attended the opera. In an episode written by Gene Roddenberry (the Star Trek guy) and directed by Ida Lupino, Paladin is in a cabin talking with a couple when the cabin door bursts open and he is set upon by a trio of ruffians; he is knocked to the floor and dazed. The man of the couple tells his wife “Get the water jug.” She turns and fetches the water jug - a 9 inch tall B&W Cattail pitcher. The man takes the pitcher and dashes its’ conveniently filled contents on the back of Paladin’s head and neck. Awakened, Paladin jumps up and subdues the bad guys. Yet another drubbing of loutish thugs attributed to B&W Stoneware!
STEVE’S NOTE #1: Yes, I know the Cattail pitchers were produced no earlier than the 1920s and the HAVE GUN WILL TRAVEL series was set in the 1870s, at least 50 yeas prior to Cattail pitcher production. The producers unquestionably exercised theatrical license to fluff up the show.
STEVE’S NOTE #2: The identifying graphic of the HAVE GUN WILL TRAVEL TV series was Paladin’s calling card design, a chess knight over which was emblazoned HAVE GUN WILL TRAVEL followed by Wire Paladin San Francisco. Throughout the six year life of the series' Paladin’s first name was never revealed. But, as a lad, I remember watching the series, reading the calling card, and thinking what a strange first name it is - “Wire.”
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Park & Pollard Co.
by Steve & Karen Stone
The Park & Pollard advertising B&W Stoneware pieces were produced in the early 1900's; however, at present the manufacturer is unknown. Park & Pollard Co. was a good sized Boston-based feed grain supply company and Overall was their most popular chicken feed. The blue stencil consists of the word OVERALL within a banner under which are the words THE PARK & POLLARD CO., BOSTON. On various pieces are sometimes also the words PAT. APPL. FOR or TRADEMARK. Some pieces also have a stenciled rooster on the front. Pieces include pet/rabbit dishes, crocks with wire and wood roller handles (feed buckets) up to 6 inches tall and 11 inches in diameter, two piece poultry feeders / waterers (fount and tray), and one piece feeder / waterers. These pieces were most likely give-aways to farmers buying Park & Pollard Co. products.
(NOTE: The founts above are each 6 inches tall with a 1 quart capacity. The feed bucket is 10 inches across.)
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- Magic Time3:25
- Peaceful Piano2:40
- This World Is Not My Home3:15
The Peacock Pattern
by Steve & Karen Stone
The peacock line is well known to collectors of Blue & White Stoneware and Brush-McCoy and Brush pottery. The peacock design was manufactured from about 1915 to 1925 by the Brush-McCoy Pottery Company and later by the Brush Pottery Company (both in Zanesville, Ohio) from 1925 to 1928. The peacock line is variously illustrated in many of the Brush-McCoy and Brush catalogs from that period.
This line has been alternatively called “Peacock at the Fountain,” “Peacock at the Well,” “Peacock on the Fence,” or, simply, “Peacock.” The first two names reflect the embossed scene that, on some pieces, includes a gushing well or fountain. Such pieces are the chamber pot, jardiniere, salt crock, butter tub, baking dish, cooking or preserving kettle, and the spittoon. Pieces without a well or fountain are the pitcher, custard cup, three nesting bowl set (6", 7", & 8" dia. ), the ramekin or napple, and the coffee pot. On all pieces, the scene clearly shows the peacock standing or strutting on what appears to be a brick wall or fence, hence the popular name “Peacock on the Fence.” The Brush-McCoy Pottery Company catalogs rarely applied a name to these pieces but when named they were simply listed as “Peacock” or “Blue Tint.”
With the exception of the jardiniere, this entire line was offered in Blue & White and several pieces were also available in “Nurock” (various shades of mottled brown ranging from very pale to a deep, rich, dark brown). Yellowware examples of all the Peacock pieces are also known and are extremely uncommon. The salt crock and butter tub always had a flat rectangle on the bottom of the front of the piece for the stencilled name SALT or BUTTER, as appropriate. However, the name was not always applied which then resulted in a blank, flat rectangle. Not much is known about the Peacock jardiniere and references to it throughout the literature are scarce. The Peacock jardiniere is illustrated on sheet 113 of the 1915 Brush-McCoy catalog. Known colors include brown, green, and blended brown and green. It would not be surprising to see a Blue & White Peacock jardiniere pop up.
Prices from 1916 Brush-McCoy Product Catalog
Butter - Gross, $30.00
Spittoon - Gross, $30.00
Salt - Gross, $20.50
Custard cup - dozen, $0.72
Coffee Pot - dozen, $24.50
REFERENCE: The above information appeared in a 1990’s Blue &White Pottery Club Newsletter as well as the 2005 “Antique Trader Stoneware and Blue & White Pottery Price Guide,” by Kyle Husfloen, ed, Bruce & Vicki Waasdorp, Gail Peck, and Steve Stone.
Archive of BWPOSECC Articles
PLEASE NOTE - - New submissions appear at bottom of page.
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Logan Shield Pitcher
by Steve and Karen Stone
The Logan Shield pitcher was produced by the Logan Pottery Company, Ohio, in the early 1900's. This pitcher stands 8 inches tall, the applied handle is finished with a generous thumb rest. The principal feature on both sides of this pitcher is an embossed design closely resembling a type of shield. An embossed design resembling a branch, possibly a stylized conifer sprig, encircles the top rim. The bottom is featured with a row of small squares. Known colors include Blue and White, individually hand decorated, deep mahogany, and YellowWare.
Hand decorated pieces are very rare and the amount and placement of decoration would be up to the individual potter. The hand decorated Shield pitcher we have seen is white with the shield embossing highlighted in blue, blue rings the top rim as well as the junction of the rim and pitcher body, small squares on the bottom are also highlighted in blue. These Shield pitchers are uncommon and infrequently found. If a seller has one, especially Blue and White and, of course, individually decorated, and is aware of it’s scarcity it will probably be priced accordingly. The Logan Shield Pitcher is, unfortunately, not illustrated in any book on Blue and White stoneware.
The Logan Pottery was organized in Logan, Hocking County, Ohio, by the brothers Frank and Charles Adcock on 29 May 1902. The pottery began operation in January, 1903. Over the years the pottery manufactured items such as a seated dog, foot warmers, bowls, pitchers, flower pots and vases, poultry fountains, jugs, cuspidors, jardinieres and garden urns. Their blue and white foot warmer was one of the few examples patented by the company. It was made between 1915 and 1928 and has become a favorite of collectors. The pottery continued in operation under the management of family until it closed in 1964. The closure of the pottery resulted from the high cost of modernizing their facility, rising labor costs, pressure from Japanese imports, and the increasing use of plastic in competing products.
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Had A Party With An Oval Coffee Pot
by Steve and Karen Stone
The manufacturer of the Oval Coffee Pot is presently unknown but it was unquestionably manufactured by one of the many potteries that flourished in the Great Ohio Valley during the height of stoneware production in late 1800's to near the mid 1900's. An Oval Coffee Pot is illustrated and described in detail on page 89 of the 1997 Salt Glaze Stoneware book. It is characterized as “Extremely Rare.” In any collection of Blue and White stoneware an Oval Coffee Pot is surely considered one of the crown jewels.
“Lunch Hour” decorations of all kinds are well known and attributed to any number of potters decorating a piece for someone special; these decorated pieces are sometimes called “Presentation” pieces. The above photos illustrate a “normal” Oval Coffee Pot and one that only can be described as a Lunch Hour piece. All decorations are under glaze with blue against the white Bristol body. One side is a large butterfly. On the side of the handle are the words “From John To.” The other side of the handle is also inscribed but the characters are unintelligible. On this same side is a large spider web and several branches in full leaf. Leaves encircle the top rim. Some potter had a party decorating this coffee pot for someone special, or, perhaps as a personal keepsake. Unquestionably this is a one-of-a-kind, unique piece. This Oval Coffee Pot showed up at a Blue and White Stoneware convention during the early 2000's; it’s present whereabouts is unknown. Unfortunately, the lid has been lost through time.
An amazing piece.
A Really Big Mug
by Steve and Karen Stone
Here’s a really big mug measuring 6-1/4” tall x 4-1/2” across the top, the handle it applied and provided with a convenient thumb rest. It was made by the Western Stoneware Company of Monmouth, Illinois and is found in their 1928 catalog. It is illustrated here next to a 3-1/2 inch tall Rose and Fishscale mug for scale. On the big mug there is a manufacturer intentionally produced groove encircling the top rim about 3/4” below the top. This mug is illustrated on page 127, top row, in the 1983 book Monmouth-Western Stoneware by Jim Martin & Bette Cooper. The ink stamped markings on the bottom are "Factory 50, 1st District, ILL, 1933, PAT. APPLIED FOR.”
In Google these marks are standard markings in the cigar-making business. Each business has its own number, district, and the abbreviation ILL. Most of these businesses were in the Chicago area where this mug originates. This, in addition to the deep cut band below the rim and the large size, indicates that this mug was most likely filled with cigars, sealed around the top, and sold with the cigars as a premium. The cigar-filled mug could have been sold in bars as well as tobacco shops. Once the mug was empty it would be a good size for a beer or a pint of stout. At a bar some wealthy person could have bought the mug full of cigars, pass the cigars out to friends, then fill the mug with suds. Perhaps a bar could have had a SALE -- buy the mug full of cigars and enjoy a free fill-up of beer when cigars are gone. A wonderful marketing ploy similar to many fast-food restaurants today.
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Wildflower Rolling Pin
by Steve and Karen Stone
For those of us who hunt Blue and White stoneware it seems like you can’t swing a Cow pitcher without finding a Wildflower rolling pin; they are everywhere and unquestionably one of the most frequently encountered pieces of Blue and White. Visit any antique shop, mall, show, collectibles shop, historical dry goods store, estate sales, and who knows where else, they are there to be found. A number of Wildflower rolling pins, mostly with a bewildering array of advertising, are illustrated on pages 140 through 145 in the 1996 book Collector's Encyclopedia of Salt Glaze Stoneware. Collector Books, by Terry Taylor and Terry & Kay Lowrance.
Probably throughout the entire human history of cooking rolling pins of some kind were essential. During the first half of the 20th century America was rapidly growing and the people needed to be fed. It was then that mass production of stoneware really hit it’s stride. Huge volumes of stoneware of every kind, use, and description, including rolling pins, was made by many potteries mostly in the Great Ohio Valley. Virtually every restaurant, fancy hotel, room and board, bakery, household, and any food preparation facility throughout the nation that did its own cooking rolling pins were an absolute necessity, very often several per establishment. For those of us who are old enough to remember the aroma of a freshly baked homemade pie straight from Grandma’s wood fired stove, we are truly blessed. These sumptuous pies would be impossible without rolling pins, many of which were Wildflower by McCoy. Wildflower rolling pins were illustrated and described in the 1911 Brush-McCoy product catalog to the trade as:
“No. 166. Fast Movers with Polished (wooden) Handles, Fancy Blue Decorated (the Wildflower stamp), Whitestone Body and Glaze, Flemish Blue Tinted Finish (again the Wildflower stamp). Here are the winners--everyone a big value. No ‘stickers,’ no ‘sleepers,’ best sellers.”
The 1914 Brush-McCoy product catalog illustrates an advertising blue decorated Wildflower rolling pin with the following caption:
“No. 166–15 inch rolling pin, polished handle, Blue Dec. For advertising or gifts. Especially used by freezing to produce ‘flakey’ <sic> pie crust. Without lettering, gross $24.00. 3 line name stamp in indestructible underglaze blue, three lines or less per 100, $30.00. 3 line stamp in Gold, per 100, $37.50. No less than 100 run.
It must be understood that customer agrees to take 10% overage or underage at 25 cents each list.”
Interestingly, there is no mention of font size. Font size was variable as seen in the Salt Glaze book.
-------At $24.00 per gross (6 cents each – amazing by today’s standards) for the standard rolling pin without lettering they were indeed priced to move by retailers. McCoy did not place the specific name “Wildflower” on this line but simply used the name of the piece (i.e., Hall Boy, Salt Box, Rolling Pin, etc.), usually some mention of blue decoration, and a product number to identify the piece or in some cases closely related pieces. Mary Joseph and Edith Harbin in their 1973 book Blue and White Pottery were the first to attribute the name Wildflower to this line. The reason why Joseph and Harbin named this stamped design “Wildflower” is unknown.
Each one of these Wildflower rollers was hand stamped and sometimes the potter would just have a party with the stamp and cover almost every available space, including the ends, with the Wildflower stamp. A lunch hour piece, Friday afternoon piece, a gift for someone special, something for personal use, or just someone bored out of their mind ... who knows? But, we’re all the more enlightened and grateful to whomever did it!
McCoy and other Midwestern potteries of that time, such as Monmouth / Western, produced thousands of rolling pins every month. They were a company staple ... cheap, quick to produce, and essential to baking, every home and business involved with food preparation had to have at least one, or more. Times were tough back then and dollars were even tougher to come by. Business would have rolling pins stamped with their particulars and freely hand them out, something akin to an elaborate business card, but very durable with in-your-face advertising every day when someone picked it up.
The vast majority of rollers were intended for home use and these rollers measure a standard 7 to 8 inches long with a diameter of 3 inches and an overall length of 14 to 15 inches. There is an odd sized (chunky) roller where just the stoneware roller itself is 11-1/2 inches long with a diameter of 4 inches; the overall length including the wooden handles is 18 inches. We’ve seen only one of these chunky rolling pins but certainly more must be out there. Although not illustrated in any McCoy product catalog, some rollers were produced in a much longer size, perhaps special order. Page 145 of the Salt Glaze book illustrates what is identified as a baker’s size roller, (with advertising of the company name, city, and state), where just the stoneware roller measures 10 inches long, 3 inches in diameter, and 16 inches long with handles. In a still larger size just the roller measurers 14-1/2 inches long (with different advertising or none at all), a 3-1/3 inch diameter and an overall length of 21-1/2 inches. On these last two sizes of big Wildflower baker’s rollers the advertising stamp was applied under the final glaze. None of the advertising stamps can be felt when running fingers over them. However, what makes these last two sizes of baker’s rollers unique is how the end Wildflower decorations were applied. It appears excessively thick paint was on the stamps or the decoration was thickly brushed on by hand then glazed over. Either way, it is possible to actually feel the thickly applied Wildflower decoration while running fingertips over them.
Advertising rolling pins, especially McCoy and Monmouth/Western, are still abundant and easily found. With a modicum of effort that “special” rolling pin can be found to treasure amongst any Blue and White collection.
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STANDING INDIAN PITCHER
Early Transcript from Old Sleepy Eye Newsletter
Hand Decorated Lucille (Bow Knot) Chamber Pot
by Save & Karen Stone
Here is an interesting piece of decorated Blue and White stoneware. It is the embossed Bow Tie and Ribbon chamber pot with applied handle; it’s 6 inches tall and 11 inches in diameter. The ribbon and bow tie are decorated with apparently hand applied blue prior to final glazing and firing. It was found like this, without the lid. Pieces with the ribbon and bow tie picked out in blue are uncommonly seen. In 40+ years searching for and collecting Blue and White stoneware this is the only example we have seen.
This may have been a Friday afternoon or lunch hour piece, or perhaps all 13 pieces of the set were hand decorated like this as gift for someone special. The potter’s intention is unfortunately lost to history. The embossed Bow Tie with Ribbon design was produced by Brush-McCoy Pottery Co, Roseville, Ohio, 1911 to 1923. Brush-McCoy named this embossed ribbon and bow design as “Our Lucille Toilet Ware” after Lucille Brush, daughter of George Brush, a partner of the Brush-McCoy Pottery Company. The Our Lucille Toilet Ware design was offered as a 13 piece toilet set and is illustrated and described in every Brush-McCoy product catalog during this time.
The Our Lucille Toilet Ware 13 piece set included a large ewer and basin, mouth ewer, mug, slab (soap dish), covered soap dish and drainer (3 pieces), brush vase, covered chamber pot, and covered combinet with bail.
The set was offered in a variety of colors and decorations with a base of Bristol glaze. Starting from basic to the most ornately colored, with prices correspondingly more, the colors were totally white (Bristol glaze), white with blue tint (Blue & White), Blue & White with Wildflower or similar stamp, Blue & White with Flying Bluebird decal, Blue & White with floral decal, and Blue & White with floral decal and gold tracing around rims and edges. Various floral decals were used, all with a rose motif.
A number of embossed Blue and White pieces with the Bow Tie (Bow Knot) design with an assortment of under glaze decorations are illustrated on pages 204 and 205 of the 1996 (2001) Collector's Encyclopedia of Salt Glaze Stoneware. Terry Taylor, and Terry & Kay Lowrance.
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Wildflower Tea Pot
by Steve & Karen Stone
The Wildflower line was produced by J.W. McCoy, Brush-McCoy, A.E. Hull pottery companies, Ohio, in the early 1900's and includes a seemingly endless variety of kitchen and washroom pieces. In their product catalogs neither pottery place the specific name “Wildflower” on this design but simply identified it as “Blue Tint.” Mary Joseph and Edith Harbin were the first to attribute the name Wildflower to this design line (which includes at least three distinctly different designs) in their seminal work Blue and White Pottery, 1973. The Wildflower line, especially the abundant rolling pins with advertising, is well known to Blue & White stoneware collectors. Contrary to long-held popular belief, including my own, the Wildflower design is not a stencil, but, rather, decorations were applied with a stamp.
An infrequently encountered Wildflower piece is the tea pot. This piece stands 8 inches tall from the bottom rim to the top of the lid’s finial, the handle and spout are applied. A substantial thumb rest is applied to the top of the handle. On the piece described in this article a large six pointed snowflake Wildflower design (as the decoration on the Wildflower meat tenderizer) is applied to both sides of the pot. The more traditional Wildflower design is applied to the sides of the spout and down the handle. The lid has four Wildflower stamps and is finished off with a finial designed as an acorn or Turk’s Hat. These Wildflower tea pots could very well have been special ordered pieces, possibly not many were produced which could account for their scarcity. It is also possible the potteries offered a broad guideline for decoration and the final decoration scheme could be up to the individual potter leading to variation among tea pots. The tea pot described in this article has a modest chip on the edge of the lid and the spout has been broken off and repaired with glue. Considering the scarcity of this piece these damages should not appreciably affect it’s price. There is also a Wildflower coffee pot. The piece we’ve seen is a Swirl coffee pot without the swirl and is decorated instead with various Wildflower designs.
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Depiction of famous cabin on commemorative coin reverse.
The late James L. Murphy, renown member of the Archaeologist Society of Ohio, of the Ohio State Historical Society, of OSU Libraries, and an ardent researcher and collector of Ohio ceramics, states in his writing Another Perspective On Point Pleasant Pottery Pipes “as documented by Thomas and Burnett (1971) and Murphy (1985), there have actually been three distinct potteries producing clay tobacco pipes at Point Pleasant. The best known of these is the Cornwall Kirkpatrick – Nathan Davis Peterson Brothers factory, which stood. on the south bank of Big Indian Creek near the U.S. Route 52 highway bridge. This pottery was in production from ca. 1838 to ca. 1887. Although a pottery operated at this site by William P. Lakin stood here from 1838 until his death in 1843, it is considered unlikely that pipe production occurred prior to operation of the pottery by Cornwall Kirkpatrick (1814-1890), which began in 1849. (Kirkpatrick had earlier operated a yellow ware pottery in Covington, Kentucky, and very likely produced a variety of yellowware reed stem pipes that have been found in the Cincinnati area before moving to Point Pleasant. C. E. Kirkpatrick operated a pottery in Cincinnati subsequent to his operations at Point Pleasant, where he may well have produced pipes there, as well. It is certainly an exaggeration to state that the Point Pleasant pipes have been buried for 150 years (Heimlich 1979: 69), Monte Melvin's 1827 large cent notwithstanding (Holzapfel 1993:11). Although Thomas and Burnett (1971:7) suggest that production continued to ca. 1890, there is no evidence that pipe production at the Kirkpatrick-Davis-Peterson Brothers factory continued after 1887, when the land was purchased by James W. McKibben from Samuel Cooper. The latest known reference to a pottery at this site is Williams' 1883 Ohio Directory for 1883-1884, which lists a Peterson and Cooper pottery (Williams 1883: 436).”
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Amazing Bird Pattern Pitcher and Salt
by Steve and Karen Stone
(Special thanks to Max and Linda Eakin)
These two stamped bird pieces, a pitcher and a salt, are really beautiful and probably lunch hour or Friday afternoon pieces and unquestionably unique. The pitcher is 7-1/2 inches tall with an applied handle. The body and handle are Bristol glazed and both heavily stamped in blue with a bird perched on a flowering branch. The most immediately eye catching design on both sides of the pitcher’s body is a big blue bird design closely resembling a goose in profile. A similar but more conservatively decorated piece is a hanging salt crock; it is 4-1/2 inches tall and 6 inches in diameter. The word “SALT” is stamped on the front and on either side of the word is stamped one of the same blue birds perched on a flowering twig as on the pitcher. The salt crock is covered with a stoneware lid sitting on a shelf on the inside of the crock’s top. The lid is decorated with two blue circular lines and a generous finial. Unfortunately this salt crock has a substantial crack down the middle of the front. The crack isn’t big enough to pour water out of but it is there.
The manufacturer of this pitcher and salt crock is presently unknown but they are unquestionably products of an Ohio Valley pottery (or potteries) during the late 1800's to early mid 1900's. The pitcher’s shape was popular, especially in wash room sets, and is abundantly pictured in several Ohio pottery company product catalogs during that time, both in diffused Blue and White and spongeware. The shape of the salt crock is also commonly seen as products of many early 1900's potteries from the Ohio Valley. However, no product catalogs seen to date illustrate this bird stamped design on any piece. So, until a piece, any piece, with this bird on a flowering twig is discovered in a pottery company product catalog, the manufacturer of this outstandingly beautiful pitcher and salt crock will remain unknown.
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Decalcomania
by Steve and Karen Stone
Decalcomania, from the French décalcomanie, is a decorative technique by which engravings and prints may be transferred to pottery or other materials (first documented use was in 1750 by the French engraver Simon François Ravenet). Today the shortened version is "Decal".
In the late 1800's to about the mid 1900's applying decals to Blue and White stoneware prior to the final glaze and firing was a decorative technique used by many Midwestern potteries, to include Monmouth/Western Stoneware, Brush-McCoy, and A.E. Hull. Today, frequently seen floral decal decorated pieces are the shaving mugs, brush vases, and covered soap dishes (photo #1) belonging to a 13 piece toilet ware set produced by Monmouth/Western Stoneware. Much less frequently encountered pieces are the Bow Tie with the Flying Blue Bird decal 13 piece toilet set produced by the Brush-McCoy Pottery Company. (The Bow Tie embossed stoneware was originally named Our Lucille Toilet Ware, named after Lucille Brush, daughter of George Brush, owner of Brush-McCoy Pottery Co.) Photo #2 illustrates the Flying Blue Bird decal decorated wash basin and water pitcher; photo #3 illustrates the covered chamber. All the Bow Tie pieces we’ve seen are decorated only on one side. A.E. Hull Pottery Co. also produced Blue and White pieces with decals. Photos #4 and #5 illustrate an A.E. Hull decal decorated pitcher, the decals are different on each side, one side is grapes and the other flowers. This pitcher has no embossed design and in shape shares design features reminiscent of the Dainty Fruit and Flying Birds pitchers also products of A.E. Hull. Photos #6 and #7 illustrate another A.E. Hull pitcher that in shape closely resembles the Stupid Pitcher (manufacturer presently unknown). This piece has a bouquet of roses design on one side and a sailing theme on the other.
One of the most unusual decal decorated pieces we’ve come across is a floral decorated Diffused Blue BEANS canister (photo #8). One side has the under glaze floral decal, the other side has the stamped contents BEANS. Two gold rings encircle the canister.
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Blue & White Victorian Pitchers
by Steve & Karen Stone
These Victorian pitchers, sometimes referred to as the George and Martha Washington pitchers, were produced by the Diamond Stoneware Company, Crooksville, Ohio, 1892 - 1945. The pitcher is illustrated on a Diamond Stoneware Company envelope (postmarked 1902) in association with the return address.
There are two sizes/forms of the pitcher. The smaller one, which is most commonly found, averages about 8-1/4 inches tall, the handle is applied and somewhat rounded on the ends. On one side of the pitcher is an embossed male profile sometimes described as George Washington. On the pitcher’s other side is another embossed profile, a female figure, sometimes described as Martha Washington. Both figures are elegantly defined with strong features and late 1800's or early 1900's elegant Victorian clothing complete with stylish plumage on their hats.
The top 1-1/2 inches of the rim flairs out just a bit and is decorated with a minimalist embossed basketweave design. Surrounding the bottom rim there are slightly impressed vertical designs about an inch high. The bottom is glazed and unmarked. The second form of the Victorian pitcher closely resembles the other one with a stately embossed bust on each side. With a height of 9-3/4 inches, it is considerably taller, it’s handle is also applied but a bit more square than the handle on the other pitcher. The top two inches of this pitcher also flairs out but is decorated with embossed vines, leaves, and bunches of grapes. The bottom rim of this pitcher, too, is impressed with vertical marks and it’s bottom is glazed and unmarked. This pitcher exhibits a lot of glaze blowouts, steam from the bisque or even the glaze exploding during the final firing process resulting in smallish pops (of various sizes and configurations) in the surface of the pitcher.
The body of both pitchers is white Bristol glaze. Sometimes the embossed figures are colored blue, sometimes these figures are uncolored resulting in an entirely Bristol glazed pitcher; completely blue sponged examples are known.
If anyone has copies of any Diamond Stoneware Company product catalogs we’d appreciate hearing from you. Our email address is sylvanlvr@aol.com..
Dahlia Salt Crock
by Steve and Karen Stone
Here’s an old interesting Dahlia salt crock decorated in blue and white; mahogany forms are also known. This salt crock is not illustrated in any contemporary reference book on blue and white stoneware and the manufacturer is unknown.
This Dahlia salt crock dates to the early 1900s and, judging by the clay and glaze, it is unquestionably the product of a pottery doing business in the Great Ohio Valley where the abundant sources of quality clay provided virtually endless supplies of raw material with which to mass produce volumes of everyday stoneware items.
As with most Ohio salt crocks of the early 1900s, there is a bottom footer for setting the crock on a flat surface, perhaps on a table for easy access during a meal. The elevated back is equipped with a hole for hanging on a nail probably near a stove. The crock also has a flat back to help prevent wobbling while hanging. Its front height is 4 inches, back height is 6-1/2 inches, and the bottom diameter is just under 6 inches.
The overall background of this salt is plain, smooth and unadorned. The word SALT is featured in embossed letters and strongly highlighted in blue. Embossed Dahlia flowers are featured on both sides and towards the back of the crock. On the front, stems reach under the embossed SALT, and stems with unopened terminal buds arch up over the word SALT producing a framed effect.
The lid is adorned with three stems with leaves, again, an unopened bud finishes each stem. A flat topped and really difficult to grasp finial perches atop the lid; a feature which may help explain why Dahlia salt lids are scarce!
Dahlia and Apple Blossom salts are easily confused, they can seem quite similar, especially the lids. A difference between the Apple Blossom and Dahlia salt crocks and lids is the background; Apple Blossom has a diamond shaped waffle pattern while the Dahlia salt is completely smooth and unadorned. The flowers on the Apple Blossom crock and lid are fully opened and have four pedals. The opened flowers on the sides and back of the Dahlia salt resemble Dahlia flowers, each with many more pedals than apple blossom flowers. The Apple Blossom salt lid has the diamond background and is decorated with four stems, leaves, and opened four-pedal flowers. The Dahlia salt lid is smooth and has but three stems with leaves and unopened buds.
The Apple Blossom and Dahlia lids are interchangeable for size and colors and can easily be confused. An Apple Blossom lid perched atop a Dahlia base, and vice versa, appears for all the world correct and a match made in heaven. However, each is a marriage.
So, how do I know the differences between Apple Blossom and Dahlia salt lids, especially since they’re interchangeable and there are no clear pottery company product catalog illustrations of the Dahlia salt? Three stems rather than four, three unopened buds rather than four opened buds. We’ve seen a number of each salt with one or the other lid so which is correct?
This question could remain unanswered without the discovery of mahogany glazed Dahlia salts. The lids on these salts clearly present three stems with leaves and unopened buds.
Blue and white Apple Blossom salts can be found with both three and four stem version blue and white lids; mahogany Apple Blossom salts are unknown. Dahlia salts are known in both blue and white, and mahogany. Mahogany versions consistently have the three stem mahogany lid.
So, to be correct, blue and white Dahlia salts should have the three stem lid. Anything else is incorrect and a marriage.
I know this probably equates to a tempest in a tea pot but this is the combination the (presently unknown) Dahlia salt crock manufacturer had in mind.
Pictured above is the only know wigwam that still exists that hadn’t been destroyed from use. According to a salesman’s time book, these wigwams were never given away but were only sold. Quoted from Barney, “The picture is of the Parade @ Old Home Week in Youngstown, OH in June 1908." Notice the wigwams on the float in the lower right and also the advertising for Sleepy Eye Flour on the building in the background. In historian Elizabeth Scobie's writing "A History of Sleepy Eye, MN" ( page 53) she speaks of the wigwam by writing "One wigwam still exists, a tan canvas tent with pegs to stake the perimeter to the earth and with a rope at the peak to throw over a branch of a tree to hold it up. Decorations on it are in red and blue, picturing travois and people and advertising the Sleepy Eye Flour Mill. For many years the Frank Scobie family used it on outings at rivers and lakes. It was a convenient place for changing into a bathing suit." Article courtesy of Dennis Netten
Dillsboro Sanitarium Uhl Pitcher and Mug Set
by Steve & Karen Stone
The Dillsboro Sanitarium Company in Dillsboro, Indiana was in operation in the early 1900's and was touted as "The Home of the White Crane Mineral Water. Dillsboro Sanitarium was associated with white crane mineral water, the best known remedy in America for rheumatism, kidney, liver, bladder, and stomach troubles.
This Uhl barrel shaped, three quart pottery pitcher with 14 ounce mug advertises the Dillsboro Sanitarium in Dillsboro, Indiana. The front of the pitcher and mug are under-glaze stamped in blue with DILLSBORO SANITARIUM, then under that a crane (it’s a wading shore bird) wading through vegetation, and under that DILLSBORO, INDIANA. Both pitcher and mug are Bristol glazed on the outside and blue on the inside. Perhaps, in addition for other uses, they were used for despising White Crane healing powers mineral water.
A pitcher and 4 mug set are illustrated in the 2007 publication UHL Pottery Identification and Value Guide, Second edition, plate 17, page 16, bottom.
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Clay Tobacco Pipe Factories
of Point Pleasant, Ohio.
by Greg Mathis
with special thanks to James L. Murphy
Cornwall E. Kirkpatrick relocated from pot making at Covington, Kentucky, to nearby Point Pleasant, Ohio, in 1849. Here he purchase the Sarah Lakin property located off the Ohio River and Old Indian Creek. This property contained access to good pot making clay, water, and convenient river transportation. The purchase included the William Lakin pottery and a most famous one room cabin, as in this very cabin all the children of Cornwall and wife Amy were born with the exception their youngest, daughter named Amy that was born at Anna, Illinois, in 1858. Of American historical significance, this very Point Pleasant cabin is today an important Ohio State Historic Site. Not because the Cornwall Kirkpatrick family resided there, but since it was the actual birthplace cabin of Ulysses S. Grant in 1822. Just think about it, this was indeed a very significant one room cabin: the birthplace of Lincoln’s top Civil War Commanding General that became the 15th President of the United States in 1870; and an important home of one of our nation’s truly gifted potters, the producer of some of the most witty and admired ceramic American folk art creations, Cornwall Elihu Kirkpatrick.
Stork Club Ash Tray
by Steve and Karen Stone
Here is a bit of nostalgia from one of the most famous night clubs in the 20th century: the fabulous Stork Club. The nightclub was located in Manhattan, New York City, and during its existence from 1929 to 1965 was one of the most prestigious nightclubs in the world. A symbol of café society, the wealthy elite, including movie stars, celebrities, sports figures, showgirls, and aristocrats all mixed in the VIP Cub Room; it was a place to see and be seen (Wikipedia.org).
In 1938 the club owner, Sherman Billingsley, commissioned the well established JB Taylor Pottery Company in Louisville, Kentucky, to create unique ash trays not only to receive the intended tobacco waste but to promote the club as well. The basic stoneware ash tray is bright white Bristol glaze, 7 inches in diameter and 1-1/2 inches tall. The top rim and the four cigarette depressions are liberally covered in blue, the name STORK CLUB is emblazoned in big blue capital letters on the outside of the rim, a stork, fashionably accessorized with a top hat, is featured in the center of the ash tray, and the maker’s mark, also in blue, is on the ash tray’s underside.
The JB Taylor pottery was known for giving its artisans freedom to explore the dimensions of any assigned job and such freedom is evident in the various stork depictions decorating the tray’s inside bottom, one top hat wearing stork per tray and at least half a dozen different stork images are to be found. An entire set would be an amazing sight to behold.
These blue and white stoneware Stork Club ash trays unquestionably depict fine examples of artisan’s expression with no less gusto than those potters in large commercial potteries creating whimsies or lunch hour pieces in the 1930's and 1940's.
While not common, inexpensively priced Stork Club ash trays can be found, especially in antique shops, shows, flea markets, swap meets, and,of course, various internet sites.
Blanke's Coffee Pot
by Steve and Karen Stone
The Blanke's (Faust Blend) Coffee Pot was produced by White's Pottery, Utica, New York, in the early 1900's. The scans below are of an undated White's Pottery flier extolling the benefits of the Blanke's (Faust Blend) Coffee pot.
The Blanke's coffee pot is illustrated on page 78 of David Graci's 2012 book White’s Pottery: A Pictorial Review.
Old Sleepy Eye Lemonade Sets
Western Stoneware Company
Monmouth, Illinois
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Stamped Leaf Stein
by Steve and Karen Stone
This stein is 6 inches tall and 4 inches across the top rim; it is somewhat hourglass shaped. The leaf design is stamped in blue, there is a narrow blue band around the top, the handle is applied, and the bottom is unmarked. There appears to be little question this stein’s leaf decoration was stamped, part of one leaf is missing. It is unlikely such a defect would result from a stencil application.
It is believed this stein is uncommon. In 40+ years of hunting and collecting Blue and White stoneware this is the only one we’ve found. We do not know which pottery produced this piece but more than likely it was a product from the abundant clay beds within The Great Ohio Valley in the early 1900's. A number of successful potteries set up shop in that time and area and the stoneware, firing, and Bristol glaze of this stein are entirely consistent with Blue and White stoneware known to come from those potteries at that time and vicinity.
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Blue & White Stoneware Wildflower
BLANK Canister and Spice Jar
by Steve & Karen Stone
The 6 (+/-) inch tall Wildflower BLANK canister has been known for some time; although not abundant they do pop up in shops and shows from time to time. The BLANK spice jar, on the other hand, has been rumored for quite a while but in 40+ years looking for Blue & White stoneware we’ve never seen one. Well, one recently popped up. It is the larger or standard size Wildflower spice jar standing 3-1/4 inches tall. Pictured is the BLANK canister and spice jar. We now can affirm 10 Wildflower standard size spice jars, Nutmeg, Nutmegs (plural), Ginger, Pepper, Cloves, Allspice, Mustard, Cinnamon, Horseradish, and Blank. There is also a smaller size Wildflower spice jar set, they are a diminutive 2-3/4 inches tall. These small size spices are uncommonly found. And, if the seller knows what they have, the pieces will usually be priced accordingly.
The Wildflower line was manufactured by J.W. McCoy Pottery Co., Roseville, Ohio, 1899 to 1910, and, later, by Brush-McCoy Pottery Co, Roseville, Ohio, 1911 to 1923. At least the ewer and chamber pot were also produced in 1927 by the Brush Pottery Company. McCoy potteries did not place the specific name “Wildflower” on this line but simply used the name of the piece (i.e., Hall Boy, Meat Pounder, Tumbler, Chamber, etc.), usually some mention of blue decoration, and a product number to identify the piece or in some cases closely related pieces.
Our research indicates Joseph & Harbin (1973) were the first to attribute the name Wildflower to this line; that name for this design has been promulgated in most Blue & White stoneware books since then.
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Basketweave ColorCraft
by Steve and Karen Stone
Basketweave pieces, in all their infinite and glorious sizes, shapes, purposes and colors, have been well known and collected for decades. Although Blue and White is the most well known color of Basketweave, some pieces were available in various other colors such as but not limited to green, brown, and yellow (see page 24 in the 1996 Collector's Encyclopedia of Salt Glaze Stoneware, Collector Books. Paducah, KY. 246 pp. Terry Taylor and Terry & Kay Lowrance).
A very different decoration of the 13 piece Basketweave wash set, and infrequently found, was named “ColorCraft” which presented blue shading along the top rim, brown shading along the bottom, with a brown floral spray, green leaves or sometimes brown (potter’s discretion), and blue flowers all over a cream colored Bristol glazed background, pretty striking.
The two pictures with this article illustrate the 9 inch tall tankard, with applied handle, and the 9-1/2 inch tall combinette or slop jar. We’ve never seen the covered soap dish, brush vase, or mug, but wouldn’t they be wonderful to find! Willow Ware (Basketweave) was manufactured by the Brush-McCoy Pottery Company of Zanesville, Ohio, in the early 1900s. The embossed background of these pieces is rather like a woven basket of willow canes upon which is a stem, leaves, and flower closely resembling the Morning Glory. Several ColorCraft pieces are illustrated in color on sheet F of the 1922 Brush-McCoy Pottery Company product catalog.
In 1973 Mary Joseph and Edith Harbin published the first book dedicated to Blue and White Stoneware titled Blue and White Pottery. In this seminal publication, the authors first named the pieces with this design “Basketweave and Morning Glory.” Over time the name was shortened to simply “Basketweave.” Through no fault of their own, the authors did not have access to Brush-McCoy Pottery Company product catalogs and were unaware the pottery had already named these pieces.
Willow Ware was an apparent hit with the public and many different pieces of widely varied uses were offered. Known pieces are a 16 piece canister set, eight piece spice set, bailed stewer (two sizes — 2 and 4 quart), large ewer (water pitcher) and basin, mouth ewer (hot water pitcher), 3-piece soap dish (bowl, lid, & drainer) brush vase (probably toothbrush holder), tankard (pitcher) 4-pint capacity, mug, combinette/slop jar (offered with or without lid), chamber pot (with lid); cuspidor, and a 3-pound and a 4-pound butter (with lid, with or without bail).
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Samples of Lakin-Kirkpatrick-Davis-Peterson clay tobacco pipes
produced at Point Pleasant, Ohio (former Parker Melvin collection)..
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Weir/Western Stoneware Bird Bath
by Steve and Karen Stone
One of the most elusive items to add to any Blue and White Stoneware collection is the diffused blue and white Weir/Western Stoneware miniature birdbath. It stands 10 inches tall and is a two piece set, the pedestal and the basin; the basin is placed on the pedestal and held in place by gravity.
The only embossed design on this set is a row of perched birds in profile surrounding the pedestal base. Typically, the outside of the basin and the bottom third or so of the pedestal are colored a light powder blue.
This birdbath is not illustrated in any book on Blue & White stoneware. However, page 32 of the 1983 book Monmouth-Western Stoneware by Jim Martin and Bette Cooper presents images of seven stoneware items (including this birdbath) that are described as such:
“These are items found in the Western Stoneware Company files, with ‘Weir’ marked on them. We don't know if they were actual production items or proposed designs.”
Several of these pieces are now known to have been produced, including the birdbath. Since the Weir Pottery Company was purchased in 1906 by Western Stoneware it seems reasonable that Western Stoneware could also have produced this birdbath if it was a good mover. Unfortunately there are no records of birdbath sales.
This birdbath is a curious thing, was it designed and intended as a shelf piece or for actual use? It seems that if this birdbath was actually used as a functional bird bathing item there would be great opportunity for the bowl to tip off the pedestal and break, even if just a small to medium sized bird, or birds, landed on the rim. It’s not difficult to imagine the basin tipping over and shattering. The pieces would be swept up and discarded. Then, well, the basin is gone and without it there is no use for the pedestal so out it goes, too.
Maybe this is why these truly lovely birdbaths are so tough to find.
LATE NOTE: Fresh eyes are valuable and always welcome. It has recently been brought to our attention this piece strongly resembles a cake plate. The height and diameter of the basin closely approximates the height and diameter of present commercially available cake plates.
Illustrations, descriptions, and a company provided name of this piece have yet to be located in any extant Weir or Western Stoneware Company original product catalogs. So, until such a catalog is revealed and this piece positively identified, it’s original intended purpose is anybody’s guess, birdbath, cake plate, or...?
Indian Village Pattern Lemonade Set
Brush - McCoy Company, Ohio
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Wildflower Bowl and Hotel Spittoon
by Steve and Karen Stone,
with special thanks to Eldon Wellman
For some reason, the Wildflower line is woefully under-represented in books discussing, illustrating, and pricing Blue and White stoneware. This is really unfortunate because there are some lovely Wildflower pieces and, as a style or line, there are more Wildflower pieces than any other style of Blue and White. The Wildflower line was produced by J.W. McCoy, Brush-McCoy, and, to a lesser known extent, A.E. Hull, pottery companies, Ohio, in the early 1900's. Wildflower includes a seemingly endless variety of kitchen, washroom, and other pieces. In their product catalogs none of these potteries place the specific name “Wildflower” on any piece with this design but simply identified it as “Blue Tint.” Mary Joseph and Edith Harbin were the first to attribute the name Wildflower to this design line (which includes at least four distinctly different designs) in their seminal work Blue and White Pottery, 1973. Many Wildflower pieces are known, and, from time to time, a previously undocumented Wildflower piece pops up keeping the hunt exciting!
Although Wildflower bowls in various sizes are well known and somewhat common, a different one has surfaced. It is 11 inches in diameter with a height of 4-3/8 inches, the side is straight sloping up slightly wider at the top than the foot. It is decorated with several large six pointed snowflake Wildflower designs (as the decoration on the Wildflower meat tenderizer, tea pot, Hall Boys, canisters, and water cooler). The intended purpose of this bowl is unknown; there is a veritable plethora of Wildflower bowls, with the typical bowl shape wide at the mouth and more narrow at the foot, ranging from 5 inches to 14 inches in diameter. So, what advantage would a bowl of this size and shape offer? This bowl is not illustrated, and, thus, not identified or named, in any of the numerous McCoy or Hull product catalogs examined to date. So, it’s intended purpose remains a mystery.
The Wildflower hotel spittoon or cuspidor is a marvelous piece. It is shaped remarkably like most all brush vases that help make up 13 piece Blue and White stoneware wash sets. This hotel spittoon stands just under 12 inches tall with a bulbous belly, narrow neck, and flared open mouth. A single row of typical Wildflower stamps encircle the belly and the seldom seen variety of Wildflower design is stamped on the inside lip of the flared mouth. (This same design is found on some spice jars and lids, a really tall pitcher, inside the mouth of the tumbler, and probably many other pieces.)
There were many potteries in business in The Great Ohio Valley in the early 1900's and hotel spittoons were produced by virtually all, including the various McCoy potteries and Hull Pottery. Although hotel spittoons decorated with Wildflower designs are not specifically included in any known pottery company product catalogs, almost all these decorations were produced by the McCoy potteries so it seems reasonable to assume this Wildflower hotel spittoon was made by them.
Wildflower Pickles Canister and Water Cooler
By Steve and Karen Stone
The Wildflower decoration line was produced by J.W. McCoy, Brush-McCoy, and, to a lesser known extent, A.E. Hull, pottery companies, Ohio, in the early 1900's. Wildflower includes a seemingly endless variety of kitchen, washroom, and other pieces. Although a great many Wildflower pieces were unquestionably “standard production items” such as the best selling kitchen canisters. Bowls, the meat tenderizer, various sizes of rolling pins, vases, and wash room sets were also best sellers, they’re well known and abundantly illustrated in most all of the McCoy pottery company product catalogs.
Many Wildflower pieces, especially rolling pins, could be custom made to include advertising. Usually with blue ink, the advertising was stamped on the piece which then received a clear coat glaze then fired, sealing the advertising on the piece in perpetuity. One custom made advertising piece is the 12 inch tall Wildflower barrel shaped canister with underglaze blue advertising that reads “Genuine German Dills.”
Most likely it was designed and intended to be prominently placed on a counter in a dry goods or grocery store, or maybe even a bar. Relative to other Wildflower pieces probably very few of these canisters were produced and they are uncommon. Another uncommon Wildflower piece is the water cooler. Although not illustrated in any McCoy or Hull pottery company product catalogs we’ve reviewed, various sizes were probably produced. The entire set includes the bottom tank, the upper filter, and lid. A brass spigot completes the set. The cooler and lid are generously decorated with large Wildflower stamps, both the usual Wildflower as well as the six pointed snowflake style.
The 3 gallon cooler is illustrated on page 280 of the 2005 Antique Trader Stoneware and Blue & White Pottery Price Guide. Kyle Husfloen, ed.
- The Nautilus Stenciled Design
by Steve & Karen Stone
On page 26 of his 1986 book Stoneware in the Blue and White, Image Graphics, Inc. Paducah, KY. 136 pp., M. H. Alexander was the first to illustrate a pitcher with the design he named “Nautilus.” He explained the inspiration for the name was “ ... a stenciled design (on the pitcher) resembling in part, a nautilus shell.”
A Nautilus pitcher is illustrated in an early 1900's Pfaltzgraff Pottery Company product catalog. The pitcher was not named. The Pfaltzgraff Pottery Co. became official in 1889 when George and Henry Pfaltzgraff started a partnership that would become the Pfaltzgraff Pottery Co. The first factory was built in 1895, in York County, Pennsylvania.
In the early 1900's Pfaltzgraff Pottery joined in the production of diffused and decorated (including spongeware) Blue & White style stoneware that was widely popular throughout North America at that time.
Presently, Nautilus pitchers are to be found but other pieces are uncommonly encountered. To date, known Nautilus pieces include the pitcher (H. 8-1/2"), a bulbous pitcher (H. 8-1/2"), a vase (H. 6", D. 6"), a mug (H. 6"), a bowl (H. 4-1/4", D: 8"), and a salt (H. 6"); above are photos of these pieces. If anyone knows of other pieces we would appreciate hearing about them, photos would be very welcome!
Daffodil Vase
by Steve & Karen Stone
The diffused Blue and White vase with embossed Daffodils under the top rim is a product of Western Pottery Company (WPC), Denver, Colorado, early 1900's. The vase goes straight up from the base and flairs out at the mouth. On the outside, underneath the flair, is a ring of daffodil flowers. This vase was produced in several sizes from 6 inches to at least 14 inches tall, the larger sizes could possibly used as a floor vase or umbrella stand or even as a sand jar for tobacco users.
The bottom of these vases is incised with the mark WPC. A large C encircles the very outside of the rim, within it is a large W with a large P on the outside right leg of the W. Daffodil vases are illustrated on page 279 of the 2005 Antique Trader Stoneware and Blue & White Pottery Price Guide. Kyle Husfloen, ed.
Although many early 1900's potteries producing Blue and White stoneware were centered in the great Ohio Valley with it’s seemingly limitless clay beds and proximity to centralized railways for distribution, there were several very successful stoneware producing potteries in the West, among them was Western Pottery Company of Denver, Colorado. Western Pottery Company is best known for it’s jugs, water coolers and crocks decorated with blue lines, occasionally with diffused blue surrounding the top and bottom, and Western Pottery Company stamped in blue on the front; the stamp is a double circle, MADE IN DENVER written inside the small circle, THE WESTERN written above, POTTERY CO. written on bottom inside the large circle.
Flying Birds Pattern Mug
by Steve and Karen Stone
For the purposes of the Blue & White Pottery / Old Sleepy Eye Collectors Club, the history of mass produced embossed and colored utilitarian stoneware ranges from the very late 1800's to around the early mid 1900's. Blue and White seems to have been very popular and was heavily produced by potteries located in The Great Ohio Valley during that time. The Lovebird/Flying Bird line was manufactured by the A.E. Hull Pottery Company of Crooksville, Ohio, in the early 1900's. Pieces from the Lovebird / Flying Bird line are abundantly illustrated in the 1996 book Collector's Encyclopedia of Salt Glaze Stoneware, and Blue and White pieces are eagerly sought by collectors today. Most potteries hedged their bets and decorated their stoneware pieces in other colors too. This also includes the A.E. Hull Pottery Company.
A recently discovered piece is a differently decorated Flying Bird mug. It’s exactly the same mold as the Blue and White version, 4-1/4 inches tall and applied handle, but with painstaking hand coloring with brushes. The upright flower shoots surrounding the base of the mug are green, taller stems are also green with blue colored flowers, the Flying Birds on both sides of the mug are decorated in blue, with all of this highlighted by a YellowWare background. An amazing piece! In all our 40+ years hunting and collecting Blue and White (and other colors, too) this is the only YellowWare decorated Flying Bird/Lovebird piece we’ve seen. If this one piece was made then it seems reasonable to speculate that many other pieces were made too. Perhaps a set consisting of a pitcher with a compliment of mugs was prepared as multiple lunch hour or Friday afternoon pieces, or perhaps as a presentation set. It certainly would be fun to find additional YellowWare decorated pieces.
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Fun With Numbers: Or Just Where The Heck Is All That Stoneware?
by Steve and Karen Stone
So, where did the term “Blue and White” originate? Blue and White decorated stoneware was not a product line unique to any one pottery, it was a style made by a number of potteries principally in The Great Ohio Valley region where good clay was available.
The earliest printed reference specifically identifying early 1900's embossed, stenciled, or stamped stoneware decorated with blue and Bristol glaze is the1973 book Blue and White Pottery by Edith Harbin and Mary Joseph, this was closely followed by the 1977 book Blue & White Stoneware Pottery Crockery: Identification and Value Guide by Edith Harbin. Since then several books on Blue and White stoneware have been published. If Joseph and Harbin didn’t publish their 1973 book eventually someone would probably have published a stoneware book/price guide identifying this stuff as “Blue and White.” But Joseph and Harbin were the first, so, by order of hierarchy they get the credit. Seems like the term “Blue and White” stoneware is here to stay and we all know what it is.
How many pieces of Blue and White stoneware were made? Were any accurate numbers kept? Where are those records now. Interesting questions that beg answers for ardent collectors. Tough to get a really accurate grasp on the number of Blue and White stoneware pieces made because potteries manufactured a vast array of stoneware pieces of multitudinous functions decorated with various colors and glazes, none of which was specifically identified as “Blue and White” but some were described as “Indigo Tinted,” “Blue Tinted,” or “Blue Decorated.” Still others were illustrated in product catalogs and identified with a simple product number with no mention of blue decoration. Many of these pieces fit within our present definition of “Blue and White.”
Each pottery undoubtedly maintained accurate production records but few of these records are extant. Moreover, potteries were occasionally ravaged by fires, floods, tornadoes and other destructive events, some of Biblical scale. Some potteries were sold while others went bankrupt ... equipment, clay pits and reserves, molds, stored stoneware inventory, and buildings with offices with filing cabinets overflowing with company records and product catalogs were auctioned off; many times records of these former companies were then tossed to make file space for the new companies’ records. A lot of company records and catalogs, fliers, bulletins, handbills, etc., were sometimes retained by owners and family members; unfortunately not many records are presently released for study. All this is a great tragedy for those doing research on any of the lines produced by these now defunct companies. A.E. Hull Pottery Company, Ohio, produced stoneware day and night, seven days a week for at least 30 years from about 1905 to 1935. A rare A.E. Hull Pottery Company flier from 1915 boasts 20,000 pieces of stoneware were made each day; that’s 20,000 pieces of stoneware in all manner, form, variety, size, color(s), and description, and a lot of them had lids, too! In reviewing many early 1900’s pottery product catalogs from several Midwestern potteries an estimate of about ten percent of their daily stoneware output would be considered to be a fairly accurate quantity of what is now identified as Blue and White.
For the purposes of this article we’ll work with Hull’s daily production number of 20,000 pieces, ten percent would be 2,000 pieces of Blue and White stoneware. Two thousand pieces a day X 7 days a week would be 14,000 pieces a week. So, 14,000 pieces a week X 52 weeks in a year would be 728,000 pieces. Now, take an annual production of 728,000 pieces X 30 years and we are presented with 21,840,000 pieces of Blue and White stoneware, that’s very nearly 22 MILLION pieces. And this HUGE number reflects production of just one of a goodly number of stoneware producers throughout the Midwest and associated areas in the early 1900's. So, the question begs ... just what happened to all that stoneware and where is it?
Clay was literally dirt cheap, the raw material was easily extracted from the earth. From there it was quickly processed into stoneware and sold. Quick, easy, cheap, and best of all (for the potteries), it was disposable and replaceable! Although stoneware can resist a lot of abuse it’s also brittle and prone to flaking, chipping, cracking, sometimes breaking into pieces, lids get broken or lost (what good is a salt or butter crock without the lid?). Any of these issues could result in disposal of the piece, or, in some cases, pieces, in dumps and outhouses, or just tossed in the nearest gully. No big deal; inexpensive replacements were readily available.
Nowadays, this stoneware is very desirable and collectable, and many pieces are nowhere near inexpensive. Some pieces are rarely found and usually available only when a major collection is dismantled and comes on the market, such events are exceedingly infrequent, just a very few during a lifetime. Today Blue and White is cherished, treasured, protected, displayed, and admired with pride and care by collectors. Many potteries who initially produced this stuff have now been long closed and no longer in production. So finding replacements for broken pieces is no longer quick or easy, and some may never be replaced.
Throughout time, however, pieces do get broken despite every precaution taken by owners. Floods, hurricanes, tornadoes, earthquakes, cats jumping on shelves and shouldering pieces off, and blizzards causing roofs to collapse due to heavy snow burden all take their toll.
Additionally, raucous children running pell-mell through the house chasing each other and slamming doors, crashing into furniture, tables, shelves, and each other sometimes break things. Loutish relatives who show up once a year with complete indifference to the unexpected fragility of stoneware, only to learn the hard way.
All these natural and seemingly unnatural disasters take their toll. But, although Blue and White stoneware has been collected for decades and untold numbers have been discarded, literally tens of millions were made and just quite possibly millions are still out there, somewhere, to be hunted, found, collected, and held with high regard. So, keep looking. Odds are with untold millions still out there you’ll find those elusive treasures!
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Recumbent Lion Doorstop
By Steve and Karen Stone
Here is a splendid yellowware stoneware recumbent lion doorstop dating to the late 19th century, possibly from one of the many potteries operating in Ohio during that time. This regal lion boasts an overall soft yellow glaze, brown tail tip, and full flowing brown mane with a judicious expression on his face! It is large-- 23" long, 4" deep, and 12 3/4" tall.
Please allow time for slideshow pictures below to fully load.
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Bauer B&W Salt
by Steve and Karen Stone
Special thanks to Dr. Duane Watson
Starting in Louisville, Kentucky, then relocating to Los Angeles, California, the J. A. Bauer Pottery Company created a variety of household and garden stoneware and other ceramic pieces from the late 1880s to the 1960s. This salt, illustrated above, is one of the few Bauer items decorated in Blue and White. It is 5 inches tall to the top of the back plate and 5-1/2 inches wide. The crock’s embossed background is waffle weave; the word SALT is arched across the front, on either side of SALT is a limb or vine with five leaves. Encircling the top is a vine sprouting five leaves. The lid has a flat finial. Vines and leaves encircle the outer edge of the lid.
What makes this piece unusual is how the lid is designed to fit with the base. Typically, stoneware salt lids fit on a molded shelf down inside the base. This Bauer lid rests flat on the top of the salt, the back part of the lid is designed to fit around the back plate wall hanger. The bottom of the lid has a rim that fits on the inside of the base to hold it in place. This is a very unusual lid design that we’ve seen on only one other salt, the Natural Color GrapeWare SALT produced by Brush-McCoy Pottery Co., Ohio, early 1900's.
The body of the Bauer salt crock is rather thin, not as thick as many other salt crocks, giving the Bauer crock a more contemporary heft and appearance than stoneware salt crocks produced by contemporaneous potteries working in The Great Ohio Valley in the early to mid 1900's. The thinner walls favored by Bauer were an intentional design feature, possibly to conserve clay resources; this design feature was most likely carried forward during the entire production of the Bauer salt crock. This Bauer salt crock is not stoneware but more like the material used to make the Old Sleepy Eye B&W Pitchers and mugs (not the stoneware or Flemish style pieces). Its weight, glaze, and overall impression is quite reminiscent of these Old Sleepy Eye pieces.
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Clover and Stamped Rose pitchers
by Steve and Karen Stone
In the late 1800's up to the mid 1900's or thereabouts, stamped, stenciled, and diffused Blue and White stoneware, in all its shapes, sizes, varieties, uses, and functions, was made by most every pottery in the Great Ohio Valley, and there were dozens of them. Virtually all these potteries produced kitchen table pitchers and, other than decorations, they pretty much all looked alike, 8-1/2" (+/-) tall with applied handles. None were signed and only a very few were bottom stamped or incised with a product number (McCoy). So, unless a specific piece can be identified through illustration in a period pottery company product catalog, the manufacturer’s identity will remain unknown.
Without decoration, the stamped Clover and stamped Rose pitchers are identical, the distinguishing features are the decoration. To date, who made these pitchers is unknown. They could have been made by the same, or different potteries; most certainly they were produced during the early 1900's, the Heyday of Blue & White stoneware production.
Both pitchers are 8-1/2 (+/-) inches tall with applied handles. Each pitcher has two, thin, horizontal lines separating the pitchers into thirds. Within each third are stamped a number of clover or rose decorations. The Clover pitchers typically sport several clover decorations within each third, while the Rose pitchers could have one or more rose decorations within each third. Both are exceedingly difficult to find.
Although incorrectly identified, the Clover pitcher is illustrated on page 272 of the 2005 Antique Trader Stoneware and Blue & White Pottery Price Guide. Kyle Husfloen, ed, Bruce & Vicki Waasdorp, Gail Peck, and Steve Stone.
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Burley-Winter Grape Pitcher
by Steve and Karen Stone
with thanks to Randy Behne
During the heyday of Blue and White stoneware production, the early to near mid 1900's, a recurring embossed theme from almost every stoneware pottery, especially those located in The Great Ohio Valley, was anything and everything grape ... bunches of grapes, grape stems, grape vines, grape leaves, grape vineyards, grape lattice supports, and grape landscapes. There must have been a lot of sales in grape theme pieces, especially pitchers, because a lot of them were made by a lot of potteries. It seems most all books published on Blue and White stoneware since 1973 present several styles, varieties, and sizes of pitchers with grape stuff.
Burley-Winter Pottery Company, Crooksville, Ohio, was not to be left out of the Great Grape Sales Rush. Burley-Winter produced a singularly distinctive Grape pitcher standing about 7-1/2 inches tall, with the bottom slightly wider than the top and with an applied handle. The overall embossed scene is really busy and includes just about everything grape ... grape stems with bunches of grapes and grape leaves, individual grape leaves encircle the bottom, with everything emblazoned on a grape support lattice. It takes a while just to take it all in and see what’s going on! These Burley-Winter pitchers were available in a variety of colors and color combinations ... Blue and White, solid blue, solid white, YellowWare, Green and Cream, and brown among others. A particularly stunning example is decorated with the embossed features individually highlighted in blue and blue sponging. Maybe this was a lunch hour or Friday afternoon piece, or maybe a presentation piece as a gift? Whatever, we're really pleased it was created and survived to his day!
The Burley-Winter Pottery Company was one of the great American pottery companies. Burley-Winter started its business in 1872 and it lasted until the mid 1930’s. Like many American pottery companies no longer in business, Burley-Winter’s early items included functional stoneware utility vessels, such as thunder mugs, (aka chamber pots), slop buckets, tankards, cuspidors, poultry fountains, chick feeders, pitchers bowls, jugs, and crocks.
Many early Burley-Winter pottery pieces have a heart symbol and embossed name on the bottom. Some later pieces have an incised Burley Winter name and mold number on the bottom, and some Burley-Winter pottery has no mark.
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Willow Ware Blank Canister and Blank Spice
by Steve & Karen Stone
Willow Ware was manufactured by the J.W. McCoy Pottery Co., Roseville, Ohio, 1899 to 1910, and, later, by Brush-McCoy Pottery Co, Roseville, Ohio, 1911 to 1923. Willow Ware is identified as “Rose and Basketweave” by Harbin (1977:14) and “Basketweave and Flower (Morning Glory)” by McNerney (1991:67). The embossed background of these pieces is rather like a woven basket of willow canes upon which is a stem, leaves, and flower closely resembling the Morning Glory. Willow Ware was an apparent hit with the public and many pieces of widely varied uses, to include kitchen items and a 13 piece toilet set, were produced.
The kitchen canisters and spices were very popular and a lot of each were manufactured, many are abundantly found today. The kitchen canisters average height from base to rim is 5½ inches, the sole exception being the TALL Crackers canister which range from 6-1/2 inches to 7 inches from base to rim. Why this TALL Crackers canister was made and why only for Crackers remains a mystery.
An unfurled scroll graces the front of each canister and spice jar, the scroll ready to receive the dark blue under glaze stamped contents of every canister and spice jar; occasionally, however, canisters and spices were sold with no stamped contents, they are “Blank.”
There are 16 known canister contents, they are Cereal, Salt, Tobacco, Crackers, TALL Crackers, Beans, Bean, Raisins, Raisin, Coffee, Tea, Sugar, Rice, Barley, “Blank”, and a “Put Your Fist In” cookie jar. The Rice and Barley canisters are very rare and seldom found, and, if the seller knows the value of these canisters, they are priced accordingly. The spice jars have a base to rim height of 3¾ inches. There are eight known spice contents, they are Mustard, Cinnamon, Allspice, Ginger, Cloves, Nutmeg, Pepper, and “Blank.” The Blank canister is well known and occasionally does appear but the Blank spice is seldom found. The attached photo illustrates a Blank canister and spice jar.
References:
Harbin, Edith. 1977. Blue & White Stoneware Pottery Crockery: Identification and Value Guide. Collector Books. Paducah, KY. 63 pp.
McNerney, Kathryn. 1991 (values updated). Blue & White Stoneware. Collector Books. Paducah, KY. 158 pp.
To Color Oleomargarine
By Steve & Karen Stone
We do not know which pottery or potteries produced this piece but more than likely it was a product from one of the potteries located in the abundant clay beds that is The Great Ohio Valley from the late 1800's to mid 1900's. A number of successful potteries set up shop in that area and the stoneware, firing, glaze, and stamped advertising of this mixer are entirely consistent with early 1900's B&W Stoneware known to come from that area.
The purpose of this kitchen piece is to mix yellow food coloring with oleomargarine to make it look like butter. It may have originally come with a pestle or some kind of mixer but if so it is long gone. This piece is heavy and funnel shaped with blue advertising on the front and a generous applied handle on the back. It stands 6-1/2" tall with top diameter of 6-3/4." The base foot is only 3" diameter. It seems top heavy and easy to tip over, amazing it has survived this long. We’ve never seen anything like this. Butter rationing during WWII is a fact and yellow food coloring was mixed with oleomargarine so it would look more like butter, so, perhaps this piece dates from the 1940's or even earlier.
Stamping says:
THIS CHURN IS MADE
EXPRESSLY FOR COLORING
JOHN F. JELKE Co.
REG U.S. PAT. OFF.
PATENT APPD FOR
HOLSTEIN BUTTERINE
NOTICE - Soak Wooden Worsen
In Saltwater Before Using.
There’s also some kind stamped seal of in the middle of the advertising but it’s badly smudged and indistinguishable.
Amazing what’s still out there to be found!
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Two Stags Umbrella Stand
by Steve and Karen Stone
The Two Stags umbrella stand is a rare treat for any Blue and White stoneware collection! This piece was made by The Logan Pottery, Ohio, in the early 1900's. This umbrella stand is 21 inches tall and is loaded with embossed natural forest features. Near the bottom are two stags engaged in an antler to antler duel on a forest floor carpeted with grasses. An oak tree complete with leaves, branches, twigs, and acorns springs from the forest floor just behind the stags and travels up the length of this stand. Perched on a branch just above the stags is a pair of doves watching with what appears to be rapt attention! On all these umbrella stands we have seen the details are crisp and sharp, description that is typically reserved for first mold pieces. Known colors include YellowWare, mahogany, bisque, Blue and White, and solid blue. A solid blue Two Stags umbrella stand is illustrated on page 61 of Edith Harbin’s 1977 publication Blue & White Stoneware Pottery Crockery: Identification and Value Guide.
The Logan Pottery was organized in Logan, Hocking County, Ohio, by the brothers Frank and Charles Adcock on 29 May 1902. The pottery began operation in January, 1903. Over the years the pottery manufactured items such as a seated dog, foot warmers, bowls, pitchers, flower pots and vases, poultry fountains, jugs, cuspidors, jardinieres and garden urns. Their blue and white foot warmer was one of the few examples patented by the company. It was made between 1915 and 1928 and has become a favorite of collectors. The pottery continued in operation under the management of family until it closed in 1964. The closure of the pottery resulted from the high cost of modernizing their facility, rising labor costs, pressure from Japanese imports, and the increasing use of plastic in competing products.
This extremely rare yellow, silk, 24 ½ lb. flour sack that must have been keep in a dresser drawer all these years, based on the brilliance of the colors. They were also made in pink that are scarce, and in blue that is ultra rare. Since they were made of silk they must likely have been used for advertising purposes.
Article courtesy of Dennis Netten
Cosmos Jardiniere and Pedestal
by Steve & Karen Stone
For collectors and lovers of Blue & White stoneware there’s not much of a bigger thrill than to find that rare and elusive piece, and this truly describes the Cosmos jardiniere and pedestal. Individually the jardiniere or pedestal is rarely found (finding a complete set is akin to a miracle and frequently described as that “Once In A Lifetime Find” and when found as “The Cherry In The Basket” for any collection) and because of that the thrill of discovery is hugely magnified as the set is completed.
This complete small table top set is 11-1/2 inches tall; the jardiniere is 6 inches tall, while the pedestal is a modest 5-1/2 inches tall. This set is illustrated in only one publication, Blue & White Stoneware Pottery Crockery: Identification and Value Guide, 1977, plate 30, row 1, #3, by Edith Harbin who named this set “Cosmos.”
This Cosmos jardiniere and pedestal was produced in the late 1800's to early 1900's by the Weller Pottery Company. Weller was initially founded in 1872 in Fultonham, Ohio, by Samuel A. Weller, in 1893 the pottery was moved to Zanesville, Ohio. The top rim of the jardiniere is decorated with two rings, one of dots and the other of dashes. The jardiniere’s middle features two flowers, truly resembling cosmos flowers, which are themselves surrounded by a frame in the shape of a human eye. There are two pairs of slightly different cosmos flower designs, in one the flower pedals are slightly larger than the other which has somewhat more narrow pedals. This framed flower decoration is alternated four times, two large pedal flowers and two narrow pedal f lowers, completely surrounding the jardiniere. The bottom of the jardiniere is decorated around with a series of upright features resembling a picket fence. The background of the jardiniere is embossed with a tight diamond pattern. The top of the pedestal is surrounded by a series of dashes carrying forward that theme from the jardiniere. The framed twin cosmos flowers are presented in the middle of the pedestal, but only twice, one flower with large pedals and the other with more narrow pedals, creating something of a front and back orientation. There are more dashes surrounding the bottom beneath the cosmos flowers. The pedestal background is also decorated with the tight diamond embossed design.
This small table-top version was produced in several colors and color combinations to include Blue & White, Green & Cream, and solid brown. Quite possibly this small set was decorated in other colors or combinations as well. Both Blue & White and Green & Cream sets are very rarely found and if a seller knows what they have it will be priced accordingly. The set was produced in several sizes up to 18 inches tall, these larger sizes were consistently glazed in majolica colors. As far as known only the small table top set was colored Blue & White or Green and Cream.
DUTCH FARM SCENE UMBRELLA STAND
by Steve and Karen Stone
The Dutch Farm Scene umbrella stand is 28 inches tall with a diameter of 9-1/4 inches. Three alternating narrow and wide blue bands ring the top and bottom. In the middle of the stand, only on one side, in blue, is a stamped Dutch Farm Scene, encircling this scene is a hand colored blue embossed braided rope complete with bow tie at the bottom. Two forms of this umbrella stand are known, one form is sponged over most of its surface, the other form is not sponged at all. Although not illustrated in Brush-McCoy Pottery Company product catalogs (perhaps available only as a special order item), it is definitely attributable to Brush-McCoy because of the stamped Dutch farm scene decoration which is an exclusive product of Brush-McCoy. Pitchers with this decoration are well documented as Brush-McCoy products in many of their early 1900's product catalogs. In 1996 Steve and Martha Sanford published The Sanford’s Guide to Brush-McCoy Pottery book 2. On page 49, this book reproduces an original Brush-McCoy color catalog page labeled H 24. This page illustrates the Dutch Farm Scene pitcher which Brush-McCoy originally labeled as the #330 Holland Jug.
The Dutch Farm Scene pitcher is one of the most frequently encountered pieces of Blue and White stoneware. It is illustrated in every Blue and White stoneware book starting with the 1973 book Blue and White Pottery, plate 5, row 3, #3, by Mary Joseph and Edith Harbin. More recently it is illustrated in the excellent 1996 Collector's Encyclopedia of Salt Glaze Stoneware by Terry Taylor, and Terry & Kay Lowrance, page 36. Through no fault of their own, when compiling information for their 1973 book, Joseph and Harbin did not have access to Brush-McCoy product catalogs and were unaware that the pottery had already named the pitcher.
Joseph and Harbin named the pieces in their book with what they felt best described the piece. With it’s stamped Dutch farm scene they named this pitcher “Dutch Farm Scene.” The name stuck and that is how this pitcher, and now the umbrella stand, is known.
The Dutch Farm Scene umbrella stand is a magnificent piece, uncommonly seen, and is most certainly a crown jewel in any Blue and White stoneware collection.
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