1. Green or brown alkaline glazes used on folk stoneware of the lower South may have been developed about 1810 by Dr. Abner Landrum of Edgefield District, South Carolina, inspired by Jesuit missionary Père d’Entrecolles’s account of Chinese high-firing woodash- and lime-based glazes, first published in 1735. The new glazes were then carried westward by Edgefield-trained potters, reaching Texas by 1850. See John A. Burrison, Brothers in Clay: The Story of Georgia Folk Pottery (Athens: University of Georgia Press, 1983), pp. 58–62; Daisy Wade Bridges, Ash Glaze Traditions in Ancient China and the American South (Robbins, N.C.: Southern Folk Pottery Collectors Society, 1997); Georgeanna H. Greer, American Stonewares, The Art and Craft of Utilitarian Potters (Exton, Pa.: Schiffer Publishing, 1981), pp. 202–10; and Cinda K. Baldwin, Great and Noble Jar: Traditional Stoneware of South Carolina (Athens: University of Georgia Press, 1993), pp. 16–20, 144–47.
2. Bengt Olsson, Memphis Blues and Jug Bands (London: Studio Vista, 1970); Laurie Wright and Fred Cox, The Jug Bands of Louisville (Chigwell, Essex, Eng.: Storyville Publications, 1993).
3. According to the Oxford English Dictionary, the word jug was in use by 1538 but its etymology is uncertain. Josiah Wedgwood suggested that it came from the pet name for Joan or Judith, but that is inadequate as an explanation.
4. This quote is first attributed to Shaw in “Picturesque Speech and Patter,” Reader’s Digest 41 (November 1942): 100, but I have not been able to trace it to a specific work of his.
5. E.g., R. K. Henrywood, An Illustrated Guide to British Jugs: From Medieval Times to the Twentieth Century (Woodbridge, Suffolk, Eng.: Antique Collectors’ Club, 1997).
6. “The Brown Jug” was composed in 1761 by Francis Fawkes. It describes the corpse of corpulent toper Toby Filpot (inspired by real-life big drinker and fellow Yorkshireman Henry Elwes, who died that same year) moldering into clay, to be recycled by a potter into “this brown jug, / Now sacred to friendship, to mirth and mild ale.” The poem, along with printed images, is thought to have inspired, in turn, StaVordshire’s Toby character mug.“The Little Brown Jug” was composed by Philadelphian Joseph Eastburn Winner in 1869, later becoming a Glenn Miller jazz standard: “Me and my wife live all alone / In a little log hut we call our own; / She loves gin and I love rum, / And don’t we have a lot of fun! / Ha, ha, ha, you and me, / Little brown jug, don’t I love thee!” The narrator’s diction suggests that Winner intended the song as a spoof of Quaker support for temperance.
7. Henry Hodges, Technology in the Ancient World (New York: Alfred A. Knopf, 1972), pp. 114–17, 156–57, 179–81, 185–87.
8. Charles A. Burney, The Ancient Near East (Ithaca, N.Y.: Cornell University Press, 1977), p. 107; Ruth Amiran, Ancient Pottery of the Holy Land: From Its Beginnings in the Neolithic Period to the End of the Iron Age ([New Brunswick, N.J.]: Rutgers University Press, 1970), pp. 58V.; World Ceramics, edited by Robert J. Charleston (London and New York: Paul Hamlyn, 1968), p. 23 (no. 32); Trudy S. Kawami, Ancient Iranian Ceramics from the Arthur M. Sackler Collections (New York: Arthur M. Sackler Foundation and Harry N. Abrams, 1992), pp. 94, 110, 217–18; A. D. Lacy, Greek Pottery in the Bronze Age (London: Methuen, 1967), pp. 75 (e), 178 (a); James Whitley, Style and Society in Dark Age Greece: The Changing Face of a Pre-Literate Society 1100–700 B.C. (Cambridge: Cambridge University Press, 1991), pl. 11; Meisterwerke Altägyptischer Keramik: 5000 Jahre Kunst und Kunsthandwerk aus Ton und Fayence (Höhr-Grenzhausen: Rastal-Haus, 1978), pp. 179 (no. 298), 182 (no. 311).
9. John W. Hayes, Handbook of Mediterranean Roman Pottery (Norman: University of Oklahoma Press, 1997), pp. 22 (pl. 5 left), 25 (pl. 7), 55 (fig. 20, no. 9), 56 (fig. 21, no. 3), 61 (fig. 25, no. 7), 75 (pl. 28), 93 (pl. 39, top); Val Rigby and Ian Freestone, “Ceramic Changes in Late Iron Age Britain,” in Pottery in the Making: Ceramic Traditions, edited by Ian Freestone and David Gaimster (Washington, D.C.: Smithsonian Institution Press, 1997), p. 61 (fig. 6); Vivien G. Swan, Pottery in Roman Britain (Princes Risborough: Shire Publications, 1975), pp. 38 (pl. 30 center), 43 (no. 21); K. J. Barton, Pottery in England from 3500 B.C.–A.D. 1730 (Newton Abbot: David and Charles, 1975), p. 96 (nos. 26–27); Ivor Noël Hume, If These Pots Could Talk: Collecting 2,000 Years of British Household Pottery (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2001), pp. 20, 28. Greek and Roman potters also made amphoras, related to jugs but often larger and with two loop handles and an elongated, tapering body.
10. World Ceramics, p. 116 (no. 339b); Bernhard Beckmann, “The Main Types of the First Four Production Periods of Siegburg Pottery,” in Medieval Pottery from Excavations, edited by Vera I. Evison et al. (New York: St. Martin’s, 1974), pp. 194, 209–10 (nos. 44–52). The German language adds to semantic confusion: while certain vessel types are given very specific names, what Americans call a jug is referred to variously as a Krug, Flasche, or Pulle. The latter two terms translate as “bottle,” while the more generic Krug can mean “jug,” “tankard or mug,” “jar or crock,” and “pitcher.”
11. E.g., David Gaimster, German Stoneware 1200–1900: Archaeology and Cultural History (London: British Museum Press, 1997), pp. 85V.; Peter Seewaldt, Rheinisches Steinzeug (Trier: Rheinischen Landesmuseums, 1990), pp. 37V.
12. Called Bellarmines by English writers, these anthropomorphized jugs were thought to be caricatures of Cardinal Roberto Bellarmino (1542–1621), an opponent of Protestantism in central Europe. However, the earliest dated example was made in 1550, while some with hand-modeled faces predate 1500 (Anthony Thwaite, “The Chronology of the Bellarmine Jug,” Connoisseur 182 [April 1973]: 255–62; Margaret Thomas, German Stoneware: A Catalogue of the Frank Thomas Collection of German Stoneware [Woodbridge, SuVolk, Eng.: Antique Collectors’ Club, 2003]). Another theory is that the bearded face represents the Wild Man of the Woods, a northern European folklore figure (Gaimster, German Stoneware, p. 209). In England, graybeard jugs were recycled as charms to ward oV witches, for which see Ralph Merrifield, The Archaeology of Ritual and Magic (New York: New Amsterdam Books, 1988), pp. 163–75, and Noël Hume, If These Pots Could Talk, pp. 118–26. Some sixteenth-century Bartmanns have a wider mouth than jugs as we are defining them herein, and probably were for drinking, not storage (e.g., Gaimster, German Stoneware, p. 67 [no. 3.21] and color pl. 12).
13. Wilhelm Elling’s Steinzeug aus Stadtlohn und Vreden (Vreden: Hamaland-Museum, 1994), for example, documents a tradition of salt-glazed jug-making near the Dutch border, west of Münster, continuous from the seventeenth century to the present.
14. J. N. L. Myres, Anglo-Saxon Pottery and the Settlement of England (Oxford: Clarendon Press, 1969); Cathy Haith, “Pottery in Early Anglo-Saxon England,” in Freestone and Gaimster, eds., Pottery in the Making, pp. 146–51. Globular-bodied, narrow-necked bottles—jugs minus a handle—from Kent burial sites, if English-made, may mark the reintroduction of the potter’s wheel from the Continent as early as the seventh century; see Vera I. Evison, “The Asthall Type of Bottle,” in Evison et al., eds., Medieval Pottery from Excavations, pp. 77–92 and pls. ii–iv.
15. Barton, Pottery in England, p. 109; Michael R. McCarthy and Catherine M. Brooks, Medieval Pottery in Britain A.D. 900–1600 (Leicester, Eng.: Leicester University Press, 1988), pp. 231 (no. 667), 248 (no. 782), 261 (no. 861), 278 (no. 983), 279 (no. 985), 383 (no. 1615), 384 (no. 1623), 397 (nos. 1700, 1706).
16. E.g., Noël Hume, If These Pots Could Talk, p. 166. For English non-delft earthenware jugs of the 1600s, see R. Coleman-Smith and T. Pearson, Excavations in the Donyatt [Somerset] Potteries (Chichester: Phillimore, 1988), pp. 80, 148, 156, showing jugs that are actually called jugs!
17. Peter C. D. Brears, The English Country Pottery: Its History and Techniques (Rutland, Vt.: Charles E. Tuttle, 1971), p. 70; Andrew McGarva, Country Pottery: The Traditional Earthenware of Britain (London: A and C Black, 2000), pp. 24–26, 29; John Manwaring Baines, Sussex Pottery (Brighton: Fisher Publications, 1980), pp. 15, 45. Puzzle and West Country “harvest jugs” were not jugs by our definition but drinking vessels, the former a trick mug, the latter essentially a pitcher.
18. Gaimster, German Stoneware, pp. 309–17; Jonathan Horne, “John Dwight, ‘The Master Potter’ of Fulham,” Antiques 143 (April 1993): 562–71; Adrian Oswald et al., English Brown Stoneware 1670–1900 (London: Faber and Faber, 1982); Robin Hildyard, Browne Muggs: English Brown Stoneware (London: Victoria and Albert Museum, 1985).
19. One way of determining when the American meaning arose is to find early illustrations of jugs associated with the word, for example in the potters’ price lists reproduced in: Harold F. Guilland, Early American Folk Pottery (Philadelphia: Chilton, 1971), p. 41 (Clarkson Crolius pottery, Manhattan, 1809); William C. Ketchum Jr., Early Potters and Potteries of New York State (New York: Funk and Wagnalls, 1970), p. 179 (John Burger pottery, Rochester, 1857); and Lura Woodside Watkins, Early New England Potters and Their Wares (Cambridge, Mass.: Harvard University Press, 1950), pp. 147 (Norton pottery, Bennington, Vermont, 1856), 149 and 151 (Farrar pottery, Fairfax, Vermont, 1840 and 1851); as well as in literary publications such as “Ham Rachel, of Alabama,” in Hardin E. Taliaferro (“Skitt”), Fisher’s River (North Carolina) Scenes and Characters (New York: Harper and Brothers, 1859), pp. 266–67.
20. Diana Stradling and J. Garrison Stradling, in editing The Art of the Potter (New York: Main Street/Universe, 1977) from Antiques, organized the articles on American redware into two sections, “The Germanic Influence” and “The English Influence.”
21. David Hackett Fischer, Albion’s Seed: Four British Folkways in America (New York: Oxford University Press, 1989); Sarah Peabody Turnbaugh, “Imitation, Innovation, and Permutation: The Americanization of Bay Colony Lead-Glazed Redwares,” in Domestic Pottery of the Northeastern United States, 1625–1850, edited by Sarah Peabody Turnbaugh (Orlando, Fla.: Academic Press, 1985), pp. 209–28.
22. Watkins, Early New England Potters and Their Wares, p. 235.
23. Ibid., figs. 13, 37, 39–41, 73, 84; Guilland, Early American Folk Pottery, color pl. [11], pp. 155, 228; Stradling and Stradling, Art of the Potter, pp. 43, 47, 51, 57, 65, 66–69; Regional Aspects of American Folk Pottery, introduction by William C. Ketchum Jr., exh. cat. (York, Pa.: Historical Society of York County, 1974), figs. 1, 3, 56, 57, 59, 60; Brian Cullity, Slipped and Glazed: Regional American Redware (Hyannis, Mass.: Patriot Press for Heritage Plantation of Sandwich, 1991), pp. 31 (no. 48), 32 (no. 51), 37 (no. 63), 50 (no. 99), color pls. 1, 2, 4, and 6; Arthur E. James, The Potters and Potteries of Chester County, Pennsylvania (Exton, Pa.: Schiffer, 1978), p. 88; Jeannette Lasansky, Central Pennsylvania Redware Pottery 1780–1904 (University Park: Pennsylvania State University Press for Keystone Books, 1979), p. 42; Anthony W. Butera Jr., “‘Informed Conjecture’: Collecting Long Island Redware,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2003), pp. 214, 219; Barbara H. Magid and Bernard K. Means, “In the Philadelphia Style: The Pottery of Henry Piercy,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2003), p. 56 (fig. 25); Don Horvath and Richard Duez, “The Potters and Pottery of Morgan’s Town, Virginia: The Earthenware Years, Circa 1796–1854,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2004), pp. 103 (fig. 5), 113–14 (figs. 28–32); H. E. Comstock, The Pottery of the Shenandoah Valley Region (Winston-Salem: Museum of Early Southern Decorative Arts, 1994), pp. 72 (figs. 3.14–.15), 89 (fig. 4.13), 104 (fig. 4.60), 119 (fig. 4.109), 204 (fig. 5.14); John Bivins Jr., The Moravian Potters in North Carolina (Chapel Hill: University of North Carolina Press for Old Salem, 1972), p. 124; Charles G. Zug III, Turners and Burners: The Folk Potters of North Carolina (Chapel Hill: University of North Carolina Press, 1986), color pl. 3; Two Centuries of Potters: A Catawba Valley Tradition, edited by Bill Beam et al. (Lincolnton, N.C.: Lincoln County Historical Association, 1999), front cover and p. 14 (fig. 1). Perhaps due to its emphasis on decorated pieces, there are no jugs in the catalog of the finest public display of Pennsylvania redware, Beatrice B. Garvan’s The Pennsylvania German Collection (Philadelphia: Philadelphia Museum of Art, 1982).
24. Early American stoneware potters working largely in the German tradition include members of the Crolius and Remmey families, Thomas Commereau, and David Morgan of Manhattan, James Morgan of South Amboy and Old Bridge, New Jersey, and Jonathan Fenton of Boston. Those working more in the English tradition include William Rogers of Yorktown, Virginia, Frederick Carpenter of Charlestown, Massachusetts, and Branch Green of Philadelphia. English-born Anthony Duche of colonial Philadelphia made stoneware in both the German and English styles (Robert L. Giannini III, “Anthony Duche, Sr., Potter and Merchant of Philadelphia,” Antiques 119 [January 1981]: 198–203).
25. Guilland, Early American Folk Pottery, pp. 237, 249, 252, 255–56, 260; Greer, American Stonewares, pp. 155–56, 182, 225; Donald Blake Webster, Decorated Stoneware Pottery of North America (Rutland, Vt.: Charles E. Tuttle, 1971), pp. 65–66, 98, 160; Stradling and Stradling, Art of the Potter, pp. 81–90, 106–7, 114–16, 119–22; James R. Mitchell, “The Potters of Cheesequake, New Jersey,” in Ceramics in America, Winterthur Conference Report 1972, edited by Ian M. G. Quimby (Charlottesville: University Press of Virginia, 1973), pp. 319–38; Comstock, Pottery of the Shenandoah Valley Region, p. 318 (fig. 6.6); Norman F. Barka, “Archaeology of a Colonial Pottery Factory: The Kilns and Ceramics of the ‘Poor Potter’ of Yorktown,” in Ceramics in America, edited by Robert Hunter (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 2004), pp. 16, 32; Quincy J. Scarborough Jr., North Carolina Decorated Stoneware: The Webster School of Folk Potters (Fayetteville, N.C.: Scarborough Press, 1986).
26. E.g., Baldwin, Great and Noble Jar, pp. 35, 37, 39, 40, 45, 53, 100, 147, 150, 153, 154–56, 159, 169, color pls. 2–4, 6, 12; Greer, American Stonewares, pp. 170, 173. The double-collared neck sometimes migrated west on jugs made by Edgefield-trained potters (e.g., Baldwin, Great and Noble Jar, p. 64, by J. S. Nash of Texas; Burrison, Brothers in Clay, p. 123, attributed to Cyrus Cogburn of Georgia).
27. Greer, American Stonewares, p. 76; Guilland, Early American Folk Pottery, p. 83; Cornelius Osgood, The Jug and Related Stoneware of Bennington (Rutland, Vt.: Charles E. Tuttle, 1971), p. 116.
28. A glaring historical inaccuracy of certain films portraying the colonial or frontier era is the inclusion of these late-nineteenth-century shouldered jugs. The earliest examples are two-toned, with salt-glazed wall and Albany slip-glazed shoulder, neck, and interior, as the stacking dish blocked the salt glazing. Later examples, often molded on a jolly machine rather than thrown, either carried on the two-tone effect with Bristol glaze replacing the salt or were fully Bristol glazed. For a sample of such jugs, see Lyndon C. Viel, The Clay Giants: The Stoneware of Red Wing, Goodhue County, Minnesota, 3 vols. (Des Moines, Ia.: Wallace-Homestead, 1977–87).
29. John McGuffin, In Praise of Poteen (Belfast: Appletree Press, 1978); Joseph Earl Dabney, Mountain Spirits: A Chronicle of Corn Whiskey from King James’ Ulster Plantation to America’s Appalachians and the Moonshine Life (New York: Scribner, 1974).
30. Quoted in Burrison, Brothers in Clay, p. 132.
31. Jim Broom in North Carolina and Horace Brown and Norman Smith in Alabama, besides the previously mentioned “Jughead” for Georgia’s Lanier Meaders.
32. Shelby County, Alabama; Upson and Pike Counties, Georgia; Catawba, Lincoln, and Buncombe Counties, North Carolina; Greenville County, South Carolina; and White County, Tennessee.
33. E.g., Stradling and Stradling, Art of the Potter, p. 94 (twenty gallons, Vermont); Greer, American Stonewares, p. 107 (twelve gallons, Ohio). Stoneware “fountain” and keg forms also were used as coolers.
34. Earthenware “cider jars” were a specialty of Halifax-area, West Yorkshire, potters. They typically have a spigot hole in the lower wall; some were lead-glazed only halfway down the outside so the temperature differential would hasten fermentation of the hard cider. The same basic shape in brown salt-glazed stoneware, as made in the Liverpool area, apparently was used in transatlantic trade. Dating from the late eighteenth through the nineteenth century, these large English jugs rarely have been published, but see Graham Wilkinson, A History of Local Potteries (Bradford, W. Yorkshire, Eng.: Bradford Art Galleries and Museums, 1981), p. 11 (b); Zug, Turners and Burners, p. 31; Stradling and Stradling, Art of the Potter, p. 154 (center); John A. Burrison, Handed On: Folk Crafts in Southern Life (Atlanta: Atlanta Historical Society, 1993), p. 41 (no. 4).
35. E.g., Stradling and Stradling, Art of the Potter, p. 131 (fig. 1, New York); Greer, American Stonewares, p. 107 (Ohio); Webster, Decorated Stoneware Pottery of North America, pp. 67 and 165 (New York State), 94 (Ohio); Baldwin, Great and Noble Jar, pp. 172, 149 (South Carolina).
36. Anne S. McPherson, “‘That Article of Household Furniture Peculiar to Earlier Days in the South’: Sugar Chests in Middle Tennessee and Central Kentucky, 1800–1835,” Journal of Early Southern Decorative Arts 23 (winter 1997): 1–65; Robert Hicks and Benjamin H. Caldwell Jr., “A Short History of the Tennessee Sugar Chest,” Antiques 164 (September 2003): 128–33; Neat Pieces: The Plain-Style Furniture of Nineteenth Century Georgia, exh. cat. (Atlanta: Atlanta Historical Society, 1983), p. 126.
37. Greer, American Stonewares, pp. 42–43, 178; Baldwin, Great and Noble Jar, pp. 37, 45, 49, 150–51, 153, 155–56, 169, color pls. 3–4; Zug, Turners and Burners, pp. 46, 48, 77, 87, 307, color pls. 7, 16; Beam, Two Centuries of Potters: A Catawba Valley Tradition, pp. 14–15, 33, 36, 39, 75, 80–81, 87, 90; Burrison, Brothers in Clay, pp. 23, 65, 123–25, 127, 145, 175, 268.
38. Osgood, The Jug, pp. 96, 106.
39. Burrison, Brothers in Clay, color pl. 6 and pp. 66 (pl. 35), 116–17, 255; Zug, Turners and Burners, p. 368 (fig. 12-14).
40. Lacy, Greek Pottery in the Bronze Age, p. 218 (fig. 90d), a Mycenaean example dating to 1200 b.c.
41. See, e.g., Otto Von Falke, Das Rheinische Steinzeug, 2 vols. (Osnabrück: Otto Zeller, 1977), 1: 89, and 2: 59–61, 109, for examples dating to the sixteenth and seventeenth centuries.
42. Zug, Turners and Burners, pp. 375–77; “Lin Craven Making a Ring Jug,” in John A. Burrison, “Folk Pottery,” Folklife Section, New Georgia Encyclopedia (video clip, available online; www.georgiaencyclopedia.org).
43. Burrison, Brothers in Clay, pp. 184–85.
44. Lindsey King Laub, Evolution of a Potter: Conversations with Bill Gordy (Cartersville, Ga.: Bartow History Center, 1992), cover, color pl. 10.
45. See Lacy, Greek Pottery in the Bronze Age, p. 259 (fig. 102e), for an example of 1800 b.c. Museo del Botijo in Toral de los Guzmanes, León; Museo del Botijo in Villena, Valencia; Museu del Càntir d’ Argentona, Cataluña. For recent Spanish jugs, “monkey” and otherwise, see J. Llorens Artigas and J. Corredor-Matheos, Spanish Folk Ceramics of Today (New York: Watson-Guptill, 1974).
46. E.g., Guilland, Early American Folk Pottery, p. 193 (left, Vermont); Cullity, Slipped and Glazed, p. 26 (no. 34, Massachusetts); Lasansky, Central Pennsylvania Redware Pottery, p. 43; Greer, American Stonewares, pp. 162 and 196 (Ohio). Nigel Barley, Smashing Pots: Works of Clay from Africa (Washington, D.C.: Smithsonian Institution Press, 1994), pp. 27, 50, 118, 122; John Michael Vlach, The Afro-American Tradition in Decorative Arts (Athens: University of Georgia Press, 1990), pp. 86–90. Monkey jugs were not made in England, with the exception of the “Sarum kettle” manufactured by Doulton of Lambeth about 1900, based on an African example in the Salisbury Museum.
47. Barton, Pottery in England, p. 99; Griselda Lewis, A Collector’s History of English Pottery (New York: Viking Press, 1969), pp. 15 (fig. 9), 18 (figs. 18, 20, 21), 57 (fig. 106), 123 (fig. 227); McCarthy and Brooks, Medieval Pottery in Britain, pp. 229, 269, 337, 367; Jacqueline Pearce and Alan Vince, Surrey Whitewares (London: London and Middlesex Archaeological Society, 1988), pp. 24, 78, 127, 129–31; Desmond Eyles, “Good Sir Toby”: The Story of Toby Jugs and Character Jugs through the Ages (London: Doulton, 1955); Vic Schuler, Collecting British Toby Jugs . . . 1780 to the Present Day (London: Francis Joseph, 1997); Noël Hume, If These Pots Could Talk, p. 310.
48. Roy S. Dickens Jr., Of Sky and Earth: Art of the Early Southeastern Indians (Atlanta, Ga.: High Museum of Art, 1982), pp. 28, 52–53, 58, 82–84; Michael J. O’Brien, Cat Monsters and Head Pots: The Archaeology of Missouri’s Pemiscot Bayou (Columbia: University of Missouri Press, 1994), pp. xxxiv, xxxix.
49. A face pitcher attributed to Henry Remmey Jr. is dated 1838; a two-faced monkey jug likely by him or his son Richard is dated 1858. Both are salt-glazed stoneware, with cobalt-blue–highlighted facial hair as seen on some German graybeards. For the Remmeys, see Stradling and Stradling, Art of the Potter, pp. 114–18; Ketchum, Early Potters and Potteries of New York State, pp. 30–32; Susan H. Myers, Handcraft to Industry: Philadelphia Ceramics in the First Half of the Nineteenth Century (Washington, D.C.: Smithsonian Institution Press, 1980), pp. 22–25.
50. For discussions of antebellum and later African-American face vessels from South Carolina, see Vlach, Afro-American Tradition in Decorative Arts, pp. 81–92, and Baldwin, Great and Noble Jar, pp. 79–87, 108–9, color pls. 12–13.
51. Edwin AtLee Barber, Pottery and Porcelain of the United States (New York: G. P. Putnam, 1909), p. 466. Stereoscopic cards issued in 1882 by photographer J. A. Palmer of Aiken, South Carolina (in Edgefield District) depict a Negro boy and girl pondering a monkey-form face jug, the earliest known illustrations of a locally made face vessel; titled “An Aesthetic Darkey,” the images likely were inspired by W. H. Beard’s painting, The Aesthetic Monkey, published that year in Harper’s Weekly (Making Faces: Southern Face Vessels from 1840–1990, exh. cat. [Columbia: McKissick Museum, University of South Carolina, 2000], pp. 15–16).
52. Robert Farris Thompson, “African Influence on the Art of the United States,” in Black Studies in the University, edited by Armstead L. Robinson et al. (New York: Bantam Books, 1969), p. 141.
53. Marla C. Berns, “Pots as People: Yungur Ancestral Portraits,” African Arts 23 (July 1990): 50–60 and front cover. The Mangbetu of Zaire made juglike figural pots with vertical loop handles, but too late (late 1800s) to have influenced South Carolina slaves (Barley, Smashing Pots, pp. 148–49).
54. Making Faces, pp. 6–7; Baldwin, Great and Noble Jar, pp. 47, 51–54.
55. This scenario is not so far-fetched; a later potter, Charles Decker, began his career at the Remmey Pottery in Philadelphia before establishing northeast Tennessee’s Keystone Pottery in 1871, where he and his son William made Remmey-style face jugs (The Pottery of Charles F. Decker: A Life Well Made [Jonesborough, Tenn.: Jonesborough/Washington County History Museum, 2004], pp. 52–53, 58).
56. A review of recent issues of Ceramics Monthly, Studio Potter, Ceramics Art and Perception, and American Craft suggests that the jug is not among the forms privileged by contemporary studio potters.
57. Making Faces; William W. Ivey, North Carolina and Southern Folk Pottery (Seagrove, N.C.: Museum of North Carolina Traditional Pottery, 1992); Robert C. Lock, The Traditional Potters of Seagrove, North Carolina (Greensboro, N.C.: Antiques and Collectibles Press, 1994), pp. 184–90; Barry G. Huffman, Catawba Clay: Contemporary Southern Face Jug Makers (Hickory, N.C.: A. W. Huffman, 1997); Michael A. Crocker and W. Newton Crouch Jr., The Folk Pottery of Cheever, Arie, and Lanier Meaders: A Pictorial Legacy (Griffin, Ga.: C and C Productions, 1994).