Deborah Miller
The Search for the Green‑Glaze Potter of Philadelphia

Ceramics in America 2019

Full Article
Contents
  • Figure 1
    Figure 1

    The author examining green‑glazed ceramics at the Independence National Historical Park Archaeology Laboratory in 2018. (Photo, Robert Hunter.)

  • Figure 2
    Figure 2

    Coffeepot, attributed to Philadelphia, Pennsylvania, ca. 1807–1820. Philadelphia queensware with engine-turned decoration. H. 9". (Private collection; photo, Robert Hunter.)

  • Figure 3
    Figure 3

    Miniature portrait, David G. Seixas, attributed to John Carlin. Watercolor on ivory. (Courtesy, Pennsylvania School for the Deaf.)

  • Figure 4
    Figure 4

    Plate, Enoch Wood & Sons, Burslem, Staffordshire, England, ca. 1818–1848. Whiteware. D. 8 1/2". (Collection of the author; photo, Robert Hunter.) Transfer-printed image depicting the Philadelphia Asylum for the Deaf and Dumb, now the Pennsylvania School for the Deaf, ca. 1824.

  • Figure 5
    Figure 5

    Dish, Philadelphia, Pennsylvania, ca. 1770s. Slipware with green copper-oxide highlights. D. 11 3/4". (Courtesy, National Park Service, Independence National Historical Park, Inde-57214.)

  • Figure 6
    Figure 6

    Dish, Philadelphia, Pennsylvania, ca. 1810–1820. Philadelphia queensware with scalloped shell edge. L. 8". (Courtesy, Independence National Historical Park.)

  • Figure 7
    Figure 7

    Pitcher or jug, Philadelphia, Pennsylvania, ca. 1810–1820. Philadelphia queensware. H. 6 1/2". (Courtesy, Independence National Historical Park.) This is the only known example of Philadelphia queensware with enamel decoration.

  • Figure 8
    Figure 8

    Sugar bowl, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, ca. 1816–1822. Lead glaze enriched with copper on earthenware. H. 7 3/4". (Collection of the author; photo, Robert Hunter.)    

  • Figure 9
    Figure 9

    Detail of the gilded handle on the sugar bowl illustrated in fig. 8 (Photo, Robert Hunter.)

  • Figure 10
    Figure 10

    Pitcher or jug, David Seixas Pottery, Philadelphia, Pennsylvania, ca. 1816–1822. Lead glaze enriched with copper on earthenware. H. 9". (Courtesy, Museum of the City of New York.) The jug contains a portrait medallion depicting Gershom Seixas.

  • Figure 11
    Figure 11

    Metal die, Moritz Fürst, Philadelphia, Pennsylvania, ca. 1812. D. 3". (Courtesy, American Jewish Historical Society.)

  • Figure 12
    Figure 12

    Ewer, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, 1816–1822. Earthenware. H. 8 5/8". (Courtesy, Independence National Historical Park; photo, Robert Hunter.)

  • Figure 13
    Figure 13

    Detail of the handle of the ewer illustrated in fig. 12. (Photo, Deborah Miller.)

  • Figure 14
    Figure 14

    Basin fragment, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, 1816–1822. Earthenware. H. 3". (Courtesy, Independence National Historical Park; photo, Robert Hunter.)

  • Figure 15
    Figure 15

    Teapot, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, 1816–1822. Earthenware. H. 7 1/4", W. 10 1/2". (Courtesy, Independence National Historical Park; photo, Robert Hunter.)

  • Figure 16
    Figure 16

    Detail of the central medallion depicting the Great Seal of the United States on the teapot illustrated in fig. 15. (Photo, Robert Hunter.)

  • Figure 17
    Figure 17

    Detail of the handle of the teapot illustrated in fig. 15. (Photo, Deborah Miller.)

  • Figure 18
    Figure 18

    Detail of the impressed maker’s mark on the base of the teapot illustrated in fig. 15. (Photo, Robert Hunter.)

  • Figure 19
    Figure 19

    Teapot, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, 1816–1822. Earthenware. H. 6 3/4". (Courtesy, The Reeves Collection, Washington and Lee University.)

  • Figure 20
    Figure 20

    Sugar bowl, teapot, and creamer, attributed to David Seixas Pottery, Philadelphia, Pennsylvania, 1816–1822. Earthenware. H. of teapot 6 1/4". (Private collection; photo, Robert Hunter.)

  • Figure 21
    Figure 21

    Reverse of the tea set illustrated in fig. 20. (Photo, Robert Hunter.)

  • Figure 22
    Figure 22

    Detail of the impressed maker’s mark on the base of the teapot illustrated in fig. 20. (Photo, Robert Hunter.)

  • Figure 23
    Figure 23

    Detail of the handle of the creamer illustrated in fig. 20. (Photo, Robert Hunter.) Like the teapot illustrated in fig. 15, the handle of this creamer appears to be hand formed, not press molded.

  • Figure 24
    Figure 24

    Detail of the base of the creamer illustrated in fig. 20. (Photo, Robert Hunter.) The initials “JB” were incised into the base of the creamer prior to firing.

  • Figure 25
    Figure 25

    Slip cup, Philadelphia, Pennsylvania, 1800–1830. Red earthenware. H. 3 1/8". Mark: “JB” incised on base. (Courtesy, Independence National Historical Park.)

  • Figure 26
    Figure 26

    Sucrier, or sugar bowl with cover, England, ca. 1800–1810. Feldspathic stoneware. H. 5 1/2". (Private collection; photo, Robert Hunter.)

  • Figure 27
    Figure 27

    Detail comparing the central medallion on the feldspathic stoneware sugar bowl illustrated in fig. 26 and the earthenware sugar bowl illustrated in fig. 20.

  • Figure 28
    Figure 28

    (Left) Teapot, Philadelphia, Pennsylvania, ca. 1809–1827. Salt‑glazed stoneware. L. 8 1/2". (Courtesy, Michael Frechette and Tom Salvatore; photo, Robert Hunter.)(Right) Teapot, attributed to Chetham & Wooley, Longton, Staffordshire, England, ca. 1793–1801. Feldspathic stoneware. L. 10". (Courtesy, Graham Hueber; photo, Robert Hunter.)

  • Figure 29
    Figure 29

    Detail of the molded handles of the teapots illustrated in fig. 28. (Photo, Robert Hunter.)

  • Figure 30
    Figure 30

    Teapot, Philadelphia, Pennsylvania, ca. 1810-1830. Red earthenware. H. 7 1/4"; L. 9". (Collection of the author; photo, Robert Hunter.)

  • Figure 31
    Figure 31

    Mold, Simon Singer Pottery, Haycock Township, Bucks County, Pennsylvania. Plaster of Paris. H. 7". (Courtesy, From the Collection of the Mercer Museum of the Bucks County Historical Society.) Singer is known to have used secondhand molds in his pottery, some of which, like the one illustrated here, predated his operation by more than fifty years.