Robert Hunter with David Stuempfle
A Study in Rhythm: The Stoneware of David Stuempfle

Ceramics in America 2021

Full Article
Contents
  • Figure 1
    Figure 1

    David Stuempfle at his kiln during a firing in the spring of 2016. (Unless otherwise noted, all photos by Robert Hunter.)

  • Figure 2
    Figure 2

    “Chinese” jar, David Stuempfle, Seagrove, North Carolina, 2016. Ash-glazed stoneware. H. 34". (Chipstone Foundation; photo, Gavin Ashworth.)

  • Figure 3
    Figure 3

    Detail of the jar illustrated in fig. 2.

  • Figure 4
    Figure 4

    Storage jar, Shigaraki Valley region, Japan, Muromachi period
    (1392–1573). Stoneware with natural ash glaze. H. 18 3/8”. (Metropolitan Museum of Art, The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975.)

  • Figure 5
    Figure 5

    Onggi jar, Oh Hyang Jong, David Stuempfle Pottery, Seagrove, North Carolina, 2001. Wood-fired stoneware. H. 60". (David Stuempfle collection) This massive jar was made by a visiting South Korean artist and fired in David’s kiln. Oh Hyang Jong came to Seagrove three or four times in the early 2000s and often brought other Korean artists with him.

  • Figure 6
    Figure 6

    Map showing the location of the town of Seagrove within Randolph County in North Carolina’s Piedmont (Map, Wynne Patterson.)

  • Figure 7
    Figure 7

    Highways signs in Seagrove,
    at exit 45 off i-73/i-74. (Photo, Lindsey Lambert.) North Carolina Highway NC 705 is designated as the Pottery Highway or Pottery Road, and is a registered North Carolina Scenic Byway.

  • Figure 8
    Figure 8

    Signs seen along the Pottery Highway at nearly every crossroads direct visitors to the many potteries that dot the landscape. (Photo, Lindsey Lambert.)

  • Figure 9
    Figure 9

    David Stuempfle’s kiln shed and potting workshop during a firing in 2016.

  • Figure 10
    Figure 10

    Groundhog kiln being fired at the North Carolina Pottery Center, Seagrove, North Carolina, 2016. This working kiln is used for demonstrating the wood-firing process. The firing takes approximately fifteen hours and requires two cords of wood.

  • Figure 11
    Figure 11

    David Stuempfle at a firing of the groundhog kiln at the North Carolina Pottery Center, Seagrove, 2016. The single doorway facilitates both loading the ware and stoking the kiln.

  • Figure 12
    Figure 12

    Michelle Erickson unloads a fired pot through the narrow door of the groundhog kiln at the North Carolina Pottery Center, 2016.

  • Figure 13
    Figure 13

    Nancy Gottovi with bloodhound friend, 2016.

  • Figure 14
    Figure 14

    Nancy Gottovi opening a side port to the kiln during a firing in May 2016.

  • Figure 15
    Figure 15

    Pitcher, David Stuempfle, Seagrove, North Carolina, 1995. Salt-glazed stoneware with applied ash glaze. H. 14". (Private collection.) The tapering cylindrical form of this tall pitcher is reminiscent of English medieval pottery. The ash encrustation is the result of being buried in the kiln’s ember pile.

  • Figure 16
    Figure 16

    Greenware drying on the shelves in David Stuempfle's workshop (left) and arranged on the shelves of the kiln during loading (right). (Photos, Michelle Erickson.)

  • Figure 17
    Figure 17

    Throwing on a traditional treadle wheel. For his small work, what he calls “tableware,” David uses this foot-powered wheel to raise his vessels.

  • Figure 18
    Figure 18

    A flower pot being raised on the treadle wheel.

  • Figure 19
    Figure 19

    Drawing, Kim Jun-Geun (Kisan) (Korean, 1850/1950), Korea, ca. 1880–1890. (© British Library Board, acc. no. 14344.) This nineteenth-century drawing shows an onggi potter raising a jar on a treadle wheel using a wooden paddle and an anvil to stretch and shape the pot.

  • Figure 20
    Figure 20

    Large ropes or coils of clay are formed and rolled by hand.

  • Figure 21
    Figure 21

    The coil is attached to the rim of the pot and thumbed into the wall of the pot.

  • Figure 22
    Figure 22

    The coil is further worked by hand into the wall of the pot.

  • Figure 23
    Figure 23

    The pot is slowly rotated as the attached coil is compressed using a series of carved paddles. A wooden “anvil” is used to compress the interior wall during this process (see fig. 19).

  • Figure 24
    Figure 24

     A wooden rib helps shape the final contours of the body.

  • Figure 25
    Figure 25

    Using a propane torch, the newly applied and shaped section must dry for several minutes to stiffen the wall before the next coil can be applied.

  • Figure 26
    Figure 26

    After the final form of the vessel is achieved, the rim is shaped and handles are applied.

  • Figure 27
    Figure 27

    A group of greenware pots dry in the shop before being loaded into the kiln for firing.

  • Figure 28
    Figure 28

    A large Han-style jar with glass runs being removed from David Stuempfle’s kiln by Owen Laurion as Rose Hardesty awaits her turn to enter the kiln.

  • Figure 29
    Figure 29

    The large kiln during firing in 2016.

  • Figure 30
    Figure 30

    Seagrove potter Chad Brown during the loading of greenware into the kiln. Note the use of shelves to create layers of firing space. (Photo, Michelle Erickson.)

  • Figure 31
    Figure 31

    Stoking the main firebox. Access holes beneath the door allow venting of the kiln to remove excess cinders and ash during firing.

  • Figure 32
    Figure 32

    Seagrove potter Takuro Shibata stokes one of the side ports.

  • Figure 33
    Figure 33

    Storage jar, David Stuempfle, Seagrove, North Carolina, 2020. Ash-glazed stoneware. H. 15". (Private collection.) This ovoid jar was placed on its side on the kiln floor, which allowed ash to accumulate on the side facing up, creating dramatic runs from the melted wood ash.

  • Figure 34
    Figure 34

    An electronic digital pyrometer is used to monitor the temperature inside the kiln. The temperature is gradually increased over the four- or five-day firing period until the kiln reaches its peak temperature, about 2435 °F.

  • Figure 35
    Figure 35

    A series of pyrometric “cones” are placed in the firing chamber to gauge when sufficient temperature has been achieved. The cones will bend to indicate temperatures between Cone 12 (2435 °F) in the front of the kiln and Cone 10 (2381 °F) in the back.

  • Figure 36
    Figure 36

    The color and quality of the flames as observed through the firebox are additional indicators of temperature and the amount of carbon contained in the atmosphere. Protective eyewear is essential.

  • Figure 37
    Figure 37

    The first view of the fired kiln immediately after opening.

  • Figure 38
    Figure 38

    Seagrove ceramic artist Fred Johnston works with David to remove a large storage jar from the kiln using a bedsheet sling. (Photo, Michelle Erickson.)

  • Figure 39
    Figure 39

    First view of a large jug/bottle as it emerges from the kiln. Often pots are extremely warm at this stage, necessitating insulated gloves to carry them.

  • Figure 40
    Figure 40

    The still-warm pots are systematically laid out on the lawn adjacent to the kiln.

  • Figure 41
    Figure 41

    David emerges from the kiln carrying a large jar.

  • Figure 42
    Figure 42

     David closely inspects the base of a large jar.

  • Figure 43
    Figure 43

    Michelle Erickson and David Stuempfle assess a group of wares.

  • Figure 44
    Figure 44

    Stillman Browning-Howe, a regular member of David’s firing team, inspects a jar after it has emerged from the kiln. The circular marks on the bottom are from the wadding spacers.

  • Figure 45
    Figure 45

    Anne Pärtna (left) examines a bowl removed from the kiln. Anne is a native Estonian and has her own ceramic practice in Seagrove but often fires some of her larger works (right) in David’s kiln.

  • Figure 46
    Figure 46

    Michelle Erickson showing two of her stoneware jugs fired in David’s kiln in 2019.

  • Figure 47
    Figure 47

    A 2020 firing and kiln unloading crew during times of Covid 19. Left to right: Stillman Browning-Howe, Hamish Jackson, Miki Palchick, John Freeman, David Stuempfle, and Michelle Erickson.

  • Figure 48
    Figure 48

    A selection of vessel forms just unloaded from the 2020 firing of David Stuempfle’s kiln.

  • Figure 49
    Figure 49

    David examines one of his traditional pitcher forms immediately after it was unloaded from a kiln firing.

  • Figure 50
    Figure 50

    Ovoid pitcher, David Stuempfle, Seagrove, North Carolina, 2016. Ash-glazed stoneware. H. 19". (Private collection.)

  • Figure 51
    Figure 51

    Medieval pitcher, David Stuempfle, Seagrove, North Carolina, 2018. Ash-glazed stoneware. H. 18". (William C. and Susan S. Mariner Collection.)

  • 52
    52

    Storage jars, David Stuempfle, Seagrove, North Carolina, 2015. Ash-glazed stoneware. H. 14 1/2“. (Private collection.) Two ovoid storage jars as they appear immediately after firing, with well‑developed wood-ash glaze and carbon deposits.

  • Figure 53
    Figure 53

    Storage jars, David Stuempfle, Seagrove, North Carolina, 2019. Ash-glazed stoneware. H. 24". (Private collection.)

  • Figure 54
    Figure 54

    Jar, David Stuempfle, Seagrove, North Carolina, 2018. Slip and ash-glazed stoneware. H. 25". (Asheville Art Museum; Gift of Robert Williams in memory of Warren Womble, 2020.17.02. © David Stuempfle.)

  • Figure 55
    Figure 55

    Two-handle jug, David Stuempfle, Seagrove, North Carolina, 2018. Ash-glazed stoneware. H. 24". (Private collection; photo, Jason Dowdle.)

  • Figure 56
    Figure 56

    Gourd-shaped vase, David Stuempfle, Seagrove, North Carolina, 2016. Ash-glazed stoneware. H. 20". (Private collection; photo, Jason Dowdle.)

  • Figure 57
    Figure 57

    Pedestal bowl, David Stuempfle, Seagrove, North Carolina, 2018. Ash-glazed stoneware. H. 12". (Private collection; photo, Jason Dowdle.)

  • Figure 58
    Figure 58

    Stemmed bowl, David Stuempfle, Seagrove, North Carolina, 2016. Ash-glazed stoneware. H. 9" (Chipstone Foundation; photo, Robert Hunter.)

  • Figure 59
    Figure 59

    Stirrup vessel, David Stuempfle, Seagrove, North Carolina, 2017. Ash-glazed stoneware. H. 7 1/2. -(Private collection; photo, Robert Hunter.)

  • Figure 60
    Figure 60

    Storage jar, Thomas Chandler, Edgefield County, South Carolina, 1840–1850. Alkaline-glazed stoneware. H. 16 3/8“. (William C. and Susan S. Mariner Foundation; photo, Gavin Ashworth.) This large jar is embellished with Chandler’s distinctive two-color
    slip-decorated swag design.

  • Figure 61
    Figure 61

    Syrup jug, Thomas Chandler, Edgefield County, South Carolina,
    1840–1850. Alkaline-glazed stoneware. H. 16 3/8“. Mark: “CHANDLER / MAKER” (Private collection.) This classically shaped jug is embellished with a white slip-decorated design.

  • Figure 62
    Figure 62

    Detail of storage jar, Thomas Chandler, Edgefield County, South Carolina, 1840–1850. Alkaline-glazed stoneware. H. 16 1/2“. (The Joseph P. Gromacki Collection.)

  • Figure 63
    Figure 63

    Detail of storage jar, Frederick Carpenter, Little Brothers Pottery, Charlestown, Massachusetts, ca. 1800–1810. Salt-glazed stoneware. H. 14 1/2“. (The Joseph P. Gromacki Collection.)

  • Figure 64
    Figure 64

    Storage jug, Frederick Carpenter, Charlestown, Massachusetts, ca. 1812–1827. Salt-glazed stoneware. H. 16". Impressed with three hearts, indicating three gallons. (The Chapman Collection.) This jug is illustrated in Mark Hewitt and Nancy Sweezy, The Potter’s Eye: Art and Tradition in North Carolina Pottery (Chapel Hill: Published for the North Carolina Museum of Art by the University of North Carolina Press, 2005).

  • Figure 65
    Figure 65

    David Stuempfle examines a three-gallon jug from his collection, made by Frederick Carpenter in Charlestown, Massachusetts, ca. 1812–1827.

  • Figure 66
    Figure 66

    Jug, David Drake, Lewis J. Miles Pottery, Edgefield County, South Carolina, ca. 1850s. Alkaline-glazed stoneware. H. 17". (Colonial Williamsburg Foundation; 1939-137.)

  • Figure 67
    Figure 67

    Storage jar, David Drake (1800–ca. 1873), Edgefield County, South Carolina, dated 1858. Alkaline-glazed stoneware. H. 24 1/4.” (Museum of Early Southern Decorative Arts, MESDA Purchase Fund, 4317.) One side of this jar is inscribed “L.m. nover 3, 1858 / Dave.” The other is marked “I saw a leopard & a lions face/ then I felt the need—of grace,” an adaptation from the Book of Revelation.

  • Figure 68
    Figure 68

    Storage jar, Daniel Seagle, Lincoln County, North Carolina, ca. 1850. Alkaline-glazed stoneware. H. 19 3/4 Stamped twice: DS (Private collection.) This storage jar holds 16 gallons.

  • Figure 69
    Figure 69

    Storage jug, Daniel Seagle, Lincoln County, North Carolina, 1830–1840. Alkaline-glazed stoneware. H. 16". (Museum of Early Southern Decorative Arts; Loan courtesy of Beverly Owens Jaynes.)

  • Figure 70
    Figure 70

    Storage jar, Isaac Lefever, Lincoln County, North Carolina, 1850–1860. Alkaline-glazed stoneware. H. 16". (William C. and Susan S. Mariner Foundation.)

  • Figure 71
    Figure 71

    Jug, attributed to Edward Webster, Fayetteville, North Carolina, 1820–1821. Salt-glazed stoneware. H. 16 1/2“. (William C. and Susan S. Mariner Foundation; photo, Crocker Farm, Inc.)

  • Figure 72
    Figure 72

    Storage jar, Chester Webster, Randolph County, North Carolina, dated 1850. Salt-glazed stoneware. H. 15 1/8“. (Museum of Early Southern Decorative Arts.)

  • Figure 73
    Figure 73

    Detail of the jar illustrated in fig. 72.

  • Figure 74
    Figure 74

    Michelle Erickson stokes the kiln with slabs while firing crew Bill and Susan Mariner wait their turn. Potter Matt Levy looks on.

  • Figure 75
    Figure 75

    David emerges from the kiln with one of his signature gourd-shaped vases.

  • Figure 76
    Figure 76

    A group of gourd-shaped vases in the workshop awaiting sale.

  • Figure 77
    Figure 77

    David and Josephine with an assortment of his ash-glazed stonewares after a kiln firing in 2019.