Robert Hunter
About Face Vessels

Ceramics in America 2024

Full Article
Contents
  • Figure 1
    Figure 1

    Face vessel, Greek culture, ca. 480–430 BCE. Painted terracotta. H. 3 5/8". (Courtesy, Walters Art Museum.) Aryballos in the form of the head of an African.

  • Figure 2
    Figure 2

    Egyptian god Bes jar, Late Period, 5th century BCE. Painted terracotta. H. 7 1/4". (Courtesy, Egyptian Museum, Turin. Drovetti Collection, cat 2553.)

  • Figure 3
    Figure 3

    Beaker, Roman culture, Naples, Italy, 1st century CE. Unglazed earthenware. H. 3 3/4". (Courtesy, British Museum, G_1859-0716-1.)

  • Figure 4
    Figure 4

    Portrait bottle, Moche culture, Peru, 3rd–6th century. Painted earthenware. H. 8 3/8". (Courtesy, Metropolitan Museum of Art; gift of Nathan Cummings, 1967, Accession Number: 67.167.2.) https://www. metmuseum.org/art/collection/ search/309490.

  • Figure 5
    Figure 5

    Human head effigy vessel, Oneota culture, Arkansas, 1550–1650. Low-fired earthenware with red and black pigments. H. 7 3/4". (Courtesy, Fenimore Art Museum, gift of Eugene V. and Clare E. Thaw Charitable Trust; photo, John Bigelow Taylor, NYC.)

  • Figure 6
    Figure 6

    Anthropomorphic vessel, Kingston type, London area, England, 13th century. Green-glazed earthenware. Height not provided. (Courtesy, Herbert Art Gallery and Museum.) https://www. coventrycollections.org/search/details/ collect/93782.

  • Figure 7
    Figure 7

    Bartmann bottle, Frechen, Germany, ca. 1620. Salt-glazed stoneware, iron oxide wash and cobalt slip highlights. H. 10 1/4". (Courtesy, Collection of Joseph P. Gromacki; photo, Robert Hunter.)

  • Figure 8
    Figure 8

    Bartmann bottles, Frechen, Germany, ca. 1600–1610. Saltglazed stoneware, iron oxide wash. (Courtesy, Jamestown Rediscovery Foundation; photo, Robert Hunter.) Archaeologically recovered examples from Jamestown, Virginia.

  • Figure 9
    Figure 9

    Face pitcher, probably Staffordshire, England, ca. 1795–1810. Lead-glazed earthenware. H. 10 1/8". (Chipstone Foundation; photo, Gavin Ashworth.)

  • Figure 10
    Figure 10

    Toby jug, Staffordshire, England, ca. 1785–1810. Lead-glazed earthenware. H. 10". (Chipstone Foundation; photo, Gavin Ashworth.)

  • Figure 11
    Figure 11

    Face pitcher, attributed to Charles Bloodworth, Lambeth Pottery, London, England, ca. 1800. Salt-glazed stoneware with iron oxide wash. H. 7". (Private collection; photo, Robert Hunter.)

  • Figure 12
    Figure 12

    Face vessel, attributed to Jonathan Fenton pottery, Dorset or East Dorset, Vermont, ca. 1810–1827. Slip-glazed stoneware. H. 7 7/8". (Courtesy and © San Diego Museum of Art / Gift of Mrs Leon J. Rose, Jr. / Bridgeman Images.)

  • Figure 13
    Figure 13

    Detail of the “JFenton” mark on the face vessel illustrated in figure 12.

  • Figure 14
    Figure 14

    Jug, Jonathan Fenton, Dorset, Vermont, ca. 1800–1810. Salt-glazed stoneware. H. 11 3/4". (Courtesy, Crocker Farm, Inc.)

  • Figure 15
    Figure 15

    Face jug, unidentified artist, Northeastern U.S., 1820–1850. Lead-glazed earthenware. H. 6". (Courtesy, Crocker Farm, Inc.)

  • Figure 16
    Figure 16

    Face jug, Northeastern U.S., ca. 1820–1850. Stoneware with kaolin and manganese glaze. H. 11 3/4". (Courtesy, Fenimore Art Museum, Cooperstown, N.Y., Museum purchase, N0225.1951.)

  • Figure 17
    Figure 17

    Illustration from “A Strange Face from Whately,” Antiques 8, no. 2 (August 1925): 76. 

  • Figure 18
    Figure 18

    Detail of the “Toby Pitcher” illustrated in figure 17. Across the forehead in impressed printers type runs the legend “A. Friend. ‘to. My. Countrey.” On the left cheek is “E. G. Crafts, Whately Mass”. On the right cheek is “O’ The. Dimocratick. Press.”, and across the lower lip is “United Wee Stand, Divided, Wee, Fall.”

  • Figure 19
    Figure 19

    “Grotesque jug from Whately, Massachusetts,” illustrated in John Spargo, Early American Pottery and China (Garden City, N.Y.: Garden City Publishing, 1926), p. 121. These side and back views show the detail of the applied thistle, rose, and shamrocks. The date of 1833 in gilt is on the back below the handle.

  • Figure 20
    Figure 20

    Storage jar, Barnabas Edmands, Charlestown, Massachusetts, 1833. Salt-glazed stoneware. H. 15 1/8". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Museum of Early Southern Decorative Arts.) Beneath the applied molded eagle is “Genl Andrew Jackson”; the reverse is inscribed with “17th June 1775,” the date of the Battle of Bunker Hill.

  • Figure 21
    Figure 21

    Pitcher, Martin Crafts, Nashua, New Hampshire, ca. 1838. Stoneware with slip glaze. H. 9". (Private collection; photo, Robert Hunter.) Impressed with printers type on the bottom front is “T. CRAFTS & CO. | NASHUA” and above the eyes, “SLOOP ORANGE”.

  • Figure 22
    Figure 22

    Bank check, Indian Head National Bank, Nashua, New Hampshire, dated March 10, 1883. Printed by Stewart, Haring and Warren of New York. Engraving on paper. L. 8". (Private collection.) Note the inclusion of an image of a Native American Indian.

  • Figure 23
    Figure 23

    Detail of the engraved Native American pictured on the bank check illustrated in figure 22.

  • Figure 24
    Figure 24

    Side view of the pitcher illustrated in figure 21 showing the linear use of slip to create the appearance of Native American face paint decoration.

  • Figure 25
    Figure 25

    George Catlin, Máh-to-tóh-pa, Four Bears, Second Chief in Mourning, 1832. Oil on canvas. 29 x 24". (Courtesy, Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr., 1985.66.13.) Note the use of paint around the lower part of the face.

  • Figure 26
    Figure 26

    Pitcher, Martin Crafts, Nashua, New Hampshire, ca. 1839. Stoneware with slip glaze. H. 7". (Private collection; photo, George Browning.) Impressed on the forehead: “MY COUNTRY”; on the upper lip: “ITS LAWS”; on the left side of the jug: “CHARLES KEMP”; and on the right side: “NASHUA.”

  • Figure 27
    Figure 27

    Toussaint Louverture face pitcher, Medford, Massachusetts, ca. 1840. Earthenware with Albany slip glaze. H. 13". (Chipstone Foundation; photo, Gavin Ashworth.)

  • Figure 28
    Figure 28

    Johann Friedrich Unger, portrait of François-Dominique Toussaint Louverture, 1790–1804. Engraving on wove paper. 3 3/8 x 2 11/16" (plate). (Courtesy, RISD Museum; Gift of Isaac C. Bates.) https://risdmuseum.org/art-design/ collection/portrait-francois-dominiquetoussaint-louverture-9303884#content__ section—use--948621.

  • Figure 29
    Figure 29

    Face pitcher depicting Daniel O’Connell, Ralph Bagnall Beech, Philadelphia, Pennsylvania, ca. 1848. Earthenware with Rockingham glaze. H. 7 1/2". (Courtesy, Yale University Art Gallery, Mabel Brady Garvan Collection, 1931.1816.)

  • Figure 30
    Figure 30

    William Say, Daniel O’Connell, probably after James Arthur O’Connor, circa 1803–1834. Mezzotint. 8 3/4 x 7 1/4". (Courtesy and © National Portrait Gallery, London.)

  • Figure 31
    Figure 31

    Auction Lot 246 from Edwin Atlee Barber, Illustrated Catalogue of China, Pottery, Porcelains and Glass (Philadelphia: W. H. Pile’s Sons), 1917. (Smithsonian Libraries and Archives Digital Library.)

  • Figure 32
    Figure 32

    Face pitcher depicting Daniel O’Connell, Thomas Haig’s Pottery, Philadelphia, Pennsylvania, ca. 1891. Rockingham glazed yellow ware. H. 7 1/16". (Courtesy, Philadelphia Museum of Art, Purchased with Museum funds, 1896.)

  • Figure 33
    Figure 33

    Illustration of a Remmey face pitcher published in Warren E. Cox, The Book of Pottery and Porcelain, 2 vols. (New York: Crown Publishers, 1970), 2: 986.

  • Figure 34
    Figure 34

    Pitcher, attributed to Henry Remmey Jr. and Richard C. Remmey, Philadelphia, Pennsylvania, dated 1838. Salt-glazed stoneware with cobalt oxide. H. 8 1/2". (Courtesy, National Museum of American History, Smithsonian Institution, Gift of Mrs. Arnold Miles of Washington, DC, 1952.) Marked with impressed printers type reading “LEWIS EYRE”, “KEEP ME FULL”, and “1838”. The accession record for this pitcher states: “Found in old house on Schooley Mill property, Tucker Lane, near Ashton, Howard County, Maryland. Lewis Eyre owned the adjacent property, was also a resident of Philadelphia.”

  • 35
    35

    Face vessel, attributed to Henry Remmey Jr. and Richard C. Remmey, Philadelphia, Pennsylvania, ca. 1840–1850. Salt-glazed stoneware with cobalt oxide. H. 6 13/16“. (Courtesy, National Museum of American History, Smithsonian Institution, Gift of Preston R. Bassett from Ridgefield, Conn., 1979.)

  • 36
    36

    Face jug, attributed to the Thorn Pottery, Crosswicks, New Jersey, dated 1844. Lead-glazed earthenware with manganese oxides. H. 6 1/2". Incised with the date: Oct. 5 | 1844. (Courtesy, Crocker Farm, Inc.) Kaolin has been applied in a thin veneer or as a slip to create the contrasting color of the eyes and teeth.

  • Figure 37
    Figure 37

    Face cup, Edgefield, South Carolina, ca. 1850–1860. Alkalineglazed stoneware with kaolin details. H. 4 7/8". (Courtesy, Collection of William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 38
    Figure 38

    Face cup, possibly Thomas Davies Factory, Bath, South Carolina, ca. 1861–1864. Alkaline-glazed stoneware with kaolin details. H. 4 7/8". (Courtesy, Collection of Joseph P. Gromacki; photo, Robert Hunter.)

  • Figure 39
    Figure 39

    Detail of the collector’s label on the bottom of the face cup illustrated in figure 38. “Made in Africa | Presented to T H B. | by | Horace J. Smith | of Phila | Pa.”

  • Figure 40
    Figure 40

    Portrait of Horace J. Smith by an unknown photographer, London, England, 1889. Albumen print on card. 3 5/8 x 2 1/4". (Courtesy and © National Portrait Gallery, London.)

  • Figure 41
    Figure 41

    Portrait of Martha Schofield by an unknown photographer. Back of photograph reads: Martha Schofield 1883. 7 x 5" (Courtesy, Martha Schofield Papers, Martha Schofield photograph collection, SFHL-PA-143, Friends Historical Library of Swarthmore College, A00183921.) https://digitalcollections.tricolib. brynmawr.edu/object/sc178831

  • Figure 42
    Figure 42

    Envelope sent to “Miss Martha Scofield [sic]” by Horace J. Smith, May 18, 1886. (Courtesy, Martha Schofield Papers, SFHL-RG5-134, Friends Historical Library of Swarthmore College, A00183217.)

  • Figure 43
    Figure 43

    James. A. Palmer, Colored School; from the series: Aiken and Vicinity, 1882. Stereopticon photographic print. 3 1/2 x 7". (Courtesy, Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. “Colored School,” New York Public Library Digital Collections.)

  • Figure 44
    Figure 44

    James A. Palmer, An Aesthetic Darkey; from the series: Aiken and Vicinity, 1882. Stereopticon photographic print. 3 1/2 x 7". (Courtesy, Metropolitan Museum of Art, Purchase, Nancy Dunn Revocable Trust Gift, 2017, 2017.311.)

  • Figure 45
    Figure 45

    Photograph of a “Monkey Jug” published in Edwin Atlee Barber, The Pottery and Porcelain of the United States (New York: G. P. Putnam’s Sons, 1909), p. 466. The image was first published in “Some Curious Old Water Coolers Made in America,” Clay-Worker 33, no. 5 (1900): 353.

  • Figure 46
    Figure 46

    Face jug, Edgefield, South Carolina, ca. 1850–1860. Alkaline-glazed stoneware with kaolin inserts. H. 6 1/2". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.) This example is virtually identical to the one illustrated by Barber in figure 45.

  • Figure 47
    Figure 47

    Illustration of an “Earthen ‘Water Monkey’” published in Edwin Atlee Barber, “Some Curious Old Water Coolers Made in America,” Clay-Worker 33, no. 5 (1900): 353.

  • Figure 48
    Figure 48

    Face jug, Edgefield, South Carolina, ca. 1850–1860. Alkaline-glazed stoneware with kaolin inserts. H. 7". (Courtesy, Philadelphia Museum of Art, gift of Frank Samuel, 1917–196.)

  • Figure 49
    Figure 49

    Auction Lot 248 from Edwin Atlee Barber, Illustrated Catalogue of China, Pottery, Porcelain and Glass (Philadelphia: W. H. Pile’s Sons), 1917. (Smithsonian Libraries and Archives Digital Library.) This entry describes the jug illustrated in figure 48 as a “Monkey Jug.” Note the use of the descriptive terms “Crude and Grotesque” as well.

  • Figure 50
    Figure 50

    Botijo, Spain, 20th century. Unglazed earthenware. H. 13 1/4". (Private collection; photo, Robert Hunter.)

  • Figure 51
    Figure 51

    Seth Eastman, Osceola in Captivity, Florida, ca. 1837. Oil on canvas. Dimensions unknown. (Bridgeman Images/private collection.)

  • Figure 52
    Figure 52

    Seth Eastman, “A monkey for cooling water Feb, 1840.” Pencil on paper. 3 3/8" x 6 3/4". (Courtesy, Hennepin County Library Special Collections, Minneapolis Central Library.)

  • Figure 53
    Figure 53

    “Monkey jug,” attributed to Washington County or Crawford County, Georgia, ca. 1860. Stoneware H. 10". (Private collection; photo, Robert Hunter.) The jug has the classic two spouts and a strap handle over the top, with a finial that is seen on early examples.

  • Figure 54
    Figure 54

    George Loughridge, Grotesque Jug, ca. 1938. Watercolor, graphite, and colored pencil on paperboard. 17 x 14 15/16“ (original IAD Object: H. 8 3/4"). (Courtesy, National Gallery of Art Index of American Design, 1943.8.7451.)

  • Figure 55
    Figure 55

    Face jug, Thomas Chandler, Edgefield District, South Carolina, ca. 1850. Ash-glazed stoneware. H. 11". (Private collection; photo, McKissick Museum, University of South Carolina.)

  • Figure 56
    Figure 56

    Face vessel, possibly Thomas Chandler, Edgefield County, South Carolina, ca. 1840–1845. Alkaline-glazed stoneware with iron oxide slip. H. 11 1/2". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Gavin Ashworth.) Inscribed: “John Bull, Esqr” and “Long” on the reverse. The stirrup handle has been broken off.

  • Figure 57
    Figure 57

    Face jug, Edgefield, South Carolina, ca. 1850–1860. Alkaline-glazed stoneware with kaolin details. H. 11". (Courtesy, Collection of Joseph P. Gromacki; photo, Robert Hunter.) A somewhat unique and visually distinctive example of the Southern face vessel.

  • Figure 58
    Figure 58

    Face jug, Edgefield, South Carolina, ca. 1850–1860. Alkaline-glazed stoneware with kaolin details. H. 11". (Private collection; photos, Joe Wittkop.) Marked with incised script on back: “Dick Abney”. This may be the most powerfully sculpted of all the Edgefield face vessels, featuring dark brown glaze with stark kaolin eyes.

  • Figure 59
    Figure 59

    Face vessel, attributed to John Wesley, Columbia, Pennsylvania, ca. 1870. Lead-glazed earthenware. H. 10 1/8". (Courtesy, The Colonial Williamsburg Foundation.) Note the use of kaolin as a slip to create a veneer for the eyes, and possibly the teeth.

  • Figure 60
    Figure 60

    Photograph in Pennypacker’s auctioneering brochure, The Private Collection of Robert R. & Joanne Dreibelbis, Monday, May 17th, 1993 (Courtesy, The Colonial Williamsburg Foundation.) Shown is a face jug listed as a “Rare double spout face jug signed John Westley, 1870.”

  • Figure 61
    Figure 61

    Young’s Directory of Columbia (Columbia, Pa.: Grier and Moderwell, 1874), p. 65. John Wesley is listed as a “colored, laborer” residing in Furnace Alley.

  • Figure 62
    Figure 62

    Young’s Directory of Columbia (Columbia, Pa.: Young and Hook Publishers, 1878), p. 53. “Wesley, John, (colored) potter shop Corn alley, h alley N ab 5th.”

  • Figure 63
    Figure 63

    “Barbeque,” Intelligencer Journal (Lancaster, Pa.), May 10, May 1878, page 3.

  • Figure 64
    Figure 64

    1880 U.S. Federal Census, Lancaster, Columbia, Pennsylvania, p. 24, enumeration district (ED) 128, sheet 10B, dwelling 236, family 250, entry for John Wesley, Columbia, Pennsylvania, as a Black male, age 45, occupation potter, and listing his birthplace and that of his parents as South Carolina.

  • Figure 65
    Figure 65

    Excerpt from “Notes,” Lancaster New Era (Lancaster, Pennsylvania), April 14, 1892, p. 1.

  • Figure 66
    Figure 66

    “Columbia, Pennsylvania,” Insurance Maps of Columbia, Lancaster County, Pennsylvania (New York: Sanborn Map Company, November 1904), Sheet 1. 25 5/8 x 21 1/4".

  • Figure 67
    Figure 67

    Detail of Sheet 6 from the map in figure 66 showing the intersection of Union and Fifth Streets. The pottery of John Wesley, and later of the Isaac Ross and Wesley partnership, is on the southwest corner. The well established Mt. Zion Methodist Episcopal Church is also on the same block. This church was a focal point for the Underground Railroad in Central Pennsylvania.

  • Figure 68
    Figure 68

    Thaddeus Mortimer Fowler and James B. Moyer, Columbia, Pennsylvania [map] (Morrisville, Pa.: T. M. and James B. Moyer, 1894). 17¾ x 27 1/8". https://www.loc.gov/ item/76695288/.

  • Figure 69
    Figure 69

    Detail of the view of Columbia, Pennsylvania, shown in figure 68. The location of John Wesley’s pottery is highlighted in red.

  • Figure 70
    Figure 70

    Face jug, John Dollings, White Cottage, Muskingum County, Ohio, ca. 1860–1870. Stoneware with Albany slip glaze. H. 12 1/4". (Courtesy, Ohio History Connection, H 53891; photo, Manko Photography.)

  • Figure 71
    Figure 71

    Annie B. Johnston, Stoneware Jug, ca. 1937, in Index of American Design. National Gallery of Art, Washington, D.C. Watercolor, colored pencil, graphite, and pen and ink on paper. 11 15/16 x 9 1/8". Information in the Index of American Design indicates the object was 12" in height. The drawing shows that the jug was doubled-handled, a trait not seen in other American face vessels. The overall anthropomorphic shape seems to foreshadow later Alabama folk pottery examples.

  • Figure 72
    Figure 72

    Photograph of “Stoneware ‘Voodoo’ head jug” in John Ramsay, American Potters and Pottery (New York: Tudor Publishing, 1947), fig. 75. Comparison of this photograph with the drawing illustrated in figure 71 shows that the artist took considerable liberties in her rendering.

  • Figure 73
    Figure 73

    Face vessel, attributed to Thomas Bennet Odam, Knoxville, Florida, or Pollard, Alabama, 1859–1867. Ash-glazed stoneware. H. 11 1/2". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 74
    Figure 74

    Figural jug, John Fredrick Lehman, Randolph County, Alabama, ca. 1860. Ash-glazed stoneware. H. 23 3/4". (Courtesy, High Museum, Purchase with funds from the Decorative Arts Acquisition Endowment, Accession #1994.19.)

  • Figure 75
    Figure 75

    Figural jug, John Fredrick Lehman, Randolph County, Alabama, ca. 1860. Ash glazed stoneware. H. 20 1/4". (Courtesy, Birmingham Museum of Art; photo, Sean Pathasema.)

  • Figure 76
    Figure 76

    Announcement in The Liberator (Boston, Massachusetts), April 3, 1863, p. 4.

  • Figure 77
    Figure 77

    Toby jug or pitcher, attributed to John Lehman, Randolph County, Alabama, ca. 1850–1870. Ash-glazed stoneware. H. 8 3/4". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 78
    Figure 78

    Detail of John Bull from “The Grand Deception,” Harper’s Weekly, February 22, 1862, p. 128. (Private collection.)

  • Figure 79
    Figure 79

    “John Bull since the Southern Rebellion,” Harper’s Weekly, September 28, 1861, p. 622. (Private collection.) The cartoon implies that England, needing the South’s cotton, kicks out an abolitionist from Exeter Hall, a site of anti-slavery meetings in London.

  • Figure 80
    Figure 80

    Face jug, Jesse Calvin Ham, Perry County, Alabama, ca. 1890–1900. Salt-glazed stoneware. H. 10". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.) Marked “Drink My Blood | J.C. Ham”.

  • Figure 81
    Figure 81

    Detail of the “Drink My Blood” face vessel.

  • Figure 82
    Figure 82

    Frederick Douglass face pitcher, designed and copyrighted by J. E. Bruce, Albany, New York, 1896. Unglazed red earthenware. H. 10 1/4". (Courtesy, National Museum of American History, Smithsonian Institution, 1981.0353.01; photo, Gavin Ashworth.) The molded inscription reads “Frederick Douglass | Born 1817 | Died Feby 20 1895 | Slave Orator | United States Marshall, Recorder of Deeds D.C. | Diplomat.”

  • Figure 83
    Figure 83

    “Portrait of Frederick Douglass, abolitionist, journalist, and social reformer.” (Courtesy, Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. New York Public Library Digital Collections.) https://digitalcollections.nypl.org/ items/6e4b45d3-4aae-6652-e040e00a1806645c.

  • Figure 84
    Figure 84

    Face pitcher, J. G. Baynham, Trenton, Edgefield District, South Carolina, ca. 1890. Stoneware with Albany slip glaze H. 7 1/4". (Private collection; photo, Robert Hunter.)

  • Figure 85
    Figure 85

    Face jug, Mark Baynham, Trenton, South Carolina, ca. 1890. Stoneware with Albany slip glaze. H. 5". (Courtesy, Art Museums of Colonial Williamsburg.) Impressed: “MARK”.

  • Figure 86
    Figure 86

    Face jug, attributed to John Leonard Atkins, Jug Factory Road, Greenville County, South Carolina, ca. 1900. Stoneware and porcelain with dark brown feldspar glaze. H. 5 1/2". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 87
    Figure 87

    Face vessel, William Decker, Keystone Pottery, Chucky Valley, Tennessee, 1892. Salt-glazed stoneware with paint. H. 8". (Courtesy, Bonhams, Skinner.) Incised on the bottom: “Made by Wm Decker | July 9th 1892” and “L.W. Berry.” This vessel appears to have had a wire bail handle.

  • Figure 88
    Figure 88

    Face jug, attributed to Wiley C. Meaders, Mossy Creek, White County, Georgia, ca. 1910–1930. Alkaline-glazed stoneware. H. 10 1/4". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 89
    Figure 89

    Face jug, attributed to Otto Brown, Bethune, South Carolina, mid-20th century. Albany slip glazed stoneware. H. 8 1/2". (Private collection; photo, Robert Hunter.) The object bears china teeth.

  • Figure 90
    Figure 90

    Face jug, Lanier Meaders, Mossy Creek, White County, Georgia, 1974. Alkaline-glazed stoneware. H. 8". (Author’s collection; photo, Robert Hunter.)

  • Figure 91
    Figure 91

    Face pitcher, Burlon Craig (1914–2002), Vale, North Carolina, ca. 1990. Alkaline-glazed stoneware. H. 12 1/4". (Private collection; photo, Robert Hunter.)

  • Figure 92
    Figure 92

    Face jug, Billy Ray Hussey, Bennet, North Carolina, ca. 2000. Alkaline-glazed stoneware. H. 12 3/4". (Courtesy, William C. and Susan S. Mariner Private Foundation; photo, Robert Hunter.)

  • Figure 93
    Figure 93

    Red Tails, Jim McDowell, Weaverville, North Carolina, 2022. Stoneware with Wertz Shino glaze. H. 16". (Courtesy, Nasher Museum of Art at Duke University, purchased with funds provided by Susan Brill Hershfield and Michael Hershfield.) https://www. artsvilleusa.com/jim-mcdowell-nashermuseum-part-three/.

  • Figure 94
    Figure 94

    Face jug, Stephen Ferrell, Edgefield, South Carolina, 2003. Alkaline-glazed stoneware. H. 5 1/2". (Author’s collection; photo, Robert Hunter.) Inscribed: “FERRELL | MAKER | 2003.”

  • 95
    95

    Face jug, Peter Lenzo, Columbia, South Carolina, 2004. Alkaline-glazed stoneware. H. 8". (Author’s collection; photo, Robert Hunter.)

  • Figure 96
    Figure 96

    Face jug, Michel Bayne, Lincolnton, North Carolina, 2004. Alkaline-glazed stoneware. H. 6 1/4”. (Author’s collection; photo, Robert Hunter.) Inscribed: “Bayne | Marker | Tigerville | SC.”