ANTH425_Trussel_ArtifactFieldGuide[1]

Quick & Dirty Field Guide

to Historic Artifacts

Millersville University

Archaeology

2011

2

TABLE OF CONTENTS

COARSE EARTHENWARES

Redware 3

Agate Ware 4

Philly Slip 5

Moravian Slipware 6

English Staffordshire Slipware 7

North Devon Slipware, Sgraffito 8

Jackfield-Type Ware 9

REFINED EARTHENWARES

Creamware 10

Pearlware 11

Transitional Whiteware 12

Whiteware 13

Ironstone 14

Whieldon Ware 15

Yellow Ware 16

American Rockingham Ware 17

DECORATION STYLES

Hand-Painted, Blue on White 18

Hand-Painted, Polychrome 18

Transfer Printed 18

Shell-Edged 19

Sponged/Spattered 19

Flow Blue 19

Annular Wares

Banded 20

Dendritic Mocha 20

Speckled SlipField 21

Marbleized 21

Cabled 22

TIN-GLAZED REFINED

EARTHENWARES

French Faience

Saint Cloud Polychrome 23

Seine Polychrome 24

Rouen (Brün), Plain 25

Rouen (Brün), Polychrome 26

Provence Blue on White 27

Normandy, Plain 28

Normandy, Blue on White 29

Brittany Blue on White 30

Delftware

Plain Delftware 31

Delftware, Blue on White 32

Delftware, Polychrome 33

Delftware, Sponged 34

STONEWARES

German

Brown Rhenish Stoneware 35

Westerwald Stoneware 36

English

Fulham-Type Brown Salt-Glazed

Stoneware 37

English Brown Stoneware 38

Nottingham Stoneware 39

Elers-Type Stoneware 40

Black Basalt Stoneware 41

White Salt-Glazed Stoneware 42

Scratch Blue Stoneware 43

Debased Scratch Blue Stoneware 44

American Stoneware 45

PORCELAIN

Chinese Dehua White 46

Ching Blue on White 47

Chinese Imari 48

Ching Polychrome Overglaze 49

Brown Porcelain 50

Powder Blue Porcelain 51

Polychrome Chinese 52

English English Soft Paste 53

Bone China 54

Borderware 55

Vessel Forms 56-62

Bottle Anatomy 63

Dutch and French Bottles 64

Hand-Blown Bottle Seriation 64-65

Dutch Gin Case Bottles 66

Nails 67

Pipes and Pipestems 68

Lead Bale Seals 69

Gun Flints 69

Gun Parts 70

Coins 70-73

Glossary 74-77

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COARSE EARTHENWARES

REDWARE

Base Ceramic Type: Redware Category: Coarse Earthenware

Origin: North America, Europe Date Range: 1500-Present

Common Types: Manganese Glazed, Clear Lead Glazed

Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT

Body Color: Red to red-orange

Glaze Color: Dark manganese glaze; light manganese; clear lead glaze Note: The glaze if present is usually on the interior of the vessel, although both side may glazed.

Body Type: Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery.

Body Profile

Dark Brown Manganese Glazed Redware

Various Redwares

4

AGATE WARE

Base Ceramic Type: Agate Ware Category: Coarse Earthenware

Origin: England Date Range: 1740-1775

Vessel Forms: BOWL, DOOR KNOB, HANDLE, PLATE, PLATTER, TEA POT

Body Color: Paste consists of multiple colors, usually red and white colored clays mixed together to create veins seen both inside and out. Paste is relatively hard, and thin.

Glaze Color: Clear lead glaze, making the surface appear swirled with light and dark browns.

Decoration Styles: The rim may be decorated with a yellow band incised with roulette impressions.

Comments: Versions with a yellow decorated band were common in the third quarter of the eighteenth century. There was a revival of agate wares used as doorknobs in the late nineteenth century.

Sources: Noel Hume 1969, South 1977

Agate Ware

Agate Ware body with swirled red and white clay

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SLIPWARE, “PHILLY SLIP” SLIP-TRAILED REDWARE

Base Ceramic Type: Redware Category: Coarse Earthenware

Origin: North America Date Range: 1750-1820

Common Types: Philadelphia Slipware

Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, JAR, JUG, PAN, PITCHER, PLATE, PLATTER, SAUCER, TEA POT

Body Color: Red to red-orange

Glaze Color: The interior surface is covered with a clear lead glaze.

Decoration Styles: Decoration is applied by slip-trailing in white, and is simple and geometric. Designs include broad bands, stripes, loops and lobes.

Body Type: Vessel walls are generally heavy, reflecting the utilitarian nature of this pottery.

Comments:

Simple, slip-trailed redware vessels were produced at several locations in the Anglo-American colonies after 1750, initially by German potters who emigrated to Pennsylvania, New England and North Carolina. The simple geometric band and loop decoration on utilitarian forms is often referred to as "Philadelphia style", although as noted such wares were made in a number of centers in Eastern North America. The are most common from the third quarter of the eighteenth century into the first decades of the nineteenth century.

Sources: Bower 1985; Magid and Means 2003

Looped Decoration Philadelphia Slipware Striped Decoration Philadelphia Slipware

Wavy Striped Philadelphia Slipware

6

SLIPWARE, MORAVIAN

Base Ceramic Type: Redware Category: COARSE EARTHENWARE

Origin: UNITED STATES Date Range: 1750-1825

Common Types: Moravian Slipware

Vessel Forms: BOTTLE, BOWL, CANDLE HOLDER, CHAMBER POT, CUP, JAR, JUG, MUG, PAN, PITCHER, PLATE, POT, SAUCER, TEA POT

Body Color: Varies in color from light red or orange, and less commonly, buff and yellow.

Glaze Color: Clear lead glaze over the white slip decoration.

Decoration Styles:

Slip decoration could be trailed, marbled, overall slip washed, banded or sgraffito, using combinations of white, yellow, light brown, dark brown and green. Green decoration was usually applied over a base of white slip.

Designs include a wide variety of floral and zoomorphic motifs, as well as inscriptions, dates, and abstract designs consisting of bands, stripes, squiggles, scrolls, dots and lobes.

Interiors of many hollow forms were covered in a white slip wash before decoration.

Comments:

Moravian slip-decorated wares are distinct from English Staffordshire slipwares in their red-colored paste, their motifs, and their use of green decoration and highlighting. They were produced by German potters who settled in North Carolina and Pennsylvania in the 18th century, and the vessels exported widely in Eastern American by the late 18th century. For a more specific chronology of decorative categories, see South (2004).

Sources: Bivins 1972; South 2004

Banded Moravian Slipware Squiggled White, Brown and Green Moravian

Green Floral Moravian Slipware

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SLIPWARE, STAFFORDSHIRE-TYPE, ENGLISH

Base Ceramic Type: Staffordshire Slipware Category: COARSE EARTHENWARE

Origin: ENGLAND Date Range: 1675-1770

Common Types: Trailed, Dotted, Combed

Vessel Forms: BOWL, CANDLE HOLDER, CHAMBER POT, CUP, MUG, PITCHER, PLATE, PLATTER, POSSET, CUP

Body Color: Buff or tan in color, often with visible mineral tempering.

Glaze Color: A clear lead glaze is applied over the slip decoration, giving the pottery its characteristic yellow and brown appearance.

Decoration Styles:

Surface is covered with white and/or brown slip, and decorated in a variety of ways. Decoration methods include trailing slip designs, “jewelling” (placing dots of slip on bands of contrasting color); combing,

marbling (joggling), and impressed designs. Platters are usually decorated only in one side, and typically have a crimped (“piecrust”) lip.

Comments: This yellow and brown slipware is associated with Staffordshire; however it was produced in several centers in England. It was

made in a wide variety of both utilitarian and tableware forms. Vessels can be either wheel-thrown or bat molded.

Sources: http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm; Erikson and Hunter 2001; Grigsby 1993; Noel Hume 1970, 2001

Combed Trailed Staffordshire w/ Crimped Rim

Dotted, Trailed & Combed Staffordshire Dotted Staffordshire

Combed Trailed Staffordshire w/ Crimped Rim

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NORTH DEVON SLIPWARE, SGRAFFITO

Base Ceramic Type: Sgraffito Slipware Category: COARSE EARTHENWARE


Common Types: Incised

Vessel Forms: BOWL, CANDLE HOLDER, JUG, MUG, PITCHER, PLATE

Body Color: Red to light reddish-brown in color. Many examples have a thin grey core.

Glaze Color: A lead glaze covered the slipped surface, giving a yellow color to the slip.

Decoration Styles: Vessels are covered with a thin layer of slip, and patterns were incised through the slip to reveal the red body below. Designs include, birds, animals, portraits, letters, naturalistic scenes, geometric, and floral patterns

Comments: This incised slipware variety was probably produced in the North Devon area of England. Although common on 17th century English sites, it is rare on Spanish colonial sites.

Sources: Grant 1983; Noel Hume 1970; Outlaw 2002

Incised Sgraffito

Incised Zoomorphic Sgraffito

Incised Sgraffito with Various Designs

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JACKFIELD-TYPE WARE

Base Ceramic Type: JACKFIELD-TYPE WARE

Category: LEAD GLAZED COARSE EARTHENWARE

Origin: ENGLAND

Date Range: 1740-1790

Common Types: Plain, Hand Painted

Vessel Forms: CUP, PITCHER, SAUCER, TEA POT

Body Color: Very hard, dark purple to dark reddish-grey paste.

Glaze Color: Deep, shiny, lustrous (often almost metallic-appearing) black glaze on interior and exterior.

Decoration Styles: Decorated Jackfield wares can have oil gilded or enamel floral or foliate designs, or be decorated with slip designs in sprigs, bands or lines.

Body Type: Thin-walled vessels.

Comments:

Jackfield production is historically associated with the town of Jackfield in Shropshire, however it was also commonly produced in

Staffordshire by potters like Thomas Whieldon (thus the use of "Jackfield-type" wares). It‟s peak period of use was from about 1740-1760.

Jackfield type ware made by Thomas Wheildon is characterized by a redder body and slightly more brilliant black glaze.

Sources: Noel Hume 1969, 2001; South 1977; www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

Various Examples of Jackfield

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REFINED EARTHENWARE

CREAMWARE

Base Ceramic Type: CREAMWARE Category: REFINED EARTHENWARE

Origin: ENGLAND


Common Types: Plain, Molded, Hand-Painted, Transfer-Printed

Vessel Forms: BOWL, CUP, PITCHER, PLATE, PLATTER

Body Color: White to light cream-colored

Glaze Color: Creamy yellow surface glaze caused by the addition of copper to a clear lead glaze. Yellowish to greenish cast where glaze pools.

Decoration Styles:

Creamware with a raised lobe or feather design around rim was produced between 1765-1810. Royal Creamware which features a gently scalloped marly and rim shape, with a narrow molded band below that follows the shape of

the rim, was produced between 1762-1820. Black transfer printed decoration in a variety of pastoral, naturalistic, social and commemorative designs was produced between 1770-

1815.

Body Type: Thin, hard, compact (although slightly porous) paste

Sources: Noel Hume 1969, Miller 1991, Sussman 2000b

Plain Creamware with Incised, Scalloped Rim Plain Creamware with Scalloped Rim

Molded Creamware with Incised Rim

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PEARLWARE

Base Ceramic Type: PEARLWARE

Category: REFINED EARTHENWARE

Origin: ENGLAND


Common Types: Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated; sponged/spattered.

Vessel Forms: BOWL, CUP, PLATE , PLATTER

Body Color: White to buff-colored

Glaze Colors: Clear or faintly bluish clear lead glaze, caused by the addition of cobalt to the glaze.

Bluish cast where glaze pools.

Comments: Handpainted Chinese-inspired designs on pearlware were eclipsed by transfer printing by about 1812-1815. After about 1820, blue floral

designs painted with a bolder stroke than was common in the chinoiserie examples, became more popular.

Sources: Noel Hume 1969, South 1977, Miller 1991, Sussman 2000b

Canton Style Hand Painted Pearlware Plain Pearlware

Hand Painted Floral Design Pearlware

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TRANSITIONAL WHITEWARE

Base Ceramic Type: Transitional Whiteware


Origin: ENGLAND



Vessel Forms: BOWL, CUP, PLATE , PLATTER

Body Color: White to buff-colored

Glaze Colors:

White to faint bluish white clear lead glaze, caused by the addition of cobalt to the glaze. Slight bluish cast where glaze pools.

Transitional Whiteware is the type of ceramic produced in the period when whiteware was becoming the more popular imitation of Chinese porcelain, and the characteristics of both pearlware and whiteware were evident in the glaze and decoration of the ware.

Comments: This type was popular among the poorer classes. The paste of pearlware produced after 1810 is heavier and whiter with a harder glaze that

may vary in color from almost clear to deeply bluish tinted.

Sources: Noel Hume 1969, South 1977, Miller 1991, Sussman 2000b

Hand Painted Polychrome Transitional Whiteware Plain Transitional Whiteware

Hand Painted Transitional Whiteware

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WHITEWARE

Base Ceramic Type: WHITEWARE Category: REFINED EARTHENWARE

Origin: ENGLAND Date Range: 1830-present


Vessel Forms: BOWL, CUP, JAR, PITCHER, PLATE, PLATTER, TEA POT, TUREEN

Body Color: White to off white colored

Glaze Color: Clear lead glaze, background is pure, paper white. Glaze is clear to light grey where it pools, and may also be slightly bluish.

Decoration Styles:

Hand painted and sponged floral and geometric patterns in bright colors. Hand-Painted colors include blue, reddish-pink, green, purple, orange and pink Transfer printed designs made up of many tiny dots in red, pink, green, blue, brown and black May include: Plain; hand-painted blue-on-white or polychrome; transfer-printed; shell-edge; annular; mocha; slip-decorated;

sponged/spattered.

Comments:

Flow painted in blue and purple, cut sponge designs and sprig painted wares gain popularity around 1840. Large painted floral polychrome designs in table and tea wares gain popularity in the 1870's.

After 1850, Willow pattern is used for tea as well as table wares. During the 1830's romantic views were the most popular motif, and after 1870 Japanese styles gained popularity in brown designs on ivory backgrounds.

Sources: South 1977, Miller 1991

Hand Painted Polychrome Floral Design Whiteware Scallop Rimmed Whiteware

Plain Whiteware Plain Whiteware

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IRONSTONE

Base Ceramic Type: IRONSTONE Category: REFINED EARTHENWARE


Common Types: Plain, Transfer Printed

Vessel Forms: BASIN, BOWL, PLATE, PLATTER, TUREEN

Body Color: White, hard, almost vitrified paste.

Glaze Color: Thick, clear, glasslike glaze, with a network of very fine crazing appearing underneath the glassy surface. Background color is white, but may have a faint bluish cast.

Decoration Style: Usually not decorated but can be transfer printed.

Comments:

This common nineteenth century utilitarian pottery is part of the general category of English "Stone China" It is referred to in the archaeological literature as "Undecorated White Granite Ware", or as "Undecorated Ironstone", after Mason‟s Patent Ironstone China (which was a specific brand of stone china patented in 1813). Undecorated Stone China is most common after ca. 1840, and most of the granite wares, and ironstone pottery before that date were decorated with transfer printing, painting, enameling or a combination of these. Decorated Stone China /Ironstone dates to about 1805-1840 (Miller 1991).

Sources: Noel Hume 1970; Miller 1991

Plain Ironstone Plain Ironstone

Plain Ironstone

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WHIELDON WARE

Base Ceramic Type: WHIELDON WARE


Origin: ENGLAND


Common Types: Mottled, Spattered, Molded, Incised, Scalloped

Vessel Forms: PLATE, PLATTER, TEA POT

Body Color: White to light cream colored, thin, hard, compact paste.

Glaze Color: Background glaze is cream to off-white in color. May have yellowish to greenish cast where glaze pools.

Decoration Styles: Mottled and spattered designs in purple, blue, brown, yellow, green and grey.

Comments: Whieldonware is the first of the refined earthenwares and as such is found in the same mold patterns as those used in white salt glazed stoneware, including barley, bead and reel, and dot, diaper and basket. This type is also known as "clouded" ware.


Mottled Whiledonware Plate with Molded and Scalloped

Rim Mottled Whieldonware Vessel with Molded Decoration

Mottled Whieldonware Fragment

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YELLOW WARE

Base Ceramic Type: YELLOW WARE


Origin: ENGLAND

Date Range: 1840-20th century

Common Types: Plain, Hand Painted, Molded, Slip Trailed, Annular Banded, Annular Dendritic

Vessel Forms: BOWL, CHAMBER POT

Body Color: Buff

Glaze Color: Transparent lead glaze makes interior and exterior appear yellowish.

Decoration Styles: May be plain or decorated. Decorative techniques include slip decorating, painting, and molding.

Sources: Noel Hume 1969; South 1977; www.stmarys.ca/academic/arts/anthropology/sdavis/ceramics/

White Slip Trailed Yellow Ware Vessel Fragment Blue Annular Banded Yellow Ware Bowl

Blue Dendritic Annular Yellow Ware Mug

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AMERICAN ROCKINGHAM WARE

Base Ceramic Type: ROCKINGHAM WARE

Category: LEAD GLAZED REFINED EARTHENWARE

Origin: UNITED STATES


Common Types: Mottled

Vessel Forms: CROCK, JAR, PITCHER, POT

Body Color: Buff or yellow paste.

Glaze Color: Body is often covered in a clear lead glaze, fired and covered with an additional brown manganese glaze. The combinations of these two glazes result in a mottled look with the melting of the two glazes.

Comments: Lead background glaze is similar to yellow ware.

Sources: Gallo 1985

Mottled Rockingham Vessel Handle Mottled Rockingham Pitcher

Mottled Rockingham Bowl

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DECORATION STYLES

Hand-Painted Blue on White:

Hand Painted Blue on White designs are often simple floral or geometric patterns, or simple bands along the rim of a plate or vessel. Hand

Painted designs can be distinguished from Transfer Printed designs by observing the brushstrokes still evident in the decoration on the glaze and the lack of tiny dots that usually make up a Transfer Printed Design.

Hand-Painted Polychrome:

Hand Painted Polychrome designs are very similar to the above Blue on White variety. Predominantly, they represent a floral design accompanied by a colored band along the rim of a plate or vessel. Again, you can tell Hand Painted Polychrome designs from their Transfer Printed counterparts by the visibility of brushstrokes in the design and the absence of the tiny dots inherent to Transfer Printed designs.

Transfer Printed Date Range: 1784 – Present Blue: 1784-1840 Brown: Introduced 1809 Dark Navy Blue: 1818-1830 Red, Green, Purple: Introduced 1829

Transfer Printed designs are achieved by steam printing a prearranged design on a piece of cloth or paper onto the face of a ceramic. Through this method, these designs are usually more intricate than hand-panted decorations, containing much greater levels of detail that usually could not be achieved by applying a brush such a surface as a ceramic. Different transfer print designs came in and out of popular favor throughout the late 18th and through the 19th century, so thus dating of transfer printed pearlwares, creamwares, and whitewares is very design specific.

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Shell Edged: Date Range: 1785-1840

Shell Edged decorations can occur on pearlware, whiteware, and creamware rims, and usually consist of a scalloped rim with parallel or stylized incised marks meant to mimic the characteristics of a shell. Colors can include blue, green, red, and sometimes even orange. Though blue Shell Edged decorations are common on both pearlware and whiteware rims, green Shell Edged decorations usually only occur on pearlware pieces. Dating of Shell Edged pieces is very design specific (see basic ceramic type sections for ceramic specific date ranges)

Sponged/ Spattered Date Range: 1770-1830

Sponged or Spattered decorations can be found on a wide range of ceramics, including pearlware, whiteware, and delft. Vessel exteriors are decorated by sponging blue or purple manganese powdered glaze over the surface. Sponging can cover the surface of the vessel, serve as a background for painted panels or cartouches, or form major elements of a design. Powder applied paint is referred to as “spattered,” and sponge-applied paint is referred to as “sponged.” After 1840 decorations were exclusively applied by sponge.

Flow Blue Date Range: 1825-early 1900s

The flowing color was produced by the reaction of volatile chlorides upon ceramic colors. The colors and designs are applied to the pottery surface are exposed to a chlorinated atmosphere in the kiln and the vapors cause the color to spread and blur--thus flow blue. Flow blue decorated ceramics resemble transfer printed designs that have simply been debased. This type of decoration is usually found on pearlware and whiteware pieces, as it originated in Staffordshire, England in 1825.

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ANNULAR WARES

Banded Date Range: 1767-20th century

Banded annular ware is part of the Factory-made Slipware group of refined earthenware ceramics decorated with applied slip decoration.

These were produced in great quantity during the last quarter of the eighteenth century through the nineteenth century in England and the

United States. Some banded annular wares were decorated using a lathe turned on an engine, a technology for pottery called “Engine Turned” first developed by the famous potter Josiah Wedgewood around 1767. Banding occurred both as a primary decorative element and in

conjunction with other design elements such as marbling, or the dendritic patterns found on mocha ware. It is most often found on white wares.

After 1840 annular wares became available only in the blue banded variety and its use continued into the 20th century.

Dendritic Mocha: Date Range: 1780-1895

The technique dates from the 1780s, and was invented in Staffordshire in the UK. The original recipe involves a "tea" made by boiling tobacco, which is then colored with e.g. Iron oxide. The piece is first coated with a wet "slip" (very runny clay/water mixture). Then the tea mixture is touched onto the wet surface. The acidic tea reacts with the alkaline slip and the dendrites (tree-branch like designs) grow quickly from the point of contact. The dendritic pattern is clearly the result of a dynamic process in which the contact line between the two liquids, tea and slip, becomes unstable. The surface tension of the tea is less than that of the slip. The mocha pattern is found more often on creamware than pearlware or whiteware, and the same dendritic design is also commonly found on Yellow wares. These pieces date from the second half of the 19th century

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Speckled SlipField Date Range: 1780-1925

Speckled slipwares were made by mixing colored ground glass in the slip, which was known as smalt. The glass would melt into the glaze in the glost firing to produce the speckled effect. Often, speckled bands are bordered by a roulette band, which refers to the checkered band seen in the examples above and to the left. Earliest archaeologically recovered examples of such speckled examples of annular slipwares come from Fort Watson, South Carolina, which was a site established by British forces in 1780 and destroyed by American troops in 1781. Such decorated wares were made into the first quarter of the 20th century. A general date range for this decorative type is approximately 1780-1925.

Marbleized Date Range: 1759-1820

This style of annularware decorated with horizontal bands of color in varying widths which can include bands of lathe turned grooves or

patterns. The band colors are predominantly muted earth tones including, black, olive green, tan, rust, brown, ochre yellow, grey, and pale blue. The marbleized decorative elements occur in the widest bands, created by swirling of different colored slips applied to the vessel surface.

Slip colors are usually earth tones including green, blue, light brown, cream, dark brown and rust.

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Cabled & Cat’s Eye Date Range: 1775-1820

Cabled Annular Ware decorations consist of wavy lines of usually blue, black and white colored slip applied to a simple banded annular

ware. Cabling and worming is also known as wormy finger painted, and is found most commonly on pearlwares of the multi-chambered pot

variety.

Cat‟s Eye decorations consists of swirls of blue, black, white, brown, and orange (among other colors) slip applied to a simple banded

annular ware. Cat‟s Eye can occur in conjuction with other decorations usually found on multichambered pots such as cabled.

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TIN-GLAZED EARTHENWARES

FRENCH FAIENCE

FAIENCE, SAINT CLOUD POLYCHROME

Base Ceramic Type: FAIENCE

Category: FAIENCE

Origin: FRANCE


Common Types: St. Cloud Polychrome

Vessel Forms: BOWL, CUP, PITCHER, PLATE, PLATTER,TUREEN

Body Color: Paste is hard, usually buff in color. Peach and salmon colored paste rare.

Glaze Color: Tin enameled, blueish-white to light blue background.

Decoration Styles:

Designs done in blue outlined in either dark blue, black, or purple. Interior rims have double banded designs with geometric and floral motifs, decorated with the flame-like motif or a hatched border.

Central medallion sometimes decorated with floral design.

Sources: Walthall 1991a; Waslekov and Walthall 2002

Hand Painted Blue with Black Outlined Band St. Cloud Hand Painted Blue with Black Outlined Band St. Cloud

Hand Painted Blue with Black Outlined Band St. Cloud Hand Painted Blue with Black Outlined Band St. Cloud

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FAIENCE, SEINE POLYCHROME

Base Ceramic Type FAIENCE

Category: FAIENCE

Origin: FRANCE


Common Types: Seine Polychrome

Vessel Forms: BOWL, PITCHER, PITCHER, PLATE, PLATTER

Body Color: Paste is hard, cream to salmon color.

Glaze Color: Tin enameled, white to off-white back ground.

Decoration Styles:

Stylized borders with floral and geometric designs. Designs painted in combinations of blue, black, yellow, green purple, and reddish-orange. A wide variety of polychrome floral patterns are grouped together under the type Seine Polychrome, named for the popularity of those designs at Parisian potteries. But these styles are poorly known and may derive from other regions of France, such as the La Rochelle area.

Sources: Walthall 1991a; Walthall 1991b; Waslekov and Walthall 2002

Floral Banded Hand Painted Seine Floral Design Hand Painted Seine

Floral and Zoomorphic Design Hand

Painted Seine Hand Painted Banded Seine Hand Painted Floral Design Seine

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FAIENCE, ROUEN (BRÜN) PLAIN


Category: FAIENCE

Origin: FRANCE


Common Types: Rouen (Brun) Plain

Vessel Forms: BOWL, POT

Body Color: Paste is hard, buff to salmon or red.

Glaze Color: Tin enameled, light blue to white interior. Exterior covered in a medium to dark manganese brown lead glaze.


Plain Rouen Brun (Front) Plain Rouen Brun (Back)

Plain Rouen Brun Bowl

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FAIENCE, ROUEN (BRÜN) POLYCHROME

Base Ceramic Type: FAIENCE, ROUEN POLYCHROME

Category: FAIENCE

Origin: FRANCE


Paste: Paste is hard, buff to salmon or red. Exterior covered in a medium to dark manganese brown lead glaze.

Glaze: Tin enameled off-white to light blue interior.

Decoration: Interior rims borders with geometric or floral designs in blue outlines in blue, black, or purple. Central medallions can have floral or geometric design in blue outlined in blue, black, or purple.

Vessel Forms: BOWL, PLATE


Black Outlined Hex-Mark Banded Brun

Polychrome (Front) Black Outlined Hex-Mark Banded Brun

Polychrome (Back)

Black Outlined Hex-Mark Banded Brun Polychrome Black Outlined Hex-Mark Banded Brun

Polychrome

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FAIENCE, PROVENCE BLUE ON WHITE


Category: FAIENCE

Origin: FRANCE


Common Types: Provence Blue on White


Body Color: Paste is hard, cream to buff color.

Glaze Color: Tin enameled, near white to very light blue background.

Decoration Styles: Interior of rim is double banded in blue with geometric and crude floral designs within.

Comments: Walthall (1991a) lists a Date Range for Provence Yellow on White as 1750-1765. It is likely that Provence Blue on White was produced early, but the above listed date is tentative.

Sources: Walthall 1991a; Waselkov and Walthall 2002

Blue Hand Painted Banded Provence Blue Hand Painted Banded Provence

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FAIENCE, NORMANDY PLAIN

Type Name: FAIENCE, NORMANDY PLAIN

Category: FAIENCE

Origin: FRANCE


Paste: Paste is hard, cream to buff color.

Glaze: Plain, tin enameled white background

Vessel Forms: BOWL, CANDLE HOLDER, CUP, PLATE, PLATTER

Comments:

Normandy Plain has a white to slightly off-white tin enamel with no decoration. Some sherds classified as Normandy Plain may in fact be undecorated portions of other faience types. This type may actually date back to the first half of the seventeenth century.


Plain Normandy Plain Normandy

Plain Normandy Plain Normandy

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FAIENCE, NORMANDY BLUE ON WHITE

Type Name: FAIENCE

Category: FAIENCE

Origin: FRANCE


Common Types: Normandy Blue on White


Body Color: Paste is hard, cream to salmon color.

Glaze Color: Tin enameled white to pale blue background.

Decoration Styles: Frequently interior of rim decorated with two thin blue bands surrounding dashes, dots, or wavy lines. Exterior may be decorated with crude floral or geometric designs mostly imitating Chinese styles.


Hand Painted Geometric Banded Normandy Hand Painted Dotted Banded Normandy

Hand Painted Dotted Banded Normandy Hand Painted Floral Design Normandy

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FAIENCE, BRITTANY BLUE ON WHITE


Category: FAIENCE

Origin: FRANCE


Common Types: Brittany Blue on White

Paste: Paste is hard, light cream to salmon color.

Glaze: Tin-enameled, light to pale blue background.

Decoration: Usually a single blue band encircles the interior rim, double blue bands are rare. Central medallion may have a crude geometric/floral design

Vessel Forms: PLATE

Comments: Brittany Blue on White faience is only known to occur in flat bottom base plate forms. This faience type is characterized by having a blue band around the interior rim and either a plain interior or a crude geometric or floral design on the central medallion. Double bands around the rim do occur but are rare.


Blue Hand Painted Rim with Floral Medallion

Brittany Blue Hand Painted Rim Brittany

Blue Hand Painted Rim Brittany Blue Hand Painted Rim Brittany

33

DELFTWARE

DELFTWARE, PLAIN

Base Ceramic Type: DELFTWARE

Category: DELFTWARE

Origin: ENGLAND AND HOLLAND


Common Types: Plain

Vessel Forms: BOWL, CHAMBER POT, DRUG JAR, PLATE, VASE

Body Color: Paste is cream to light buff-colored and often chalky feeling.

Glaze Color: Background enamel is white to bluish-white to very pale blue in color, without decoration. It is generally smooth and even, and tends to have a matte, or low-gloss surface finish, sometimes with pinholing.

The tin enamel is often poorly bonded, and tends to flake off the paste body more readily than Spanish majolica or French faience.

Comments:

Undecorated delftware can sometimes be dated by form. Plates (table flatware less than 10" in diameter) were produced in the greatest numbers from about 1680 until 1800. Bottles occurred primarily between 1620 and 1680. Most drug jars were produced in the 17th and 18th centuries, and punch bowls (large and small) were produced in the greatest numbers between 1680 and 1780. See references for more specific information.

Sources: Noel Hume 1970, 1977; 2001; Shlasko 1989; Black 2001; Miller 2002; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page

Plain Delft Plain Delft

34

DELFTWARE, BLUE ON WHITE

Base Ceramic Type:

DELFTWARE

Category: DELFTWARE



Common Types: Blue on White

Vessel Forms: BOWL, MUG, PLATE, PLATTER, VASE

Body Color: Paste is cream to light buff colored and often chalky-feeling.

Glaze Color Background enamel is white to bluish-white in color, is generally smooth, and tends to have a matte, or low-gloss surface finish.

Decoration Styles:

Designs are painted in blue or cobalt blue, with a very wide variety of styles and motifs, including geometric, floral, landscape, figural, animals and Chinese designs

Comments: Design motifs and painting techniques on Blue and White Delftware provide chronological indicators, and can also help distinguish delftware from French faience or Spanish majolica. These decoration types and date ranges have been documented by Ellen Shlasko (1989, see also Miller 2002).


Hand Painted Blue on White Delft with Geometric Banded Rim

and Floral Designs Hand Painted Blue on White Delft with Floral Designs

35

DELFTWARE, POLYCHROME


Category: DELFTWARE



Common Types: Polychrome

Body Color: Paste is cream to light buff-colored and often chalky feeling.

Glaze Color:

Background enamel surface is white to blueish-white to very pale blue in color. It is generally smooth and even, and tends to have a matte, or low-gloss surface finish, sometimes with pinholing.

Decoration Styles: Designs, including geometric, floral, landscape, figural, animals and Chinese motifs, are painted in blue, green, yellow, black, red, and manganese purple.

Vessel Forms: BOWL, MUG, PLATE, PLATTER, VASE

Comments:

Banding, cross-hatched line and dot, and floral elements are common eighteenth century rim treatments. For information on dating decorative motifs on Delftware see Shlasko (1989) and (Miller 2002).


Polychrome Delft with a Geometric Rim and Floral

Designs Polychrome Delft with Floral Designs

36

DELFTWARE, SPONGED


Category: DELFTWARE



Common Types: Sponged

Vessel Forms: BOWL, MUG, PLATE

Body Color: Paste is cream to light-buff colored and often chalky feeling.

Glaze Color: Background enamel is white to bluish-white in color, is generally smooth, and tends to have a matte, or low-gloss surface finish.

Decoration Styles: Vessel exteriors are decorated by sponging blue or purple (manganese) over the surface. Sponging can cover the surface of the vessel, serve as a background for painted panels or cartouches, or form major elements of a design.

Interior can be plain or hand painted with blue or polychrome designs.


Purple Sponged Delft Blue Sponged Delft

37

STONEWARES

GERMAN

BROWN RHENISH STONEWARE

Base Ceramic Type: STONEWARE Category: STONEWARE

Origin: GERMANY Date Range: 1500-1700

Common Types: Brown Rhenish

Body Color: Hard, thin stoneware body, usually light grey in color. Pinkish-grey or tan stoneware paste may also occur.

Glaze Color: Exterior surface is salt-glazed, and light golden brown or ginger colored. The salt glazing results in a fine, dimpled orange peel-like finish.

Decoration Styles: Decoration consists of applied molded relief elements including bearded male faces at the neck, and heraldic or decorative medallions, flowers and leaves, and bands of inscription on the body.

Vessel Forms: BELLARMINE JAR form is the long-necked, bag-shaped body “bellarmine” jar, and these are wheel-thrown.

Comments:

Brown Rhenish stoneware was produced primarily in the Rhine River valley of Germany and the Low Countries of Europe. "Brown Cologne Stoneware" has been used to refer to these brown stoneware jugs, however by the mid-16th century (after which most of this pottery appears on American sites), the nearby town of Frechen had replaced Cologne as a pottery center, and supplanted Raeren as the leading exporter of brown stoneware (Gaimster 1997). Brown cologne stoneware jars are also known as Bellarmines, Bartmanns, and greybeards because of the bearded male figures portrayed on the jar necks. In general, the precision and quality of the applied molded elements declines through time, however a number of exceptions to this trend have been documented.

Molded Male Face Design Rhenish Bellarmine Jar Neck Molded Human Scene Design Rhenish Bellarmine Jar

38

WESTERWALD STONEWARE

Type Name: STONEWARE, RHENISH BLUE AND GRAY Category: STONEWARE

Origin: GERMANY - RHINE VALLEY Dates: 1575-1775

Paste: Very hard, compact and vitreous stoneware paste. Color is most commonly gray, although grayish-tan paste also occurs.

Glaze: Surface is salt-glazed, producing a shiny, gray, pebbly or “orange peel” finish.

Decoration: Vessels are decorated with cobalt blue or manganese underglaze paint, in combination with applied molded relief ornaments (sprig molds), incising, stamping, and rouletting. Common stamped designs included hearts, circles, triangles, and floral motifs. See Comments and references below for chronological subdivisions based on decoration.

Vessel Forms: CHAMBER POT, JAR, MUG

Comments: Blue and gray stoneware developed in Raeren in the mid-16th century, and early examples have been reported from Spanish colonial sites. Primary production shifted to the Westerwald region by the end of the 16th century, and Westerwald blue and grey stonewares dominated exports after that time. Westerwald wares were characterized by elaborate floral and geometric designs in a combination of sprig moulding and combed lines. By the second quarter of the 18th century, the decorations on Westerwald-type pieces were becoming more schematic, relying on incised foliage, scrolls, and animals, with the outlines filled with blue. Chronological indices include: Molded human figures and portraits: 1575-1630; Sprig-molded and incised floral and geometric designs colored in cobalt blue: 1650-1725; Managanese purple:1650-1775; Stamped and incised central medallion design with blue: 1700-1775; Royal ciphers: WR (William III, 1688-1702) AR (Queen Anne, 1702-1714) or GR (George I & II , 1714-1760)

Sources: Noel Hume 1970, 2001; Gaimster 1997; Klinge 1996

Westerwald Jug with Incised and Molded Decorations

Westerwald Jug with Incised and Molded

Decorations

Westerwald Fragment with Incised and

Molded Blue and Purple Decorations

Westerwald Fragment with Incised and Molded

Decorations

39

ENGLISH

FULHAM TYPE BROWN SALT GLAZED STONEWARE

Type Name: STONEWARE Category: STONEWARE


Common Types: Fulham Type

Vessel Forms: CROCK, JUG, MUG

Body Color: Thick, grey stoneware paste, often with a grainy appearance.

Glaze Color: Vessels are dipped in brown slip, then salt glazed to produce a mottled, pebbly brown surface. Interiors are usually unglazed.

Decoration Styles: Although usually undecorated, vessels can have impressed incised, or sprig-molded designs indicating royal initials, capacity standards, or tavern symbols and owners.

Comments:

English Brown Salt-glazed Stoneware is most commonly found in drinking vessel and serving forms. It‟s production is associated with Fulham, however since several other English production centers were also active it is often referred to as "Fulham-type" ware. It largely replaced Rhenish brown stoneware in England after 1700. By ca. 1730, American potters began producing brown stoneware that was often indistinguishable from the English Fulham-type. After ca. 1760, names on vessels were stamped rather than incised.

Sources: Noel Hume 1969; Hildyard 1985; Noel-Hume 2001

Fulham Brown Salt Glaze Stoneware (Front)

Fulham Brown Salt Glazed Stoneware with Incised

Medallion

Fulham Brown Salt Glaze Stoneware (Back)

40

ENGLISH BROWN STONEWARE

Type Name: STONEWARE, ENGILSH BROWN Category:

STONEWARE

Origin: ENGLAND Date Range:

1690-1775

Common Types: English Brown Salt Glazed

Vessel Forms: CROCK, JUG, MUG, BOTTLE

Glaze Color: The profile is gray to tan in color.

Comments:

English brown is essentially the same as Fulham ware except it came earlier. English Brown Salt-glazed Stoneware is most commonly found in drinking vessel and serving forms. It‟s production is associated with Fulham, however since several other English production centers were also active it is often referred to as "Fulham-type" ware. It largely replaced Rhenish brown stoneware in England after 1700. By ca. 1730, American potters began producing brown stoneware that was often indistinguishable from the English Fulham-type. After ca. 1760, names on vessels were stamped rather than incised.

Sources: Noel Hume 1969; Hildyard 1985; Noel-Hume 2001

Various Examples of English Brown Stoneware

41

NOTTINGHAM STONEWARE


Origin: ENGLAND Date

Range: 1700-1810

Common Types: Nottingham

Vessel Forms: BOWL, CUP, MUG, PITCHER, VASE

Body Color: Thin, hard, grey, orange or buff stoneware paste.

Glaze Color: Surface is brown and lustrous, often with a burnished metallic appearance produced by the use of a lustrous brown slip under very fine salt glazing. Glaze color can vary from light brown to dark brown.

Decoration Styles: Decoration can include applied grog or crumb elements, machine-turned and rouletted patterns, applied molded elements, sprigging, piercing, and incised names, dates and floral elements. Fragments often have a thin white line separating the glaze and body.

Comments:

Although referred to as Nottingham stoneware, this ceramic variety was also produced in other parts of England such as Burslem, Staffordshire, Derbyshire, and Yorkshire. The typical "orange peel" finish of salt-glazed wares is barely evident on Nottingham stoneware. Applied crumb and grog design was used between about 1740 and 1780, and the use of molded, pierced, sprigged and applied decoration developed around 1750. Incising and Engine turning were used throughout the 18th century.

Sources: Noel Hume 1970, 2001; Oswald 1974

Nottingham with Incised Band Decoration Crum-decorated, Slip Dipped Nottingham

Notting with Incised Band Decoration (Front) Nottingham with Incised Band Decoration (Back)

42

ELERS-TYPE STONEWARE



Common Types: Ellers Type (Red Basalt)

Vessel Forms: COFFEE POT , MUG, TEA POT, TEACUP, VASE

Body Color: Thin, fine-grained stoneware body, usually dark red or brownish red in color.

Glaze Color: Unglazed.

Decoration Styles: Vessels are often decorated with die-stamped relieves of floral, animal and human figures; sprig designs, or geometric engine turning.

Comments: Also called "Dry-Bodied Stoneware", this fine red stoneware was first produced in England in the late seventeenth century by John Dwight, who patented wheel-thrown red stoneware vessels in 1684. They were copied by the Dutch Elers brothers, who moved to Staffordshire and continued to produce the red stoneware by slip casting until about 1700. There was a hiatus in production between ca. 1700 and ca. 1750, when many Staffordshire potters, including Josiah Wedgewood, began to produce both wheel thrown and molded dry bodied stoneware vessels. The Engine turned pieces date from after 1760.

Sources: Noel Hume 1970; South 1977; Elliott 1998; http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm

Ellers Type Stoneware Vessel Lid Incised Banded Ellers Type Stoneware Fragment

43

BLACK BASALT STONEWARE



Common Types: Black Basalt

Vessel Forms: CUP, SAUCER, TEA POT, VASE

Body Color: Thin, fine-grained black stoneware body.

Glaze Color: Usually unglazed.

Decoration Styles: Vessels are often decorated with die-stamped relieves of rococo floral, animal and human figures; sprig-molded designs, or geometric engine turning.

Comments:

Black Basalt ware is a dry-bodied stoneware fired in an oxidizing atmosphere to produce a black fabric. It was originally used by Josiah Wedgwood for his famous Etruscan vases, and it continued later in use for such everyday items such as tea wares. Engine-turned designs date to after 1760. The black remained popular longer than the red Elers-Type stonewares, partially because it was fashionable to use it in times of mourning.


Black Basalt Stoneware with Incised Rim Band Black Basalt Stoneware Jar with Incised Bands and

Molded Floral Design

44

WHITE SALT GLAZED STONEWARE



Common Types: White Salt Glazed

Vessel Forms: CUP, PLATE, PLATTER, TEA POT

Body Color: Thin, light grey or white, vitreous, dense stoneware paste.

Glaze Color: Salt-glazed surface, producing a glossy, white fine “orange peel” finish.

Decoration Styles:

When decorated, techniques include press molding, slip casting, engine turning, & incising. These were sometimes combined with overglaze painting and transfer printed designs.

Early examples (before 1720) have grayer paste and are dipped into a thin white slip before firing, producing a slight division between glaze and body, and a diminution in orange peel finish. Dipped mugs often have a brown rim edge.

After ca. 1740, molded plate rims in standardized patterns were introduced. Motifs include "dot, diaper and basket", "bead and reel", and "barley".

Comments: Although early, brown edged dipped white salt-glazed pieces stayed in production through much of the 18th century. Molded plate rim motifs after 1740 included "dot, diaper and basket", "bead and reel”, and "barley". White salt-glazed stoneware tablewares were gradually superseded by refined earthenwares after ca. 1760.

Sources: http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm; Noel Hume 1970, 2001

Molded Geometric Rim White Salt Glazed Plate Rim Molded Geometric Rim White Salt Glazed Plate Rim

Molded Geometric Rim White Salt Glazed Plate

Rim

Molded Geometric Rim White Salt Glazed Plate

Rim

45

SCRATCH BLUE STONEWARE

Base Ceramic Type: STONEWARE

Category: STONEWARE

Origin: ENGLAND


Common Types: Scratch Blue

Vessel Forms: CUP, PITCHER, PUNCH POT, SAUCER, TEA POT

Body Color: Thin, white, vitreous, dense stoneware paste.

Glaze Color: White salt-glazed surface, producing a glossy, white fine “orange peel” finish.

Decoration Styles: Incised geometric and floral designs that are neatly filled with cobalt blue oxide. Excess pigment outside of the thin, incised lines is wiped off.

Comments: Between 1720 and 1740, the Occasionally the "scratch" design was filled with iron oxide rather than cobalt blue. These are referred

to as "Scratch Brown" Stoneware.

Sources: Noel Hume 1969

Scratch Blue with Incised Floral Design Scratch Blue with Incised Floral Design

46

DEBASED SCRATCH BLUE STONEWARE

Base Ceramic Type: STONEWARE

Category: STONEWARE

Origin: ENGLAND


Common Types: Debased Scratch Blue

Vessel Forms: CHAMBER POT, MUG, PITCHER

Body Color: Thin, grayish-white white, dense stoneware paste.

Glaze Color: Salt-glazed surface, producing a glossy, white fine “orange peel” finish.

Decoration Styles: Incised geometric and floral designs that are filled with a heavy application of cobalt blue oxide. Excess pigment is left on the surface, producing cloudy blue areas outside of the incised design.

Comments: This ware has been suggested (Noel Hume 2001) to have been an English version of Rhenish blue and gray stoneware. Although declining in popularity after 1795, it was produced until ca. 1820.

Sources: Noel Hume 1969, 2001

Debased Scratch Blue with Incised Floral Design Debased Scratch Blue with Incised Floral Design

47

STONEWARE, AMERICAN

Type Name: STONEWARE

Category: STONEWARE

Origin: UNITED STATES OF AMERICA


Common Types: American

Vessel Forms: CROCK, MUG, PLATE

Body Color: The body of this ware appears gray, vitrified, and hard.

Glaze Color: Background glaze is often a white salt glaze. Frequently decorated with cobalt blue glaze.

Decoration Styles: Debased Blue, Incised Scripts, various other common stoneware decorations

American Gray Stoneware Pot with Debased Blue

Decoration

American Gray Stoneware Pot with Debased Blue

Decoration

48

PORCELAIN

CHINESE

PORCELAIN, DEHUA WHITE

Base Ceramic Type: PORCELAIN Category: PORCELAIN

Origin: CHINA Date Range: 1640-1750

Vessel Forms: CUP, FIGURINE

Common Types: Dehua White

Body Color: White, highly vitreous paste that is slightly thicker and glassier than most other porcelain types.

Glaze Color: Covered in a creamy, translucent, white or light cream-colored feldspathic glaze, with no painted decoration. Texture can vary from a lardlike, almost greasy feel to a smooth, almost blemish-less ware.

Decoration Styles: Decoration consists of molded applied elements, that usually consist of floral motifs, but which may also include animals.

Comments: This ware is also known as "Blanc de Chine", and is most commonly used for small libation cups and figurines.

Sources: Mudge 1986

Dehua with Molded Floral Design

Dehua Body Close Up

49

PORCELAIN, CHING BLUE ON WHITE

Base Ceramic Type: PORCELAIN Category:

PORCELAIN


Common Types: Ching Blue on White

Vessel Forms: BOWL, CUP, JAR, PLATE, SAUCER, VASE

Body Color: White, thin, highly vitreous paste that is smooth and translucent.

Glaze Color: Background feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection.

Decoration Styles:

Decorations are precisely painted in clear blues ranging from pale to deep sapphire, often delicately outlined in dark blue. Common motifs include flowers, fish, animals, landscapes and humans involved in activities. Cross-hatched diaper designs often appear in a band around the rim, as well as a rust color on the lip of the vessel.

Comments: Ch„ing or Qing dynasty porcelains are quite difficult to date precisely without the aid of a specialist. Date ranges for many of the motifs on eighteenth century porcelains can be found in Miller (2002).

Sources: Mudge 1986; Shulsky 1999; Noel Hume 2001; Deagan 2002; Miller 2002

Ching with Brown Rim Band and Geometric Design

Band

Ching Body Close Up

50

PORCELAIN, CHINESE IMARI



Common Types: Chinese Imari

Vessel Forms: BOWL, CUP, PLATE, SAUCER, TEA POT


Glaze Color: Background glaze is white or bluish-white in color, well bonded to the paste, lustrous, and shows little evidence of imperfection.

Decoration Style: Decorated with underglaze handpainted cobalt blue Chinese designs, combined with overglaze enamel decoration in red, green and gold. Overglaze motifs are most commonly floral elements.

Comments:

Chinese Imari porcelain was made in imitation of Japanese Imari porcelain, which is rarely see in American colonial sites. It‟s peak of popularity was between about 1715 and 1735. The overglaze enamel elements are unstable in buried conditions, and are thus often fugitive on archaeological examples. Fugitive elements appear as faint outlines on the surface of sherds, visible only at certain light angles.

Sources: Godden 1979; Mudge 1986; Noel Hume 1970

Chinese Imari with Underglaze Floral Design

Imari Body Close Up

51

PORCELAIN, CHING POLYCHROME OVERGLAZE

Base Ceramic Type PORCELAIN

Category: PORCELAIN

Origin: CHINA


Common Types: Ching Polychrome Overglaze

Vessel Forms: BOWL, CUP, PLATE, SAUCER


Glaze Color: Background feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection.

Decoration Styles: Decoration is overglaze enamel in red and gold, using the same motifs and techniques and floral motifs used in “Chinese Imari” porcelain overglaze decoration. Note: There is no blue underglaze design.

Comments: This is essentially Chinese Imari without the underglaze blue paint. On archaeological examples the overglaze elements are often worn away, and are represented on the sherds only by iridescent "tracks" on the sherd surface.

Ching Polychrome Overglaze with Floral Zoomorphic

Design

Ching Polychrome Body Close Up

52

PORCELAIN, BROWN



Common Types: Brown Porcelain


Glaze Color: Exterior: Covered with a lustrous brown glaze, ranging in color from very dark brown, to golden brown to pale tan.

Interior: Usually white (lead/feldspathic glazed).

Decoration Styles:

Exterior: The brown glaze can solidly cover the vessel surface, or can contain white reserve panels in leaf, cartouche, etc. The reserve panels may be solid white, or contain blue and white or polychrome painted designs. The Famille Rose pallete of polychrome design is common.

Interior: Typically decorated with either blue underglaze or polychrome enamel overglaze designs. Design motifs are those typical of Ch‟ing dynasty export porcelain.

Vessel Forms: BOWL, CUP, JAR, SAUCER, TEA POT, VASE

Comments:

Brown-glazed porcelain is found on Spanish-American sites from about 1700 through 1780. It seems to appear somewhat later on Anglo-American sites, beginning in about 1740. Examples with solid brown exteriors, or brown exteriors with undecorated white reserve panels are more common on Spanish sites than are examples with Famille Rose reserve panels. Specimen# 2597 is a rare example of the tan variety. Specimen #‟s 61-64 are from a context dating to 1733; #‟s 53-60 are from contexts dating to ca. 1765-1785. Other examples from the 1715 Higgs site have solid brown exteriors, with delicate overglaze red and gold enamel decoration on the interior.

Sources: Aga Oglu 1956; Deagan 2002; Martin 1993

Brown Glaze Porcelain Fragment

Brown Glaze Porcelain Body Close

Up

53

PORCELAIN, POWDER BLUE



Common Types: Powder Blue

Vessel Forms: BOWL, CUP, PLATE, SAUCER


Glaze Color: Interior feldspathic glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little

evidence of imperfection. Exterior is covered in a deep blue glaze that contains specks of black, giving it a "powdered" appearance.

Decoration Styles: Most examples have an overglaze enamel design painted in gold, but this is usually worn off, leaving only

iridescent "tracks" on the surface. Overglaze motifs include scrolls and floral elements.

Comments: This ware is sometimes called 'blown blue', because it was blown onto the porcelain in powder form, through a bamboo tube with a silk screen at one end.

Sources: Carswell 1985, Deagan 1987, Kuwayama 1997

Powder Blue Chinese Porcelain Fragment

Powder Blue Body Close Up

54

PORCELAIN, POLYCHROME CHINESE

Base Ceramic Type: POLYCHROME Category: PORCELAIN


Common Types: Polychrome Chinese Export

Vessel Forms: BOWL, CUP, PLATE, SAUCER, TEA POT


Glaze Color: Background glaze is well bonded to the paste, white or bluish-white in color, lustrous, and with little evidence of imperfection.

Decoration Styles:

Decorated with opaque overglaze enamels and gilding in a variety of colors, including multiple shades of green, pink, blue, red, black, plum orange & yellow.

Design motifs usually include floral elements combined with animals, birds, insects, geometric designs, symbols and figures. Motifs are detailed and finely executed.

Comments:

This category of Chinese porcelain encompasses a variety of color palettes and motif themes, some of which can be more narrowly dated. The "Famille Rose" palette (Specimen # 2532), is distinguished by it‟s predominantly floral design featuring clear, bright, pink roses detailed in white, and dates between ca. 1720 and 1850. The "Famille Vert" pallete is distinguished by its decoration made up predominantly of several shades of bright, light green, and dates between about 1680 and 1780. The blue-dotted zoomorphic element in Specimen # 33 is characteristic of the 1820-1840 period.

Sources: Mudge 1986; Nadler 2001

Polychrome Chinese Porcelain with Zoomorphic Floral

Design

Polychrome Body Close Up

55

ENGLISH

PORCELAIN, ENGLISH SOFT PASTE

Type Name: PORCELAIN Category: PORCELAIN


Common Types: English Soft Paste

Vessel Forms: BOWL, CUP, PITCHER, PLATE, PLATTER, SAUCER, TEA POT, TUREEN

Body Color: A hard, compact, chalky-appearing and somewhat vitrified white paste, that is softer and more granular than Asian porcelains.

Glaze Color: Covered with a semi-gloss, transparent lead or feldspathic glaze that is not completely fused with the paste, appearing as a thin line in cross section. Running of the glazes can occur on some of the earliest examples.

Decoration Styles: Decoration is most commonly underglaze hand painting, in a dark (sometimes almost navy) blue, as compared to the bright cobalt blue of Chinese porcelains. Blue transfer printed designs can also occur.

Motifs include chinoiserie, floral and naturalistic designs.

Comments: English soft-paste porcelains were largely replaced by Bone China (a variety of hard-paste porcelain) by the early 19th century. The English soft paste porcelains in this collection are most likely from Worcester, and date between: 1770-1780.

Sources: Miller and Stone 1970; Noel Hume 1970; 2001; Miller 2002; www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Main.htm

English Soft Pase with Geometric Underglaze Rim Band

Soft Pase Body Close Up

56

PORCELAIN, BONE CHINA

Type Name: PORCELAIN

Category: PORCELAIN

Origin: ENGLAND


Common Types: Bone China

Vessel Forms: BOWL, CUP, PLATE, PLATTER, TEA POT, VASE

Body Color: Thin, white, vitreous, nearly translucent paste.

Glaze Color: Surface glaze is white or light ivory and glossily reflective, with little evidence of imperfections. While well-bonded to the paste, the glaze is apparent in cross section.

Decoration Styles: Examples with decoration generally have overglaze polychrome enamel and gilded designs. Floral patterns are very common, but a wide variety of design motifs can occur.

Sources: Hughes and Hughes 1960

Bone China Fragment

Bone China Body Close Up

57

EARTHENWARE, BORDERWARE

Base Ceramic Type: Boderware Category: EARTHENWARE


Common Types: Plain, Pie Crust Rim, Incised

Vessel Forms: FLANGED DISHES, BOWLS, JUGS, PIPKINS, PITHCHERS, CUPS, MUGS, TANKARDS, PORRINGERS, & CHAMBERPOTS

Body Color: The body of the ware is white to a reddish gray, and chalky.

Glaze Color: These wares are covered in a clear lead glaze that is colored by adding things like copper or manganese, to the glaze. Common glaze colors include yellow, green, and later brown.

Decoration Styles: Vessels often are decorated with “pie crust rims” and/or incised designs.

Sources: Noel Hume 1969; Noel-Hume 2001, Association for the Preservation of Virginia Antiquities

Various Examples of Borderware

http://www.apva.org/

58

VESSEL FORMS

65

BOTTLES

BOTTLE ANATOMY

66

DUTCH AND FRENCH BOTTLES

HAND-BLOWN BOTTLE SERIATION

Typical Dutch (Left) and French

(Right) wine-bottle forms of the

second quarter of the 18th Century.

69

NAILS

NAIL CHARACTERISTICS & DATES Nails 1-6 – Wrought Nails – Colonial and up

Nails 7-9 – Cut Nails

Nail 10 – Wire Drawn

Nails 1 & 2 - have rose heads

Nails 3 & 4 - are L-headed

Nail 5 - is headless

Nail 6 - is T-headed

Nail 7 - dates to 1790-1820

Nail 8 - dates to 1815-1830

Nail 9 - dates from 1820 – present

Nail - 10 dates to post 1850

70

PIPES AND PIPESTEMS

71

LEAD BALE SEALS

1. Four-part official seal of James II

2. Alnager‟s seal of uncertain date

3. Typical merchant‟s seal (17th-18th century)

4. Arms of the Mercers‟s Company of London or perhaps the “Indian Queen” crest of Virginia; probably 18th century.

5. Emblem of the French India Company; 18th Century

GUN FLINTS

Hume, 1974

1.) Gunspall

2.) English Gunflint, gray prismatic type

3.) French Gunflint, round back and pale brown

72

GUN PARTS

COINS

BRITISH COINS

Identifying Coins by Monarch

MONARCH REIGN William III 1694-1702

Elizabeth I 1558-1603 Anne 1702-1714

James I 1603-1625 George I 1714-1727

Charles I 1625-1649 George II 1727-1760

Commonwealth 1649-1660 George III 1760-1820

Charles II 1660-1685 George IV 1820-1830

James II 1685-1688 William IV 1830-1837

William & Mary 1688-1694 Victoria 1837-1901

73

British low-denomination coins, James I to George II. (Figure A)

(Examples all copper and obverse unless otherwise stated.) 1 James I "Lennox" farthing. 13 George I farthing, 1720.

2 Obv. and rev. Charles I rose farthing. 14 George II young-head farthing, 1734

3 Commonwealth pattern pewter farthing. 15 George II old-head farthing, 1754.

4 Charles II farthing, 1673. 16 George II young-head halfpenny, 1733 (forgery?).

5 Charles II Scottish bodle. 17 Obv. and rev. George II old-head halfpenny, 1744 and 1757.

6 James II tin farthing, date illeg. 18 Obv. and rev. George III halfpenny, 1772 and 1775.

7 William and Mary tin farthing, 1690. 19 Obv. and rev. George III Virginia halfpenny, 1773.

8 William III farthing, 1699. 20 Obv. and rev. George III "Soho" penny, 1797.

9 William III rare tin halfpenny, 1697 21 Obv. George III "Soho" twopence, 1797.

10 William III halfpenny, 1700. 22 Obv. and rev. George III penny, 18°7.

11 Obv. and rev. George I halfpenny, 1720. 23 George III halfpenny, 1806.

12 Obv. and rev. George I Irish "Wood" halfpenny, 1723.

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SPANISH COINS

1708 SEGOVIA SPANISH SILVER 2 REALES

1711 SPANISH SILVER PIECE OF EIGHT

MONOGRAM 2 REALES

1721 SPANISH SILVER PIECE OF EIGHT CROSS 2

REALES


REALES


REALES


REALES

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REALES


PORTRAIT 2 REALES


PORTRAIT 2 REALES


PORTRAIT 2 REALES

GROUP of 3 1700's DUTCH VOC DUITS

SPANISH MILLED DOLLARS (REALES)

This popular form of colonial currency was

made of silver. It was often cut up into smaller

pieces for different transactions. The term

“pieces of eight” refers to 1/8 of a Spanish

Milled Dollars; in much the same way that 4 bits

is ¼ and 2 bits is ½ of the coin.

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GLOSSARY

Glossary taken from Maryland Archaeological Conservation Laboratory’s Diagnostic Ceramics Glossary at

http://www.jefpat.org/diagnostic/Historic_Ceramic_Web_Page/Historic_Glossary.htm

B

Baluster Jar

A tall pot or jar with a constricted neck that is used for food storage and shipping, such as for potted fish.

Bellarmine

A stoneware jug or bottle decorated with a molded bearded human face molded onto the neck. Also called a "Bartmann Krug."

Bianco sopra bianco

A white on white decoration found on tin-glazed earthenware and porcelain.

Bottle

A bulbous vessel with a narrow, cylindrical neck, used for storing and serving liquids.

Butter Pot

A large, cylindrical or slightly bulbous vessel, taller than it is wide, used to store dairy products.

C

Chafing dish

A pedestaled vessel that holds coals used to warm food.

Chamber pot

A sturdy, handled vessel with a flat, flared rim, used as a portable toilet.

Charger

A large flat dish with a diameter greater than ten inches, often made for decorative use.

Cobalt

A blue pigment of cobalt oxide and alumina used for underglaze decoration.

Coggle

An engraved wheel which is rolled over an unfired vessel to create notching or other patterns.

Colander

A pan-shaped vessel with perforations on the bottom or sides for drainage.

Combing

Dragging pointed instruments through wet slip bands in order to create a zigzag pattern.

Cordons

Molded bands encircling a vessel.

Crazing

Cracking in the glaze that occurs when the glaze shrinks more than the body after firing.

Cup

A small drinking vessel with or without a handle.

D

Dish

A large, flat serving vessel that can be shallow or somewhat deep.

Drug Jar

A cylindrical vessel for storing drugs, cosmetics, or condiments. Also called a galley pot or apothecary jar.

E

Earthenware

Ceramics containing a low proportion of silica and fired at low temperatures (900 – 1150o F). Earthenwares are porous and must be

sealed with a glaze to hold liquids.

Engine Turned

A decorative technique where relief designs are cut into vessels while in the leather hard stage by turning them on a lathe.

Engobe

A coating of slip applied to the surface of a vessel for decorative purposes or to cover up an imperfection in the vessel's surface.

F

Fabric

The clay body or paste of a ceramic.

77 Faience

French tin-glazed ware similar to delftware and maijolica.

Flat Ware

Shallow vessels such as dishes, platters, chargers, plates, and saucers.

Floral

A design representing flowers or other plants.

Flux

A substance added to ceramics and glazes which lowers their melting point. Often used to fuse overglaze pigments to the glaze.

G

Glaze

A thin coating applied to ceramic bodies for the purpose of making them impervious to liquid absorption and for decorative purposes.

Grog

Small pieces of crushed pottery or fired clay sometimes added to the primary fabric for strength or applied to a vessel's surface as

decoration.

H

Hard-Paste

Referring to porcelains which are composed of feldspathic clay fired at a high enough temperature to vitrify them. Chinese porcelains

are true hard-paste porcelains, while many 18th

century Continental and English porcelains are considered to be soft-paste.

Hollow Ware

Container forms such as tea and coffee pots, bowls, pans, cups, jugs, jars, tankards, and pitchers.

I

Imari

Japanese porcelain or its Chinese imitations, decorated in underglaze blue and overglaze red and gilding. Incising

Decorative technique in which lines are scratched, either mechanically or by hand, into the wet body of a ceramic.

J

Jug

A bulbous, handled vessel with a cylindrical neck, with or without a spout, used for drinking or serving liquids.

K

Kaolin

A fine-grained white clay that is a major component of porcelain.

Kiln

The oven in which ceramics are fired.

L

Lead Glaze

A standard glaze for earthenwares containing silica and alumina and a lead oxide flux.

Leather Hard

The stage in which unfired pottery is no longer in a plastic or wet state, and can be handled without distortion to the form.

M

Marbling

A decorative technique in which a vessel covered with bands of wet slip is sharply twisted, causing the slip to run across the piece and

form abstract patterns.

Marly

The flat part of a plate bordering the rim.

Milk Pan

A large pan with sloping sides used to cool dairy products, as a wash basin, or for cooking.

Mug

A straight-sided, handled drinking vessel, taller than it is wide.

O

Overglaze Enameling

Painted colors applied on top of the glaze and lightly refired at a low temperature.

Oxidizing

Referring to the oxygen atmosphere inside a kiln during firing, which causes color changes due to chemical reactions in the glaze or

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body. For example, fine stoneware fired in an oxygen atmosphere can be turned brick red, while the same clay fired in a reducing

atmosphere can be colored black.

P

Paste

The clays and other materials that constitute the body of a vessel (see fabric).

Plate

A flat, round eating or serving vessel that is less than ten inches in diameter, smaller than a charger.

Pitcher

A bulbous, handled vessel with a pouring lip.

Pipkin

An small, rod-handled earthenware cooking vessel, that often has three legs.

Porringer

A small, hemispherical, somewhat shallow vessel with one or two handles, used for eating foods like soup or porridge.

Posset Pot

A large, bulbous drinking vessel, often with multiple handles, that is also referred to as as "loving cup".

Powdered Ground

A decorative technique, usually found on tin-glazed wares, that is produced by sifting or sprinkling a powdered oxide over areas of a

vessel. This techniques is also known as "Dusting."

Press Molded

A vessel or vessel element (such as a handle or spout) which was formed by pushing wet clay over a mold.

Puzzle Jug

A drinking vessel with a hollow handle and at least three spouts. A hole in the handle, and all but one of the spouts, had to be sealed

with fingers to avoid spilling the liquids while drinking.

R

Reduction

The absence of oxygen in the atmosphere of a kiln during firing. The lack of oxygen can affect color in glaze or body.

S

Salt-Glazed

A high temperature glaze which is formed by the addition of common salt into the kiln when it is at the highest temperature. The

vaporized sodium combines with the silica on the surface of the vessel to create a glossy, hard glaze. Salt glazes are characterized by

a pitted "orange peel" texture and are only used on stonewares.

Scratch Blue

A decorative technique used on English white salt-glazed stoneware and pearlware. Before firing, decorative motifs were incised into

the clay and filled with cobalt blue oxide. The excess paint was wiped away leaving only the blue filled lines. Referred to as Scratch

Brown when a brown oxide is used.

Sgraffito

From the Italian word for "scratched" – a decorative technique involving the cutting away of a slip layer to reveal the color of the

paste beneath.

Slip

A liquid mixture of clay and water applied to vessel surfaces.

Slip Casting

A manufacturing technique in which liquid clay is poured into a vessel mold and then allowed to dry to the leather hard stage. After

opening the mold, the vessel form inside can be trimmed, decorated, and fired.

Slip Decoration

Designs created by applying different colored slips to a vessel.

Soft-Paste

Porcelain paste composed of white clay mixed with various additives, such as ground soapstone or frit (ground glass that is partially

vitrified). Eighteenth century English and Continental porcelains are often soft-paste, while Chinese porcelains are hard-paste, and

fired at a higher temperature.

Sprig-Molding

A decorative technique in which molded clay ornaments are attached to a vessel before firing.

Stamping

A decorative technique in which a die or other tool is used to impress designs or manufacturer's marks onto unfired clay.

Stoneware

Non-porous ceramic paste in which there is enough silica content that when fired at a high temperature (ca. 1200o C), partial

vitrification occurs.

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T

Tableware

Ceramic vessels such as plates, cups, saucers, dishes, tureens, pitchers, or other pieces which are designed for serving or consuming

food and drink at the table.

Tankard

A large, cylindrical or bulbous drinking vessel with a handle, that is taller than a mug.

Tea Ware

Ceramic vessels that are used specifically which is for serving tea, including teapots, teacups, saucers, sugar bowls, slop dishes, cream

jugs, and tea caddies.

Throwing

The manufacture of pottery by hand on a wheel.

Tin-Glazed

A glaze to which tin oxide has been added to make it opaque and white.

Trailing

A decoration technique in which tubes are used to dribble lines or dots of colored slip on a vessel surface.

Transfer Print

A decorative technique developed in the 18th century, in which an engraved copper plate is coated with ink and the pattern is then

transfered by a glue bat to the vessel being printed. An improved method used thin sheets of tissue paper to transfer the design.

Tyg

A two-handled mug.

U

Underglaze Decoration

Painted decoration on leather hard or bisque vessel surfaces added before applying a glaze.

V

Vitrify

A process whereby the silicate fragments in a clay body fuse together when fired at high temperatures. Generally, the higher the firing

temperature, the greater the degree of vitrification.

Z

Zoomorphic

A decoration that represents animals or birds.

ANTH425_Trussel_ArtifactFieldGuide[1]

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