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Furniture in rural Southern homes was functional. Made with readily available wood — often yellow pine — it was sometimes painted to disguise its humble materials and frequently to imitate more expensive woods. This sideboard instead features a particularly bold combination of colors, with orange and yellow drawers set in a frame of complementary blue.

19th-Century American Decorative Arts

Alkaline glazed stoneware and unglazed porcelain. Purchase with funds from the Decorative Arts Acquisition Endowment The Southern face jug has both African and European roots, yet its development and cultural significance in the nineteenth century are closely related to African-American potters and communities. Grotesque features were hand modeled in clay and applied to a wheel-turned vessel.

Teeth and eyes were formed from white clay kaolin or other materials and inserted into the stoneware body. While not readily perceived today as depictions of individuals, face jugs are among the most sculptural American ceramics and were used equally for functional or symbolic and spiritual purposes within African- American communities.

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A hole near its bottom edge indicates that the jar might have functioned as a water cooler into which a spout tap could have been inserted. Woven sweetgrass and palmetto. Purchase with funds given in memory of Jean Wells Baskets and the stitched-coil method used to make them were brought to coastal South Carolina and Georgia by enslaved rice growers from West Africa. In a process called winnowing, threshed rice was tossed into the air from shallow, pan-like fanner baskets — such as this one — to let the wind blow the inedible chaff away from the grain.

  1. Collection Highlights?
  2. The Lord of the Rings (50th Anniversary Edition)?
  3. The art-makers of nineteenth-century America. / Lynes, Russell, 1910-?
  4. Early American Pottery: 18th to 19th Century Ceramic Ware.
  5. Catalog Record: Makers of nineteenth century culture, | HathiTrust Digital Library?

Precisely coiled, this early South Carolina basket is based on a corresponding African form and is a direct link to the Gullah baskets of the same extraordinarily fine quality being made in the Lowcountry region by the descendants of African craftspeople today. Walnut, poplar, and yellow pine.

Summary of Romanticism

While there were a great number of furnishings and other works produced by enslaved African Americans, in many instances their names have been ignored or lost. This sideboard is believed to have been made by an enslaved African-American craftsman for the Mills family in Polk County, North Carolina. The style of the sideboard reflects a combination of popular urban forms in its tall, column-like legs drawn from neoclassical design. The Mills family might have owned or seen examples of New York or Philadelphia neoclassical furniture and wished to have a similar sideboard; the resulting adaptation of national styles is characteristic of the increasing rapidity by which fashionable styles permeated even rural areas of the country.

Alkaline-glazed stoneware. Dave Drake was one of the few enslaved African-American potters we know by name. His work is made even more remarkable by the fact that he often signed and dated his pieces and sometimes emblazoned them with verses. Storage jars and jugs were made to contain a wide variety of meats, pickled vegetables, molasses, and other foods and drinks.

Ash-glazed stoneware. Reflecting a combination of African traditions and European techniques, face jugs are a characteristic form in Southern pottery. This jug is one of the largest and most elaborate figural vessels produced by a nineteenth-century potter working in the South. The identity of the African male depicted on the jug is unknown, but the tight-fitting stocking cap and presumably gold earrings, combined with a beautifully modeled tie, ruffled shirt, and well-tailored coat, convey a dashing character.

The German-born Lehman was known from census records to be operating a pottery in Randolph County, Alabama, as early as Alkaline-glazed stoneware with slip decoration. This monumental vessel is among the rarest and most exceptional examples of Southern pottery ever made due to its unusual decoration.

Thought to have been created for the wedding of an enslaved couple, the beverage cooler shows a man and woman toasting each other. Below them are a hog and, presumably, a depiction of this cooler, both of which may have played a part in the wedding feast.


The great number and variety of stoneware works with distinctive alkaline or salt glazes marked the Edgefield District as one of the most significant centers of ceramics production in the South and, indeed, all of nineteenth-century America. Walnut, yellow pine, and light wood inlay. Purchase with funds from the Fraser-Parker Foundation in memory of Virginia Campbell Courts, a loyal friend and benefactor of the museum This bottle case, a uniquely Southern furniture form, has been identified as the work of early 19th-century North Carolina cabinetmaker Joseph Freeman.

A bottle case with a known maker is extremely rare. This example was made in two pieces: a locked cabinet, where the bottles of liquor were stored, and a standing base. The cabinet could be stored in a cool basement and later displayed for use on social occasions. While most existing bottle cases are either combinations of two unrelated objects or show evidence of significant repairs, this example retains much of its original finish and is unaltered save for the replacement of a missing drawer pull.

تفاصيل ال٠نتج

Painted yellow pine and tulip poplar. Purchase with funds from Virginia Campbell Courts Produced in the Bladenboro area of Bladen County, North Carolina, this diminutive table of pine and poplar construction reflects the individual spirit of its presumptive owner, if not maker, Bethel Mears.

Calenda - Friend or Foe: Art and the Market in the Nineteenth Century

The name emblazoned on the drawer is likely that of Bladen County resident Bethel Mark Mears — These artists made a wide variety of decorative works of art such as paintings, carvings, textiles, and pottery. Each of these works of art has a story behind them. The pieces of art chosen for this online exhibit have been organized by two types of stories.

Heartfelt stories came from written records left by the artist, maker, or owner that showed the object expresses an emotion he or she felt strongly about -- such as love for a family member, friends, or country. Handmade stories tell about the particular process the artist or maker used to create a work of folk art -- the techniques of stencil painting, the characteristics of genre painting, or the process of weaving.