dating native american pottery

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Dates and Dating | Guide to Native American Pottery of South Carolina

To avoid the cultural conflation issue I have split pottery into four time based groups that essentially mimic what has come before, though what others term the Late Woodland and Mississippian are conflated. Morton pottery made lots of drip glaze pots and figurines, and it is becoming collectible. The clay then needs to "cure" over time. The clay color is the first thing I see on the bottom of any piece of pottery, and certain colors can identify the maker. Remember too that the resolution for the images should be between dpi, not dpi. In peninsular Florida and coastal Georgia sand replaced fiber as tempering. Slips are typically red, buff, white, and black; however, Nazca culture ceramic artists in Peru perfected 13 distinct colors of slips.


Native American pottery dates as far back as 2, years ago. It was then that nomadic Indians began to settle down. They learned to make Native American pottery that varied in shape. The shape was dependent on what purpose the pottery was to serve. Native Americans used pottery to hold water, store grains, and preserve seeds for the next planting season. Also among other examples of Native American pottery were the pots that would sit on open fires for cooking. In the beginning, Native American pottery was created for practical uses rather than the artistry of the piece. The pieces were plain and usually unsymmetrical. At some point though, it became important to the Native American Indians to decorate their pots. The white man did not understand many of the designs drawn on Native American pottery and the Indians were reluctant to reveal what the designs meant. But, Indians have always found nature, animals, birds, humans, and gods sacred and used their images when decorating pottery.


A quick note: some images have larger or alternate views. Click or tap on them to see it. Maybe you thought they were emptying the contents or dusting the shop! Well, some of the pottery lovers like myself have spent years identifying American pottery, and one of the best ways to do this is by looking at the bottom of the piece.

In most of the Nativr pottery pieces, the bottom tells more than the glaze. The bottom shows the name, if there is one, the color of the hative, the way the piece is fired, and other characteristics that help with the identification. If you're looking to identify a piece of marked pottery, you may want to check our American Pottery Marks and Resource Directory and compare the mark there.

If you pick up a piece of pottery and it has identifying marks such as dating native american pottery name or logo, you can easily determine the maker. This is wonderful, but not always available. See the Frankoma pitcher, right. Since not all pottery is marked, the identification must be done with a little more resourcefulness.

The best identifier I have nativ for determining if an unmarked piece of pottery is American made is the heft of the piece. Most American pottery pieces have some weight to them—unlike the Japan imports of the s, s and s that seem fairly light in comparison. So, just in the process of picking up the piece, the weight is registering in my dating native american pottery.

This is something that has to be developed over time. It is not that any piece over a certain weight is American pottery—it is the relationship between the size and the weight that helps determine the country of origin. Dsting American pieces feel like they have "heavy bottoms" and often the walls dating calculator thicker than Japan and other foreign potteries.

The clay color is the first thing I see on the bottom of any piece of pottery, and certain colors can identify the maker. It is essential to look for an unglazed area to determine the clay color.

For example, you probably know that Frankoma was made with a red clay for many years. Look at the feet on the Check this out leaf left.

Ada clay was a yellow beige and natve earlier than the dating native american pottery clay pieces. Note the bottom on the Frankoma piece right. Blue Mountain pottery of Canada is usually made of red clay, is often unmarked and looks and feels much like American pottery. Early Peters and Reed pottery was red clay, too, as were many of the Arts and Crafts pots like Grueby. Some Italian and Mexican pottery is made with red clay, and much of the southwest or Native American pottery aamerican shades of red.

Harris G. Strong used red clay sometimes, too, and Nicodemus is a red nattive pottery. Jugtown is often red clay, and there are some North Carolina potters who used red clay. See this red clay dish by Harris G. Strong left. Georgia, Alabama, and North and South Carolina have available veins of red datinf that are suitable for pottery, so consider makers in those geographical areas if you have a red clay pot to identify.

Of course there are lots more, but if you have a hookup fishing tackle of pottery with a red base, this is a start.

There are many different shades of "red" clay, but red and deep pink clays have been readily available to the potter for centuries, and this color often gives the glaze a different look than it would have with another color clay. Yellow amerocan was primarily from Ohio, so most of the Ohio potteries used yellow clay. RosevilleMcCoy and Brush are examples of daitng yellow clay potters. For an example, see the yellow clay bowl produced by McCoy right.

Robinson-Ransbottom was mostly yellow clay. Watt Pottery is in a class I call yellowware, since they used a clear glaze over the yellow clay instead of colors.

Robinson-Ransbottom, Blue RidgePurintonAmdrican all made some yellowware with a clear glaze over the yellow clay.

Take a look at the Watt Pottery yellowware bowl left. Weller sometimes used yellow to article source colored clay, but just when you think you have learned how to identify these pots by clay color, an anomaly shows source. Look at this Weller piece in red clay!

Hull and Shawnee are a cream color with a pink tint to the clay. Pogtery are American Bisque and Royal Copley. Don't confuse this with pink clay—used by Coventry and Kay Finch and a few other California potters, including dating native american pottery Hagen-Renaker. See how the pink clay Dutch boy more info has a pink clay color so his face, base and backpack don't require additional paint?

Camark and some Arkansas potteries click here well as Texas potters used a white to ecru clay, primarily. See the dry foot on the Camark console bowl right.

Niloak is often white clay, and much of the Niloak was heavier with a wider foot left or base than many other American potteries of that era.

Alamo and Gilmer are Texas potteries using white clay. See the white clay base right. A quick aside about Alamo and Gilmer: Alamo and Gilmer potteries were related dating native american pottery and used many of the same designs — some originally from famous Texas potter Harding Black.

Stangl Pottery is often made of a white clay, too. Some Hawaii pieces are white clay, like this Hawaiian pitcher on the left.

Beige clay was used by Rosemeade and some eras of Drydenprimarily Kansas Dryden. This green Dryden pitcher right shows the beige clay clearly. Monmouth which later became Western Stoneware used a sandy clay, often seen with a maple leaf and USA incised into the clay. If you examine a pot like the sandy jug leftyou can quickly recognize the clay and maple leaf. Some of the southwest Native American pottery is beige clay, too. This pitcher right is marked Acoma on the side. Mosaic Tile made pieces that were not tiles, and they free dating sites glasgow have a beige clay.

See the odd boomerang ashtray left by Mosiac Tile. Heath used a sandy clay phd dating much of its dinnerware lines.

Dryden and Rosemeade may be sandy clay, too. This Heath bowl is clearly marked, but notice the clay color on the unglazed ring. Any pottery that has been soaked in water may be beige, too, so beware of dirty bottoms! The Foot The shape, glazing and markings of the "foot" or base surface of the piece which makes contact with a supporting surface ie — table or shelf can be as revealing as the color and texture of the clay.

Many pieces of pottery have a dry rim around the bottom edge, known as a dry foot. This green Camark ashtray right has a white unpainted rim. Others have a completely dry or unglazed bottom, and still others have wedge shapes on the bottom. Royal Copley frequently used bars across the nxtive. Note the bars across this Royal Copley planter left from the manufacturing process.

American Bisque used the wedge shapes routinely, so that is always my first guess on a piece with a dry wedge foot. Here's a good example of the American Bisque wedge foot right. Companies americah a dry foot include most of the Ohio companies and some Stangl of New Jersey. Several companies used stilts for glazing pottery, and the bottom will be glazed over completely with three small marks for the stilts.

Haeger and Royal Haeger are often glazed like this. Stilt marks left may look like damage at first, but are a good distinguishing feature.

There are also some California potters who used stilts or firing pins for most of their glazing. Oottery was one California pottery using firing pins. Notice the three flaws on this Metlox pitcher rightindicative of firing pins. Vohann is another example of a glazed bottom with firing pins.

These stilt marks left can help you establish the maker of this bowl. RedWing also RumRill and Stangl used stilts for some of their ware lines. Take a look at the marks on this RumRill console bowl right. Peters and Reed often has three stilt marks, too, and the old pieces show red norman reedus dating christina under the glaze.

So, if you see three little flaws on dating place in shillong glazed bottom, these are not nativr are stilt marks or firing pin marks used for the firing process. Examining the bottom for stilt marks may reveal some numbers that may help with identification, too. For many years, three numbers were used to identify many of the shapes for American pottery.

Some companies only used two numbers for some of the shapes, and some used four. These are numbers that are in the mold, not handwritten.

Just a glance at the foot shows the numbers on this McCoy or Brush pot left. Notice the tilt to the numbers? If you see three numbers at a slant on a yellow clay pot, it may be Brush or McCoy. RedWing and RumRill are routinely marked with numbers, and sometimes the name. Some of the pieces were also marked with a letter, in dating singapore app dash, then a number — so items marked similar to "M" are often Redwing Murphy Era.

Three square numbers on a white pottery may be Alamo Potterymade in San Antonio, Texas from aboutor it may be Gilmeranother Texas pottery in business for much longer. Notice the block style to the numbers on this Gilmer vase right made with white clay.