A few examples of appraisal values for
JUGTOWN POTTERY

• JUGTOWN POTTERY VASE AND CANDLESTICKS
  JUGTOWN POTTERY VASE AND CANDLESTICKS Early earthenware examples: a baluster vase with applied strap handles, 'mistake' glaze (17 in.) (2 3/8 in. rim loss; underside hole/crack) and a pair of tall candlesticks, clear orange glaze (19 1/2 in.) (one with break and repair and rim chip).
• JUGTOWN POTTERY (SEAGROVE, NC), LIDDED
  JUGTOWN POTTERY (SEAGROVE, NC), LIDDED CHURN Alkaline glazed stoneware with deep wine glaze covering the high collar as well as highlighting the finial of the inset lid, inscribed signature "Pamela Owens" and dated "2005".
• JUGTOWN POTTERY (SEAGROVE, NC), LARGE
  JUGTOWN POTTERY (SEAGROVE, NC), LARGE LIDDED JAR Stoneware with Albany slip derivative over-glaze, ovoid form with small lug handles, tapered body, shaped domical cover with round finial, inscribed on the underside "Pamela Owens 2016".
• JUGTOWN POTTERY CHINESE BLUE BOWL AND
  JUGTOWN POTTERY CHINESE BLUE BOWL AND PLATES 1930s-40s, (12) plates (7 3/4 in.) (several small edge flakes; one glazed over skip) and a footed bowl (4 1/2 in.) (edge chip).
• Jugtown Pottery. vase. c. 1935, Chinese
  Jugtown Pottery. vase. c. 1935, Chinese Blue glazed earthenware. 11 h × 7½ dia in. result: $938. estimate: $1,000–1,500. Impressed manufacturer's mark to underside ‘Jugtown Ware’. Provenance: Collection of Rosalie Berberian | David Rago Auctions, The Berberian Collection, 27 February 1993, Lot 69 | Important Private Collection, New York
• JUGTOWN POTTERY BEAN POT WITH LIDsigned
  JUGTOWN POTTERY BEAN POT WITH LIDsigned on bottom.6" wide and 5.5" to top of lid. Condition: all items are estate condition, on the pottery if there are any issues we will list. Please evauluate the photos as we have taken qaulity pictures and if you have questions about condition please call us at 336.524.1077 text if no answer.
• JUGTOWN NORTH CAROLINA POTTERY GROUPold
  JUGTOWN NORTH CAROLINA POTTERY GROUPold jugtown pottery ca. 1950. rims of pitchers have damage see pics. All stamped on bottom except the small pitcher which is a little bit earlier than jugtown. Largest pitcher is 8.5" tall, smallest pitcher 4" tall. Condition: all items are estate condition, on the pottery if there are any issues we will list. Please evauluate the photos as we have taken qaulity pictures and if you have questions about condition please call us at 336.524.1077 text if no answer.
• JUGTOWN POTTERY NC OLD CHINESE BLUE
  JUGTOWN POTTERY NC OLD CHINESE BLUE OXBLOOD VASEJugtown Pottery, North Carolina, USA. Art pottery Asian-influenced turquoise and oxblood red glazed vase, hand thrown by master potter Ben Owen. Impressed "Jugtown Ware" mark along the underside, circa 1930s-50s. Height: 7 in x diameter: 5 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• GRP: 2 JUGTOWN NC BEN OWEN ASIAN INFLUENCE
  GRP: 2 JUGTOWN NC BEN OWEN ASIAN INFLUENCE ART POTTERYJugtown Pottery, North Carolina, USA. Group of two vases in thick white glaze, hand made by master potter Ben Owen, both marked "Master Potter Ben Owen" along the underside, ca. 1960s. Bowl; height: 2 in x diameter: 5 in. Vase; height: 3 1/3 in x diameter: 4 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• GRP: 2 BEN OWEN MASTER POTTER JUGTOWN
  GRP: 2 BEN OWEN MASTER POTTER JUGTOWN "FROGSKIN" POTTER...Ben Owen (American, 1904-?) for Jugtown Pottery, North Carolina, USA. Group of two art pottery hand thrown vessels glazed and thrown by Ben Owen, ca. 1960s, including one small handled jug, marked "Jugtown Ware" along the underside; and one vase, marked "Master Potter Ben Owen" along the underside. Vase; height: 6 1/4 in x diameter: 4 1/2 in. Jug; height: 5 in x diameter: 4 1/2 in. Condition: The tall vase has a firing flaw along the bottom and pin head flaw along the side. Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• JUGTOWN POTTERY DINNERWARE OF TWENTY-TWO
  JUGTOWN POTTERY DINNERWARE OF TWENTY-TWO PIECES Pieces including: (8) dinner plates (10 1/2 in. diameter); (4) soup bowls; (6) tumblers; colander; candlestick; jug with cover; and a creamer. Each with blue flower decoration, "Jugtown Ware" stamp and dated 1984.
• A Rare North or South Carolina “Colored
  A Rare North or South Carolina “Colored Republicing Club” Stoneware Cooler Dated July 7, 1892 in Southern alkaline glaze, with distinctive doubled collared rim, tooled body, two lug handles set low on the body of the jar and the neck inscribed in flowing script Colored Republicing [sic] Club July 7, 1892. Height 12 3/4 inches. Likely made by an African American potter, perhaps trained in the Edgefield District of South Carolina. At the time this cooler was made, the power of the Black Republican vote in the south and nationally was on the decline, and Reconstruction was a rapidly fading promise. In the South, Jim Crow was squarely in the headlights. In 1892, there were 161 lynchings of African Americans, the most recorded between the beginning of Reconstruction and World War II. In the face of near continual assaults on their right to vote, this cooler represents the continued hope and unfulfilled dreams of the more than 4 million formerly enslaved. After the Civil War, white Southerners aligned themselves with the Democratic party, while African Americans chose their liberators, the Republicans. In post war North Carolina, for example, more than half the Republican Party were Freedmen. In both North and South Carolina, in the years immediately following the War, “Republican Clubs,” or “Union Leagues” were formed, and with suffrage, African Americans began to take on larger roles in local, state, and national politics. This new-found influence was short-lived as white Democrats in both states moved quickly to suppress the vote of blacks. The cooler offered here is symbolic of a period in Southern politics when African Americans became increasingly disenfranchised from the suffrage granted them by the 15th Amendment to the Constitution in 1870. Almost from the beginning of Reconstruction the National Republican party recognized the importance of the African American vote in the South and urged the formation of “colored clubs” as a means of communicating to the largely illiterate population of freedmen. The June 22, 1867, edition of the Raleigh, North Carolina Tri-Weekly Standard, for example, carried a front-page story urging African Americans “…to be so organized that you will act as one man, lest your enemy gain victory. You should organize Union Leagues and Republican Clubs.” Accompanying the article was a proposed Constitution for these clubs specifying that officers should be elected in January and July. An online search for “Republican Club,” “Colored Republican Club” and “Negro Republican Club” in North Carolina newspapers from the latter part of the 1860s until 1892 (the date of the cooler offered here) suggests such organizations were present in many portions of the state, including Hendersonville, Salisbury, New Bern, Wilmington, Raleigh, Greensboro, and Asheville. Based upon this sample, it is likely Republican Clubs were common statewide, in both large and smaller towns. A similar pattern is covered in the papers of South Carolina. Clubs were apparently present throughout the state, and in 1878 a “colored Republican club” boasted 1900 members. The date July 7, 1892, inscribed on the neck of the cooler offered here probably reflects a meeting where officers of the “Colored Republicans” were elected. Newspaper accounts from 1890 suggest that African Americans were still adhering to the Constitution first suggested in 1867. The Greensboro North State, for example, reported in the July 3, 1890, edition that the “Independent Republican Club, a negro organization formed in this city some time ago” will hold a “district convention sometime during the present month.” The July 30th edition of the Wilmington Morning Star reported that the First Ward Colored Republicans met on July 22 and “reorganized with a full slate of officers.” By the time of the 1892 national election, the voting rights of African Americans throughout the South was under assault by whites in both the Democratic and Republican parties. Fear of “negro rule” gave way to the concept of “lily white” party membership, with the stated goal of disenfranchising Black voters in a majority of Dixie. Even nationally, the Republican party had begun to turn its back on Freedmen. At the National convention held in Minneapolis in June, Black delegates from Alabama were not seated in favor of an all-white delegation. The 100 African American delegates to the convention could not even manage to have a resolution renouncing lynching adopted in the party platform (Nathanson, 2008). Alkaline-glazed stoneware is a uniquely Southern product. Small quantities of it were produced in southwestern Virginia and Tennessee. More of it was made in North Carolina – particularly in the state’s Catawba Valley region and mountainous Buncombe County near Asheville – and in South Carolina’s Edgefield District and other locales. Alkaline glazes were also employed in Georgia, Alabama, Florida, and Texas. Regardless of its maker, the cooler’s alkaline glaze clearly identifies it as the product of a Southern potter. The Republican affiliation expressed on the shoulder suggests the potter was an African American. The water cooler’s double rim, or collar, may be its most telling feature. Rarely seen on North Carolina alkaline-glazed stoneware jars, it is frequently found on vessels associated with South Carolina’s Edgefield District – or those potters who were trained in the District. Double collars routinely appear on vessels produced by the enslaved Edgefield potter Dave Drake and turners at the Lewis Miles, Collin Rhodes and B.F. Landrum potteries. At the northern edge of the district near Kirksey’s Crossroads, similar rims were produced at the Chandler potteries. Both white and black potters worked at each of these potteries, with white itinerants probably moving freely between them. At the end of the Civil War, this pattern was likely accelerated as Freedmen left their bondsmen and struck off on their own either to work as paid laborers or to start their own potteries, taking the technique with them. The double rim, for example, is found on wares made by Edgefield-born and trained Texas potter, John Leopard. South Carolina-trained potter, T. B. Odom, added double rims to his jars made in Florida at his Knox Hill pottery and later at his pottery in Upshur County, Texas. Similar rims are found on jars produced at South Carolina’s Bodie pottery. Bodie potters made “well-formed ovoid jars, churns, and storage jars and unusual forms such as flasks and figural bottles … Bodie jars typically [had] two opposing horizontal slab handles and a collared neck with a flared rim.” (Baldwin 1993:104). In 1870, Bodie employed at least two freed black potters, Lee Rodgers and Shep Davis. After the War, Lewis Miles leased one of his Edgefield potteries to three of his former slaves, namely Willis Harrison, Pharaoh Jones, and Mark Miles. (Todd 2008:NP) Others, like Scott and Moss Miles, who may have been Lewis Miles’ former slaves, reportedly worked at the B.F. Landrum pottery. Freed slaves Peter and Oliver Miles may have worked at the Seigler pottery shop. (Horne 1990:80). Former slave Josh Miles owned and operated an Edgefield pottery – perhaps the only one of its kind. (Horne 1990:81) Other black South Carolina potters known to have continued producing wares following emancipation include Jack Thurman, Milage Williams, and Thomas Jones. Ben Landrum’s shop remained in operation until 1902 when it closed due to the fact that his old turners had died. (Baldwin 1993:97) To the north, the interplay between Edgefield and North Carolina potters producing alkaline glazed ware began early, with potters arriving in the Buncombe County area via the Saluda Gap Road as early as the 1820s. In the Piedmont, the concept of alkaline glaze may have been introduced in the Lincoln and Catawba counties by Edgefield-trained potters as early as the 1840s (Baldwin 1993:62-63). Given this evidence, we suggest that the cooler might have been made by a potter trained in Edgefield. The shape and distinctive body tooling, however, is unique, and as far as we have been able to determine, previously not recorded in either South or North Carolina stoneware. It is basically a modified keg shape, replete with tooling to represent the cane binding. Baldwin (1993:175) reports that both small and large kegs were made in North Carolina. Sylvanus Hartsoe of Catawba County made alkaline glazed kegs, and they appear to have been made at the Jugtown pottery of John Leonard Atkins in Greenville County, South Carolina where the form was probably introduced from North Carolina. Based upon these observations, we suggest that the cooler was made in the Piedmont or Western Mountains of North Carolina, or in South Carolina’s Jugtown area, or elsewhere in the upstate part of that state. Hindman is grateful for the contribution to this description by North Carolina ceramic scholar Stephen Compton. References Cited Baldwin, Cinda K. 1993. Great and Noble Jar: Traditional Stoneware of South Carolina. The University of Georgia Press. Horne, Catherine Wilson, ed. 1990. Crossroads of Clay: The Southern Alkaline-glazed Stoneware Tradition. Columbia, S.C.: McKissick Museum, University of South Carolina Nathanson, Iric. 2008. “African Americans and the 1892 Republican National Convention.” Minnesota History, 61(2):76-82. Todd, Leonard. 2008. Carolina Clay: The Life and Legend of the Slave Potter Dave (New York: W. W. Norton & Company, 2008), NP.
• FOUR BOOKS ON SOUTHERN POTTERS To include:
  FOUR BOOKS ON SOUTHERN POTTERS To include: Sweezy, Nancy. Raised in Clay: The Southern Pottery Tradition (Washington, D.C.: The Smithsonian Institution Press, 1984), card covers, 4to (11 in.) (wear and folds to cover; good condition); Millard, Charles. Mark Hewitt: Potter (Raleigh: North Carolina State University, 1997), signed, card covers, 4to (11 in.) (almost as new); The Penland Book of Ceramics (New York: Lark Books, 2003), 4to (11-1/4 in.), with jacket pasted with "Gallery Copy" label (very good condition); (Compton, Stephen. Jugtown Pottery, 1917-2017 (Winston-Salem: John Blair, 2017), oblong 4to (10 in. long), with dust jacket (Very fine condition);
• THREE JUGTOWN POTTERY VASES (NC) Chinese
  THREE JUGTOWN POTTERY VASES (NC) Chinese Blue glaze, two small egg vases (taller 4 3/4 in.) and a pear vase (6 in.), all with stamp.
• ORIENTAL TRANSLATION T'ANG VASE, JUGTOWN
  ORIENTAL TRANSLATION T'ANG VASE, JUGTOWN POTTERY (NC) 1930s-40s, jar with characteristically Chinese small loop handles applied from the upper rim to the lower shoulder, typical unglazed area at the base, attractive blend of colors, stamp to the underside.
• DOME LIDDED CRACKER JAR, JUGTOWN (NC)
  DOME LIDDED CRACKER JAR, JUGTOWN (NC) Tobacco spit to orange clear glazed earthenware, high led with finial, applied wide lug handle, stamped, Accompanied by the booklet "Jugtown Pottery:The Busbee Vision".
• A GROUP OF JUGTOWN POTTERY: FOUR DIVERSE
  A GROUP OF JUGTOWN POTTERY: FOUR DIVERSE PIECES An early earthenware Sung vase with small grooved pinch handles and slip to the upper half (crazing; glaze flaking at rim and areas below); "Lily" vase, whitish glazed ovoid form with four applied leaf-like handles (9 1/2 in.) (two handles with chips); an early buff glazed individual tureen; a pair of brown glazed stoneware candlesticks (11 1/2 in.)
• SELECTION OF FIVE JUGTOWN POTTERY, ATTRIBUTED
  SELECTION OF FIVE JUGTOWN POTTERY, ATTRIBUTED VERNON OWENS (B. 1941 SEAGROVE, NC) Salt glazed large pitcher with incised lines above and below cobalt decoration (9 in.); a small ear handled jar with cobalt floral stem (5 1/2 in.); a small jug with cobalt rabbit; a pitcher dated 1975 (7 1/2 in.) and gray-white glazed egg vase signed "V. Owens / 1980", all with Jugtown stamp to the underside.
• TWELVE PIECES OF NORTH CAROLINA POTTERYTwelve
  TWELVE PIECES OF NORTH CAROLINA POTTERYTwelve Pieces of North Carolina Pottery , incl. 7 Jugtown Pottery orange glazed covered vessels and 1 cream pitcher, largest h. 7 1/8 in.; 3 "chrome red" glazed vessels, largest h. 5 1/2 in.; and 1 Cole Pottery burnt orange glazed pitcher, h. 7 1/2 in
• JUGTOWN POTTERY CHINESE BOWL AND VASEJugtown
  JUGTOWN POTTERY CHINESE BOWL AND VASEJugtown pottery Chinese bowl and vase, 4 3/4" h., 8 1/2" dia., 7"h. Competitive in-house shipping is available for this lot. Condition: Good condition. Glaze burn to interior.
• FIVE (5) BOOKS ON TRADITIONAL NORTH
  FIVE (5) BOOKS ON TRADITIONAL NORTH CAROLINA POTTERY AND IT'S MAKERS To include: Jugtown Pottery by Jean Crawford with inscribed dedication (1964); Turners and Burners by Charles G. Zug III (1986); Seagrove Pottery: The Walter and Dorothy Auman Legacy (1992);The Traditional Potters of Seagrove, North Carolina by Robert C. Lock (1994); The Potter's Eye (Mark Hewitt and Nancy Sweezy (2005).
• FRAMED NC MUSEUM OF HISTORY POSTER,
  FRAMED NC MUSEUM OF HISTORY POSTER, 1995 "New Ways for Old Jugs---" poster featuring Chinese Blue Jugtown pottery, framed under glass.
• JUGTOWN POTTERY, NC, SUNG DYNASTY STYLE
  JUGTOWN POTTERY, NC, SUNG DYNASTY STYLE VASE 1930s, clear orange glazed earthenware dripped with yellow colored clay slip, (3) double clay corded thumb press handles above the raised middle band, footed base, stamped on the underside.
• JUGTOWN POTTERY, NC, TEA SET AND TEAPOT
  JUGTOWN POTTERY, NC, TEA SET AND TEAPOT A salt glazed stoneware three piece tea set enhanced by cobalt blue wavy lines (teapot 6 1/2 x 9 in.) and a stoneware pot with a stopper rather than a lid, signed "Vernon Owens" and dated 1995 (9 x 6 1/2 in.)
• JUGTOWN POTTERY, NC, TWO CHINESE BLUE
  JUGTOWN POTTERY, NC, TWO CHINESE BLUE GLAZED LOW VASES 1930s, Oriental translation forms, Han dynasty, the blue glazes edged in reduction red, the lower portion left unglazed in keeping with Chinese tradition, stamped on the undersides.
• JUGTOWN POTTERY, NC, ORIENTAL TRANSLATION
  JUGTOWN POTTERY, NC, ORIENTAL TRANSLATION KOREAN BOWL Late 1920s, Chinese Blue glaze strikingly variegated with wine red, raied on a short recessed unglazed foot with Jugtown stamp.
• JUGTOWN POTTERY (SEAGROVE, NC), PAIR
  JUGTOWN POTTERY (SEAGROVE, NC), PAIR OF SHOULDER VASES 1940s-50s, stoneware with Chinese White glaze, variation shape of the Oriental translation Han vase, stamped on the underside.
• JUGTOWN POTTERY (SEAGROVE, NC), FIVE
  JUGTOWN POTTERY (SEAGROVE, NC), FIVE PIECE TEA SET Earthenware with buff glaze, to include: a covered teapot (rim and spout flakes) (5 1/2 x 8 in.), a cream jug (4 1/4 in.), covered sugar (chip to cover; inner rim roughness to bowl), (2) cups with integral saucers.
• JUGTOWN POTTERY (SEAGROVE, NC), THREE
  JUGTOWN POTTERY (SEAGROVE, NC), THREE PIECES Stoneware with salt glaze and cobalt decoration in the design of earlier American utilitarian crocks and storage jars, to include: a marmalade jar (no lid) and (2) jugs (5 1/4 and 4 in.) all stamped.
• JUGTOWN POTTERY (SEAGROVE, NC), FOUR
  JUGTOWN POTTERY (SEAGROVE, NC), FOUR GRADUATED PITCHERS Salt glazed stoneware and cobalt details as well as interior rim, underside with Jugtown stamp.
• JUGTOWN POTTERY, VERNON OWENS (SEAGROVE,
  JUGTOWN POTTERY, VERNON OWENS (SEAGROVE, NC, B. 1941), TWO HARVEST RING JUGS Salt glazed stoneware, both with inscribed Vernon Owens signature, Jugtown stamp, dates of 1995 and 2006.
• JUGTOWN POTTERY (SEAGROVE, NC), FOUR
  JUGTOWN POTTERY (SEAGROVE, NC), FOUR VASES 1950s-80s, stoneware, all glazed in Chinese White glazed, one vase has a pine branch decoration crafted in white on white to the front, this vase is signed "Vernon Owens 1983" in addition to the Jugtown stamp.
• JUGTOWN POTTERY, TRAVIS OWENS (SEAGROVE,
  JUGTOWN POTTERY, TRAVIS OWENS (SEAGROVE, NC, B. 1985), TEAPOT Stoneware with two color glossy glaze, an ovoid form with flat cover, thumb grip handle, short footed base, signed on the underside and dated 2006.
• JUGTOWN POTTERY (SEAGROVE, NC), TEAPOT
  JUGTOWN POTTERY (SEAGROVE, NC), TEAPOT Earthenware with a Tobacco Spit glaze, ovoid form with a thumb rest handle, domed cover, stamped on the underside.
• JUGTOWN POTTERY (SEAGROVE, NC), WATER
  JUGTOWN POTTERY (SEAGROVE, NC), WATER PITCHER Earthenware with a Tobacco Spit glaze, ovoid form with an applied strap handle, stamped on the underside.
• JUGTOWN POTTERY (SEAGROVE, NC), TEA
  JUGTOWN POTTERY (SEAGROVE, NC), TEA SET AND PLATTER Earthenware with clear orange lead glaze: large round ring turned platter (13 3/4 in.) (some minor flakes); a teapot with cover, not signed, appears to be the work of M.L. Owens, (spout and rim chips); a creamer (base chips) (4 1/2 in.); a lidded sugar (lid chips), all but the teapot with Jugtown stamps.