User:Cwagaart/Southern folk pottery

Southern folk pottery The production of utilitarian stoneware native to the southeastern United States during the 19th and early twentieth centuries. The process involved the use of locally dug clay, a wood-fired kiln, a home made ash glaze, and the production of functional ware for the preparation and preservation of food products used on farms and plantations throughout the south. Forms such as jugs, pitchers, storage jars, butter churns, and cream risers were produced and later more whimsical items such as face jugs and decorated pieces.

  Around 1810 in Edgefield, South Carolina a potter by the name of Abner Landrum, who at the time was engaged in the production of earthenware, began to experiment with a new form of pottery. He sought to discover a more durable and safe product as the earthenware of the day was glazed with a hazardous lead based formula. Stoneware, a more durable and higher fired ware was already being produced elsewhere in America and he sought to produce his own version in the south. He began to experiment with techniques first developed by the Chinese centuries before. The new technique involved a new style kiln, called a tunnel or groundhog kiln, and a new glaze made of wood ash, sand, and clay, called an alkaline or ash glaze. This glaze melted at around 2400 degrees farenheit and fired to a light to medium green color, unique to anything ever before produced in North America. Sometime between 1810 and 1820 his experimentations led to the develpment of this new technique and by 1820 he had established the Pottersville Stoneware manufactory.
 Here, he employed slave labor along with hired hands. One slave thought to have worked there was named Dave, who later would create 30 and forty gallon versed jars with incised poems and the date of their production. As time progressed, many who were employed at the Pottersville manufactory set out on their own and established shops across the south. By 1830 potters were beginning to migrate into Georgia and North Carolina clustering around clay deposits and forming pottery districts, each with their own distinguishing turning and production traits. These potters taught their sons, along with hired hands this newly developed craft, and by the 1860's they had spread as far as Texas with dozens of these districts developing in each Southern state, producing thousands of gallons of ware daily.
  Following the War between the States, potters continued their production. Demand for their ware remained strong and during the last quarter of the 19th century, a naturally occurring clay, which melted at a low temperature creating a glaze, called Albany slip, was discovered near Albany New York. Many potters found this glaze easier to use than the labor intensive ash glaze. It fired to a dark brown color and melted at a lower temperature making it easier for production. Some potters continued to prefer the ash glaze, the majority of which were concentrated in the more isolated areas of White county Georgia and Catawa County North Carolina following the turn of the century.  
  It was around this time, that glass jars began to become a major competitor to the pottery industry and many embraced this new technology. Soon after, prohibition was a major hit to the industry, forcing many potters potters out of business. There was a brief renewal during the 1920's with the repeal of prohibition, but by this time it was evident that the trade in a utilitarian sense was becoming obsolete. In an effort to save their businesses, many potters shifted their production to cheap mass produced garden ware, or in the case of the Randolph Co. area of North Carolina, colorful art pottery in order to appeal to a newly emerging tourist clientel. By the 1930's, the traditonal ash glaze was basically obsolete outside White County GA and Catawba Co. NC. By the 1940's, only two potters in remained. Burlon Craig of NC and Cheever Meaders of Georgia. 
  In his fifties, Cheever Meaders had learned the trade as a youth in his from members of the local Dorsey family. In 1920, he took over his father's shop and continued the production of the familiar forms he was used to. Burlon Craig learned the trade from the Reinhardt family and purchased the shop of Harvey Reinhardt in 1945. For a the next twenty years, these two potters would represent the last link to traditional Southern folk pottery.
  In 1967, The Smithsonian Institute in Washington DC did a documentary on the Meaders family. By now, Cheever Meaders was eighty, and was only able to be present for a portion of the filming. His son Lanier, who had learned the trade while working with his father, stepped in and the documentary was completed. The documentary was a success, and this led to a revival of interest in the craft, now as an art with many new enthusiastic collectors. As a result, other members of the Meaders family took up the trade, and the their pottery began prized and valued nationwide. 
  With this new clientel came an increased desire for decorated pieces, as it was now valued for its astetic appeal rather than its utilitarian function. Jugs with applied faces, called face jugs became increasingly popular and the face jug became the iconinc image of Southern folk pottery. As time progressed, three of Lanier's brothers, John, Reggie, and Edwin took up the trade, and taught others the craft. In North Carolina, a similar circumstance evolved, and soon there was widespead renewal of interest in the craft. Today, a handful continue this trade throughout the south producing the same traditional forms while adding unique artistic appeal to this ever changing craft. 
 
    
   
      
 

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