COLLECTING EDGEFIELD POTTERY
Collecting Edgefield pottery doesn't seem to stay confined to being a “passive activity.” These objects, the majority being rather unimpressive at first glance, ignite a passion like none other in the collecting field I have ever witnessed. After all, they're just pieces of utilitarian stoneware, right? The real truth is that Edgefield pottery and Southern stoneware represents a bridge. There is perhaps no other single artifact that sits at the confluence of art, form, function, history, economics, genealogy, art, slavery, and even war.
Intriguing? Just the fact that many examples of Edgefield pottery were made by African people, enslaved by Americans, using centuries old Chinese ceramic techniques is enough for a doctoral thesis. Throw the blanket of history over that and you have a subject that's as deeply rooted in the Southern consciousness as fried chicken, with questions as difficult to answer as which came first, the chicken or the egg?
This incredibly rich heritage is what gives these simple utilitarian pieces their value. The more questions a piece answers by it's presence, the more value is attached. It's value can be skewed toward any of the collectible areas it appeals to. It's significance can be found in form, function, economics, history, genealogy, or art. Each representing a potential area of interest for the collector.
Known collectively as alkaline glazed earthenware, Southern stoneware can be collected on a modest budget. Pieces are often found at country auctions, sometimes for less than $100. Chipped, cracked, and broken pieces, although still displaying wonderful glazes and shapes can be had for even less. These unmarked, undecorated pieces are often hyped as “Edgefield,” but may hail from potteries outside the area. They still have their place and value to collectors.
Beyond those that collect undecorated and largely unattributable pieces, there is an entirely separate echelon of collectors, where Edgefield pottery becomes “investment grade.” These collectors are likely to be incredibly well versed historians, and have grown their fascination and collecting to the point of obsession. They seem to have a grasp of where every desirable piece is at any moment. Where it was found, when it was initially offered for sale, how much it sold for, it's every nuance, condition, and it's relative merits compared to other known examples.
Given some Edgefield pieces have sold for well above the six-figure mark, knowledge is power when approaching an investment grade item. A desirable piece coming fresh to market will always demand more attention than one that's been circulated among collectors for years. Ironically, the piece loses some of that certain “fresh” appeal once in the hands of a collector. Nevertheless, the considerations are many and critical when purchasing a piece of pottery for tens of thousands of dollars.
When collecting anything that circulates in this kind of stratosphere, the overall economy will also have it's effect on a collection. Many of the veteran collectors of Edgefield pots, like other investments, have a long term affiliation with collecting. In the 1960's and '70's these utilitarian items may have still been in use or performing a function in a garage or barn. They could be found at flea markets and yard sales, then bought on the cheap. With gaining notoriety, the pots escalated in value, collectors traded up, and now can be selective about their purchases when a desirable piece comes along.
This upper tier of Edgefield pottery collecting isn't for the faint of heart or shy in the wallet. One bad purchase can potentially cost thousands of dollars with little chance to recoup the loss. Every intricate detail must be considered with a purchase of this nature. Condition, provenance, desirability, previous owners, etc, etc. A similar fascination with cobalt decorated salt glazed stoneware exists, and the value of exceptional pieces have soared in the last 20 years. The same kind of criteria exists for this area of collecting.
The very best approach to entering the world of Edgefield pottery is to assemble an incredibly good library. Cinda Baldwin's book, “Great and Noble Jar,” is a wonderful place to start. Familiarize yourself with names, places, dates. Create a historical timeline from the beginnings of the Edgefield potteries to the end. There were transitions and transactions between potteries that aid in evaluating individual pieces.
Look closely at shapes and colors. See where the handles are placed on storage jars or jugs. Their shapes are as telling as fingerprints in some cases. Look at the rims and lips on these same items. Their placement and shapes are telling as well. Some pottery is marked with cryptic shapes. Other have the outline of fingers present on the base where dipped in the glaze. Obviously signed, dated and decorated pieces have their identifying attributes, but even then, they're not always what they seem.
Although it's perfectly understandable that these utilitarian pieces would have damage from being used everyday, possibly on a plantation, condition is still a key factor. Repaired pieces are generally devalued. It's imperative to learn how to spot repaired pots, and comes from repeated handling of pottery to develop a “sixth sense” regarding damage and repairs.
Collecting Edgefield pottery and other Southern stoneware is an incredibly rewarding avenue into the past. It's an enveloping study in Southern history and culture that's rewarded with the assembly of a fine collection.
Collecting Edgefield pottery doesn't seem to stay confined to being a “passive activity.” These objects, the majority being rather unimpressive at first glance, ignite a passion like none other in the collecting field I have ever witnessed. After all, they're just pieces of utilitarian stoneware, right? The real truth is that Edgefield pottery and Southern stoneware represents a bridge. There is perhaps no other single artifact that sits at the confluence of art, form, function, history, economics, genealogy, art, slavery, and even war.
Intriguing? Just the fact that many examples of Edgefield pottery were made by African people, enslaved by Americans, using centuries old Chinese ceramic techniques is enough for a doctoral thesis. Throw the blanket of history over that and you have a subject that's as deeply rooted in the Southern consciousness as fried chicken, with questions as difficult to answer as which came first, the chicken or the egg?
This incredibly rich heritage is what gives these simple utilitarian pieces their value. The more questions a piece answers by it's presence, the more value is attached. It's value can be skewed toward any of the collectible areas it appeals to. It's significance can be found in form, function, economics, history, genealogy, or art. Each representing a potential area of interest for the collector.
Known collectively as alkaline glazed earthenware, Southern stoneware can be collected on a modest budget. Pieces are often found at country auctions, sometimes for less than $100. Chipped, cracked, and broken pieces, although still displaying wonderful glazes and shapes can be had for even less. These unmarked, undecorated pieces are often hyped as “Edgefield,” but may hail from potteries outside the area. They still have their place and value to collectors.
Beyond those that collect undecorated and largely unattributable pieces, there is an entirely separate echelon of collectors, where Edgefield pottery becomes “investment grade.” These collectors are likely to be incredibly well versed historians, and have grown their fascination and collecting to the point of obsession. They seem to have a grasp of where every desirable piece is at any moment. Where it was found, when it was initially offered for sale, how much it sold for, it's every nuance, condition, and it's relative merits compared to other known examples.
Given some Edgefield pieces have sold for well above the six-figure mark, knowledge is power when approaching an investment grade item. A desirable piece coming fresh to market will always demand more attention than one that's been circulated among collectors for years. Ironically, the piece loses some of that certain “fresh” appeal once in the hands of a collector. Nevertheless, the considerations are many and critical when purchasing a piece of pottery for tens of thousands of dollars.
When collecting anything that circulates in this kind of stratosphere, the overall economy will also have it's effect on a collection. Many of the veteran collectors of Edgefield pots, like other investments, have a long term affiliation with collecting. In the 1960's and '70's these utilitarian items may have still been in use or performing a function in a garage or barn. They could be found at flea markets and yard sales, then bought on the cheap. With gaining notoriety, the pots escalated in value, collectors traded up, and now can be selective about their purchases when a desirable piece comes along.
This upper tier of Edgefield pottery collecting isn't for the faint of heart or shy in the wallet. One bad purchase can potentially cost thousands of dollars with little chance to recoup the loss. Every intricate detail must be considered with a purchase of this nature. Condition, provenance, desirability, previous owners, etc, etc. A similar fascination with cobalt decorated salt glazed stoneware exists, and the value of exceptional pieces have soared in the last 20 years. The same kind of criteria exists for this area of collecting.
The very best approach to entering the world of Edgefield pottery is to assemble an incredibly good library. Cinda Baldwin's book, “Great and Noble Jar,” is a wonderful place to start. Familiarize yourself with names, places, dates. Create a historical timeline from the beginnings of the Edgefield potteries to the end. There were transitions and transactions between potteries that aid in evaluating individual pieces.
Look closely at shapes and colors. See where the handles are placed on storage jars or jugs. Their shapes are as telling as fingerprints in some cases. Look at the rims and lips on these same items. Their placement and shapes are telling as well. Some pottery is marked with cryptic shapes. Other have the outline of fingers present on the base where dipped in the glaze. Obviously signed, dated and decorated pieces have their identifying attributes, but even then, they're not always what they seem.
Although it's perfectly understandable that these utilitarian pieces would have damage from being used everyday, possibly on a plantation, condition is still a key factor. Repaired pieces are generally devalued. It's imperative to learn how to spot repaired pots, and comes from repeated handling of pottery to develop a “sixth sense” regarding damage and repairs.
Collecting Edgefield pottery and other Southern stoneware is an incredibly rewarding avenue into the past. It's an enveloping study in Southern history and culture that's rewarded with the assembly of a fine collection.