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The Red Earthenware Available in the
18th and 19th Centuries in New York City
by Justin W. Thomas
N
ew York City’s 18th- and 19th-century stoneware
industry is well documented, with production
that was established, and later intertwined by the
Crolius and Remmey families, as early as the late 1720s
and 1730s in Manhattan. This early stoneware production
drew inspiration from the Rhineland area in Germany,
where these families had learned the craft before migrating
to America. It also helped that there was an excellent local
source of clay to manufacture stoneware.
Production and availability of red earthenware in New
York City before and after the American Revolution is a
subject that is lesser known.
As in Boston and Philadelphia, the manufacture of red
earthenware in New York City was eventually superseded
by stoneware, but it was also the original form of domestic
utilitarian pottery in these cities.
Red earthenware production is thought to have orig-
inated around the mid-17th century with Dirck Claesen
(circa 1630-1686), a migrant Dutch potter based in Man-
hattan in the original New Amsterdam settlement. He
employed Anthony Dirckzen, who is also believed to
have been a potter. It has been reported that there were
only five potters involved with production in the city in the
17th century because of burgher rights, which limited the
number of potters. The earliest wares focused on simple
household products and roof tiles. Red earthenware was
also produced in the early to mid-1700s. Some of the other
names associated with this early Colonial business include
John Euwatse, Ewout Euwatse, Dirck Benson, Sampson
Benson, and an English potter, John DeWilde.
These migrant Dutch potters probably produced objects
that were familiar to them from their home country, similar
to how the early Manhattan stoneware was influenced by
German production. Clausen, Dirckzen, Euwatse, Dirck
Benson, Sampson Benson, and DeWilde are almost leg-
endary, since the concept of what they produced is more
folklore rather than documented with physical evidence.
Production from one of these potters may be repre-
sented in kiln waste recovered in 1970 at a construction
site in Manhattan, which included a cracked red earth-
enware jug waster within a late 17th- and 18th-century
archaeological context. These discarded artifacts may
represent John Euwatse or the Bensons, who operated
only a few blocks away.
Five red earthenware jugs, similar to a stoneware or
tin-glazed form, were also recovered in 1979-80 when
archaeologists excavated the site of Stadt Huys Block in
Manhattan, the location of the city’s first town hall, built
circa 1641. While the remains of the original building
were not recovered, archaeologists did find the founda-
tion of a tavern built by New York City’s second English
governor, Sir Francis Lovelace (circa 1621-1675). The
tavern was built about 1670 and was in operation until
Nineteenth-century slip-decorated red earthenware plate.
Similar styles of slip were manufactured in New Jersey,
Long Island, and Norwalk, Connecticut. Recovered from
a privy in New York City. Photo courtesy Maribelle Costes
and Scott Jordan.
30-B Maine Antique Digest, October 2018
Scott
This city, known in the 21st century
for its culture and diversity, was
just as diverse 200 years ago.
Nineteenth-century slip-script red earthenware plate,
“Picky,” likely made on Long Island. Recovered from a
27' privy on Houston and Orchard Streets in Manhattan,
1820s-30s context. Photo courtesy Maribelle Costes and
Scott Jordan.
Late 18th-century sgraffito red earthenware plate made
by Phillip Durell in Elizabethtown, New Jersey, inscribed
“Manufactured by / Phillip Durell / October 27th 1793.”
There may have been a relationship between Jonathan
Durell in New York City and Phillip Durell. Photo
courtesy Newark Museum.
around 1706. Archaeologists described the brown- and
green-glazed jugs as locally made, possibly from the
same potter’s business, and modeled after Dutch produc-
tion. They also reported that the jugs might have held
locally brewed ale or cider.
However, the popularity of stoneware production began
to shift from red earthenware once Johan Willem Crolius
(circa 1700-1753), known in America as William Crolius,
and others established the local industry. This was also
the longest-standing production of stoneware from a sin-
gle family in America, and it lasted to about the mid-19th
century. Manhattan’s stoneware industry eventually influ-
enced businesses throughout the country, such as those in
Boston, Philadelphia, and Baltimore, in addition to com- Slip-decorated red earthenware plate attributed to
panies in New Jersey, among other locations. Philadelphia. Recovered by archaeologists from an
Stoneware production evolved into a major industry in 18th-/19th-century landfill next to the Hudson River in
New York City, arguably one of the largest in America Albany. This may have been an object exported from
in the 18th and 19th centuries. But the city’s need for Philadelphia through New York City to Albany. Photo
red earthenware never completely disappeared, either. In courtesy New York State Museum.
fact, while local production might not have materialized
into a complete industry, there was still plenty of oppor-
tunity for potters located outside of New York City to
ship their production to merchants at the city’s docks in
the 18th and 19th centuries.
On the other hand, the success of the local stoneware
industry did not entirely discourage red earthenware
potters from attempting to operate their own businesses.
While many residents may have recognized stoneware as
a more durable product, that does not mean it was the first
choice of everyone. Personally, I view red earthenware
as a more vibrant style of utilitarian pottery, and the col-
orful aesthetics found in red earthenware may have been
the preferred product by some, as opposed to stoneware.
Simply put, it was merely a matter of personal preference,
household use, and cost since both products were avail-
able in the local marketplace.
There also appears to have been a fascination by some
18th-century red earthenware potters, and not only those
located in the New York City area, with the red earthen-
ware produced in Philadelphia in the 1760s and 1770s.
A number of households, merchants, and general mar-
ketplaces must have perceived Philadelphia’s pottery as
Late 18th-century red earthenware presentation bowl
a remarkable form of production. Its popularity seems to possibly made in New York City. The bowl measures
suggest that it was fashionable in America, possibly sim- 16" in diameter and is inscribed “Success to Trade and
ilar to how European ceramics were desirable during the Navigation in All Free States. North River August 17,
period. It was likely a combination of the dynamic glazes 1792 / Freedom to the Slave / GW.” Photo courtesy
and the attractive forms that appealed to so many people. Brooklyn Museum.
Scott
Reassembled late 18th- or early 19th-century marbled red
earthenware plate sherds. Recovered on Shelter Island on
the eastern end of Long Island. Marbled slip-decorated
sherds have also been recovered in Manhattan. Photo
courtesy Anthony Butera Jr.
There were even potters who marketed their produc-
tion in competition with what was made in Philadelphia.
A similar style of marketing in comparison to imported
European ceramics was also undertaken by some
18th-century American potters, such as merchant Benja-
min Leigh and potter John Allman, who were apparently
partners when they advertised tortoiseshell earthenware
produced in Boston in 1769-70 that they claimed was the
equivalent to English products.
Period Colonial advertisements have preserved this
attraction toward Philadelphia’s 18th-century production.
For instance, on June 22, 1767, an Essex County, Massa-
chusetts, trained potter who made some Philadelphia-style
pottery in Dedham, Massachusetts, before 1767 and later
worked in Rhode Island placed an advertisement in the
Newport Mercury: “Joseph Wilson—potter at the North
End of Providence Informs the Public, that he can Sup-
ply them with Earthen Ware at a Cheap Rate, made in the
best Manner and Glazed in the Same Way as Practised in
Philadelphia—All Persons in this Town may be regularly
supplied by Means of the Boats which constantly pass
between this Place and Providence.”
A similar ad was placed by a Manhattan red earthen-
ware potter in the New York Gazette & the Weekly Mercury
on March 15, 1773: “Now manufacturing and to be sold at
that well known house, called Keechemet’s mead-house,
about mid-way between the New city-hall, and the Tea
water pump, on the left hand side of the road as you go
out of the city; where city and country store keepers may
be supplied with any quantity of said ware, at reasonable
rates; the ware is far superior to generality, and equal to the
best imported from Philadelphia, or elsewhere, and con-
sists of butter, water, pickle, oyster and chamber pots, milk
pans of several sizes; jugs of several sizes; quart and pint
mugs, quart, pint and half pint bowls of various colors;
porringers, and smaller cups of several shapes, striped and
clouded dishes of divers colors, pudding and wash hand
basons, with sauce pans, and a variety of other sorts of
ware too tedious to particularize, by the manufacturer late
from Philadelphia. Jonathan Durell....”
Jonathan Durell (business active circa 1753-1806) was
undoubtedly producing slip-decorated red earthenware in
New York City before and after the American Revolution.
He had supposedly learned the technique in Philadelphia.
The extent of the similarities found with his production
in New York City has not been studied, but a son named
Jonathan may have been involved. He may have also had
a relationship with Phillip Durell, a potter active near New
Eighteenth-century slip-decorated red earthenware bowl
possibly made in New York City. Recovered within an 18th-
and early 19th-century archaeological context in Lower
Manhattan. Photo courtesy New York State Museum.
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York City in Elizabethtown, New Jersey, as early as 1781
or earlier who produced a circa 1793 sgraffito red earth-
enware plate owned by the Newark Museum. This type of
production is considered extremely rare for New Jersey,
but it was regularly produced in eastern Pennsylvania and
Philadelphia. The plate is inscribed “Manufactured by /
Phillip Durell / October 27th 1793.”
A striped slip-decorated red earthenware pitcher was
also illustrated in 1922 in the book Country Life, volume
41. Found in Salem, Massachusetts, in the early 20th
century, the pitcher is said to have been made by Jona-
than Durell in the late 1700s. Currently there is no way
to prove this attribution. But it is possible that Durell, or
another local potter, John Campbell and his sons John T.
and Thomas I., and his brother, Thomas, in Manhattan
from the late 1750s to the early 1800s, may be responsible
for a large late 18th-century slip-decorated and inscribed
red earthenware presentation punch bowl owned by the
Brooklyn Museum in New York City.
The bowl measures more than 16" in diameter. The man-
ner of its multicolored slip decoration resembles a similar
style commonly found on plates and dishes manufactured
in Philadelphia during the period. A presentation stone-
ware bowl in a comparable size was also manufactured by
the Crolius family in Manhattan in 1811; it is owned today
by the American Folk Art Museum.
According to the Brooklyn Museum, “This bowl is rare
for its extraordinary size and its political inscription. Cele-
brating the launching of a new ship, the inscription around
the top reads, ‘Success to Trade and Navigation in All Free
States. North River August 17, 1792 – Albany Packet Two
Brothers.’ The inscription on the bottom reads, ‘Freedom
to the Slave / GW.’”
The Brooklyn Museum states, “This abolitionist sen-
timent reflects a late eighteenth-century plan to gradu-
ally emancipate all enslaved African people. ‘G.W.’ may
refer to George Washington, who was sympathetic to this
plan, although he remained a slave owner until he died
Reassembled late 18th- or early 19th-century marbled red
earthenware plate. Recovered from a foundation hole in
central Long Island in the 1970s. Marble slip-decorated
sherds have also been recovered in Manhattan. Photo
courtesy Gary Hammond.
Nineteenth-century slip-script red earthenware plate,
“Uncle James,” possibly made in New Jersey, Long Island,
or Norwalk, Connecticut. Recovered from a 27' privy on
Houston and Orchard Streets in Manhattan, 1820s-30s
context. Photo courtesy Maribelle Costes and Scott Jordan.
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in 1799. His will freed the enslaved people he owned in
his household.”
The ship that this bowl references was medium-size and
used to deliver cargo between ports. This type of ship was
common in New York once the Erie Canal opened in 1825,
providing a clear passageway for trade from Lake Erie and
the rest of the Great Lakes to the Hudson River and New
York City. This water route also gave upstate New York
potters, especially those in western New York, opportu-
nities that extended beyond the boundaries of what had
previously consisted of predominantly a network of local
distribution. It benefited red earthenware and stoneware
potters, and possibly even potters located on the Niagara
Peninsula in Ontario.
Previously, the trade between downstate and upstate New
York was generally limited to New York City, Albany, and
the communities along the Hudson River, which is possi-
bly the trade route that this bowl celebrates. This is also a
trade route that potters in Philadelphia may have originally
utilized before 1825 through New York City—and it may
even be represented in a slip-decorated plate attributed to
Philadelphia that was recovered by archaeologists from an
18th- and 19th-century landfill located next to the Hudson
River in Albany. Likewise, potters who operated near the
Hudson River may have also shipped their products south
into New York City, especially in the 19th century.
New York City’s population began to outgrow the pro-
duction abilities of the local pottery industry. The city’s
population was around 60,000 people in 1800. However,
over the next 100 years, it expanded to 3.4 million people.
This unparalleled growth emerged into export opportuni-
ties for domestic red earthenware and stoneware potters
from places such as Connecticut, Long Island, New Jer-
sey, and Philadelphia. This export/import business also
demonstrates that like New York City’s population, the
conglomerate and selection of available household pot-
tery was just as diverse.
New York City’s Unexplored Red
Earthenware Production
In the same way that it has transpired in many Amer-
ican cities, 19th- and 20th-century urban development
in New York City appears to have exposed and lost kiln
evidence for most local red earthenware production, and
as a consequence the identity for much of this production
has been misplaced in time. Stoneware dominated most
of the city’s production in the 1700s, and sewer tile and
terra-cotta companies joined the city’s profitable industry
in the 1800s. There must be some red earthenware compa-
nies that have been left undocumented.
Massachusetts author Lura Woodside Watkins pursued
the career path of Elijah Cornell (1771-1862) before
Early New England Potters and Their Wares was pub-
lished in 1950. Cornell was born in Swansea, Massachu-
setts. He apprenticed in the 1790s at the pottery of Asa
Chase (1744-1812) in Somerset, Massachusetts, which
was part of the red earthenware industry in southeast-
ern Massachusetts. This was an industry that had known
skill, some slip decoration, and remarkable colorful
glazes, a type of production that Cornell must have expe-
rienced. Watkins described him as a journeyman potter
who settled in DeRuyter, New York, where he estab-
lished a red earthenware pottery in 1819. Archaeological
evidence has proven that he devoted himself in DeRuyter
to implementing the use of multicolored slip decoration,
unusual for upstate New York. This evidence is held at
the National Museum of American History at the Smith-
sonian Institution in Washington, D.C.
Eighteenth-century slip-decorated red earthenware bowl
sherds possibly from a local manufacturer. Recovered by
archaeologists within a pre-1775 context in Manhattan.
Photo courtesy Chrysalis Archaeology.
☞
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However, before Cornell arrived in DeRuyter, he was
reportedly employed in Westchester Landing in New
York City, circa 1805-08 and 1811-14. This employment
appears to be undocumented.
Assuming that Cornell was employed as a potter, I sus-
pect that he may have produced red earthenware—after
all, this is the type of pottery he is known to have made
during his career. I also speculate whether he produced
any red earthenware with slip while in Westchester Land-
ing, considering that archaeology has proven that his use
of slip was prolific in DeRuyter.
Watkins’s interest with Cornell probably involved a few
factors, such as his eventual success after 1819. The direc-
tion of Cornell’s career was not an anomaly—other doc-
umented 18th- and 19th-century coastal Massachusetts
potters and potters from other states also left for oppor-
tunities throughout New York. Elijah’s son Ezra Cornell
(1807-1874) was a potter and eventually the founder of
Cornell University in Ithaca, New York, in 1865.
Red Earthenware Recovered in New York City
Archaeologists from Chrysalis Archaeology in Brook-
lyn and the New York State Museum in Albany have in
the past few decades recovered a variety of artifacts, some
of which are possibly related to local red earthenware
production. Those objects included a 19th-century black-
glazed red earthenware syrup or oil pitcher, likely from
Long Island, and a variety of red earthenware bowls and
dishes recovered by Chrysalis in Manhattan. Interestingly,
some of the bowls and dishes appear to demonstrate a
Philadelphia influence with a colorful interior glaze.
The most beautiful object that I have seen recovered
by archaeologists thus far is a swirl slip-decorated red
earthenware bowl, which was uncovered within an 18th-
and early 19th-century archaeological context in Lower
Manhattan. This outstanding object is stored at the New
York State Museum. Other objects kept at the museum
include marbled red earthenware sherds that may have
been made locally; a different style of marbled glaze was
recovered from a foundation hole on central Long Island
in the 1970s and from Shelter Island on the eastern end
Nineteenth-century slip-script red earthenware plate,
“Cheap,” likely made on Long Island. Recovered from a
27' privy on Houston and Orchard Streets in Manhattan,
1820s-30s context. Photo courtesy Maribelle Costes and
Scott Jordan.
Nineteenth-century slip-script red earthenware plate,
“Pay Up Old Debts I Say,” possibly made in New Jersey,
Long Island, or Norwalk, Connecticut. Recovered from
a privy in New York City. Photo courtesy Maribelle
Costes and Scott Jordan.
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of Long Island. The museum also owns simple decorated
red earthenware sherds recovered in Manhattan that were
likely made on Long Island; that industry proved to be a
major supplier for the city in the 1800s. Red earthenware
was also likely shipped to New York City from Norwalk,
Connecticut, and New Jersey, such as the pottery and slip-
script manufactured in River Edge.
It is interesting to note that archaeologists have
recovered a variety of late 18th- and early 19th-century
English stoneware in Manhattan. This is further proof
of the export/import opportunities that were available
as a result of the city’s constant growth in popula-
tion. There are even examples of 19th-century English
ceramics that were stamped by the manufacturer for
New York City merchants.
In the past 30 or 40 years, 18th- and 19th-century priv-
ies have been cleaned out throughout New York City, pro-
viding a more detailed account of the type of domestic red
earthenware that was available in the city. Most of these
objects have never been published.
The outcome from studying some of these recovered
objects has been rewarding where the discarded waste was
not limited to just basic glazed household wares. Instead,
examples of incredible slip-script-decorated artifacts have
been recovered, such as multicolored slip plates, adorned
in abstract decorations and expressions written in slip. The
wording on some of the plates reads “Pay Up Old Debts
I Say,” “For Nancy,” “Cheap,” “Sister Amelia,” “Mary,”
“Picky,” and “Uncle James.”
A red earthenware plate entirely decorated with slip
recovered from a privy was similar to some earthenware
objects manufactured in England in the 1800s. However,
a matching plate is attributed to the Huntington Pottery on
Long Island by the Society for the Preservation of Long
Island Antiquities, and various related sherds have also
been recovered at the site of the pottery.
In Retrospect
The variety of locally produced pottery mixed with
imported products found in New York City from domestic
and foreign manufacturers seems to be as diverse as any
other American city in the 18th and 19th centuries. New
York City’s population growth likely challenged local pro-
Nineteenth-century slip-decorated red earthenware
plate, likely made at the Huntington Pottery on Long
Island. A matching plate is owned by the Society for the
Preservation of Long Island Antiquities. Matching sherds
have also been found at the site of the Huntington Pottery.
The plate was recovered from a privy in New York City.
Photo courtesy Maribelle Costes and Scott Jordan.
Nineteenth-century red earthenware sherds recovered in
Manhattan. The sherds were likely made in either Long
Island or Norwalk, Connecticut. Photo courtesy New
York State Museum.
Scott
duction, and it created an active demand for imports in
the 1800s. Cities such as Boston and Philadelphia did not
experience such an extreme population growth and instead
were largely supplied by a variety of locally produced pot-
tery and imported European ceramics.
New York City is a special place. It always has been.
The fact that so many remarkable objects were created
locally but also imported from other domestic potters is no
surprise, given what is known about the city. It is amazing
to think that this city, known in the 21st century for its
culture and diversity, was just as diverse 200 years ago, as
seen by simply comparing the remains of ceramic artifacts
preserved beneath the city.
Mark Twain (1835-1910) once said, “Make your mark
in New York, and you are a made man.” More recently,
Michael Bloomberg (b. 1942) said, “This is the city of
dreamers, and time and again, it’s the place where the
greatest dream of all, the American dream, has been tested
and has triumphed.” The local stoneware industry in New
York City absolutely triumphed for more than 100 years.
But the sheer existence of skilled colorful slip-decorated
domestic red earthenware from local potters and objects
that were exported to New York City reveals how serious
this market was for many potters in search of the Ameri-
can dream.
I would like to recognize and thank Anthony Butera Jr.,
Maribelle Costes, Meta Janowitz, and Scott Jordan for
their generosity and willingness to share information. I
would also like to thank Butera Jr., Costes, and Jordan
again for granting permission to publish their personal
photos in this article.
Nineteenth-century slip-decorated red earthenware plate
sherds, attributed to the Huntington Pottery on Long
Island. Recovered from a privy in New York City. Inset
photo: similar 19th-century slip-decorated plate sherds
recovered on the property of the circa 1730 Suydam House
a few miles from Huntington, New York, within a pre-1840
context. Photo courtesy Anthony Butera Jr., Maribelle
Costes, Scott Jordan, and Greenlawn-Centerport
Historical Association.
Nineteenth-century slip-decorated red earthenware jar,
14⅝" tall, likely made at the Cornell Pottery in DeRuyter,
New York. Elijah Cornell established the pottery in
1819. He was also employed in Westchester Landing
in New York City, 1805-08 and 1811-14. Inset photo:
slip-decorated sherds recovered at the site of the Cornell
Pottery in DeRuyter. Photo courtesy National Museum of
American History at the Smithsonian Institution.
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Eighteenth-century red earthenware dish possibly from a

New York City manufacturer. Recovered by archaeologists
in Manhattan. Photo courtesy Chrysalis Archaeology.

Nineteenth-century slip-script red earthenware plate,
“For Nancy,” likely made at the Huntington Pottery on
Long Island. Recovered from a privy in New York City.
Photo courtesy Maribelle Costes and Scott Jordan.
Nineteenth-century slip-script red earthenware plate,
“Sister Amelia,” possibly made in New Jersey, Long
Island, or Norwalk, Connecticut. Recovered from a
privy in New York City. Photo courtesy Maribelle
Costes and Scott Jordan.

Eighteenth-century slip-decorated bowl possibly from a

local manufacturer in New York City. Recovered from
the South Street Seaport District in Manhattan. Photo
courtesy Chrysalis Archaeology.

Nineteenth-century slip-script red earthenware plate,

“Mary,” likely made on Long Island. Recovered from a
privy in New York City. Photo courtesy Maribelle Costes
and Scott Jordan.

Nineteenth-century black-glazed red

earthenware syrup or oil pitcher,
possibly made at the Huntington
Pottery on Long Island. Recovered Nineteenth-century multicolored slip-decorated
by archaeologists in Manhattan. See red earthenware plate. While the manner of the
Anthony Butera Jr.’s article on Long slip is similar to styles produced in southeastern
Island redware in the 2003 Ceramics Pennsylvania, the overall production resembles objects
in America for a comparable example. recovered in various contexts in New York City.
Photo courtesy Chrysalis Archaeology.

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Almanack for the Year of Our Lord Christ, 1770. Archaeology, Volume 27, No. 3, 1993: 17-56. Newport Mercury. June 22, 1767.

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