I Searched and Found

There is something wonderfully bold about this vintage ceramic coffee pot. A large American bald eagle spreads its wings across the front. It wears a shield on its chest and is surrounded by raised stars and leafy branches.

The rich brown glaze settles into the recessed areas of the design. This brings out every feather and gives the pot the warm, earthy look associated with 1970s pottery.

A Bicentennial-Era Design

The pot is not marked with the official “1776–1976” Bicentennial dates. However, its style and imagery place it comfortably within the wave of patriotic décor produced around America’s Bicentennial.

A very similar Made-in-Japan pot has been identified as dating from 1972. This suggests that the design may have appeared as the country was preparing for the 1976 celebration.

Without a manufacturer’s name or dated mark, I prefer to describe this pot as Bicentennial-era rather than give it a definite year.

See a similar example on eBay.

The American Eagle

The eagle is not an exact reproduction of the Great Seal of the United States. Still, it clearly draws upon the same familiar American imagery.

The bald eagle has appeared on the Great Seal since 1782. It traditionally represents strength and authority. The shield, stars and branches add to the pot’s sense of national pride.

According to the Library of Congress, the eagle on the Great Seal came to represent the authority of Congress. The objects held in its talons symbolize the country’s powers of peace and war.

Read more from the Library of Congress.

Made in Japan for American Homes

This coffee pot was made in Japan for the American market. Many decorative ceramics sold in the United States during the mid-20th century were produced in Japan. Manufacturers created attractive and affordable pottery that reflected popular American decorating styles.

During the 1960s and 1970s, earthy colors filled American kitchens. Brown, harvest gold and avocado green were especially popular. So were colonial, folk and Early American designs.

This coffee pot brings those trends together beautifully.

Details and Condition

The pot stands approximately 6 inches tall and holds about 24 ounces. It has its original fitted ceramic lid. It also has a strong angular handle, a short pointed spout and a gently tapered body.

The raised eagle is unusually detailed. Individual wing feathers are clearly defined, as are the lines on the shield.

Darker streaks in the glaze appear to be intentional variations from the firing process. They add warmth and depth to the surface.

The pot has no chips or cracks.

There is some very fine crazing in the glaze, but it is difficult to see unless you look closely.

Crazing is a network of fine lines that sometimes develops in the glaze of older pottery. It is common in vintage ceramics.

Because of its age and crazing, I recommend this pot primarily for display rather than everyday beverage service.

A Timely Piece of Americana

It is a confident and nostalgic piece of American-inspired design. It would look wonderful on a kitchen shelf, in an Americana collection or as part of an America 250 display.

My mother's mother hailed from Chattanooga, Tennessee, though her roots reached back to Germany and France. Born Frances Biese, she became Frances Johnson when she married, but in family stories she remains simply "Granny"—a woman of many talents and refined tastes. She painted on china and canvas, she hooked rugs, she hosted elegant tea parties, and she welcomed friends for afternoons that often stretched into spirited games of Bridge.

Because I grew up in Pennsylvania and she spent her entire life in Tennessee, I rarely had the chance to know my grandmother firsthand. Instead, I came to know her through stories and through the objects my mother treasured. Pieces of china occupied the shelves of our dining room, each one carrying a fragment of family history. My mother spoke of her mother's creativity, her hospitality, and her eye for beauty, and those cherished objects gave those stories form.

It was through those shelves and those stories that I first encountered the decorative traditions of Bavaria and the Germanic design. The delicate florals, rich colors, and careful craftsmanship seemed to belong to another world—one of afternoon tea, polished tables, and conversations carried on over delicate cups.

But this pattern is not delicate, this vintage Royal Bavaria set gets inspiration from the peasant designs from Germany in the 1930s. Deep rich colors, orange/red against black, decorated with Yellow Chrysanthemums, green leaves and four little wildflowers surrounding them. If you squint, you might just see the ladies in the multicolor dresses performing on holidays for the members of the mountain village.

What strikes me about this set is that it doesn't resemble the delicate pink roses and gold trim that many collectors associate with Bavarian tea china. Instead, it has a wonderfully bold palette.

The backstamp is LDB & Co. Bavaria, Made in Germany, which was used by Leon D. Bloch & Co., a New York importer that purchased porcelain from several Bavarian factories and sold it in the United States under its own mark. The specific round crown mark on your cups is associated with wares produced in Bavaria for LDB & Co. in the early 20th century.

The design feels closer to:

Art Deco period color sensibilities (strong black and vermilion red)

German folk-art floral decoration

Chrysanthemum or sunflower-like yellow blooms

The kind of dramatic tableware popular in the 1920s–1930s

My guess is that this was marketed as a decorative tea or dessert service rather than formal high-end porcelain. The scalloped saucers and saturated colors give it a cheerful, almost theatrical quality.

Every once in a while, while sorting through old boxes, I stumble across a reminder of who we once were.

In 1975, as America prepared to celebrate its 200th birthday, my soon-to-be father-in-law had an idea. Why not design a commemorative T-shirt that visitors could buy during the Bicentennial celebrations in New York City?

My husband George, then a young graphic designer with plenty of enthusiasm and a drawing board, created two designs. Hundreds of shirts were printed, folded, packed into boxes, and a small adventure began.

George and his friend Dan McIntyre loaded up the shirts and spent a weekend in New York City, selling them near the South Street Seaport during the festivities. They sold quite a few, but not nearly enough. At the end of the weekend they came home with boxes still full of shirts and, I suspect, more stories than profits.

Life moved on.

Careers happened. Children grew up. Houses were bought and sold. Art was made. Fifty years slipped quietly by.

And yet, somehow, those shirts survived.

With America celebrating its 250th birthday this year, it seems like the perfect time to dust off these original Bicentennial T-shirts and share their story.

Today, tucked away in our studio, we still have a surprising number of these original Bicentennial T-shirts waiting for their next owners. They are not reproductions. They are the very same shirts printed for the celebration of America's 200th birthday nearly fifty years ago.

These 100% cotton shirts were designed in New York City, printed in Pakistan in 1975, and carried onto the streets of New York during the Bicentennial celebrations of 1976. What began as a small entrepreneurial adventure between friends has become a tangible piece of family history—preserved for fifty years in a box and waiting for its next chapter.

When I hold one in my hands, I can't help but picture two young men standing on a busy New York sidewalk in the summer of 1976, hopeful that everyone walking by would want to take a piece of the Bicentennial home with them.

Some did.

And now, fifty years later, perhaps a few more will.

You can find these original Bicentennial T-shirts in my Etsy shop: https://tinyurl.com/yvmt47wj

Vintage 1998 Furby – Giraffe Pattern – Tiger Electronics Model 70-800

If you were alive in 1998, it's hard to overstate how huge Furby was. For a brief moment, it seemed as if every child wanted one, every parent was hunting for one, and every news outlet was talking about them.

The Beginning Furby was invented by Dave Hampton and Caleb Chung. The pair spent years developing the idea before licensing it to Tiger Electronics.

The toy debuted in 1998 and combined several technologies that felt almost magical at the time:

It moved its ears and eyes.

It reacted to touch and sound.

It appeared to "learn" English.

It spoke a unique language called Furbish.

Children believed their Furby was gradually learning English, but in reality the toy was programmed to slowly replace Furbish words with English ones over time.

The Christmas Craze The timing couldn't have been better. Furby arrived just before the 1998 holiday season and demand exploded.

Stores routinely sold out. Parents waited in long lines and some paid several times the retail price to secure one before Christmas. More than 1.8 million Furbies were sold in 1998, and over 14 million were sold the following year. Tiger Electronics simply couldn't make them fast enough.

The Famous Government Ban One of the strangest chapters in Furby history occurred when some government agencies became concerned that Furby might record conversations.

The toy did not have recording capabilities, but because it reacted to speech and appeared intelligent, organizations including the National Security Agency reportedly restricted them from secure areas. This only added to the Furby's mystique and generated even more publicity.

Proudly, this Furby is in its original box, has its original hangtags and Instuction books.

Furby Colors and Collecting Tiger Electronics produced dozens of color variations, making collecting a hobby in itself.

Some of the more popular early Furby patterns included:

Giraffe

Leopard

Zebra

Tiger

Dalmatian

Church Mouse

Owl

Elephant

This Giraffe Furby (Model 70-800) is one of the original generation colorways from the peak Furby era.

You can find this Furby in my Etsy shop: www.Isearchedandfound.com

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Another "Spacey" item on my Ebay shop.

Look at this "LOVE"ly bookend produced by the Terra Sancta Guild in 1967. If only I had a second one! But one is perfect to prop up my phone at my computer or to use as a file holder for things I "love".

What is the Terra Sancta Guild?

The Terra Sancta Guild began as a collaboration between Isadore Serot and Ade Bethune. Serot was a Jewish businessman from Philadelphia PA and Bethune was an influential American liturgical artist. Together they launched Terra Sancta Guild in the fall of 1965.

Their shared goal was not commercial decoration but creating meaningful religious art with strong craftsmanship and symbolism.

Terra Sancta Guild is still producing a variety of religious and decorative metal objects. Their work often combines symbolic imagery with handcrafted finishes, and many pieces now appeal to collectors of religious art. This particular vintage example feels especially tied to the visual language of the late 1960s, when the word "LOVE" became a defining cultural motif.

Who was Ade Bethune?

Ade Bethune (1914–2002) was already famous before Terra Sancta Guild existed. She was a Belgian-born American artist associated with the Catholic Worker Movement and worked closely with social activist Dorothy Day. Her woodcuts, church designs, mosaics, and liturgical artwork helped shape modern Catholic visual culture in the twentieth century.

Ade Bethune print "Our Lady of Homework"

When Terra Sancta Guild was formed, Bethune became its artistic director and remained involved until her death in 2002. She designed many of the company's most recognizable brass and enamel pieces.

For vintage collectors, the name "Terra Sancta Guild" often means:

Authentic mid-century religious design

High-quality brass casting

Hand-applied enamel decoration

Designs by Ade Bethune

Church-modern aesthetics of the 1960s and 1970s

This 1967 LOVE bookend is more than just a decorative bookend—it comes from the early years of a company founded by Serot and guided artistically by one of America's most respected liturgical artists. Pieces from the 1965–1975 period are generally the most sought-after by collectors.

This bookend is marked 1967, it was made only about two years after the company was founded, making it an example from Terra Sancta Guild's earliest production period.

Links My Year with Dorothy Day Ada Bethune Wiki Page Terra Sancta Guild

Related Finds From My Shop

Vintage 1950s novelty skirts always feel like little wearable paintings to me, and this one immediately stopped me in my tracks. The black fabric creates the perfect backdrop for the playful hand-drawn circus figures marching around the hem in bright mid-century colors—turquoise, coral, yellow, violet, green, and blue—all outlined with loose expressive white lines that give the whole piece movement and charm.

What makes this skirt especially exciting is the printed mark hidden inside the hem:

“A signature fabric, ‘Circus Days’ created by Hans Moller, of Associated American Artists ©1953.”

That little detail completely transforms it from simply a beautiful vintage skirt into a documented piece of mid-century textile design history. Associated American Artists became known for bringing fine art and artist-designed objects into everyday homes, and this fabric has that exact spirit—artful, modern, playful, and distinctly 1950s.

The silhouette is classic for the era with a full gathered waist and generous sweep that would have moved beautifully while walking or dancing. Even hanging still, it has wonderful volume and structure. The circus motif feels whimsical without becoming costume-like, which is probably why it still feels surprisingly modern today.

I also love the contrast happening here: elegant black fabric paired with these loose almost childlike figures. It has that very smart mid-century balance between sophistication and fun. You can imagine it worn with a fitted black sweater, red lipstick, and tiny heels to a summer party or gallery opening sometime in the mid-1950s.

Pieces like this are getting harder to find, especially with attributed artist fabrics and such a strong graphic print. It’s one of those vintage garments that works equally well as fashion history, textile art, or simply an unforgettable statement piece.

I have a weakness for old kitchen pottery, especially pieces that clearly lived a real life before ending up on a shelf in an antique store. These antique French baking molds immediately caught my eye with their warm orange glazes, heavy terracotta bodies, and beautifully dramatic fluted forms.

These are the kinds of objects that feel both humble and sculptural at the same time. You can easily imagine them sitting in a farmhouse kitchen somewhere in Provence, dusted with flour and used for baking rich brioche or tall cakes for family gatherings. French utilitarian pottery always seems to strike that balance between beauty and practicality without even trying.

The glazes have that soft aged warmth that newer ceramics never quite capture. Not too bright, not too polished—just earthy and comfortable. And the scale of these both surprised me. At 10 and 11 inches wide and 5 inches tall, they are substantial pieces with real presence. Even empty, they look beautiful sitting out on a table or open shelf.

Of course, age tells its story here too. There are visible cracks and small holes in the interior glazes, all consistent with years of use and the fragile nature of old terracotta bakeware. Personally, I think those imperfections are part of what make antique kitchen pieces so appealing. They remind you these weren’t decorative objects originally. They worked for a living.

Even if they never sees an oven again, they still has endless possibilities. I love pieces like these filled with fruit, garlic bulbs, dried flowers, or simply displayed on their own where the shape and glaze can speak for themselves.

There’s something especially comforting about old French pottery. Maybe it’s the connection to everyday rituals—bread, cakes, kitchens, gatherings—or maybe it’s just the warmth of the clay itself. Either way, this one feels like a small piece of history that managed to survive beautifully imperfect.

Both are available: Top images: https://tinyurl.com/3u8wypna Bottom images: https://tinyurl.com/bdvb5xtf

Related Finds From My Shop

Arthur Court Cast Aluminum

Newest find in the vintage world: this wonderfully over-the-top heavy cast aluminum divided tray made by Arthur Court with a design copyright date of 1997.

And honestly? I almost left it behind. Twice.

At first glance, it was living inside a Wilton Armetale box, so I assumed that’s what it was. But something felt off. The style just didn’t match. Wilton Armetale pieces tend to lean traditional—almost colonial at times—with softer pewter-like finishes, hammered surfaces, and classic early-American styling. Their trays and bowls often feel understated and practical.

This tray is not understated.

The crab motif wrapping around the border immediately felt more playful, more sculptural, almost coastal in spirit. Still, I doubted myself and put it back on the shelf. Then picked it up again. Then put it back again.

Finally, curiosity won out and I decided to do a quick search before walking away. That’s when I realized I had completely skipped the most important step: checking for marks. I was so certain it was Wilton that I never even looked closely.

A very pleasant surprise followed.

Instead of Wilton Armetale, I discovered Arthur Court, a company completely new to me at the time. Based in California, Arthur Court became known for quality hand-cast aluminum serveware—often with wonderfully detailed animal and nature motifs. Crabs, antlers, grapevines, alligators, shells, rabbits… the designs are bold, decorative, and unmistakably late-20th-century entertaining culture. The pieces have weight to them too. This tray is seriously heavy and beautifully cast.

The divided sections make it perfect for nuts, shrimp cocktail, crackers, or little appetizers, but honestly I think it works just as well hanging on a wall or standing on a shelf as a conversation piece. The crab border alone is sculptural enough to carry a room.

One of my favorite parts of vintage hunting is exactly this moment: discovering a maker I didn’t know, learning the difference between what I assumed and what was actually in front of me, and realizing there’s always more to learn. Those are the finds that stay with you.

Bennington Rockingham Ware

Another thrift store find! This lovely pitcher, attributed to Bennington Rockingham ware, feels tied to old farmhouse kitchens, wood stoves, and shelves crowded with well-used crockery. The rich brown glaze — warm like strong coffee or molasses — became one of the most beloved pottery styles in 19th-century America.

The story begins over in England, where potters developed what came to be called “Rockingham glaze,” a glossy brown finish with streaks and mottled tones that made every piece look just a little different from the next. American potteries quickly took to the style, and by the 1840s, brown glazed ware was turning up in homes all across the country.

When collectors say “Bennington,” they are usually talking about pottery made in Bennington, Vermont, where the United States Pottery Company became famous for producing some of the finest Rockingham ware in America. For a brief shining period in the mid-1800s, the Bennington potteries turned out everything from humble mixing bowls and pitchers to wonderfully odd mantel ornaments and animal figures.

Part of the charm is that no two pieces ever seem exactly alike. The glaze would flow and drip in the kiln, creating swirls, streaks, and dark caramel tones. Some pieces came out smooth and elegant; others had wild marbling that looked almost accidental — in the best possible way.

The potteries made practical household wares but they also made whimsical decorative pieces that have become collector favorites.

The famous Bennington dogs and poodles especially seem to capture people’s hearts. They sit somewhere between folk art and Victorian parlor decoration.

Museum Reproductions

When I lived in southern Connecticut, one of my favorite stops was the Metropolitan Museum of Art’s shop in the Stamford Town Center. The shop felt like a treasure chest—prices ranged from $10 to $1000, and the variety was just as wide. Pottery, jewelry, textiles, decorative objects—each piece was a reproduction drawn directly from the museum’s collection.

It was the perfect gift shop: you could find something affordable, unique, and beautiful, all with a touch of art history behind it. Every item came with a story, rooted in centuries of craftsmanship, yet reimagined for modern homes.

So whenever I spot an MMA item in a thrift shop, if it is in good condition, I snap it up for my Etsy shop. The mugs and Tea Caddy are both available on my shop but the items below are from my personal collection.

Majolica Sunflower Plate, Bowl and Cup

I can't find anything on these other than they were produced and sold by MMA in the 1980s. There are many available on eBay and Etsy but mine are not for sale—too many memories.

Ceramic Hippopotamus Sculpture

"William@" was a gift from my son to his father in the 1980s. He was so proud to buy it, wrap it and present it because he and my husband had looked at it in the store and discussed the possibility of buying it one day.

About "William@" Since its arrival at The Met in 1917, the charming Egyptian hippopotamus figurine affectionately known as “William©” (ca. 1961–1878 BCE) has been a Museum favorite. Like the original statuette, our reproduction is decorated with drawings of lotus blossoms and marsh plants, symbols of life and rebirth and a nod to the hippo’s habitat along the shallow banks of the Nile River.

John Bernard Flannagan (1895-1942) Whitney Authorized Cast of "Chimp"

This Flannagan reproduction has been with us since the 1970s. We bought it at the Whitney Museum Shop, produced by Alva Museum Replicas in Long Island City, New York. At the time, it was our very first ‘sculpture’—a little piece of art history that fit our tiny budget.

We were earning just $110 and $150 a week back then, so I can’t imagine we paid very much for it. But despite its modest cost, it’s priceless to us now. The monkey has traveled with us through decades of moves and still has a special place in our hearts.

Interestingly, I recently saw one listed on 1st Dibs for $900! Not bad for a piece that started as an affordable museum reproduction. It’s a perfect reminder that even small purchases can become treasured keepsakes with a story worth telling.

Alva Studios (aka Alfred Wolkenberg) Replicas were designed by Alva Studios, operated by Alfred Wolkenberg. Alfred was born in Vienna in 1911 and immigrated to the US in 1939. In 1948 he founded Alva Studios of Long Island City, NY. He had many artists and designers who were commissioned to produce reproductions of ancient jewelry and sculpture. All the pieces were marked Alva Museum Replicas and sold at museums worldwide.

Blue and White

Blue and white porcelain never fails to calm the soul. This Limoges set, found tucked away on a dusty Goodwill shelf, tells quiet stories of 17th-century peasant life through David Teniers’ art. A lucky treasure, now in my shop. 💙

This nine piece set is a collection of Limoges French Teniers MC Déposé plates. Each plate has one of three transfer printed illustrations of fifteenth-century peasant life. The transfers are blue on white with a decorative border on the rim. They are marked ‘Teniers Déposé Terre De fer’ on the underside. The blue transfer designs are based on David Teniers the Younger's 17th-century "Peasants Bowling" and "Peasants Dancing" paintings and other Teniers designs.

Marked on base with interwoven "MG" and "TENIERS / DEPOSE / TERRE DE FER / FRANCE", all with impressions such as "M5" or "M6" and/ or a "3" beside a cross.

Attribution: Mavaleix & Granger, Limoges, France. Circa: Circa 1925. Condition: Excellent undamaged condition with some expected glaze crazing.

Plates are 9.25" in diameter and currently available in my Etsy shop.

More about Limoges French Teniers...

Limoges French Teniers MC Déposé refers to a type of porcelain made in the famous Limoges region of France, known for producing high-quality ceramics. Let's break it down:

Limoges: Limoges is a city in France renowned for its fine porcelain production, dating back to the 18th century. Limoges porcelain is highly collectible and often hand-painted.

Teniers: This likely refers to artwork inspired by the Flemish painter David Teniers the Younger (1610-1690), who was known for his scenes of peasant life, tavern scenes, and landscapes. Many decorative pieces from Limoges were inspired by classic European painters.

MC: This could be the maker's mark or initials of the factory or decorator responsible for this specific piece of Limoges porcelain.

Déposé: A French word meaning "registered" or "patented." This indicates that the design or brand is legally registered.

In summary, a Limoges French Teniers MC Déposé item would be a piece of Limoges porcelain, possibly decorated with scenes inspired by David Teniers, created by a specific artist or manufacturer marked with the initials "MC," and the design is patented or registered.

This is a beautiful set of two handcrafted stoneware dishes and a matching gravy boat, all by the same artisan. Each piece is finished in a bold "Williamsburg" yellow matte glaze, with one of the bowls featuring a striking blue glaze on the exterior. These heavyweight, sturdy pieces are perfect for everyday use or display, showcasing the exceptional craftsmanship I admire from this artist’s unique collection. Their handmade quality ensures no two pieces are exactly alike, making them a special addition to any home.

M.A.Hadley

This vintage set is available at isearchedandfound.etsy.com

Growing up, my family was super close with another family, the Montgomerys. They were a big bunch—six kids in total! And one thing that always stuck with me was their entire collection of MA Hadley dishes. Whenever I stayed over at their place, we’d play jacks and Russian Bank late into the night, but my favorite part was waking up to breakfast. We'd have cereal in these amazing "Hadley" bowls, and get this—at the bottom of each bowl, there’d be a cute little farm animal waiting for you after you finished your cereal. I thought it was the coolest thing ever! It’s funny how those little, everyday memories can stick with you and mean so much.

While browsing my local thrift shop, I was thrilled to discover these rare MA Hadley pieces. I couldn’t resist adding them to my shop, and now I’m excited to offer them to fellow MA Hadley enthusiasts and collectors.

About MA Hadley M.A. Hadley refers to Mary Alice Hadley (1911–1965), an American ceramic artist who founded the Hadley Pottery Company, which became known for its distinctive hand-painted stoneware designs.

Hadley was born in 1911 in Terre Haute, Indiana, where she developed an early interest in painting and art. Her family owned a clay tile business, which likely influenced her path into ceramics.

She attended the Art Academy of Cincinnati and later studied at the Chicago Art Institute, honing her skills in painting and pottery design. In the 1930s, after marrying George Hadley, Mary Alice moved to Louisville, Kentucky. It was there that she began hand-painting pottery in her kitchen, creating pieces that were both functional and decorative. Her designs often featured whimsical scenes of farm life, animals, landscapes, and simple, playful folk motifs, with a focus on blues, greens, and earth tones.

Mary Alice’s early pieces gained local popularity, leading to the establishment of Hadley Pottery in Louisville in 1940. Her pottery was not just decorative; she was focused on creating durable, everyday items such as plates, bowls, and mugs. The pottery was made from stoneware, a type of clay fired at high temperatures, making it sturdy.

M.A. Hadley’s pottery became well-known across the United States for its charm and durability. Her folk-art-inspired designs continue to be produced today by Hadley Pottery, which remains in operation in Louisville.

After her passing in 1965, the company continued producing pieces in her style, and Hadley pottery remains a beloved collectible for many enthusiasts.

Vintage Wool Blanket

I just sold this lovely blanket. I am so happy it has found a home because it has been in a box for many years. I bought it at an estate sale and always wanted to find a place in my home but between dogs and kids, I was never comfortable leaving it unattended. I do not know its story, who made it, where it was made but based on my memories of my grandmother's house, it was probably at the end of a twin bed, ready for a cool summer night to keep a tired child warm.

And maybe it is a camp blanket, meant for a cabin, to be stored away for cool evenings, somewhere in the mountains. I hope the buyer lets me know how they are going to use it.

Denby Pottery

I recently struck gold at a local charity shop, where I stumbled upon some Denby pottery pieces. I recognized the Denby name, which is why I scooped them up, but beyond that, I knew very little about the pottery or its pattern.

Determined to uncover more, I put on my sleuth hat and discovered that the pieces I had purchased were from the Russet pattern. This collection is known for its heavy, sturdy build, making it ideal for everyday use. There's something satisfying about the substantial feel of these pieces.

The Russet pattern was manufactured by Denby Pottery between 1976 and 1982. Denby, located in Derbyshire in the heart of England's Midlands, has a rich history dating back to its founding in 1809.

Redware Mug

Redware is a type of pottery known for its rich, reddish-brown color, which comes from the iron-rich clay used in its production. This type of pottery has a long history in America, dating back to the 18th and 19th centuries, and was commonly used for a variety of household items.

The redware mug from Old Sturbridge Village in Sturbridge, Connecticut, is a faithful reproduction of the traditional redware pieces that were commonly used in early American homes. This mug is crafted using techniques that mirror those employed by early American potters, ensuring both historical accuracy and quality.

The glossy finish of the redware mug is achieved through a lead-free glaze, which gives it a smooth, shiny surface while preserving the rich, warm hue of the underlying clay. These mugs were not only functional but also added a touch of color and craftsmanship to everyday life.

Old Sturbridge Village is a living history museum that aims to preserve and present the history of early 19th-century rural New England. The reproduction redware mug is part of their collection of historically inspired items, allowing visitors to take home a piece of history that reflects the craftsmanship and everyday life of early American settlers.

Shoulder Jug

Salt-glaze pottery is typically stoneware featuring a glossy, translucent glaze with a slightly orange-peel texture. This effect is achieved by throwing common salt into the kiln during the high-temperature phase of firing.

These shoulder jugs were specifically designed to allow a matching butter crock to sit upside down on top of them for convenient storage.

Measures 11" tall by 7" wide