Ceramics for Slaves: Colonoware

Charleston Old Walled City Tours will offer the Slavery and Freedom Walking Tour Daily at 10:30 AM in the month of February, Black History Month. This two hour event covers less than a mile. Purchase Tickets Here: Book Now!



Colonoware vessel, Georgia ca 1750

Ceramics are often the primary find at archaeological digs. They are important in determining the economic status, food ways and eating habits of those that lived there.  In colonial digs here in Charleston, early porcelain shards from Germany and England are common, reflecting Charleston's status as the major seaport on the  eastern seaboard. Late colonial and antebellum digs reveal the Chinese Export porcelain so cherished and displayed today in the china cabinets of many an Old Charleston family. Occasionally, the alkaline glazed stoneware  produced in the upstate of South Carolina is to be found in post -1820 sites. These ceramics are thoroughly documented.

Mixed among the shards are another ceramic not so well documented , and it is dubbed  Colonoware. Colonoware is a hand coiled and pit fired pottery long produced as an inexpensive trade item by American Indians and sold or bartered in the city.  It is never found stashed in the back of barns, or at estate sales. It is never  found passed down as precious family heirlooms. It is commonly found at dig sites of 18th century pioneer settlements and at 18th and  19th century plantation communities. Normally found as broken shards, intact specimens are recovered from riverbeds. Since trade goods were transported by water, the occasional overturned boat provides intact specimens. The example below was recovered from the Savannah River.(see Figure 1 below). 

As Native Americans dispersed from the southeast, it appears that Colonoware production was taken up by plantation blacks to provide cooking and eating vessels. This is a practice most likely encouraged by plantation owners. It was, after all,  an inexpensive source of cooking and eating  ware that put elderly or substantially disabled individuals back to work. 

Typically, plantation slaves would have prepared food in a common pot. The food would have been transferred from the pot to a large wooden trough for serving and eating where it would be shared by all, or the food would be transferred into small bowls or pots, such as the colonoware bowl  here illustrated.

Figure 1.Colonoware Vessel

Classic cooking bowl form

Eighteenth century digs at plantation sites where the enslaves lived reveals little in the way of serving spoons or cutlery of any sort. Most white frontiersman were eating with wooden spoons, and this was probably the norm for the enslaved as well. Although the archaeological record is silen, we do know that they were not eating with metal implements. As pewter became available, it use was reserved initially for whites. Thus, for the first half of the eighteenth century many plantation slaves would have eaten without utensils, using shells or makeshift items. 

Some scholars suggest that Colonoware was folk craft handed down from Africa. There are certainly precedents. Similar coiled and low fired ware was produced in Africa, as it was in virtually all cultures. Indeed, more sophisticated high fired wares were produced in Africa and all over the world. Whatever its origin, we know that the Catawba Tribe was trading in Colonoware well into the nineteenth century, wares that were used on the plantation by slaves. Colonoware shards from the earliest sites reflect the aboriginal styles of the native Americans, but it was not long before the ware produced for sale took on the look of European vessels such as the one pictured above.

 In the short story “Loves of the Driver”, author William Gilmore Simms notes that during his boyhood in the 1810s that 

It was the custom of the Catawba Indians …to come down, at certain seasons, from their far homes in the interior, to the seaboard, bringing to Charleston a little stock of earthen pots and pans….which they bartered in the city. They did not, however, bring their pots and pans from the Nation, but descending to the Lowcountry empty handed, in groups or families, they squatted down on the rich clay lands of the Edisto and and there established themselves in a temporary abiding place, until their simple potteries had yielded them a sufficient supply of wares with which to throw themselves into the market.”

That colonoware was produced for the slave population can be inferred by the statement of Phillip Porcher, a St Stephens SC resident , recounting that :

“….the Catawba Indians ….traveled down from the upcountry to
Charleston, making clay ware for the negroes along the way. They would camp until a section was supplied and then move until finally Charleston was reached.”

Finally, Charley Watson, a former slave from Winnsboro, SC, in a WPA interview in 1935 recalling plantation days of the 1850s  said:

“De Indians fetch their pots and jars to sell”

Note that by this time , (1850s) exceptional high fired utilitarian stoneware was being produced and sold in the Winnsboro area. The stoneware, with a glassy alkaline glaze, was both durable and easy to clean. It was used for food production but also for serving as well, although fancy ware from Charleston was preferred at the dining table by country housewives who could afford it.  By this time tinsmiths were producing plates and cups in the upcountry and rail was bringing goods inland from the coast. Apparently, the use of these items were reserved for the white population, and colonoware use was reserved for the slave population.

Below are examples of contemporary Catawba Pottery. This is a highly collectible product that is different than the Colonoware produced for trade
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Figure 2. Contemporary Catawba Ware

Contemporary Catawba Pottery

Because Colonoware was a low fired product it was delicate, not unlike porcelain.  But unlike porcelain, this porous and unglazed product  stained easily and would have retained flavors from previous  use.  It  would not have been uniformly sanitary after cleaning and would have been a breeding ground for microbes. It seems that its major advantage was low cost.  I suspect that, in its own way,it was a  symbol of repression. Colonoware was an inferior product, a fact perhaps not noted by the 18^th century enslaved population , but certainly by nineteenth century enslaved, observing the expansion of ceramic and tin options. As food preparation and serving vessels improved with the introduction of  tin and stoneware, colonoware continued as the Master's choice for the slave street.

This premise is proven by the distribution of Colonoware shards at dig sites all throughout the southeast from Florida to Alabama to Virginia. Shards are commonly found interspersed among other shards in archaeological digs. Present in both eighteenth and nineteenth century digs, it is far more predominant in earlier sites than later. It is interesting to note that it is virtually nonexistent at post civil war sites.

It would seem that freed African Americans in post civil war society left colonoware behind when allowed to choose their own vessels.

January 19 is the birthday of National Unity Leader Robert E. Lee

       Confederate Memorial at Arlington National Cemetary, recently removed

 April 9, 1865 was a sad day for the 28,000 strong  Army of Northern Virginia. It was the day that marked the end of the long struggle by southern states for independence. General Robert E. Lee surrendered his army to General Grant at Appomattox. Grant’s terms were generous, allowing the men to go home and carry their personal property. Officers were even allowed to keep their swords. Grant wanted to strike a tone of reconciliation. As the surrender was announced, his men commenced firing a salute of a hundred guns in honor of the victory.

 Quoting Grant “. I at once sent word, however, to have it stopped. The Confederates were now our prisoners, and we did not want to exult over their downfall. “

 General Robert E Lee announced the terms of surrender to his vanquished troops. Among his final orders he declared:

 “Let us furl the banner, never to unfurl it again”

 Robert E Lee became a symbol of national reconciliation. The leader of a Confederate army earned respect and admiration both north and south. Because Robert E Lee was such a great man, and because he set the tone for reconciliation after the War, he was lionized, and rightly so, by vanquished southerners. He aimed to set the tone for healing the wounds of a war torn nation. Shortly after the War he became president of Washington College, later Washington and Lee University. The day he was sworn in as college President, he took an oath to “henceforth” support the U.S. Constitution, his recommendation to all former Confederates. 

At his funeral in 1870, no flags of the Confederacy were displayed.. Lee did not want such divisive symbols following him to the grave. Former Confederate soldiers marching did not don their old military uniforms, and neither did the body they buried. The flag was folded up and put away, making occasional appearances at funerals and later, Veteran’s reunions.

As for the Battle Flag of the Army of Northern Virginia, it has been a symbol of heritage to some, a symbol of  terrorism to others. The young man that killed the nine martyrs at Mother Emanuel AME Church in June 2015 wrapped himself in that flag, and so now the flag has been furled, never to fly again, at least not on Public property..
General Robert E Lee would be pleased.

February is Black History Month : Identifying the ironwork of Peter Simmons

Peter Simmons (1856 - 1957) was a blacksmith and the mentor to Phillip Simmons, the famous African American  blacksmith who was commissioned to forge beautiful ornamental ironwork that graces  the driveways, balconies  and garden entrances in downtown Charleston and throughout the Lowcountry. It is estimated that a full 60% of surving ornamental iron work in Charleston is attributed to him over his 65 year career, But many ofd those attributions are incorrect, as they are the work of his mentor, Peter Simmons, whose commissions, up to now, have been  unhdocumented. .  

I am a believer that when it comes to history, the absence of evidence is not necessarily the evidence of absence. Consider that gentlemen in the Age of Letters oftentimes instructed estate executors to burn their correspondence. The idea that a google search will provide the definitive answer –end of discussion—is a flawed approach. I contend that just because it can be found  on the Internet doesn’t mean it’s the last word, or the only word, on a topic..

To paraphrase Paul Harvey, there’s always the rest of the story.

Such is the story of Peter Simmons. As many of you know, Peter Simmons was mentor for famous Charleston blacksmith Phillip Simmons. The literature tells us that Phillip Simmons trained in his blacksmith shop at 37 Calhoun Street starting at about age 13. One would think from the literature that Peter Simmons was engaged in a utilitarian trade, fixing wagon wheels, spokes etcetera. There is no mention that  he took commissions for ornamental work., yet his apprentice Phillip Simmons is famous for his ornamental work. Ah, the absence of evidence….

The idea that Peter Simmons taught Phillip Simmons the magic of turning iron into artwork is a logical conclusion. After all, was Phillip Simmons so innately talented that he taught himself? Some would have you think so, but now the evidence has emerged confirming speculation that he learned his ornamental skills from his old mentor.

Here we have a gate, photo provided by  Phillip Simmons to the Old Slave Mart Museum, ornamental ironwork directly attributable to Peter Simmons. 

The Old Slave Mart Collection, gathered and curated  by Miriam Wilson in the first part of the 20^th century, included ornamental wrought iron donated by Phillip Simmons in 1967. In the 1980s the collection sold for $12,000 to a black gentleman in Walterboro who sold off a substantial parts of the collection at auction, including Peter Simmon’s ironwork, in 2018.  I went to the auction to document his work, and attached are those photographs. Peter Simmon’s ironwork was purchased by the Smithsonian Museum.

Peter Simmons Ironwork

One design element unique to Peter Simmons is the stamen and frond design as  seen in the second piece to right.This design can be found on a number of properties around town including the garden wall at the Colonel John Stuart House at 106 Tradd Street and the driveway gate at  36 Meeting Street, a gate executed by Phillip Simmons using fine  hanmmered husk work created by his mentor Peter Simmons> Note also the twirled or twisted iron bar design taken up by Peter Simmons.