Edgefield – Just North of Southern

The Acacia Collection’s Edgefield Face Vessel:

An Edgefield face vessel sold last fall at Slotin Folk Art Auction in Gainesville, Georgia. Unlike many similar objects that appear at auction, this piece appears to have a potentially valuable provenance. Mr. Derrick Beard, a collector of African-American Decorative Arts, purchased the face vessel, along with a Thomas Day secretary. Mr. Beard was featured in this article in Antiques and The Arts Weekly immediately following the close of the sale.

Figure 1: Face vessel 6 3/4″ H, photograph courtesy of Slotin Folk Art Auction

The lot description was as follows: Slave-Made Edgefield Face Vessel. c. 1860’s. Alkaline glazed stoneware, African American kaolin eyes and teeth. Produced by slave potters in Edgefield District, S.C. 6.75″ h. Professionally repaired handle and rim, otherwise excellent condition. Provenance: H. Paul Blatner, Savannah, GA, The Acacia Collection and The Old Slave Mart Museum. Exhibited Winston-Salem State University, 1995-1996. Featured in AMERICAN VISIONS – AUG. 1990, TIME LIFE Books African American

Voices of Triumph: Creative Fire 1994, Vol. 3, Page 197, WORLD 1994.

Further provenance provided on an information sheet titled “Acacia Historical Arts International Collection” reads: Face vessels or grotesque jugs as they are sometimes called have been mystery items of American pottery. Although they have an African origin, they are produced by white Americans as well. However, this Edgefield, SC piece is undoubtedly of African American origin. See AMERICAN VISIONS mag. 1990. The uniqueness of this face vessel lies in the fact that it is to date the only face vessel that has been linked with a practitioner [sic] voodoo. In this case, a Savannah black lady who told Mr. Blatner at the time of sale, “It is powerful.”Mrs. Mamie DeVeaux and her family were from Coosawhatchie, S.C. where such practices were common place [sic]. Mr. Blater, a trained museum curator, retains documentary evidence of this practice by Mrs. DeVeaux who earned a very good living advising and counselling [sic] clientele in the city Savannah. Mr. Blatner originally purchased this face vessel for his own personal collection. He guarantees it to be of 19^thcentury vintage and not a 20^thcentury copy. This item is similar to Plate VII in THE AFRO AMERICAN TRADITION IN DECORATIVE ARTS by John Michael Vlach,1978.

Howard Paul Blatner was a well-known scholar, collector, historian and antiquarian; as well as a Savannah native. He was active in many historic venues, a passionate bottle collector, co-founder of the Great Savannah Exhibition (now the Savannah History Museum), and the museum’s first curator. Sadly, Mr. Blatner passed away in 2015.

The Acacia Collection of African Americana was formally organized in 1989, although Mr. Greene had been collecting objects during the year’s prior. A short biography of Mr. Greene per Emory University reads: Carroll Theodore Greene, Jr. was born on June 17, 1931. Greene lectured, curated many exhibits, and published widely on the work of Africa American artists. In 1967, he co-curated “The Evolution of Afro-American Artists: 1800-1959” with Romare Bearden at the College of the City

University of New York. In 1968, he began a fellowship in Museum Studies at the Smithsonian Institute, where he played a role in adding to the museum’s collection of African American artifacts. He published American Visions, Afro-American Art-1986 in 1987. He was a founding member, curator, and executive director of the Acacia Collection of African Americana, which he formed in 1989. Greene died at his home in Savannah on May 30, 2007.

Traditionally in the literature this type of face vessel has been attributed to the Miles Mill or Sunnybrook pottery located on the present day Edgefield and Aiken county line based on the unique, flat top spout. While the spout and handle on the Slotin piece has been restored, it appears to be modeled after Plate VII in Vlach’s book mentioned above. Another very similar example from the Marcus Benjamin Collection can be found here at The National Museum of American History. Dr. Benjamin wrote extensively about ceramics beginning in the 1890s and was thanked for his “valuable assistance and advice” in the preface to The Pottery and Porcelain of the United States by Dr. Edwin Altee Barber, 1893.

The Edgefield District of South Carolina was located in the southwestern portion of the state. The Landrum family began producing stoneware in the area about 1810, and this practice continued at multiple locales into the 20^thcentury. On 6 November 1867, Lewis J. Miles announced that he would be moving all of his business operations, including his stoneware manufactory, to Miles Mill. Prior to this announcement, Miles had worked with his father in law, Reverend John Landrum, in the early 1840s, and later established his own pottery known as the Stony Bluff Manufactory around 1848. Miles move strategically placed his ventures within close vicinity of the railroad, and a specific, scheduled stop at Miles Mill. In Leonard Todd’s Carolina Clay he confirmed that Miles died not long after his move to Miles Mill. He also confirmed that the Stony Bluff Manufactory was leased to freedmen. John L. Miles, son of L.J. Miles, appears to have been manufacturing stoneware at Miles Mill from the time of his father’s death through at least 1880. Based on proximity among the 1870 U.S. Census, potters at Miles Mill may have included David Drake, Mark Jones, Brister Jones, Thomas Jones and Phillip Miles. Likewise, in 1880, potters at Miles Mill may have included William F. Hahn, Mark Jones, Jack Thurman, and Archie Thurman. Joseph G. Baynham may have started manufacturing stoneware prior to 1880 as well, although he was not found among the industrial schedules recorded for the year beginning 1 June 1879 and ending 31 May1880.

Figure 2: 1871 Isaac Boles Map detail of Miles Mill pottery site.

Figure 3: Single handle jug attributed to Miles Mill pottery. Photograph courtesy of Ivy Auctions.

Figure 4: Face vessel attributed to Miles Mill pottery. Photograph courtesy of Crocker Farm.

Figure 5: Face jar, collection of the Augusta Museum of History.

What about Mrs. Mamie DeVeaux? How did she gain possession of the piece? If Mr. Greene formally organized the Acacia Collection in 1989, Mr. Blatner most likely purchased the piece pre-emptive to the Acacia as it was part of his personal collection.

Who am I looking for in the documentary record? An African American woman, married at some point, described as “old” (subjectively born about 1900 +/- 15 years) at the time she sold the face vessel, which was likely prior to 1989; and who was originally from the Coosawhatchie area, and might have later lived in Savannah, Georgia. (All within the lifetime of Mr. Blatner who was born 1957).

Coosawhatchie, South Carolina remains an unincorpated community in Jasper County at the head of the Broad River. Prior to 1912, Jasper County was part of Beaufort County, and in 1880, Hampton County encompassed a portion of Beufort County. In the 19^thand early 20^thcentury, the nearest major town was Ridgeland and other surrounding communities included Gillionsville, Pocotilago, and Sheldon. At the time the 1870 U.S. Census was recorded, individuals living in Coosawhatchie, Pocataligo, and the vicinity would have most likely been enumerated at Gardens Corner, near Sheldon. In 1870, one family by the surname Deveaux and its derivations was found. By 1880, there were eighty-three individuals with the Deveaux surname in Beaufort County, and an additional fifteen in neighboring Hampton County. (SeeMap)

Figure 6: Colton’s Map of North and South Carolina, 1886. Courtesy of David Rumsey Collection

Figure 7: Inset of Colton’s 1886 map identifying Coosawhatichie and Sheldon as well as the proximity of Savannah, Georgia.

By 1920, there were four individuals named Mamie Deveaux living in either Beaufort or Jasper County, South Carolina. Mamie Devoe (b. 1920) was living in St. Helena with her grandparents. Mamie Deveaux (b. 1906) was living near Sheldon with her parents, James and Hattie. Mamie Deveaux (b. 1892) was living near Coosawhatchie with her husband Benjamin (b. 1885), Earl W. (b. 1920) and Reius (b.1845). There was also a Mamie Devaux (b. 1879) living with her husband, John, in Savannah,Georgia.

By 1930, Mamie Devoe (b. 1919) continued living with her grandparents. Mamie Deveaux (b. 1906), daughter of James and Hattie, was not present in Jasper or the surrounding counties, nor was she present in Chatham County, Georgia. Mamie Deveaux (b. 1910) was living with her father, Kit Wade near Pocatilago. The household following Kit’s contained Ben Deveaux (b.1888), his son Earle (b. 1920) and daughter Irdell [Thelma] (b. 1923). Mamie’s birth year, in this case appears to have been on error on either the census taker, or reporting individual (neither of which were uncommon) since it would have been highly improbable that she was married and gave birth to Earl at age 10.

Mamie’s father, Kitt Wade was born about 1855 and was identified as a “doctor” on two of his three death certificates as well as a grave marker place at the Moncepoe Cemetery by his daughter Ardell W. Bass. The Moncepoe or Mont Repose cemetery, and its history is an article unto itself. Since formal training was unlikely, one may infer that he may have practiced a craft that was passed down to him from his elders, and from him to his children. In 1938, Mamie Wade Deveaux’s father died. As the informant on one of his death certificate, she signed “Mamie Wade.” In turn, Ben Deveaux was living alone in Coosawhatchie at the time the 1940

U.S. Census was recorded. Meanwhile, Mamie and her children were living in Savannah no later than 1940. Although Mamie married for a second time, she appears to have used the Deveaux surname periodically after her second husband passed away. Mamie made a living in Savannah by working as a fortuneteller for the majority of her life. This included writing spells and recipes, reading a crystal ball, tarot cards, et cetera.

Figure 8: The Fortune Teller by Harry Rosland.

This compilation of evidence in combination with Mr. Blatner’s accession statement and documentary evidence strongly suggests that Mamie Wade Deveaux was in possession of the face vessel that now belongs to Mr. Beard. On a personal note, I look forward to further exploring the genealogy and material culture related to this family and region of South Carolina.

References Available Upon Request.

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IDENTIFYING FORTUNE JUSTICE

In the late 1980s, a South Carolina archeologist found a pair of 19th century stoneware tombstones on the outskirts of the Springfield Missionary Baptist Church graveyard, which is located on the Edgefield and Aiken county line in southwestern portion of the state. Each tombstone was composed of alkaline glazed stoneware clay, and carefully inlaid kaolin clay letters, which recognized both the deceased as well as the objects’ maker (Figures 1 & 2). The craftsman and creator, F.E. Justice, has remained unidentified with any distinction.

Figure 1: Alkaline glazed stoneware tombstone reading SACRED / TO THE / MEMORY / OFF / HENRY / DANIELS / BORN SEPT / THE . 6 . 1868 / DIDE . JULY / THE . 24 . 1873 / F.E. JUSTICE /
MAKER. Collection of the South Carolina State Museum.

STONEWARE PRODUCTION & SPRINGFIELD MISSIONARY BAPTIST CHURCH

Throughout the 19th century alkaline glazed stoneware production was a leading industry in the Edgefield District of South Carolina, which encompassed portions of present day Aiken, Edgefield, Greenwood, McCormick, and Saluda counties. White planters, who initially utilized itinerant potters and enslaved labor to effectively run their businesses, predominantly owned the large production potteries, or factories. After the end of the Civil War, factory owners began employing freedmen. During the last three decades of the 19th century, the Landrum, Miles and Seigler families managed stoneware factories in present day Aiken County, South Carolina.

Figure 2: Alkaline glazed stoneware tombstone reading “SACRED / TO THE / MEMORY / OF MRS. HARRIET / HASZARD / WIFE OFF / ROBERT / HASZARD / BORN 1838 / DIDE 1868 / BLESSED IS / THE DEAD / THAT DID[E] / IN
THE / LORD / F.E. JUSTICE / MAKER. Collection of the South Carolina State Museum.

The Springfield Missionary Baptist Church, where the tombstones were recovered, was founded in 1868 by freedmen living in neighborhood, within less than a five-mile radius to the aforementioned stoneware factories (Isaac Boles Map, Appendix A). The Landrum family purportedly donated a parcel of land that may have, according to family oral history, contained an old church building. Likewise, Works Progress Administration documents recorded in 1937 stated that members worshiped under an arbor until a building was constructed around 1870.

Remarkably, since its inception, the church has been twice burned down, leveled by a storm, and rebuilt three times.

Today, the sandy graveyard is sprinkled with surviving headstones although many have been broken or damaged by the elements as well as vandals. Headstones or grave markers found here were usually a simple wooden marker, molded concrete tombstones, or no marker at all rather broken household goods or mementos of the deceased. The alkaline glazed stoneware tombstones made by Justice are the only two of such character known to exist, and are the earliest known markers used in the cemetery.

FINDING FORTUNE JUSTICE

The surname Justice was not common in the Old Edgefield District, South Carolina.

However, by 1880 an African American named Fortune [Justice] Jelters, born 1859, was living in Shaws Township, Aiken County, South Carolina where he worked as a “laborer.” His housemates included Wash Miles (age 28), Harriet Miles (wife, age 22), George Miles (son, age 1), and Briscoe [Brister] Jones (age 21). Wash Miles was noted working as a “farmer,” while similar to Justice, Brister Jones was a laborer. Could Fortune Justice be the maker of the stoneware tombstones as “F.E. Justice?”

This seems plausible since Miles, Jones and Justice were living five dwellings away from John W. Seigler who owned a saw mill, grist mill and stoneware pottery on Shaws Creek, near present day Eureka, South Carolina. Seigler, and eventually his son, George Preston Seigler, maintained the sawmill and pottery until 1895. Additionally, Wash Miles and Brister Jones have been positively identified as stoneware potters; and Miles enumerated in the 1880 U.S Census non-population industry schedule as running a stoneware pottery.

Pre-1880 documentation of Fortune Justice, and likewise, Wash Miles are sparse which is not necessarily an uncommon occurrence. Probably born no later than 1860, Justice would have been excluded from the 1867 – 1868 South Carolina Voter’s Registration and 1868 South Carolina Militia Registration; but would have been included in the 1869 South Carolina State Population Census and 1870 U.S. Census. In turn, Wash Miles (born no earlier than 1852) and Brister Jones (born no later than 1861) should have had similar patterns of record exclusion and inclusion. Just as the three were excluded from the voter’s registration and militia roll, none of them were found as head of household, the only named individual per dwelling noted in the state census, which would be consistent with a hierarchal family structure.

Furthermore, Fortune Justice and Wash Miles have not been found in the 1870 U.S. Census. Brister Jones, on the other hand, was found living in Edgefield County, Shaw’s Creek Township with stoneware potters Mark Jones (his father) and David Drake. Likewise, Miles’ future common law wife, Harriet Pope was also found living in Shaw’s Creek Township with her parents, Wade and Mary Pope. Notably, the emancipated African American community was ensconced in a hostile political and social climate during Reconstruction, which likely discouraged participation by individuals and encouraged enumerators to casually undercount in particular geographic areas. Additionally, stoneware potters were itinerant, even within a finite radius and could have been away from home selling wares or traveling between factory sites, thus having missed the enumerator’s visit. A surname change by Justice and Miles was also considered, but no compelling evidence was discovered for further pursuit.

THE WILL OF BENJAMIN FRANKLIN LANDRUM, SR.

Benjamin Franklin Landrum, Sr. born 1810 operated a stoneware factory in the Horse Creek Valley for more than four decades. On 3 June 1887, he penned a codicil to his 1884 will dictating how a variety of debts accrued by his children were to be collected by the estate after his death. Notably, long time neighbor, William Riggs, with an “X” as his mark, witnessed the codicil. On the line below Riggs, in careful script, the final witness signed “F.E. Justice.” When Landrum died in December 1888, the estate was appraised and personal property sold by the sheriff on 15 January 1889. Both “Wash Mils [sic]” and “Justic Fortun [sic]” purchased multiple items at the sale; two of only three identified African Americans who participated in the probate sale.

Figure 3: Signatures of B.F. Landrum’s Codicil witneses with signature of F.E. Justice

This codicil entry and probate sale participation illustrates a direct association between (Fortune) E. Justice and B.F. Landrum, demonstrates literacy on Justice’s part, and implies Justice’s standing amongst the potting community at not only the Seigler pottery, but also the Landrum factory. F.E. Justice’s intimate involvement with the Landrum family along with Fortune Justice’s and, his fellow potter and peer, Wash Miles further suggests that Fortune (F.E.) Justice was the creator of the stoneware tombstones.

Figure 4: Probate sale of Benjamin F. Landrum, SR.

STONEWARE AS GENEALOGICAL MATERIAL CULTURE

The three stoneware artifacts described are dual purpose in that they contain both material culture context as well as and genealogical information.

Stoneware tombstone of Henry Daniels as shown in Figure 1 reads “SACRED / TO THE

/ MEMORY / OFF / HENRY / DANIELS / BORN SEPT / THE . 6 . 1868 / DIDE . JULY / THE . 24 . 1873 / F.E. JUSTICE / MAKER.”

Stoneware tombstone of Mrs. Harriet Haszard [sic] as shown in Figure 2 reads “SACRED / TO THE / MEMORY / OF MRS. HARRIET / HASZARD / WIFE OFF / ROBERT / HASZARD / BORN 1838 / DIDE 1868 / BLESSED IS / THE DEAD / THAT DID[E] / IN THE / LORD / F.E. JUSTICE / ”
Stoneware single handle, alkaline glazed face jug with kaolin inset eyes and teeth incised “JOE RANFORD” as shown in Figures 5 – 9.

In the first two examples, F.E. Justice used a local, established industry, materials and techniques to create a unique product (alkaline glazed stoneware tombstones) for the deceased, Henry Daniels and Robert Haszard; specific to southwestern South Carolina. Robert Haszard [Hazzard], after the burial of his wife, was found living near the Miles and Landrum potteries, less than three miles from the Springfield Missionary Baptist Church in 1870 and 1880 as part of the Shaws Creek, and later Shaw Township community.

Lastly, a stoneware face vessel resides in the collection of the Smithsonian’s The National Museum of American History. The name “JOE RANFORD” is found incised circumferentially around the shoulder in a font exceptionally similar to that used by F.E. Justice on the stoneware tombstones. Joe Ranford, African American and born 1861, was living two dwellings away from John W. Seigler; and three dwellings away from Fortune Justice, Wash Miles and Brister Jones at the time the 1880 U.S. census was recorded. A comparison of the font used on the tombstones created by F.E. Justice to the Ranford face jug is compelling. While kaolin clay was not inlaid to form each letter on the jug, a difficult task to complete on a concave ceramic body, the execution of serif-style font letters E, R, A, F and N are nearly identical to those found on the tombstones. (Figures 5 – 9). If, in 1880, Fortune Justice was living with potters Wash Miles and Brister Jones near the John W. Seigler pottery on Shaws Creek, Joe Ranford was also living three households away, the face jug’s archeological attributes suggest it was likely made at the Seigler pottery, and analysis of the incised font used is comparable to that of the tombstones; then the evidence further identifies Fortune Justice as F.E. Justice, stoneware potter and craftsman.

Figure 5: Alkaline glazed face jug with kaolin inset eyes and teeth and incised lettering. Collection of the Smithsonian’s National Museum of American History. Photograph courtesy of the Chipstone Foundation and Mark Newell, Ph.D.

Figure 6: Side view, face jug. Collection of the Smithsonian’s National Museum of American History. Photograph courtesy of the Chipstone Foundation and Mark Newell, Ph.D.

Figure 9: Inset view, Figures 1 & 2 as font comparison

CONCLUSION:

Although fleeting in the documentary record, F.E. Justice, has been identified as Fortune Justice, a talented, Reconstruction Era African American potter. Justice’s identity could be found using indirect community associations, employment, kinship, and the artisan’s distinct style and technique as a signature.

Reference material available upon request.

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