2020 VOLUME 41

E-Mail   Print
A  A  A
Guest Editor’s Introduction

Dr. Torren Gatson

It is energizing to know that African American craftsmanship, a subject that has been rendered invisible in some decorative arts circles for so long, has now reached the forefront of discussion in the MESDA Journal. The true power in an object is its ability to tell a story and, on occasion, capture the voice of an otherwise historically invisible person. The fine and decorative arts too often highlight only the accomplishments of the white craftsmen and white majority, while relegating skilled African American craftspeople to the periphery, to the footnotes, or erasing them entirely. The articles in the 2020 edition of the MESDA Journal are a strong beginning. The phenomenal stories and accompanying decorative objects in this volume fill a void in the scholarship of decorative arts. The authors of this year’s articles prove that by observing culture through a comprehensive lens, we begin to see that the real narrative is the story … Continued

“…my friend David Jarboe…”: The Unfinished Portrait of an Alexandria Potter

Angelika R. Kuettner

Alexandria’s tradition of stoneware manufacture is one of the great American ceramics stories. The broad outlines of stoneware made in Alexandria, Virginia have been put forth by scholars and collectors in the last fifteen years, but much more remains to be addressed, especially the roles played by enslaved and free African American potters.[1] The narrative of free African American potter David Jarbour is an important part of this story. From 1791 until 1847, the city of Alexandria was part of the District of Columbia. In the District of Columbia, enslaved African Americans could purchase their freedom and remain within the community, often working as skilled craftsmen. Jarbour purchased his freedom in 1820 and practiced his trade at the Wilkes Street Pottery in Alexandria. The important role played by African American potters in American ceramics history has only recently been widely acknowledged. National recognition has been given to the enslaved potter … Continued

Decoding the Woodwork of White Hall: A Network of Enslaved Carpenters and French Huguenots

Katherine McCarthy Watts

The interior woodwork from White Hall Plantation reflects the legacy of the highly skilled African American carvers and carpenters who were enslaved by families of Huguenot descent in Berkeley County, South Carolina (Figure 1). While the house at White Hall Plantation does not survive, a room was saved and is exhibited at the Museum of Early Southern Decorative Arts. Though the room had been interpreted as a dining room in the past (Figure 2), when compared to historical photos it is clear that it is actually White Hall’s former drawing room (Figure 3). Despite the obvious skill and talent of the craftsmen who completed the architectural interiors, until recently the museum knew little about the specific carpenters and carvers who created the room’s intricate carved and gouged woodwork. White Hall was built for Thomas Porcher (1796–1843) and his wife Catherine Gaillard Porcher. While researching a group of quilts with Porcher and Palmer family histories, MESDA’s … Continued


© 2020 Museum of Early Southern Decorative Arts