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Face Jugs

The use of pottery jugs can be traced back beyond the Roman Empire. In a region like ours, where histories are often oral, tracing the origins of our traditions is tricky. Face jugs are one of the traditions that are an amalgam of many cultural influences. Amongst that rich history is the port of Charleston; the African tradition of using jug pots as headstones was brought to our culture through this port. Highly prized red glaze recipes from China also made their way to our region from the Charleston port. And even from the pubs of England came a long history and influence through their ever-charming Toby mugs.

Face jugs combine the utilitarian influences of early regional pottery with the unique imagination of individual pottery makers. In the mountains of Georgia, and the Catawba Valley, North Carolina, ugly faces, snakes and devils were added to Market Jugs beginning in the late 1800's. These embellished pots were used to buy & store liquor; the ominous features would scare children so they would not be tempted to try the contents.




MARVIN Bailey first fell in love with pottery while growing up in South Carolina, as his father had an extensive collection. Marvin is a self-taught potter carrying on the traditions of Southern Folk Pottery while also exploring new ideas and also creating imaginative one-of-a-kind pieces. The regional clays and the kiln he fires in keep alive many of the techniques first explored in the famous Edgefield, SC potteries. He built his first pottery workshop in 1994 never having put his hands in clay. He quickly purchased a potter's wheel and kiln and started working. As Marvin says, "trial and error are my only teachers."
Mr. Bailey has developed quite a following for his pottery and artwork. Marvin's wife, Lynn, adds touches of her own to some of Marvin's pottery; they have built a beautiful life as well as a fine business together.
Marvin travels to antique and Americana shows to share his work and the different regionalisms both in subject matter and process. As anyone who has met him will tell you, he could not be a nicer, gentler person, a wonderful ambassador for our incredible living history of pottery here in the southeast.

MICHAEL Ball lives and works in Western North Carolina, home to rich traditions in the making of pottery. Many potters including Mike, are still hand digging their clay and wood firing in groundhog kilns, just as potters did in the 19th century. Mike learned his trade both from Kim Ellington and Charlie Lisk who in turn learned directly from local master Burlon Craig, the last potter experienced in the earliest traditions of the region. Mikes face jugs are expressive, each one unique in its facial features and fanciful flair. Following local tradition, he incorporates beautiful glass drips and uses broken plates for teeth. Mike also creates an assortment of utilitarian ware.

MICHAEL Gates is a North Carolina potter, a descendant of a German family synonymous with time honored traditions: The Reinhardt Pottery. He is a sixth generation potter carrying on techniques while adding his inspired voice.
He studied ceramics at UNC- Greensboro, abroad in Australia just before the turn of this century, and upon returning to NC he worked with several Catawba Valley traditional potters.
Michael's pottery is an appealing mix of aboriginal love of texture and dots, and traditional slip decoration. He fires in a wood- fired ground hog kiln and digs his own clay and using alkaline glazes, creating functional ware that honors the old, yet pushes toward the future. He sometimes even uses broken Reinhardt pottery shards for teeth.

FRED Johnston is a master potter with degrees from both Alfred University & Penn State. His credentials include public art commissions, esteemed Smithsonian exhibitions & nationally recognized collections.
Fred learned to make pots in the Seagrove area in the 1980s where he worked odd jobs around the different studios, including Mark Hewitt, Ben Owen and Dover Pottery. This experience was the catalyst for Fred's commitment and passion to the pottery vernacular, which turned into an adventure and education.
Growing up in the rural south gave him access to its colorful history & characters and served as inspiration for his work. His intellectual curiosity has lead him to draw on a broad base of pottery traditions from around the globe & throughout time, such as Greek, Korean, Chinese, Pre-Columbian and European. It is this amalgam of his curious nature & creative powers that draws us to his pottery.

STACY Lambert studied graphic design and was intrigued by the graphic works of M.C. Escher and the surrealistic works of Salvador Dali. He studied the art of pottery under the guidance of Seagrove potter, Sid Luck. Like any smart apprentice, he learned the technical aspects of firing and glazing from the master, then as the years went by, he added his own unique talents of painting and graphics to his original creations. His rich color pallet and his three-dimensional interpretations of people and animals are as much fun as a potter ought to have. Collectors are having nearly as much fun collecting everything he produces as Stacy is producing it. If you see piece of his art that speaks to you, make plans to take it home quickly before it speaks to someone else, because it will. Since the work is all handpainted and sculpted by Stacy the number of pieces he produces is quite low, thus making his work even more desirable to the serious collector of rare pieces.

WALTER Fleming, a Presbyterian minister by day, has always been interested in rural tasks and early American craftsmanship. In the seventies Walter began making white oak baskets as a hobby. Later he became intrigued with the process of making pottery. After he had created several pieces, he intentionally went to meet Burlon Craig, the well-known potter from the Catawba Valley and asked Craig to critique his work. Burlon later introduced him to another skilled potter by the name of Charlie Lisk. Over the years, Walter found his relationship with these two folk potters to be invaluable.

WAYNE Hewell is a 5th generation potter, and farmer in the mountains of Georgia. He is part of the Hewell family of Georgia, potters for more than a hundred years. The patriarch of this family was Eli D Hewell, who established the pottery in 1890. His aunt is Marie Rodgers-the first woman folk potter to independently operate entirely on her own. Waynes lineage has undoubtedly influenced him. He uses wild clay from Georgia, fires in a wood-fired kiln, and uses Tobacco Spit or Alkaline glazes to create the greenish, runny surfaces on the jugs. Wayne often incorporates humor into the faces by adding grimaces, points to the ears, cigars, etc. Wayne is also known for his swirl ware, a process of combining two different clay bodies which result in an amazing striped effect.






Michael Gates, Whiskey for Breakfast Jug

Wood-Fired, North Carolina clay

size:  11" tall
$ 110.- (MG03)

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Michael Ball, Circling Eye Eyeball Jug

Gas Fired, Catawba Valley wild clay

size:  9" tall
$ 275.- (BAL290)

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Michael Ball, Swirly

Gas Fired, Catawba Valley wild clay

size:  12" tall
$ 250.- (BAL283)

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Michael Ball, Slip Trail Decorated Face Jug

Gas Fired, Catawba Valley wild clay

size:  7" tall
$ 150.- (BAL301)

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Wayne Hewell, Strap Handle Monkey Jug

Wood-Fired, Georgia wild clay

size:  10 1/2" tall
$ 200.- (WH172)

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Stacy Lambert,"Angry Grill" Story Jug

Hand-painted clay electric fired, full story on back

size:  8 1/8" tall
$ 150.- [sl153]

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Wayne Hewell, CornCob Man with Tobacco Spit Glaze

Wood-Fired, Georgia wild clay

size:  7" tall
$ 165.- (WH180)

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Wayne Hewell, Goblin with Tobacco Spit Glaze

Wood-Fired, Georgia wild clay

size:  5" tall
$ 90.- (WH181)

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Michael Ball, 2 Handled Wig Stand Face Jug

Catawba Valley Stoneware, Gas fired

size:  8" tall
$ 150.- (BALL274)

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Michael Ball, Swirly Face Jug

Gas Fired, Catawba Valley wild clay

size:  6 1/4" tall
$ 150.- (BAL286)

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Wayne Hewell, A fraternity of Face Jugs

Georgia Clay Wood-Fired Stoneware

size:  2" tall -ish
$ 38.- each (wh11)

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Michael Ball, Slip Trail Decorated Double Face Jug

Gas Fired, Catawba Valley wild clay

size:  6 1/4" tall
$ 150.- (BAL284)

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Michael Ball, Double Handled Eyeball Jug

Gas Fired, Catawba Valley wild clay

size:  12" tall
$ 485.- (BAL289)

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Wayne Hewell, Pardoned Turkey

Wood-Fired, Georgia wild clay

size:  11 5/8" tall
$ 250.- (WH185)

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Michael Ball, Two Handled Wig Stand

Catawba Valley Stoneware, Gas fired

size:  7 1/2" tall
$ 150.- (BALL282)

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Wayne Hewell, Longneck & Mildred the Chicken

Wood-Fired, Georgia wild clay

size:  Mildred is 9 3/4" tall, Longneck is 10 1/2" tall
$ 165.- each (WH183, WH184)

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Wayne Hewell, Bushy Eyebrow Swirl Jug

Wood-Fired, Georgia wild clay

size:  5 3/4" tall
$ 95.- (WH182)

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Wayne Hewell, Swirl with Stogie Jug

Wood-Fired, Georgia wild clay

size:  10" tall
$ 275.- (WH179)

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Michael Ball, Blue Eyes One

Wild NC Clays, Gas fired, copious amounts of imagination.

size:  7 3/4" tall
$ 120.- (BALL264)

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