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For most of the nineteenth century, it held dozens of family-connected potteries, each producing massive amounts of wares for use throughout the south.

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However, the discovery of kaolin-essential for making both hard and soft-paste porcelain-in the Carolina interior gave western ceramicists, they hoped, a way to produce wares comparable to those of their Asian counterparts. Getting their hands on it, though, would not be easy.

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Eventually, as settlements expanded westward, a physician, printer, publisher, and pottery owner named Dr. Abner Landrum arrived in Edgefield and was quick to make a name for himself, especially after his re-discovery of kaolin in Despite the encouraging news, though, Landrum, like those before him, found the harvesting of kaolin too problematic to make profitable amounts of fine porcelain.

For Landrum, it was a wise decision. It vitrified beautifully, which resulted in a durability well suited for food storage.

ByDr. Landrum, along with some family and a of enslaved people, had built a prominent community around his stoneware pottery. Turners were the backbone of any pottery; each having a specific skill set to form clay into myriad vessels, and a potter called Dave was one of them.

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Verse that, as far as the law was concerned, never should have been put there in the first place. These same laws were only exacerbated after a well-planned slave revolt in was unsuccessful. Moreover, since he marked his works again and again in the face of oppressive laws against such a thing, how did he get away with it?

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Theories abound on both. In becoming literate, one hypothesis suggests that Harvey Drake taught him. Another theory is that he was put to work as a typesetter for the local newspaper, the Edgefield Hiveowned by Abner Landrum.

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Indeed, his remarkable messages present him as a creative and thoughtful man. On both occasions, she was told of a rather unfortunate accident that Dave endured during the course of his career.

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Carey Dickson described him to Bragg. They say he got drunk and laid on the railroad track. Fletcher, who at the time was living in Lesslie, S. Whatever the case, the fact that Dave was able to continue making pottery with only one leg to drive his treadle is, in a word, remarkable.

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There were, however, some occasions where Dave had help. Henry, of course, still had two good legs to treadle the wheel while Dave put his hands to the clay. Later, while enslaved at Stoney Bluff in the s, Dave, working together with another potter, Baddler, was put to work making large meat storage jars including the aforementioned gallon piece, which Dave ed for both Baddler and himself.

Clearly, Baddler was a good match for Dave.

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In fact, another mammoth gallon storage jar arrived at The Charleston Museum innot quite a year after the first one. Thus, if Dave is to be believed and there is no reason not tohe and Baddler created these two massive works on the same day. To date, they are the largest Dave pieces known. Of the numerous potteries scattered about the Edgefield district inonly two were operational in Others, Dave included, entered into wage-paying contracts with their former masters.

Finally a free man, Dave formalized his first name to David and adopted the surname of his first owner, Drake. An federal census listed David Drake, age 70, as a turner still making pottery near Edgefield.

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Alas, it was the last time he was ever recorded. Immediately noticeable was its gargantuan size, something that not even photographs can adequately capture. Measuring just under 2-and-a-half-feet tall with a inch diameter at the rim and a capacity of at least 40 gallons, the piece might have been considered a work of art as much as a meat storage vessel.

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Besides dimensions, however, there was something else equally important. Stoneware pitcher attributed to Benjamin Franklin Landrum Pottery, c. Fisher Tech Solutions.

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