OFFICIAL WEB SITE
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The Brush-McCoy Pottery Company
Early 1900's Blended Glazed Pots and Pedestals, Umbrella Stands, Cuspidors. . . Finely modelled decorations in blended glazes.
Early 1900's Fire Clay Cooking Ware . . . Bristol glazed crockery, sometimes lined in blue.
Early 1900's Stoneware Butter Jars. . . Stoneware.
Early 1900's Combinets and Chambers . . . Plain white, blue tint, green stippled, Greenon-Ivory, and Blue Banded on standard shape.
Early 1900's Red Burned Flower Pots and Saucers. . . in graduated sizes.
Early 1900's Rosewood. . . Standard brown glazed ware on simple shapes, decorated only with diagonal orange streaks.
1902 Mt. Pelee. . . Molded ware that has been altered while in the wet state by pinching and pulling the clay to form valleys and crests. Most commonly found in an iridescent charcoal grey, mat green has been reported . . . other colors are possible.
1904 Green -On -lvory . . . Spongeware-type utility ware, mixing bowls decorated with overall pineapple embossing.
1905 Loy-Nel-Art. . . Standard brown art ware, hand decorated under the glaze with colored slip. Shapes were simple and floral studies were by far the most popular.
1905 Olympia . . . Beautifully modelled brown glaze art ware, decorated in natural colors with wreaths of leaves and berries or simple floral sprays in low relief. Some pieces are further enhanced by diagonal orange brush streaks on the reverse.
1905 Rosewood (Second line) . . . Very similar to Olympia.
1905 Renaissance. . . Very rare brown glazed artist decorated ware of superior quality.
1910 Red Onyx. . . Jardinieres, pedestals, umbrella stands, etc., in a high gloss glaze of rich colors in a drip-effect.
1910 Liberty Bell . . . Umbrella stand, with Independence Hall on the back, Liberty Bell embossed on the front, #73, 21" high in blended glaze, designed by Cusick.
1910 Marble Ware. . . The design is reminiscent of Greek columns, sometimes with Greek key pattern, in an ivory, marble-effect glaze.
1910 Mat Green . . . Mat green glaze on various simple, unadorned shapes: an Egyptian border design umbrella stand, 21" high; plain jardiniere and pedestal; umbrella stand; a vase with Greek key design; a footed Egyptian jardiniere with sphinx, pyramids, 10 1/2".
1910 Old Ivory Ware. . . Finely embossed and modelled, the body is Ivory ware with a creamy glaze. The modelling is brought out with rich brown in the incisions and around the embossed work.
1910 Corn Line. . . A fine cream body, highly glazed in natural colors of green and yellow, in tankards, pitchers, creamer, steins, cereal jar, spice jar, butter jar, tobacco jar and salt box.
1910 Decorated Pitchers . . . Natural colors on ivory, or blue decoration on Bristol glaze. Corn, Tulip, Daisy, Copenhagen (daffodil) Iris, Holland jug (Fancy shape, decorated with three daisies), Indian village, with matching mug.
1910 Frog Cuspidor. . . Finely modelled frogs on front and back with green predominating.
1910 Blue Mottled, Blue Mottled and Banded . . . Sponge-ware type decoration on Ivory background, domestic wares.
1910 Billy Possum Money Bank . . . Figural money bank, 5~~", in green and brown glaze.
1910 Baby Mug . . . Cream inside with blue exterior, the mug has two large handles and is decorated with the letters "Baby".
1910 Blue Stencilled Ware. . . Utility ware . . . rolling pin, stirring bowls, jug, hanging salt box, and butter pot . . . in ivory Bristol glaze decorated with stencilled floral motif.
1910 Blue Banded Ware. . . Utility ware, such as shoulder bowls, bread jar, etc., in ivory with blue bands.
1910 Butter Jars. . . Blue decoration on ivory glaze in various designs: Daisy; Holland (Dutch kids); Indian (embossed scene with two Indians and fawn).
1912 Grape Ware. . . High glazed utility ware with lattice background in white with blue grapes and green leaves, brown shading around top and green around bottom.
1912 Venetian Ware. . . Horizontal bands of deep gold separated by wide creamware bands decorated with stylized floral patterns utilizing pouncing technique (very similar to Roseville Persian).
1912 Decorated Ivory Woodland . . . Tall trees with fence in background is embossed in wide, horizontal center panel. When a top panel is added, it is of flying geese. The bottom panel which shows rabbits is used only on larger pieces. The mat glaze is deep gold with ivory highlights and green bands.
1912 Green Woodland? Brown Woodland. . . Same pattern? but in a high gloss glaze in solid colors.
1912 Oriental Ware. . . Embossed creamware shading from cream to red with various garden scenes executed in black.
1912 Navarre Faience . . . Green backgrounds with incised Art Nouveau figures filled in white . . . made from Owens' Henry Deux molds.
1912 Cobalt Blue Line . . . Jug, cat soap slab, cuspidor, Baby line&emdash;two handled mug, bowl, pitcher and plate&emdash; in cobalt blue with gold trim.
1912 Mat Green becomes Silken Mat Green; Blended Glaze becomes Raduro Blended ware.
1915 Cleo Vases. . . Simple shapes are decorated in bright colors with stylized floral or geometric designs on ivory backgrounds with shaded borders of various hues, similar to Roseville's Persian.
1915 Agean Inlaid. . . On standard company shapes embossed with the Greek Key motif in green with white accenting pattern.
1915 Blue Bird. . . Ivory backgrounds are decorated with three flying blue birds, with rose accents at rim and base on simple shapes.
1915 BabyLine. . . Mug, bowl and pitcher in ivory with red bands, animal figures, and word "Baby".
1915 Roman Decorated. . . Horizontal bands of deep gold or green separated by wide contrasting panels decorated by means of pouncing with scenes of ancient Rome . . . chariots and lions.
1915 Flora . . . Wide horizontal center panel is decorated with repetitive border of stylized flowers, in Salmon, Canary, Umber, Maroon or Green.
1915 Beautirose Ware. . . Embossed shapes featuring a central and bordering rose pattern on ivory backgrounds with green highlighting and red roses.
1915 Dresden Ware. . . Embossed shapes with pointed vertical panels alternating from solid green to ivory with red roses, on ivory backgrounds.
1915 Decorated Autumn Oak Leaf . . . A jardiniere and pedestal is shown, embossed with naturalistic autumn oak leaves with a small squirrel visible among the foliage . . . the base has a bark-like appearance.
1915 Basket Ware. . . Woven basketweave bottom with a wide border at the top decorated with clusters of grapes, vines and leaves. Shown in "Ivotint", ivory accented by rich gold in the embossed work, green leaves and vines, and pink grapes. This glaze treatment is later called "Peach Bloom Ivotint", and is used on "Amaryllis" shapes. (See Collectors Catalogue of Brush-McCoy)
1916 Basket Ware. . . Same line as 1915, shown in Blended Glazes of greens and browns.
1916 Novelty Grass Growing Hobo Head and Pig. . . Hobo #070, Pig #079.
1916 Money Banks . #068 Frog. #069 Hobo; #080 Pig;
1916 Bon-Ton . . . Mat glazed, embossed ivory ware decorated in green and brown tints. Two styles are shown: (1) panels of long stemmed tulips alternate with pea pod decoration, filigree border around top. (2) Embossed grape and leaf motif decorates wide horizontal band in center.
1916 Vogue . . . Greek Key and/or Column design on stark white backgrounds with black, green, or gold emphasizing the pattern.
1916 Nurock . . . Quality utility ware in yellow and brown glaze, similar to Old English Rockingham.
1916 Dandy-line . . . Yellow kitchen ware trimmed with white bands.
1916 Willow Ware. . . "White-Stone" Bristol glaze (ivory) shaded top and bottom with blue, in a basketweave design. The tankard is further decorated with a floral spray.
1916 Peacock. . . Peacock at the fountain embossing on Nurock or Blue and White.
1916 Cooking Ware. . . Crocks, baking dishes, pie pans, etc., in yellow ware, with blue lined interior.
1916 Decorated pitchers . . . #43 Iris, # 57 Old Mill, # 53 Amsterdam (Kissing Dutch Kids), #35 Tulip, #33 Copenhagen (daffodil), #36 Fleur-de-Lis. Shown in natural colors on ivory . . . solid green or brown . . . or in blue and white.
1916 Sylvan . . . Embossed creamware with knarled trees whose leaves form the top edge of the ware, with green and brown tints accenting the pattern, occasionally found in solid glossy green.
1916 Cuspidor, #13. . . Shown in various glaze treatments: cream with green bands; cobalt blue with gold festoons; or creamware with green band over row of wreaths.
1916 Our Lucile Toilet Set . . . (named for daughter of George Brush) Stoneware in ivory Bristol glaze shaded with blue and decorated with an embossed bow knot and/or rose floral decal.
1917 Birds, Bees, Butterflies, Bowls, BirdBaths, Etc.... Ornamental pottery for table and garden.
1918 Bruco Toilet Set . . . Embossed creamware, decorated with green shading and floral decal in natural colors.
1918 Arbor Condiment Set. . . Cereal jars, spice jars, salt box, oil or vinegar bottle, with lattice background in white, decorated with cluster of blue grapes and green leaves.
1918 Old Mill Condiment Set . . . White background decorated with a windmill scene.
1918 Patriotic Bee . . . Red, white and blue bee made for coat lapel or ladies hat.
1918 Uncle Sam's Hat. . . Red, white and blue match or toothpick holder.
1918 Vista . . . Parading white ducks on a green background under a blue sky and white clouds, framed at the rim by the tree tops. Ducks are omitted on the hanging basket.
1918 Lotus. . . Vertical ivory pointed panels on solid green or grey background.
1918 Monochrome. . . Embossed design in neutral grey, with borders of flying white birds.
1923 Jetwood. . . Shaded bisque-like background in neutral colors hand decorated in high gloss black scenes representing twilight in the woodland.
1923 Zuniart. . . Clay body decorated with horizontal bands of Indian designs in colorful glazes.
1923 Stonecraft. . . White stone body with glazed interiors, and colorful decorative border in high relief.
1923 Onyx. . . Simple shapes in high glaze with richly blending colors in shades of either green, blue or brown (referred to as red).
1923 Art Vellum . . . Simple shapes in soft colored glazes resembling ancient parchment.
1923 Nuglaze. . . Jardinieres with embossed design featuring either roses and masques, or grapes, in rich tri-colored combinations.
1923 High-Gloss. . . Jardinieres with embossed designs of roses and masques, in solid colors of high gloss glazes.
1923 Jewell. . . Shaded bisque-like exteriors decorated with high gloss design. Triangular voids within rose-red triangles form border under rows of blue and white dots, squeeze bag technique.
1923 Egyptian . . . Dark brown glaze with green antiquing on standard jardiniere shapes.
1924 Panelart . . . Paneled sides with trees, flowers or other designs in alternating panel only. Some bowls are shown with a pattern that forms a border at the rim. In deep gold and/or green.
1924 Florastone . . . Stoneware background decorated in high gloss with stylized floral design in rich hues of blue and rose with white accents, under arcs and rows of dots.
1924 Krackle-Kraft. . . Simple shapes in white glaze with blue crackle effect, which only rarely forms an identifiable image.
1925 Colonial Mat. . . Simple shapes with vertical panels forming sides in mat colors of green, fawn, and blue.
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Sample collections of Brush-McCoy Company embossed and stencil "Wildflower" pattern wares.
Two Grape Jardinieres:
One Blue & White and the Other Green & Cream
by Steve and Karen Stone
These Grape jardinieres were produced by the Brush-McCoy Pottery, Roseville, Ohio, from 1911 to 1923. An original 1916 color catalog plate illustrating the Grape jardiniere is reproduced on page 42 in the 1992 book The Guide to Brush-McCoy Pottery by Steve and Martha Sanford. The 1916 plate illustrates various sizes of Grape jardinieres, each with its own product number. The color illustrated is described as “Bonton Glaze” rather like an ivory blending to light green then brown glaze for the “Bonton” colors.
Each jardiniere in the photo accompanying this article is 7 inches tall with a top outside diameter of 7 inches. The background is a ric-rack design (resembling a grape arbor) over which are leaves and bunches of hanging grapes. Attention is immediately attracted to the colors of these Grape jardinieres as they appear to be truly unique, perhaps experimental or Friday afternoon pieces; one is blue and white, while the other is green and cream.
The embossed design is an overall presentation of arbor, leaves, and grape bunches which is similar to the J.W. McCoy and Brush-McCoy kitchen use “Grapeware” series, blue and white versions have been long known and are now eagerly sought by collectors. However, after research in these two company product catalogs and records there is no connection between the Grape jardinieres and Grapeware kitchen series. They are two distinct and separate lines sharing a similar theme and produced by the same pottery.
The body or background of the Grape jardiniere is colored green while the embossed features such as grape bunches, stems, and leaves are cream colored. The overall effect gives the impression the entire piece was first colored a moderate green then the green glaze was wiped off the high, embossed features reveling the base coat of an ivory mat glaze, the results creating the green and cream colors.
The blue and white Grape jardiniere was first given an allover Bristol ivory background glaze which then highlights the delicate and subtle hand applied coloring of green leaves and blue grape bunches. This decoration is also seen on some blue and white Grapeware kitchen pieces, such as the Grapeware pitcher seen between the two Grape jardinieres in the photo accompanying this article.
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Two Indian Scene Butters
by Steve and Karen Stone
The two Indian Scene butters were produced by the J.W. McCoy (1899 - 1910) and Brush-McCoy (1911 - 1924) pottery companies in Roseville, Ohio. The first time an Indian Scene butter was illustrated and named is on plate 13, row 3, #1 of the 1973 publication Blue and White Pottery by Mary Joseph and Edith Harbin. In subsequent publications this Indian Scene butter has been given different names. However, by order of hierarchy priority the first name used is the correct, applied name, Indian Scene butter is the correct name.
Most of the Indian Scene butters were decorated in blue and white although some were left white with only the Bristol glaze. These butters were produced in two capacities, 2 lbs. and 3 lbs. and were offered with or without lids and with or without bails.
The top rim border of the lid is decorated with embossed Indian Good Luck symbols alternating with diamond shaped dashes and another Indian Good Luck sign is embossed on the finial knob.
On the crocks with lid, the lid fits over the rim and down three-quarters of an inch or so. The upper rim of the crock that the lid fits over is unglazed and somewhat more narrow than the crock itself such that when the lid is in place the lid and crock have the same diameter. Seeing one of these butters without the lid it looks unfinished as it was meant to have an over-the-shoulder fitting lid. The butters that could be ordered without a lid, the glazed, embossed elements of the design continued up to the top of the rim and the butter crock does not look unfinished.
The crocks could also have been ordered with or without a wire and roller bailed handle. The crock for both styles, with or without bail, were made the same, only during the green ware stage the bail holes were punched out to eventually receive the bailed handle. Butters that were ordered without bailed handle have the bail holes unpunched. Indian Scene butter crocks that originally had no bails or bail holes were designed to be used as butter crocks and were never intended for cakes or pastries.
Wildflower: Mostly Rolling Pins
by Steve and Karen Stone
In 1899 James William (J.W.) McCoy formed the J.W. McCoy Pottery Company in Roseville, Ohio. In1909 George S. Brush, a majority share holder of J.W. McCoy Pottery Company, joined the business and in 1911 George Brush and J.W. McCoy joined forces, sharing executive duties and responsibilities, and formed the Brush-McCoy Pottery Company. A Zanesville pottery, formerly the J.B. Owens Pottery, which was earlier purchased by George Brush, was designated Plant #1 and produced artware. The Roseville facility, formerly the J.W. McCoy Pottery took the title of Plant #2, and produced utility ware, including decorated stoneware, some of which would later become known as Wildflower.
Brush-McCoy did not place the specific name “Wildflower” on this line but simply used the name of the piece [i.e., Hall Boy, Salt Box, Rolling Pin or “Roller,” etc.], usually some mention of blue decoration or “Blue Tint” and a product number to identify the piece or in some cases closely related pieces. In their seminal 1973 book Blue and White Pottery, Mary Joseph and Edith Harbin were the first to attribute the name Wildflower to a number of loosely related stamped decorations, plate 13, row 1.
By December, 1914, Brush-McCoy had become the largest producer of decorated stoneware in the country selling much of their product by train-car loads filling orders from large and small retailers on both coasts and in the Midwest. Brush-McCoy was also jobbing many products to other potteries and several wholesalers (which is one reason why pieces known to be manufactured by Brush-McCoy appear in product catalogs of other potteries). Rolling pins were a steady mainstay product.
At this time Brush-McCoy produced at least three general sizes of rolling pins. The stoneware roller of one pin was about 7" to 8" long with a diameter of 3" to 3-1/4" and was marketed for household use. These household pins had a general overall handle tip to tip length of 15" - 17" and Wildflower stamp decorations typically encircled both ends. (Some of these pins also had an elaborate six pointed Wildflower decoration in the center and on opposite sides of the roller.) It is these pins that typically were decorated with advertising, which could include anything imaginable from Dry Goods, Carpentry and Undertaking, personal greetings, Christmas greetings, and a whole host of other decorations, greetings, and all manner and kind of advertising. Rolling pins with advertising were generally given away, the thinking being good advertising on a household piece. Every time the cook used the rolling pin there was advertising for the store.
It is these household Wildflower rolling pins with or without advertising that are ubiquitous and have been saturating blue & white stoneware markets in shops, malls, brick and mortar auctions, on-line auctions and every other stoneware selling venue imaginable for decades; they are everywhere. They must have been made in their endless thousands year after year for several years. They were cheap to produce, quick sellers, and if one became damaged it could easily and without thought be trashed and another secured; why not, they were free. Fair to say the household Wildflower rolling pin is unquestionably the most commonly found piece of blue & white stoneware, ranking only in front of the blue & white Dairy (Cow) pitcher.
Another Wildflower rolling pin that is less frequently found is the baker’s size. Just the stoneware roller alone of this bad boy measures in at 14-1/2" long, 3-1/2" diameter, with an overall rolling pin length of 22" from handle tip to tip. These baker’s rolling pins are usually found with no advertising, however, a very few greetings pins have been found, all with the same greetings “COMPLIMENTS OF / M.S. HEASTON / CHURCHVILLE, PA.” The baker’s rolling pin with or without advertising is quite scarce but can be found.
A third style Wildflower rolling pin is truly unique due to it’s dimensions, the stoneware roller is 11-1/2” long with a chubby diameter of 4-3/4"; overall pin length from handle tip to handle tip is 18-1/2" . The Wildflower stamp encircling each end is thinly applied, much thinner than those Wildflower rolling pins produced for household use. We’ve seen only one of these rolling pins and it sports no advertising. Whether others were produced with advertising will remain a question until and if others are found.
In addition to the cost of the pin it could be ordered with three lines of stamped advertising for 2 cents, gold stamps 3 cents, and additional lines could be ordered for 1 cent per line. Most advertising rolling pin orders were produced in runs of 100, however, with good cause there were exceptions and smaller orders could be placed.
Advertising stoneware items were usually stamped in English, however, other languages could be used (see also Collector's Encyclopedia of Salt Glaze Stoneware. Terry Taylor, and Terry & Kay Lowrance. 1996, page 143). Most immigrated Pennsylvania Dutch folks settled in a large area in what became known as Pennsylvania Dutch Country (an area of Southeastern and South Central Pennsylvania), although some folks do live in the historically Pennsylvania Dutch-speaking (Germanic) areas of Maryland, North Carolina, and Virginia. Most of these folks set up their own tight knit communities and towns, mostly speaking their native tongue, building and running business carrying traditional Pennsylvania Dutch merchandise either manufactured within the local communities or imported from overseas. Such locally offered items were handmade in what evolved into cottage industries of treenware, blacksmith items, leather, and clothes just to mention a few. During growing seasons truck farms produced abundant garden foods and fields were sown with grains for fall harvest. Many households also kept barnyard fowl for eggs, meat, and pillow stuffing. Some farmers also raised pigs, cattle (beef and dairy), goats (yogurt), and sheep. Currency in these self-sustained communities was a lot different than it is now and bartering for goods and services was a widely used and accepted way of life. Almost as a footnote some items from their new country, America, could be brought in and sold at the general stores and similar businesses.
In a shrewd move, some Brush-McCoy salesman sold at least one run of advertising Wildflower rolling pins stamped with the Pennsylvania Dutch language (and others as they came about) to a few business. The Pennsylvania Dutch towns had limited sales due to the tightly bound and smaller populated communities, much smaller than larger settlements so smaller runs of Pennsylvania Dutch rolling pins were produced. Hard currency was difficult to come by and most transactions were conducted by bartering. Proprietors had limited amounts of cash-on-hand so their orders for items outside the local communities were smaller. The advertising rollers represented a not inconsiderable cash outlay for businesses so the rollers were given away to only the best customers and community leaders. Households with these pins were viewed as high-ranking and the rollers themselves were cherished and treated with respect. Although some Pennsylvania Dutch Wildflower advertising rolling pins survive to this day they are exceedingly difficult to find.
On December 9, 1925, Brush-McCoy Pottery ceased to exist.
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Ornate 3 gallon wildflower water cooler w/ filter
and original spigot
Basketweave & Morning Glory (Willow)
Steve and Karen Stone
The Basketweave and Morning Glory line was produced by Brush-McCoy Pottery Company, Roseville, Ohio, 1911 - 1923. In Brush-McCoy pottery product catalogs of that period (see attached two scanned pages from 1911 catalog) the embossed decoration was identified as “Willow,” the design resembling items made from woven willow canes with a Morning Glory type flower complete with a stem and leaves prominently arched across each piece.
When Mary Joseph and Edith Harbin published “Blue and White Pottery” in 1973, the first reference dedicated solely to blue and white stoneware, through no fault of their own they did not have access to original pottery company product catalogs so were unaware of manufacturer provided names for specific design lines. Joseph and Harbin named pieces with names they felt best described the designs. Basketweave and Morning Glory seemed applicable to this design and it has been known by that name ever since, although sometimes shortened to simply “Basketweave.”
The Basketweave line of blue and white stoneware is remarkable because it is one of the few lines that include both kitchen and wash room pieces. Kitchen pieces include at least 16 covered canisters each displaying different contents, $22.50/gross, (average 5½-6½" tall without lid, the TALL Crackers canister average 6½-7½" tall without lid), at least 8 covered spice jars also each displaying different contents, $13.50/gross, (average 3¾" tall without lid), an 8" tall kitchen tankard/pitcher, 4 pints, $24.00/gross, a 5" tall coffee mug, $12.50/gross, (also included in the wash room set as a shaving mug), two stewers (2 qt. [$24.00/gross] and 4 qt. [$27.00/gross]), and a covered and bailed 3 pound butter, $24.00/gross.
Wash room pieces include a large ewer (13" tall) and basin (15" diameter), smaller mouth ewer (7-½" tall), two different forms of brush vases, one oval, the other circular (each 5-1/4" tall), 3-piece covered soap dish (2" tall, 5-1/4" diameter [the soap dish lids and canister lids are interchangeable]), covered slop jar (12-½" tall without lid), and a covered chamber pot (5-½" tall without lid). These wash room pieces were generally sold as 12, 10, and 7 piece sets:
12 piece set $2.75@, Blue Tinted: Ewer and Basin, Covered Combinet (Slop Jar), Covered Chamber Pot, 3-Piece Covered Soap, Mouth Ewer, Brush Vase and Mug.
10 piece set $2.00@, Blue Tinted: Ewer and Basin, Covered Chamber Pot, 3-Piece Covered Soap, Mouth Ewer, Brush Vase and Mug.
7 piece set $1.50@, Blue Tinted: Ewer and Basin, Covered Chamber Pot, Covered Soap, and Mug.
In addition to being one of the very few lines to include kitchen and wash room pieces, this Basketweave line is unique as it includes two very different brush vases. One is shaped like most all other vases from every other pottery company produced wash room set – oval with flared sides, the other vase is perfectly circular with an equally circular opening. Why Brush-McCoy Pottery would create two dissimilar vases for the same wash set is a mystery. The flared top vase is frequently seen, the circular opening vase is extremely uncommon and, if a seller knows of its scarcity, could be priced accordingly.
And, lastly, there is also a spittoon in this pattern that could be discretely placed in most any room.
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Extremely rare wildflower lidded canisters
Other miscellaneous Brush McCoy Pottery Company wares
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In 1899, J.W. McCoy along with several investors, formed a pottery solely under his name, the J.W. McCoy Pottery Co. He must have devoted much of his time to his new pottery, for in 1901, he turned the management of his general store over to his son Arthur. For several years, the “J.W. McCoy Pottery Co.” concentrated on the production of the simpler, utilitarian stoneware pieces. However, around late 1902 the pottery branched out and began to include the production of art pottery. The art pottery production consisted of elaborately designed, decorative items such as jardinières and pedestals, various other flower containers, umbrella stands, and sand jars. The production of these attractively glazed pieces proved to be a very successful undertaking.
In 1909, George Brush joined the “J.W. McCoy Pottery Co.”. Prior to that time he had established a pottery under his own name. However, the pottery only operated about one year before a fire destroyed the entire plant. The “Brush Pottery” was not rebuilt, but he retained the remaining assets of the Brush Pottery. Later in the year after his pottery burned, George Brush became the Manager of the “Globe Stoneware Company”, and the “Crooksville Clay Products Company”.
After joining the “J.W. McCoy Pottery”, within two years George Brush had become the General Manager of the pottery. In October of that year, the directors of the McCoy pottery decided to expand the pottery by the purchase of the “Globe Stoneware Co.” (1901-1911). During August of 1911, George Brush, acting on behalf of the Brush Pottery interests, purchased the old “J.B. Owens Pottery”, Plant Number One in Zanesville (1883-1909), along with the equipment and molds. Late in 1911, the officers of the “J.W. McCoy Pottery”, at the suggestion of George Brush, agreed to combine the assets of the company with those of the “Brush Pottery”. Consequently, George Brush obtained the controlling interest in the “J.W. McCoy pottery”, and the name of the pottery was changed to the “Brush – McCoy Pottery”.
In 1912, the “Brush-McCoy Pottery” purchased the equipment and molds from the “A. Radford Pottery”, which was located in Clarksville, West Virginia. In 1918, the McCoy family sold their interest in the Brush – McCoy Pottery; however, it was not until late 1925 that the directors of the pottery dropped the McCoy name. The new name of the pottery was the Brush Pottery Co., and it operated under that name until it closed in 1982
REFERENCE: McCoy Pottery Collectors' Society.
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BRUSH MCCOY embossed patterns: *
PEACOCK line: pitcher, coffee, baking dish, small berry bowl, custard cup, lidded butter, lidded salt box, hanging type lidded salt box, lidded chamber pot, cooking/preserving kettle, cuspidor, berry bowl, custard cup, mixing bowl 3 sizes nesting type, Ramekin (or nappy),
WINDMILL AND BUSH pitcher,
DUTCH BOY AND GIRL KISSING pitcher,
COLUMNS AND ARCHES pitcher, mug,
STANDING DEER AND FAWN pitcher,
BOWTIE lidded slop jar,
OUR LUCILLE BOWTIE ewer with wildflower stencil, wildflower ewer and basin, covered batter jar, pail, bowl, lidded chamber pot, large ewer, small ewer,
OUR LUCILLE BOWTIE (no stencil) basin, brush vase,
BOWTIE W/ FLYING BIRDS (decals) large ewer and basin,
BOWTIE W/ stencilled WILDFLOWER ewer and basin,
BOWTIE W/ ROSE decal mug,
WILLOW (BASKETWEAVE AND MORNING GLORY): vase, slop jar, chamber pot, pitcher, brush vase, lidded butter, set covered canisters (Barley, Tobacco, Put Your Fist In, Crackers, Raisins, Cereal, Tea, Coffee, Sugar, Salt, Rice), lidded chamber pot, cuspidor, ewer, ewer and basin set, mug, lidded slop jar, lidded spice jar (Cinnamon, Nutmeg, Allspice, Ginger, “Cloves & Pepper”), tankard type pitcher, mug, lidded stewer,
GRAPEWARE BOWLS, set covered canisters, lidded casserole, lidded spice jar (Pepper, Allspice, Cinnamon, Nutmeg, “Ginger & Cloves”),
GRAPES & LATTICE lidded salt box,
RASPBERRY lidded salt box,
COWS AND COLUMNS lidded butter,
INDIAN AND DEER lidded butter crock,
WILDFLOWER slab-type soap dish, knob finial lidded soap dish & drainer, mug, roaster, hinged wooden lidded salt box, hanging type lidded salt box, hinged type wood lid compass design around “Salt” salt box, hanging type with advertising salt box, lidded stewer, tumbler w/inside design, tumbler w/o inside designs, lidded water cooler and filter, rolling pin -2 sizes, batter jar, batter pale, hall boy pitcher, bulbous hot-water type pitcher, hall boy w/waisted body pitcher (5 stencils each side), hall boy w/cylindrical body pitcher (5 stencils each side), tall waisted body w/long spout pitcher (5 stencils each side), lidded canisters (Barley, Cornstarch, Grape Nuts, Beans, Peas, Blank Title, Butter, Cereal, Choice Sour Pickles, Cloves, Coffee, Corn Meal, Crackers, Currants, Farina, Prunes, Raisins, Flour, “Genuine German Dill”, Oatmeal, Sugar, Tapioca, Tobacco), lidded chamber pot, ewer 3 sizes, small ewer angle handle, ewer and basin set,
DUTCH SCENE SUGAR lidded canister, mug (girl one side - boy other side),
DUTCH FARM pitcher,
DECAL BLUE BIRD hall boy pitcher,
Much gratitude is paid to Steve and Karen Stone for their decades of dedicated comprehensive research of the Ohio manufacturers of Blue & White pottery and for generously sharing their knowledge that identifies the producer of specific mold designs and patterns. Special thanks go to contributing editors of “Antique Trader ‘Stoneware and Blue & White Pottery’ Price Guide” Bruce and Vicki Waasdorp, Gail Peck, and Steve and Karen Stone.
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Scarce 21" wildflower rolling pin
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Three Blue and White Stoneware Our Lucille (Bow Tie)
Toilet Ware Pieces With Wildflower Stamps
by Steve and Karen Stone
The first reference to the Wildflower stamped design on blue and white stoneware is in Mary Joseph and Edith Harbin, 1973, Blue and White Pottery, plate 13, row 1. This row illustrates a butter, a salt, a mug, and a rolling pin. These pieces sport the applied Wildflower stamp against a white Bristol glaze body.
The Wildflower stamp decoration was produced by Brush-McCoy Pottery Company, Roseville, Ohio, 1911 - 1923. In Brush-McCoy pottery product catalogs of that period the decoration was not identified as “Wildflower,” it was simply identified as “Blue Decoration”; the name “Wildflower” was given by Joseph and Harbin and the name has stuck. Interestingly, the name Wildflower is applied to several similar and related designs, the two most frequently associated with the name is the design seen on the ends of rolling pins and the six pointed design seen on the meat tenderizer and the middle of canisters and spices among other pieces.
At present the only known pieces of diffused blue and white stoneware to have been decorated with the Wildflower stamp are the 13 pieces of the Our Lucille Toilet Ware set (sometimes referred to as Bow Tie pieces). The Our Lucille Toilet Ware design was made by Brush-McCoy Pottery Co, Roseville, Ohio, 1911 to 1923. The set was named for Lucille Brush, daughter of George Brush, a partner of the Brush-McCoy Pottery Company of Zanesville, Ohio. As the name implies, the 13 pieces were intended exclusively for wash room use.
Encircling the top of each piece is an embossed ribbon complete with bow tie knot. Pieces in this line could be ordered with various decorations consisting of a variety of decals or stamps, including the Wildflower stamp.
All 13 pieces of Wildflower decorated Our Lucille Toilet Wear are frequently seen in shops, malls, shows, on-line venues, and the occasional garage sale. A complete set can be assembled with diligence and patience, including the shaving mug, brush vase, and covered soap dish.
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Three Paneled Fir Tree Washroom Pieces
By Steve and Karen Stone
with thanks to Dr. Duane “Doc Crock” Watson
The Paneled Fir Tree embossed design was first illustrated on plate 20, row 1, second from right, in the 1973 publication Blue and White Pottery by Mary Joseph and Edith Harbin. None of the five different mugs on this row are named, they are simply illustrated with a price range of $15 - $20.
The next time we see this design is in Kathryn McNerney‘s 1991 book Blue & White Stoneware. The mug is illustrated on page 40, upper right, it is described as Paneled Fir Tree.
The mug McNerney worked with (assumed to be the one she used to name the design and the one illustrated) has a weak mold. The only embossed elements visible with any detail were those that really did resemble a conifer tree. Since this description was published, additional pieces in this line have been found, some with crisp, first mold detail; however, none have been included in any blue and white stoneware reference.
These first mold pieces have revealed the potter's true design concept. Encircling the top of the piece is a drapery cornice. At regular points from the cornice are hanging tassels. Pieces with weak molds typically retain only the tassels as an identifiable design element, tassels that can easily be misconstrued as conifer trees.
Collectively the Paneled Fir Tree pieces constitute a 13 piece wash set that was produced by Brush-McCoy Pottery Co., Ohio, 1911 - 1923. The three most personal pieces are the shaving mug standing 3½ inches tall, the three piece covered soap dish (lid, bowl, and insert) 2 inches tall and 5-1/4 inches in diameter, and the brush vase with a height of 5-1/2 inches.
This set was available in two decorative designs, diffused blue and white, and hand decorated blue sponging to delineate the embossed features of the cornice and tassels. The sponged design elements stand out in almost stark contrast with the Bristol glaze of each piece and make it really easy to identify the cornice and tassels. With the exception of the unnamed mug in Joseph and Harbin 1973 and the weak mold mug in McNerney 1991 (these two mugs may very well be the same piece) it would appear no other Paneled Fir Tree pieces are included in any blue and white stoneware publication. Provided here are photos of the three personal pieces, shaving mug, brush vase, and covered soap dish, in blended blue and white and hand sponged blue decoration.
Farm Scene Butter: A Small Size
by Steve and Karen Stone
The Farm Scene butters, in all the iterations found in blue and white publications since 1973, were produced by the J.W. McCoy (1899 - 1910) and Brush-McCoy (1911 - 1924) pottery companies in Roseville, Ohio. Throughout the life of the potteries these butters sporadically appear in their respective product catalogs. Identified only as Butter Crock, Blue Tint, with a illegible product number rated to capacity. Four sizes are now known, the three larger sizes with covers or lids.
This newly discovered Farm Scene Butter is really small. It stands just 3 inches tall and has a diameter of 4-1/4 inches. It is unknown if it originally had a lid or if it had a purpose other than holding butter. It is pictured here next to a Flying Bird berry bowl for scale.
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Peacock Milk Crock
by Steve and Karen Stone
In one form or another, blue and white stoneware pieces with embossed Peacocks on a brick wall (on some pieces accompanied by a gushing fountain) can be found; the series contained at least 12 pieces, perhaps more. Some pieces are somewhat easy to find, such as the salt crock, which at any one time can be found in abundance through on-line auctions, other pieces are more difficult to find.
The Peacock series was produced by J.W. McCoy Pottery Company (1899 - 1910) and Brush-McCoy Pottery Company (1911 - 1924). The Peacock series must have been a huge success, or at least some of them were, because with diligence some Peacock pieces (other than salts) can be found.
An elusive Peacock piece is the bailed milk crock. With a diameter of ten inches and a height of five inches it sports the same dimensions as other blue and white stoneware milk crocks such as Apple Blossom, Apricot, Daisy and Lattice, and Lovebirds, among others. The wire bail, with wooden roller, is not directly attached to the crock; rather, the two ends of the wire bail end in closed loops. Each loop end of the wire bail is forced into something akin to a cotter pin, the shaft the cotter pin is then pushed through preformed holes in the milk crock’s ears, the pin shafts are then bent around the crock’s ears. Thus, the wire bail can move freely without rubbing on or eroding the stoneware.
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