Untitled (Verse Jar)

David ("Dave") Drake, Untitled (Verse Jar), 1860, stoneware with alkaline glaze, 21 38 × 19 12 × 18 38 in. (54.3 × 49.5 × 46.7 cm) footprint: 12 in. (30.5 cm), Smithsonian American Art Museum, Gift of Ann and Tom Cousins, 2021.76.1
Free to use

Artwork Details

Title
Untitled (Verse Jar)
Date
1860
Dimensions
21 38 × 19 12 × 18 38 in. (54.3 × 49.5 × 46.7 cm) footprint: 12 in. (30.5 cm)
Credit Line
Gift of Ann and Tom Cousins
Mediums
Mediums Description
stoneware with alkaline glaze
Classifications
Subjects
  • Object — other — container
  • Object — other — container
Object Number
2021.76.1

Artwork Description

Inscription reads:

"A noble Jar for pork or beef

then carry it a round to the indian chief." 

"Lm  november 9 - 1860

DAVE"

The brown-green hue of this jar, along with its shape, lug handles, and irregular drips, reflect a distinctive alkaline glaze stoneware tradition from nineteenth-century Edgefield, South Carolina. The maker, David "Dave" Drake, was an enslaved craftsman in 1860 when he produced this jar. Drake used wheel throwing and coiling techniques to make vessels of an uncommonly large scale. 

The first line of the rhyme on this jar suggests it was used as a container for preserved meats. But the presence of the text itself is as compelling as the poem's intended meaning. 

An 1834 South Carolina law prohibited enslaved men and women from learning to read or write. Despite the risk, Drake prominently signed the name "Dave" and inscribed short poems onto the surface of dozens of large storage vessels he made while enslaved in the Edgefield area. 

Drake's signature asserts his role in creating this jar and its inscription, but he also calls attention to his bondage by inscribing the initials of his enslaver, Lewis Miles, alongside the date of production. 

As enslaved men and women used and admired this massive jar, they would have understood Drake's unmistakable act of defiance. To them and to future generations, he refuted anonymity by making his mark.

Born around 1800, Drake was enslaved for most of his life, as virtually no pathways to freedom existed in South Carolina prior to the Civil War. After gaining his freedom, the artist took the surname Drake.

Works by this artist (5 items)

Ivan Albright, Self-Portrait--55 East Division Street, 1948, lithograph on paper, Smithsonian American Art Museum, Museum purchase, 1966.64.1
Self-Portrait – 55 East Division Street
Date1948
lithograph on paper
Not on view
Ivan Albright, Maine Coast, n.d., gouache on paper, Smithsonian American Art Museum, The Estate of the Honorable Jack Faxon, 2021.39.1
Maine Coast
Daten.d.
gouache on paper
Not on view
Ivan Albright, The Farmer's Kitchen, ca. 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.74
The Farmer’s Kitchen
Dateca. 1934
oil on canvas
Not on view

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More Artworks from the Collection

Jacob Lawrence, Community (study for mural, Jamaica, NY), 1986, gouache on paper, Smithsonian American Art Museum, Transfer from the General Services Administration, Art-in-Architecture Program, 1990.36, © 1986, Jacob Lawrence
Community (study for mural, Jamaica, NY)
Date1986
gouache on paper
Not on view
Howard Thomas, White Carnival, n.d., gouache on paper, Smithsonian American Art Museum, Gift of Mrs. Anne W. Thomas, 1982.43.1
White Carnival
Daten.d.
gouache on paper
Not on view
Douglas Brown, Louis Prima's House, New Orleans, 1937, gouache on paper, Smithsonian American Art Museum, Transfer from General Services Administration, 1971.447.12
Louis Prima’s House, New Orleans
Date1937
gouache on paper
Not on view
Abraham Rattner, Study for the Butcher, 1966, gouache on paper, Smithsonian American Art Museum, Bequest of Abraham Rattner, 1981.153.29
Study for the Butcher
Date1966
gouache on paper
Not on view