Stoneware was first developed in the Rhineland during the late 13th century. With its hard, nonporous body, it was well-suited for many uses, including serving and storing food and drink, and hygienic needs. Archaeologists have found that German stoneware was pervasive throughout society, with evidence of its use in settings from monasteries and royal palaces to the homes of merchants and tradesmen. Additionally, their excavations document its distribution far beyond Europe to the South China Sea and Britain’s colonies in Australia and North America.

Pottery from Germany’s Westerwald region is characterized by a clay body varying in tone from white to gray. At the beginning of the 16th century, the Rhenish potters adopted several innovations that transformed the medium from a utilitarian commodity to a minor art form. Capitalizing on newly developed technologies for printing and applied relief ornament, they applied them to the design and manufacture of their vessels. Subsequently, they introduced cobalt to create a palette reminiscent of Chinese porcelain, and about 1665 manganese was added to expand the range of colors. These innovations are evident on this example, also distinguished by the rare portrait of William III framed within the motto “by the Grace of God, King of Great Britain, France and Ireland.”

 Archaeological investigations document Westerwald pottery from Maine to North Carolina, virtually coinciding with the dates of the colonial period. Excavations of the slave quarters at Mount Vernon suggest its use across the diverse layers of society. Scholars believe that the pottery initially acquired for the Washington household was later “recycled” by the plantation’s African-American community. Subsequently, these imported Westerwald vessels stimulated the production of salt-glazed stoneware in domestic potteries.

Related examples: British Museum, London.