Boston Museum Returns Historical Pottery to Descendants of Enslaved Artist

In a landmark move addressing historical injustices, the Museum of Fine Arts (MFA) in Boston has returned two significant stoneware vessels crafted by David Drake, an enslaved African American potter from the 19th century, to his descendants. This restitution marks the first time the MFA has resolved ownership issues related to works created during the U.S. slavery era.

The vessels, known as "Poem Jar" and "Signed Jar," were created by Drake in 1857. The MFA had acquired these pieces in 1997 and 2011, respectively. Following the restitution, the museum repurchased "Poem Jar" from the family, while "Signed Jar" remains under the family's ownership and is on long-term loan to the MFA. The decision emerged from discussions initiated during the MFA's 2023 exhibition, "Hear Me Now: The Black Potters of Edgefield, South Carolina," which featured Drake's works. The restitution acknowledges that Drake was deprived of his creations involuntarily and without compensation.

David Drake: A Legacy Reclaimed

David Drake, also known as "Dave the Potter," was born into slavery around 1800 in South Carolina's Edgefield District. He became renowned for his exceptional pottery skills, particularly in crafting large stoneware vessels. Despite laws prohibiting enslaved individuals from reading and writing, Drake was literate and inscribed his pottery with original poetry and his signature, "Dave." His inscriptions often reflected his personal experiences and the broader context of slavery. For instance, one of his poems reads:

"I wonder where is all my relations / Friendship to all—and every nation."

This verse poignantly expresses the anguish of familial separations common under slavery.

A Step Toward Redress

The MFA's restitution of David Drake's pottery to his descendants is a significant step in addressing historical injustices related to slavery and the exploitation of African American artists. This action sets a precedent for other institutions holding artifacts created by enslaved individuals, prompting a reevaluation of ownership and the ethical considerations surrounding such pieces. It also highlights the importance of recognizing and honoring the contributions of African American artists whose works have been historically marginalized or appropriated.

David Drake's pottery has gained significant recognition and value in recent years. In 2021, one of his 25-gallon, double-handle stoneware jars dated April 12, 1858, sold for $1.56 million at auction, the highest price yet paid for a piece of American pottery. Despite the high market value of his works, Drake's descendants have historically received no compensation from these sales. The MFA's restitution represents a meaningful effort to rectify this imbalance and acknowledge the rightful ownership of these cultural artifacts.

The MFA's decision to return David Drake's pottery to his descendants is a landmark event in the art world, reflecting a broader movement toward acknowledging and rectifying historical injustices. It underscores the importance of ethical stewardship in museum practices and the need to honor the legacies of artists like David Drake, whose contributions have shaped American cultural heritage.