Baltimore city makers sporadically marked their wares and the motifs and stoneware forms had a high similarity to the wares from other regions making them hard to document Baltimore utilitarian industry stones. Baltimore stoneware potters used different markings on their wares including freehand incising, impressed typesetting lettering, stamps, and the time filling or underlying using cobalt for an augmented visibility (Kille, 2005).
Decorations were made on the stone wares as a measure of making them more beautiful and fascinating to the audience. This would be added by ensuring the name, date, and place of manufacture is inscribed to denote the manufacturer. Decoration techniques used include brushed, incised, slip-trailed, stenciled, and slip-dipped (Kille, 2005). Decoration differed with the porter including Peter Herman who used a three-petaled flower design on his wares. Exuberant flower decoration on an extra large jar show William Linton’s inscription. Other decorations in the area are German inscriptions and cobalt floral design by Philip Miller and birds designs made by different porters in the Baltimore area.
There were different functional forms of the porter’s wares in Baltimore in the 19th century from large jars, inkwell wares, milk and butter pans, pitchers, chambers, crocks, and churns (Kille, 2005). Marketing methods included making advertisement in the print media of sales describing the quality of the designs, sales location, the manufacturers, amount of stoneware available for sale, and the place of manufacture of the stoneware. Advertisements were made on Baltimore, Fredericksburg, and Richmond papers to ensure a high audience is reached. Other marketing forms included wholesale of stoneware and shipping of wares to as a far as South Carolina.
The production process was changed during the 19th century in Baltimore to ensure it