In an unprecedented event for the museum area of USAhe Boston Museum of Fine Arts returned the property of two large vessels ceramics created in the 19th century by David Drakea enslaved African American potter in South Carolinato their direct descendants.
This restitution, formalized in November 2025, represents a milestone in historical reparation and visibility of the legacy of African American artists deprived of rights and recognition for generations. As reported Smithsonian Magazinethe decision constitutes progress in the restitution of art linked to slavery.
The return process included the official transfer of two emblematic pieces: the Poem Jar and the Signed Jar. Following the transfer, the museum reacquired the Poem Jar from Drake’s family, while the Signed Jar remained on long-term loan to the institution.
This action was born from the collaboration between the museum and Drake’s descendants during the exhibition “Hear Me Now: The Black Potters of Old Edgefield, South Carolina”, held in 2022 together with the Metropolitan Museum of Art in New York. During the preparation of the sample, the dialogue between the parties was decisive to make way for restitution, he detailed Smithsonian Magazine.
David Drake, born about 1800 in Old EdgefieldSouth Carolina, worked in the most productive pottery region in the southwhere enslaved labor made thousands of pieces intended for food storage on plantations. Despite having created thousands of vessels, Drake he could never own a single one.
“Our great-great-grandfather was never able to own a single piece of his own ceramics or pass them on to his children and grandchildren. Today the museum seeks to correct that error,” he said Pauline Bakera descendant of Drake, in statements collected by Smithsonian Magazine.
Drake’s work is distinguished by both its artistic quality as for his defiant character. At a time when literacy among enslaved people was prohibited —only 10% could read in the southern United States before the Civil war—, Drake he inscribed verses and his signature in many of his pieces.
One of the returned vessels bears the inscription: “I wonder where is all my relation / Friendship to all—and every nation,” reflecting the forced separation of his family.
The Poem Jar, for its part, contains the phrase: “I made this Jar = for cash / Although it’s called Lucre trash”, in reference to the economic benefit that his work generated for his enslaver, according to Smithsonian Magazine.
The act of signing and writing on his works was a form of resistance and personal affirmation. Drake aka Dave or Dave the Potteradopted the surname of his first enslaver after gaining freedom. His legacy was claimed by his descendants, who consider the return as a recognition to his bravery and talent.
Yaba BakerDrake’s great-great-grandson, compared this milestone to a key moment in the history of civil rights: “That is a Rosa Parks moment. David Drake should be honored and remembered like this, not only as an artist, but as someone who challenged oppressive laws,” she told Smithsonian Magazine.
The restitution of works by enslaved African American artists had been absent from the debates on return in the United States.
George Fathereelawyer for Drake’s descendants, highlighted the uniqueness of the case: “There is no precedent for this. The works of enslaved African-American artists have been absent from the conversation about restitution in the art world, but the museum’s action changes that forever,” he said in dialogue with Smithsonian Magazine.
To manage the transfer and safeguard Drake’s legacy, his descendants created the Dave the Potter Legacy Trust. This entity has the mission of identify more family members and distribute the benefits derived from the sale of the works. The Trust invites those who believe they have ties to Drake to contact them, seeking to expand the network of heirs and ensure that the recognition and fruits of their work reach the entire family.
The story of David Drake transcends ceramics: His life and work represent resistance against oppression and the power of art as a tool of affirmation. His example remains symbol of dignity and purposeremembering the potential of art to challenge and transform even the most unjust norms.
