Virginia Museum of Fine Arts Returned Drake Vessel
The museum transferred ownership of a 19th-century stoneware jug to the descendants of artist David Drake.
Updated on Oct. 6, 2026 in Fine Art
Live Poll
Should museums return ownership of artworks created under slavery to the artists' descendants?
The Virginia Museum of Fine Arts has officially transferred ownership of an 1840 stoneware vessel to the descendants of artist David Drake. Following the transfer, the museum repurchased the artwork to maintain its place in the permanent collection.
Why it matters
The agreement reflects the museum's commitment to ethical restitution and supports the family's ongoing efforts to reclaim and preserve their ancestor's artistic legacy.
The stoneware vessel stands nearly 18 inches tall and is one of only about 40 signed and dated poem wares known to exist today. David Drake originally crafted and inscribed the piece in Edgefield, South Carolina, in 1840.
The players
David Drake
He was a notable 19th-century enslaved potter from South Carolina who is celebrated for his unique stoneware vessels featuring poetic inscriptions.
Virginia Museum of Fine Arts
It is a prominent art museum located in Richmond that maintains an extensive permanent collection and emphasizes ethical collection practices.
The details
The museum provided the family with an authorized certificate of ethical ownership before repurchasing the jug for its collection. The vessel bears the inscription: Ladys & gentlemens Shoes = sell all you can & nothing you loose.
Timeline
January 29, 1840: The vessel was created and inscribed by David Drake.
September 2017: The museum first acquired the vessel.
2023: The museum featured the vessel in an exhibition.
February 2026: Descendants began communicating with the museum regarding the work.
October 2026: The ownership agreement was formally resolved.
Industry Dynamics
This move highlights a growing trend among major institutions to prioritize provenance research and address the complex histories of their collections. By formalizing these agreements, museums are adapting to shifting ethical standards regarding the ownership of cultural artifacts.
Visitors to the museum can continue to view the vessel as part of the permanent collection despite the change in ownership history. The item remains accessible for public display and ongoing academic study.
The takeaway
This case illustrates how museums can balance preservation goals with the ethical rights of artists' descendants through collaborative agreements. Such models provide a framework for future resolutions involving contested items in institutional collections.
Further reading
Discover more about institutional collecting standards in our Fine Art section.
Source note: This article includes information reported by Daily Press.
Live Poll
Should museums return ownership of artworks created under slavery to the artists' descendants?
