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T he tex t of eac T his series of books constitutes a publishing record. h olum e is written a com etent aut ori t in a o ular st le the v by p h y, p p y , letter ress is rinted from new clear t e and the illustrations a e p p , yp , h v been reproduced with the utm ost care.

THE A B C O F N D A AR T B . F . B KE R . I n dem 8vo. I I N . y J LAC y R i ll n nd half- t n h t ra hs chly i ustrated with reproductio ns o f li e a o e p o og p .

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and tom s rem ain to illustrate the rchi te cture . dols in stone wood ronz e etc . b A I , , b , , s ea of induism and other reli ions which ins ired the m aster handicrafts of ndia . p k H , g p I aintin s MuS ical nstruments eweller and etal or in old il er Brass and P g , I , J y , M W k G , S v , , o er Will be found illustrated to ether with Arms and rm our ood ar in C pp , g A , W C v g , and ar in in o ther su stances as well as otter and the arious ex tile abrics C v g b , P y v T F . Th w r s n e whole ill p e e t a survey of the Indian Arts.

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D rawm s O ld hina ed wood are etc. g , C , W g W , T O HE A B C O CO E G LD E H A B . F . F LL CTIN N GLIS CHIN . y J BL E R D em 8 vo Pro fusel illustrated With num erous line n ACK . y . y a d f ha f-t n llu t i r r n 6 a es o l o e i s rat ons inted o n a t a er 158 . et. 4 p g , p p p .

M R ABO T CO E C N G F ou r/k E dition . B S I R E S O E U LL TI ( ) y JAM H . With o er illustrati n 5 s net O X L . 1 00 o s. i . Y AL v . I n lar e crown 8vo each olum e er full illustrated in half-tone and line g , v v y y , i p r ce 108 . 6 d . net each.

THE A B C O F A AN S AR T B . F . B E R . S econd new J P E E . y J LACK l r e E i m v ll ll t d n and en a d dit on D e 8 o . F u i ustra e . i5s et g . y y . . A boo which lls r thin about the art nd the artists k te eve y g a in a pleasant form . I t " — K S . in the S here. should in e er li rar of reference . C . . be v y b y , p THE A B C O F E N GLI S H S ALT -GLAZE S TO N EWAR E from

Dwi t to Doulton. B . F . B L E R author o f T he A B C o f gh y ACK , J" ll ctin l E n li h hina etc F ull illu tra te D v Co e O d s C . s d. em 8 o . g g , y y i5s . net . ’ A uni ue olum e containin full account of ohn wi ht s wor at ulham of the q v g J D g k F , ' S tafiordshire alt- laz e o tters of Kishere s otter at ortla e of the stoneware of S g p . p y M k , oulton and the artin ware at outhall. uch information entirel new to th D M S M , y e collector has been athered from arious sources whi ch cannot fail to ex cite th , g v e

eenest interest . T he illustrations featurin the finest results obtained b our best k , g y otters in this ware are rem ar able in uali t and in num ber—6 a es of h p , k q y 4 p g alf tones. ence the historical and descri ti e letter ress and the ictures form H , p v p p a wonderful m ination co b . E DALS AN D E CO TH A B C O F WAR ME D R ATIO N S . By ’ ' W U T S T E W R D ificier d Acad m ie author f . A G U S U S A , O é , o F rom the " W ith new nt od i n Breasts o f the Bra e etc. a r uct on and ew llustration v , I I . W th ill t i lf- n n in i 2 62 us rat ons in ha to e a d l e. THE A B C O F CO LL CTI N G O LD CO N TI N N TAL PO TE R E E T Y. B F B i K W h 0 illu r ti n E R it 1 st a o s. y J . . AC . 5

THE A B C O F HE R A DR Y. B G U Y C D O G N R L y A A OTHE R Y. With 1 illust a ion in o lour an 1 in half-ton n 3 r t s c , d 3 4 e a d line.

n n NLEY PAUL 1 Lo do : STA CO . 3 tr WC2 , Essex S eet, . .

’ T he po tter s nearest approach to perfectio n .

G P U LI I AM DWI HT , B rit Mus THE A B C O F E N GLI S H

S ALT -G LAZE S TO N E WAR E F R O M DWI G HT TO DO ULTO N

ACKE F . R J. BL “ A uthor o f T he B C of Collectin O ld E n lish China A g g , “ " T h B C o f Collectin O ld E n lish Potter T he e A g g y, " “ B ll tin O ld Continental Po tter T he B C A C of Co ec g y. A " “ o a rt N ine teenth Centur E n lish Ce ramic f J panese A , y g " rt B C of ndian A rt A , A I

WITH O V E R 200 ILLUS T R AT I O N S I N LI N E A N D H A LF -T O N E

LO N DO N S T A N LE Y PA U L CO

3 1 E S S E X S T R E E T W. C

T O E E . . . E R S . L J H OOP , Q I N APPR E CI AT I O N or MU CH KI N D N E S S

9 4 9 8 58

P R E F A CE

TH I S book completes the series of E nglish ceramic art which began with Old China and was con

- tinued in Old Pottery . Of course salt glaze stoneware belongs to the pottery division , but no special attention had , hitherto , been devoted to this attractive subj ect , although the masterpieces produced by John Dwight have won , by sheer merit , the foremost place amongst others from

- the hands of the great master potters . His atten tion was directed to the improvement of the

the quality , form and style of plastic art of his time , and he was so successful that he attracted many imitators , and to him the potteries owed the inspiration which led to their development . h The story of t is is told at some length , though the

H ow materials at our disposal are not complete .

- ever , salt glaze stoneware flourished for many S f years , not only in ta fordshire , but in many other

B N ow N . places , such as ottingham and rampton n these tow s produced a brown ware of fine quality, h sometimes plain , sometimes wit decoration of 6 PRE F A CE

figures in relief or with incised ornament . Many of these pieces were dated and furnish valuable

. 1 6 guidance Amongst the earliest dates are 74, 1 68 1 6 1 B 4 and 9 on rampton ware . The last year is found on a j ug inscribed John Wedgwood and this is the earliest known example of that celebrated name Wedgwood occurring on pottery .

B — or The latest piece of rampton , as it is some

Chesterfield— times named , ware which has come

1 1 B 1 6 to our notice is dated 8 9. etween 74 and

1 81 9 may be , approximately , the period during

- 1 800 which salt glaze ware flourished . About , William Bromley of Brampton made the hard brown pottery , then early in the nineteenth cen tury he fell into line with other potters and pro

- duced cream coloured earthenware . In order to make the matter quite clear we venture on an — — unusual course we illustrate this Preface and — our readers will see the dates 1 700 N ottingham

1 0 1 81 — B — on 75 and 9 rampton the three cups , and the tail - piece of this Preface shows three

1 81 N N 1 2 1 1 60 . ottingham pieces , 7 , 7 , 7 otting ham stoneware was largely made by the Morley family . The reasons for the decline of the manufacture of salt - glaze stoneware are stated in their proper place , but supply and demand, as usual , were the ZLE . - B T N . PUZ N N E . P B RAMPTO . DOG HA DL D JUG RAM O JUG

BR A N 1 8 1 . E MPTO , 9 POSS T

B N 1 0. N N 1 00 . , 75 OTTI GHAM , 7 RAMPTO E i hi h . t o} n. g ; POSS T POT 8 PRE F A CE

deciding factors . The demand for this ware

C - . in almost ceased ream colour earthenware , W 1 0 vented by Josiah edgwood , about 75 , o 1 6 and brought int use in 7 3 , attained a vast and wide popularity not alone in E ngland but also

C - on the ontinent . The first dinner set was pre C 1 61 sented to Queen harlotte on her accession , 7 , and from that time onward the ware was dis ’ ” tin uished g by the name Queen s Ware . There n were no limitatio s on its manufacture , and soon the potteries were fully occupied in the produc

- tion of cream colour earthenware .

Then , in Lambeth , came a renaissance of salt glaze stoneware of a very different type from any that had preceded it . All of the old ware was

- stone colour or brown of varying tones , but lack ing the beauty that arises from the vivid colours ’ h of the painter s palette . It was the finest ac ieve ment of Doultons to begin and develop their art ware— their coloured salt - glaze stoneware— until

e it has reached heights before undreamt of . W will not dwell here on Doulton ware or Martin ware , which receive due treatment each in its proper place , but we always regret that the many and varied examples reproduced in these pages are without the glorious charm of the colour schemes , designed and employed to emphasise the PR E F A CE 9

combined efforts of the thrower and the modeller . S hall we ever again have amongst us such artists as those who are gone P We are believers in the

doctrine that everything is ordered for the best , and it is with that feeling of hopefulness that we would encourage the rising generation of artists S to strive ever to excel themselves . As hakespeare says

’ rue o e is swi t and flies w it sw allo w s w in s T h p f , h g d m a ur in K n s t m a e o s an ean r r t es s. i g i k s g d . e c e k g

N N . N N ( , 1 72 1 . N N 1 60 OTTI GHAM OTTI GHAM OTTI GHAM, 7 .

. and E ollan . d of N otts. in hi h J H 9} . g . John E liz abeth Town ade at N ottin ham F eb M g , end J une 1 st , , ruar 1 6 y , n 1 0} i . high in h 9 . igh .

TAB LE OF CON TE N TS

PR E F ACE

CHAPTE R I N R O D C O N I . T U TI

F A AN D D — S O E N ABO II . ULH M WIGHT M THI G UT T H E PO TTE R IE S

D R O AN D D III . . PL T WIGHT

T HE A E N R AN E D T O D IV . P T T G T WIGHT

’ D WI GHT S LAWS UITS A GAI N S T E LE R S AN D O T HE R S

’ VI D I S AN D H I S S CCE S S O R S . W GHT WILL U

’ VI I D S E R O O S AN D E R F A E . WIGHT H I L M TH I T

M R BA I S S O N D VIII . . YL WIGHT

M R R E N O D S O N D AN D H I S S A E IX . . Y L WIGHT L PR I CE S

S TAF F O R D S HIR E S ALT- GLAZE WAR E

S AF F O R D S R E S A - AZE E AR E XI . T HI LT GL WHIT W

S AF F O R D S R E S A - AZE E N A E E D XII . T HI LT GL M LL WAR E

S AF F O R D S R E AN D D R O T HI . PL T I I I Z CONTE NTS

CHAP TE R

O R AKE S A - AZE S O N E AR E XIV . M TL LT GL T W

MR AN D E R S O N O N O R T AKE . M L

XVI E AR LY LO N D O N PO TTE R I E S

O B S S O N E B O E S AN D E AR E N XVII . T Y J UG , T TTL TH PO TS

’ A N S I R E N R D O O N S CAR E E R XVIII . M I LY H Y ULT

XI X O E R O N D O N O E R E S AN D D O O N S . TH L P TT I ULT

AD S T O N E AN D D O O N AR E AR KS XX . GL ULT W . M AN D MO N O GR AMS

X XI O R E ABO TH E AR S S AT A BE . M UT TI T L M TH

T H E O D E R N D O O N AR E XXII . M ULT W

” T H E O N D O N E R A AN D S O E XXIII . L , IMP I L M O T E R O E R E S H P TT I .

AR N AR E T H E B R O E R S AR N AT XXIV . M TI W . TH M TI F ULHAM

T H E S O A MAR TI N AR E AF E R 1 8 2 1 XXV . UTH LL W T 77 5

T H E S A I N O F A S O N E AR E K N 22 XXVI . LT G T W IL 4

’ A E N D I D I S F R S A E N 2 2 PP X . W GHT I T P T T . 3

IN D E X

I 4 LI ST O F HALF -TONE ILLU STRATIONS

F ACI N G PAG I S E - E E P AN D T E A TAFFORDSHIR SALT GLAZ T A OTS , MILK J UG E I E N E N CADDI S , W TH MOULD D OR AM T

S TAF F O R D S HI R E - E E - A N D N E SALT GLAZ FLOW R POT STA D , VAS A N D E E E - B A N D N N B E 0 COV R , T APOT , SAUC OAT , HA GI G RACK T 7

E - E 1 0 E STAFFORDSHIR SALT GLAZ GROUP , CIRCA 73 ; FIGUR S N E 1 A N D A N T H E E E 2 WI T R , CIRCA 755, ACTOR OF SAM P RIOD 7 STAFFORDSHI RE SALT - GLAZ E POSSE T POT WITH SCRATCH E D B E E N A N D E 1 AN D LU D CORATIO , A J UG , DAT D 755 I N SCRI B E D

S E - E E E A N D TAFFORDSHIR SALT GLAZ T APOT , MUGS , PLAT S A FRUIT DISH WITH VARI OUS I N SCRIPTIO N S A N D ORN A M E N T STAFFORDSHIRE SALT -GLAZ E TURE E N A N D DISH

E - E T H E E N N S TAFFORDSHIR SALT GLAZ . ADMIRAL V R O M UG WITH I N SCRIPTION A N D A WHITE GLAZ E FLOWE R POT STAFFORDSHIRE WHITE SALT -GLAZ E DISH E S WITH MOULD E D A N E E N E N E E E N E N D PI RC D OR AM T . IGHT TH C TURY

N N E CU P A N D A N N M U G B OTTI GHAM POSS T OTTI GHAM , OTH N B E AN D E E E E 1 6 A N D I SCRI D , DAT D R SP CTIV LY 74 ( I 1 7 7 1

G N E A D A E B RAMPTON M U G WI TH D O HA DL S N MORTLAK M U G . E ARLY N I N E TE E N TH C E N TURY — B E E . E N N E E E N E N LAM THMUGS TWO H ADS ARLY I T TH C TURY , AN D VARIOUS PI E C E SFROM OTH E R POTTE RI E S

E B N N E E N E DOULTON . MOD L OF OLD U YA M TI G HOUS AT B E E AN D N B LAM TH , MOD L OF A PAGODA , A QUAI T TOM STO N E TO T H E M E MORY OF A B LACK B IRD

B E AN D E A N D O N E FULHAM , LAM TH MORTLAK MUGS FLASKS I N SCRI B E D DRI N K T o T H E PIOUS M E MORY O F GOOD QU E E N AN N E LAM B E TH T E A K E TTLE FULHAM CUP AN D TWO CRE AM E WE RS — PROB AB LY N OTTI N GHAM

- E AN D R E LAMB E TH FISH SHAP D FLASKS , VA IOUS OTH R FLASKS - N A N D B E A N D E E N DOULTO , FULHAM LAM TH (SMITH ST PH GRE E N )

N N P M AN D L AM B E WAR E s, I S P E CI M E N S OTTI GHAM , ULHA TH W TH ’ O F D O G s-H E AD CUPS B Y STE PH E N GR E E N LIST O F HALF -TONE ILLU STRATIONS I S

F ACI N G P AG E

B E O N E B Y . AN D N AN D E M LAM TH J UGS , J STIFF SO S , OTH RSFRO VAUX HALL (PATRICK) A N D MORTLAK E

E B K H E R E A N D B B MORTFLUALKHAMJUG Y I S TWO OTHE RS . PRO A LY

E O F W N E T o E E N E E TYP S I DMILLS US D D CORAT STO WAR J UGS , A M G D N G ALSO FULHAM U A N A J U G . N OTTI HAM

COLLE CTIO N OFSP E CIM E N S OFSALT - GLAZ E STO N E WARE FROM B E E A N D E E E 1 2 8 LAM TH , MORTLAK , FULHAM OTH R POTT RI S

MARTI N WAR E FAC E - J UGS A N D VAS E S WITH A J UG A N D A JAR -D E CORAT E D I N VARIOUS STYLE S

COLLE CTIO N OFSP E CIM E N S OFMARTI N WARE SHOWI N G OTH E R FORMS A N D STYL E S

N E E E E B A N D E - U G MARTI WAR VAS S , GROT SQU IRDS A FAC J , E E B Y N MOD LL D R . W . MARTI

N E E A N D E E MARTI WAR VAS S , J UGS GROT SQU S

E E A N D B T H E E MARTI N WAR VAS S OWLS . FORM R DISPLAY CRAB S A N D FISH - FORMS I N QUAI N T D E CORATIO N

N E B B B — A N D DOULTO WAR Y A . . ARLOW TWO JUGS A CURIOUS

E B B Y . . FLOW R OWL , M V MARSHALL

E E E E N WAR . TWO LARG VAS S , R PRODUCTIO S FROM T H E N E N E N B N O N B E N A TIQU . OR AM T ROW LU GROU D , N E A N D E E I N E B E A N D WITH CKS F T GR Y, LU LIGHT B ROWN

E B Y E N E N N . VAS S . D . LUPTO , . DU , M . V MARSHALL AN D E B F . . ARLOW

E X E B Y . . B E B B AMPL S F A UTL R, A . . ARLOW, HARRY B ARN ARD A N D J OH N B ROAD HISTORY O F E N GLAN D VASE I N COLOURE D - WO R T H G E N E E B Y E E T I N . SALT LAZ STO WAR , G ORG THIS VAS E I s 6 FE E T HIGH

E B FI GURI N E I N DARK GRE E N STO N WARE Y A . B E E RE

B Y N TAZZA W . CU D

- E AN D E E S E A E B Y . . VAS , GROT SQU HORS , M V MARSHALL

- E E S E A N E B Y . . A GROT SQU MO ST R, M V MARSH LL I 6 LI ST O F HALF -TONE ILLU STRATIONS

F ACI N G P AG E

N E E E E I N E . DOULTO . GROT SQU FIGUR COLOUR D MATT GLAZ S T H E TWO SMALLE R PI E C E S A R E I N B RIGHT COLOURS ; B Y M . V . MARSHALL E E B B Y GROUP OFGROT SQU OWLS , M . V . MARSHALL

E I B - E N B E N VAS W TH LUISH GR Y UPO A LU GROU D ,

AN D B B Y . . A J UG, OTH M V MARSHALL

T H E E N S E T M RRY MUSICIA S , 9 OF A OF N E I N B N N E E B Y E E 3 7 FIGURI S , ROW STO WAR , G ORG T I N WO R T H

T w o E I N B N N E E B Y N FIGUR S ROW STO WAR , JOH B ROAD QU E E N VICTORIA A N D T H E B ATH E R SPILL VASE WI TH SGRAFFITO D E CORATIO N B Y MI SS B B A N D E E B Y E N E H . . ARLOW , PI C S H . SIM O , W . ROW ,

D . E N A N MISS M . THOMPSO

- E N N E E B Y . E N L OPARD SKI STO WAR J UG , H SIM O

- E N N E E B Y . E N L OPARD SKI STO WAR JUG , H SIM O

E B Y E S I M M AN CE — E B Y TWO VAS S MISS . VAS MISS

E . B F . ARLOW

E B Y N E FIGURE S M OD E LL D L . HARRADI

E E - E N I VAS WITH GR Y WHIT MATT GROU D , W TH

N E N I N B A N D E B E B Y . . E 2 20 OR AM T LACK PAL LU , F C POP

I N E N E E I E N TWO J UGS GLAZ D STO WAR , W TH D CORATIO

I N B E N E T H E E B Y . E N LU U D R GLAZ , H SIM O

E A N D B B Y E . E N VAS S OWLS , W . ROW , H SIM O , E AN D F . C . POP M . V . MARSHALL .

O L D B E E 1 8 6 A B B Y FACTORY STAMP FOR 3 , OWL W E A N D T H E O N N E E . ROW , FACTORY STAMPS STO WAR T H E A B C O F

G L I S H S A L T - G L AZ E S T O N E WA R E

CHAPTE R I INTRODU CTION

TH E E nglish potters were comparatively late in using What is termed salt- glaze upon their stone ware , for it was only in the eighteenth century that its extraordinary qualities were generally recog ni ed s in the Potteries . The glaze itself was so i thin and delicate that it , in no way, interfered w th the most intricate ornament , but left it clearly and s sharply defined . Then again it re isted all atmo spheric influences , and showed little deteriora B ' n . ut tion u der the use of the table knives , on the other hand , the surface was not quite smooth , but minutely pitted , which was a drawback to its use for table ware and it was liable to crack when i S o extremes of heat or cold were appl ed . , in S f ta fordshire , whilst it displaced crouch ware , made from local clay and sand , and triumphed over 3 1 8 E NGLISH SALT-GLAZE STONE WARE

delft ware , it became decadent and failed when the confronted with smooth , clean and serviceable cream or queen ’ s ware which was the basis of most W ’ of edgwood s useful wares . in The foreign potters , notably those the Rhine S o land , at Raeren , Frechen , iegburg , H hr and

- Grenzhausen , began to apply salt glaze as early the and as twelfth century , their products , under C the general name of ologne ware , were familiar to our forefathers from the fifteenth century S ar h re onwards . ince the Great W t ey have sumed their activities and salt - glazing is in full swing . Of course the early stonewares were crude and E r plain . ve ywhere , in the beginning , the same remark applies . It was a great step forward , when ,

- nobody knows how , the salt glaze itself was

- discovered, but for a long period the salt glaze ware remained without ornament of any kind , being m si ply grey , drab or dull white , or brown in colour . Crude human heads seem to have been the earliest decoration of the fourteenth- century Cologne ware two potters . During the next centuries great advances were in progress ; the second half of the sixteenth century may be noted as the finest period for moulded decoration , the designs being remark S able for their beauty and harpness . T h en , later , the moulds made from carved wood blocks suffered from the carelessness of the carvers, the artistic values decreased , and the G H . H DWI T FUL AM .

PO G E G ’ E E E RTRAIT FI UR OF DWI HT S DAUGHT R , LYDIA , AFT R D ATH .

8 Ken M s . u .

20 E NGLI SH SALT-GLAZE STONE WARE the British Museum in which the E nglish pottery — is displayed says The statuettes , which appear nu to be nearly all portraits in character , are doubtedly the finest and most original productions E of any nglish potter indeed , it would be hard to find their equal among C ontinental wares . It is nothing short of astounding to see this sudden and brilli ’ ant outburst of the potter s genius at a time when the greater part of the country had not advanced beyond the

crude, if picturesque , slip P wares . The bust of rince Rupert (see F rontispiece) is a technical wonder even to the potters of the present

day . The passing of the salt- glaze manufacture to DWIGHT DARK B ROWN the Potteries marked an N E E STO WAR . i i epoch I n the r h story . S taffordshire salt - glaze ware is described in fin the second section , and that , too, is ely illus

trated. For some eighty years , the potters in that county were fully occupied with its pro duction , though , individually, they have left scarcely a record of name or factory mark upon the beautiful pieces which have survived to our own time ; just a few blocks reveal the names of INTRODU CTION 2 1

few the men who cut them, and a very moulds e ar signed . p Classification is sometimes too stringent regard ing periods of manufacture but we may generally adopt the periods into Wt h the history of salt glaze is divided by Church B 1 20 d Period I . efore 7 . Impresse and applied

- E E SALT GLAZ T APOT . hos Wed wood to e-ou - rent Mus T . g . S k T . ornament on engine- turned vessels : archaic period . P 1 20 1 0 eriod II , 7 to 74 . Flint introduced into the body fine sharp work . 1 0 1 60 E Period III , 74 to 7 . xtensive use of coloured enamels in decorating the salt - glazed surface .

Period IV . Prevalent ornamentation of basket and pierced work period of decadence . 2 2 E NGLI SH SALT-GLAZE STONE WARE

The fine white salt - glazed stoneware holds a prominent position amongst the ceramic treasures which attract the attention of collectors . Fine iffi i examples are d cult to obtain , and the r values have an upward tendency . It is well to remember P that stoneware was made outside the otteries , S N h as in Liverpool and wansea , otting am and kfi d B ac el . rampton , and , perhaps , Leeds and J Certainly the vicinity of the metropolis furnished

Fulham ware , but , in recent years , Mortlake salt glaze stoneware has been identified by S igned pieces from a factory whose existence is beyond doubt . The fullest information of the Mortlake Potteries h is contained in the third section of t is book . It is derived largely from A S hort Account of the P ” E Mortlake otteries , by Mr . John ustace Ander

2 0 C . son , printed ( 5 copies) for private irculation This will be a suitable place to make due acknow ledgment for giving wider publicity to the valuable work which the author has performed by leaving such an interesting record of his investigations his and by filling a gap , which , without efforts , h might ave remained for ever unrepaired . h T ere is no gap between Fulham and Lambeth , for the founder of the Lambeth Potteries received the his early training at Fulham , and great build ings on the E mbankment bear testimony to the success which has attended the labours of John S ir i Doulton , Henry Doulton and the r successors . DWIGHT , FULHAM FLORA

‘ Mus B I I I . .

24 E NGLI SH SALT-GLAZE STONE WARE

but the artistic merit was absolute . The illus trations of this Martin ware are fine and numerous . C B uriously enough , in passing through rownlow S — n treet , Holborn , I saw i an antique shop just opposite the shop the Martins once had — one of ’ those comical jugs , a funny man s head , and I was told the price was £1 8 It may fairly be claimed that a

- dual history of salt glaze ware , as E made in ngland , is set out in h t ese pages , the historical and

descriptive one , recording the facts as as far they could be ascertained ,

and the pictorial one , featuring the finest results attained by our

best potters in this ware . I be lieve there is no similar record of h in t em as a class , though some div iduals have received more or

N E MARTI WAR . less attention . It may be possible

I nlaid emhed nne' to discover documents , at present unknown , which will throw more light upon points h h w ic remain obscure , and any information of that character will be warmly welcomed . If my readers derive as much pleasure from my labours as I have enj oyed myself in them, their P satisfaction , indeed , will be complete . leasure is the accompaniment of the moderate and suit of able activity some organ or faculty of the mind , and experience has shown that the pursuit of an INTRODU CTION 25

agreeable hobby furnishes not pleasure , alone , but S o recreation in a real sense . a busy man can take up any branch of art and become a co llector . Why should salt-glaze stoneware be a worthy h obj ect P This book answers t at question . A

- well known lady collector , who is also an author , writes I have most of your books in this series , h and I really find them very helpful . I t ink your Pottery book is absolutely the best published ! and that is big praise It is indeed . I can only say that I have an infinite capacity for n taki g pains .

E E GROT SQU .

B arshall. y M . V. M CHAPTE R II F U LHAM AND DWIGHT— SOME THING ‘ AB OUT THE POTTE RIE S

U H A i F L M is a pretty village , about four m les from London , on the banks of the Thames , which is here crossed by a bridge connecting it with

Putney , on the opposite bank . The Old Palace at Fulham has been the summer residence of the B C ishops of London for three centuries . ompare ’ h 1 88 t is description from Fry s London , 5, with the present borough , and you will gather a good idea of the changes which have happened in all W the London suburbs during recent years . hen two hundred and fifty years ago John Dwight came to this pretty village and originated the famous stoneware which will ever be associated with Fulham , he probably found pot works in active operation ; the old Crab Tree Inn was known as the Pot House , and common pots and pans were made in Tudor and S tuart times in t e . many parts of h kingdom , especially at Lambeth W hen and where Dwight was born is not known , though circa 1 640 as the date of his birth is an approximation which will serve , in spite of a 2 6

F ULHAM AND DWIGHT - THE POTTE RIE S 27 personal inclination to place it ten years earlier .

The name , an uncommon one has been rendered D waite D au ht D owoit variously as Doit , Dwite , , g , T he and D owoight . only other instance I could W find was Mr . illiam Dwight , who in the records of the benefactions of the Church at Harrow- on the - Hill gave forty shillings per annum out of his lands S C at udbury , lose by , to the poor . John Dwight is usually described as an

O x fo rd sh ir e g en tl em an . Plot writes of him in his his Oxfordshire , and ” h widdow mot er Joane , , l 1 6 whose wil , dated 77 , was 1 680 proved in , is therein described as of the Parish S t P B of . eter in the ayley ” C We of the ity of Oxford . must leave this and other

! S U Ch W E E O F Problems as hen DWIGHT . STATU TT did John Dwight begin his JUPITE R researches into the manufacture of stoneware , and where P What led him to choose Fulham When did he begin his work there Coming to surer ground in Lyson ’ s E nvirons 1 2 of London , 79 , we learn that , in conj unction two B with others , he was appointed by ishop ” W 661 a d 2 1 . alton as register n scribe on June 9, 28 E NGLI SH SALT-GLAZE STON E WARE

Henry Ferne, George Hall and John Wilkins were B C s other successive ishops of he ter, whom he served in the same capacity . Dr . Hall was Rector W 1 66 — 0 of igan , and Dwight resided there until 9 7 , W . B when Dr ilkins , also ishop and Rector of W igan , brought a suit against him, and the con nection of the scribe with the C . 1 6 1 see of hester ended In 7 , Dwight took out his first

patent , but in it there is no mention of Fulham and no answer to the questions pro

pounded above . The patent 1 68 expiring in 4, a new one was granted in that year in which he is definitely attached to S everal N ew Manufac ” o tures , that by his wne industry and at his owne proper

H T E , D WI G . FIGUR OF costs and charges hee hath N E T N E P U invented and sett vp at Ful nsin use South Ke gton M um . ” The 1 6 ham . lawsuits of 93 1 6 and 97 , which are so interesting , depend on S f Fulham and , in a measure, on ta fordshire . The accessibility of London was all in favour r of Dwight , for the Thames , the g eat waterway , was at his doors . The contrast between Fulham and Burslem with respect to the important item of carriage is clearly seen in a petition mentioned S 1 62 al - z by haw, drawn up in 7 , when s t gla ing was

— F ULHAM AN D DWIGHT THE POTTE RIE S 29 B in full swing at urslem . In asking for a turn

pike road , the petitioners at this town stated that there were a hundred and fifty separate potteries making stoneware and earthenware which was B exported in vast quantities to London , ristol ,

Liverpool , Hull and other seaports and to the colonies in America and the West

Indies . Great quantities of flints were brought from different parts of the coast to Liverpool and Hull , and clay for white work from C Devon and ornwall to Liverpool , thence by water to Winsford and W B illington , by land hence to urs P lem . rodigious quantities of coal were used . The carriage of these materials by pack - horses and wagons , the transport of the wares by the same means , and the de livery of salt from the salt - works in Cheshire were all hindered by W the bad roads which necessitated D IGHT . DARK BROWN STON E WARE a journey through N ewcastle- under five Lyme, so instead of a direct route of miles, a roundabout one of nine and a half miles was compulsory . The petitioners prayed that the road might be amended . The evidence of Dr . Plot is very convincing with regard to the carriage of the hollow and flat wares in the seventeenth e : - century, for h says In twenty four hours an 30 E NGLI SH SALT-GLAZE STONE WARE oven of pots will be burnt ; then they let the h fire goe out by degrees , whic in ten more hours will be perfectly done , and then they draw them h Crate- men for sale , whic is chiefly to the poor who carry them at their backs all over the country Pack- horses and wagons showed con si erable Crate- m en d improvement upon , but when the canal from the Trent to the Mersey intersected h t is district , which was 1 completed in 777 , the commercial prosperity of

the Potteries was assured . As the E lers excelled the potters of S tafford h shire , amongst w om they 1 1 0 lived till about 7 , by the fineness of the — N MUG . N OTTI GHAM . paste which was due to extraordinary care in pre “ n bottom : m oc ett. O W . L k — paring the Clay and by — its hardness which was owing to the fiercer heat of the firing - we may assume that this careful levigation and higher temperature in firing were two of the secrets they learned from Dwight h C throug his servant handler . The impressed and own applied ornament was their , and no doubt was suggested by their knowledge of working in T l he Blers h . si ver . style in t is respect will remain N The brown muggs of ottingham , the secret — F ULHAM AND DWIGHT T HE POTTE RIE S 3 1 of which James Morley appears to have secured C from handler , were of stoneware , resembling the

Fulham brown stoneware very closely , even in the ornament , which consisted of applied subj ects , such as are produced at Doulton ’ s every day a t huntsmen , dogs, houses , trees , etc . The e rlies piece of dated N o t t in gh a m ware known is a posset 1 00 p o t , 7 ; and a small dated j ug of this br own ware , with a p e r f o r at ed outside case , may be seen in our illus tration from N T N . N N the Victoria OT I GHAM HU TI G J UG .

Collection of . H . ott E s 6 J M , q. in. high . an d Al b er t

. S Museum M . olon had a similar jug in his col now lection , unfortunately dispersed ; but his 1 0 specimen was without the date, 7 3 , scratched in the paste of the other . In this year Dwight died . His patent rights had expired four years

earlier , and then James Morley was free from the him restriction imposed upon . Apparently he lost no time in resuming his manufacture of brown 3 2 E N GLI S H S ALT-GLAZE STONE WAR E C mugs and jugs . At any rate , harles Morley

- made a fortune out of the brown glazed ale mugs , pitchers and domestic vessels in the first half of W the eighteenth century . e need not continue at length the later history N of ottingham ware, for in 1 739 there were two master potters in the 1 8 1 town, and in 5 Blackner says There were likewise two pot teries within the last thirty years ; but the clay was principally brought from a con E ~ E STAFFORDSHIR S ALT GLAZ . E B , E WE S iderable i Whlch DOU L SCR D d stance , nogggg added so much to the cost of the pots as to prevent the proprietors maintaining a competition with the S taffordshire ” We dealers . can place the closing down of the N ottingham potteries in the early years of the 1 80 nineteenth century , because, in 3 , one name only appears as a potmaker and the Old Pot r - te y had been converted into dwelling houses . The records are silent as to the subsequent Garnor career of Matthew Garner , or Gardner after 1 6 the trial in 93 . The Gardners were a Fenton i . Wh eldon family of workmen In the books of , who took such a prominent part in the early deve lo m ent S p of taffordshire pottery , even before the

CHAPTE R III

P W DR . LOT AND D IGHT

TH E N book by Dr . Robert Plot , The atural ” 1 6 6 History of Oxfordshire , published in 7 , with 1 0 a second edition in 7 5, contains remarkable corroboration of all the claims made by Dwight , and when we read what is said about pottery in another book by the same author , published in 1 686 T he N atural History of S taffordshire and take both in connection with the legal actions C C in the ourt of hancery , probably our conclu sions will be favourable to those Claims and there fore to London as the first place in Britain where

fine pottery was manufactured . s Dr . Plot appear to be an unimpeachable authority who wrote down what he saw . As the “ late Keeper of the Ashmolean Museum and Professor of Chymistry in the University of Oxford his qualifications for this work were We verbatim et literatim splendid . could quote all that he says upon earths , clays , processes and the like , but confine ourselves within somewhat narrow limits , copying the form of his own words F ormation o E arths Amongst Arts that concern f , 34 D R P AN D W . LOT D IGHT 35

I shall not mention the making of P ots at M arsh B alden and N u neham Courtney ; nor of T obacco i es White-E arth S hotover p p of the of , since these no N or w . places are deserted indeed was there , as I have ever heard of, anything extraordinary h E arths performed during the working of t ese , nor — is there now of a very good T obacco pipe Clay found in the parish of H orspath since the printing of the third chapter of H istor this y . Let it suffice for things of this N ature I n eni , that the g ohn D wi ht ous j g , formerly Christ Church M A . . of C ollege , Oxon , hath dis covered the M ystery of the S tone or Cologne ’ Wares (such as D Alva B ottles u s N o ins , j g , gg ) heretofore made only in FULH AM

London Mus. 6 tu . high. Germ an the y , and by D utch brought over into E ngland in great quan h M anu acture the tities , and ath set up a f of same which (by M ethods and Contrivances of his own altogether unlike those used by the Germans) ’ in three or four years time he hath brought it to a greater perfection than it has attained where h A es it hat been used for many g , insomuch that Com an Glass- sellers D ealers the p y of , who are the for that Comm odity have contracted with the

36 E NGLI SH SALT-GLAZE STONE WARE

I nventor E n lish M anu acture to buy only of his g f , F orei n and refuse the g . As this History was published in 1 676 and written some time before it was printed , in point of time we are brought very close to the date when Dwight received the grant of his first patent , 1 6 1 which was in 7 . Dr . Plot continues He hath discovered also the M ystery of the H essian Wares and makes Vessels for reteining the penetrating S alts and S irits Ch mists p of the y , more serviceable than were E ever made in ngland , or imported from Germany

itself . And hath found out Ways to make an E arth white and transparent as Pill-Hm P orcellane , and not distin

M“ ”m ush “ guishable from it by the E e E x eriments h y , or by p t at have been purposely E arth made to try wherein they disagree . To this he hath added the Colours that are usual in the coloured China- Ware and divers others not seen S kill before . The that hath been wanting to set up a M anufacture of this transparent E arthen- Ware E n land China Glaz in in g , like that of , is the g of ’ E arth uz z el d the white , which hath much p the N N G OTTI HAM I o I n h ' h g

C nscri ed o uthwell f I b S o r ever. . H J .

and on ottom oh H a b J n nwell.

38 E NGLISH SALT-GLAZE STONE WARE N of a great invention . ot only does it place John Dwight foremost amongst the E nglish

- master potters , in point of time , but it indicates the superlative quality of his work . The ex a pression quoted above , He hath lso caused to S tatues F i ures be modelled or g , leaves us in doubt as to the actual artist who executed such B h noble works . eyond t at all seems clear ; we have further evidence to P re follow from Dr . lot garding the actual pottery made in S taffordshire whilst

he was there , but can we not make another claim ? Was not Dwight the first potter in E urope who suc ” ceeded in making porcelain ? We will take a short glimpse

A S ax FULH M . at Meissen in ony , where L°°a°n M“ “ m m“ th e porcelain , c o mm onl y known as Dresden , was made , so as to compare Dwight ’ s invention with that of John Frederick ’ BOttcher who , , as an apothecary s assistant , suspected of alchemy, fled from his native city B of erlin , and took refuge in Dresden . Here E S the lector of axony , Augustus II , called the S ” trong , determined to take no chances if Bottcher really could transmute the base metals into gold ; so he placed him in the royal labora T schirnhausen tory under the superintendence of , P DR . LOT AND DWIGHT 3 9

who was engaged in searching for another chimera , B Ot Ch the elixir or universal medicine . t er re quired crucibles capable of withstanding a high temperature , and in course of his experiments in this direction he discovered a brown or rather red had the pottery which requisite hardness . The E lector transferred the potter and his companions C h be to the astle of Albrec tsberg , at Meissen , for perceived the value of this ” red porcelain , which was really a semi - porcelain or red h stoneware , w ich appears to 1 0 have been first made in 7 7 . Two years later white por celain was produced which was brought to perfection 1 1 about 7 5. The Meissen productions were continued FULHAM and improved under royal ; m " 2 m h’ h ’ “ 11 m ’ ' g ' patronage ; but Dwight s best wares , which may claim to have been the E first uropean discovery of porcelain , had a much shorter existence , ending , in fact , with his life .

In Holland we find that Martinus Guda , pro rietor 1 6 p of a pottery In 75, at Delft , declared h i — de that , w ilst continu ng to make red teapots ‘ ’ — la vaiselle a the rouge and desiring to submit to the decree of the magistrates of Delft who required all potters to enter the mark of their wares , he hastened to present his own so that it might be 40 E NGLI SH SALT- GLAZE STONE WARE

1 680 enregistered in . This mark , with others on C boccaro red ware , like the hinese , is a very rough h imitation of an oriental mark . T ese Dutch B ’ wares are frequently ascribed to ottcher . Guda s red teapots were produced at the same period as e thos of Dwight , but no connection has been estab lished between the two

men , and , in this case E again , the nglish ware is the earlier . Red stoneware made by BOttcher 1 0 in 7 7 , red stoneware made by Guda 1 6 in 75, red stoneware made by Dwight in 1 67 1

Take the years traced , not 1 6 1 by the patent of 7 , P ’ but by Dr . lot s book . 1 6 6 Published 7 , written

before that , the state

FULHAM . ment that Dwight had in m m M “ three or four years ’ time attained great perfection deserves more than i C S r . : passing consideration . A . H hurch says Dwight did nearly approach success in the making of a hard translucent ware similar to hard oriental porcelain . The applied ornaments on his grey stoneware jugs and flasks and even the sub stance of some of his statuettes were distinctly ” S S porcellanous . M . L . olon expresses imilar ’ I U LH AVI 1 3 - E D , 7 4 5 O F E I I A N D N N E I Il o H A S CHARL S A . VV e tt C lin

Inscribed

O n B anstead Downs a hare w as fo und VVt h led I n all a -sm okmg ro und

A raham arm an at ewes b H , L

B ri M s t u .

DR P AN D . LOT DWI GHT 41 h views . W y not settle the matter by testing a section As bearing upon the close relation between Delft and London we will turn for a while to a trial which took place in the High Court before four Barons of the E xchequer when E dmund W ’ arner , a potter s clay merchant , brought evi dence to prove that the parcel of earth seized by the Customs was not fuller ’ s earth as they alleged , but true ’ T he potter s clay . trial took 2 th N place on the 4 of ovember , 1 6 93 . For our purpose only a short summary is necessary . W ill ia m Kn ight , Th o m as W Harper , Henry de ilde , John

Robins , and Moses Johnson , all of them potters in London , swore that the clay which they had seen was of the same sort they had bought of Warner, -fiv some of them for above seventy e years . In passing we may note that except in the case of first- W h the named , illiam Knight , the ot ers have left no records . He was a potmaker in the P B ” S t . arish of uttolph without Aldgate , London , I n 1 6 0 who made white ware . 9 he bought for seven hundred pounds some lands , mill and hereditaments of which the mill was now and of late used for a colour mill for grinding colours

42 E NGLI SH S ALT-GLAZE STONE WAR E

l z for the g a eing of white ware . This white ware was j ust like the delft , produced not only in E Holland but in two or three places in ngland ,

which , being unmarked , cannot be identified . N ow h the delft factories , t irty in number, 1 680 reached their highest prosperity in , when about two thousand persons were employed in - h them out of a population of twenty four t ousand . S everal of the potters were examined on oath by a Commission from the Court of E xchequer and ten or twelve deposed that they had bought considerable quantities of the ’ W C said arner s lay , and that they

used the same in making earthenware . C e P olonel Holt , a M mber of arliament , swore that he had made the strictest

mm a the h h (m o . inquiries into trut of t is busi A L SM L FLASK ' ness (being very lately in Holland) , first amongst the potters who all declared to f E the above e fect . Then Mr . dward Paget , a

divine , swore that he being in Holland at the D el e o same time went to f am ngst the potters , who all affirmed the same thing that the ten or twelve had sworn in their afore- mentioned deposi N C h tions . ext came the evidence of lot iers , C h fullers , and lot workers that this clay was no ’ T wo h fuller s earth . paragrap s conclude the the h h account of case , beginning t us T is is so just a Recital of the E vidence given on behalf of W the said arner, that he challenges the greatest D R P A N D W . LOT D IGHT 43 of his enemies to detect him of the least False ” h We the hood t erein . pass over remainder h whic does not apply to our purpose , which was E to prove that Delft potters used nglish clay, though Jacquemart says the clay used at Delft B came from ruyelle , a village situated a league

from ' T ourn distant ay . The same authority admits that the tin for the enamel was of E nglish origin ’ al ém ail sa Quant , beauté dépend de la qualité ’ ’ l étain et ce de qu on y fait entrer , minéral était ’ tiré de l Angleterre par les Hollandais comme par ” les Francais . Lambeth and all other E nglish delft owed its h origin to the Dutch . Of t at there is no doubt for the potters who made that ware at Lambeth came from Holland , and many dated pieces are ’ 1 6 6 But earlier than Van H amme s patent of 7 . there appears to be no record of the advent of salt- glazed stoneware from the Continent to E ngland . CHAPTE R IV THE PATE NT GRANTE D TO DWIGHT

As 1 68 the second patent , granted in June 4, specifically mentions Fulham and sets out more we h clearly the wares and articles made , ave rele I t gated the first one to the Appendix . is some what long and we have kept the original spelling , I t but its interest is undeniable . is as follows C E S T H E S E C N HARL O D , by the grace of &c God , . , to all to whom these presents shall come , greeting . “ W E E S O H N H G entl re H R A J DWIG T , , hath presented vnto vs that by his owne industry and owne at his proper costs and charges , hee hath V C invented and sett p at Fulham , in our ounty ‘ Middx S E VE R ALL N E W AN U F A C UR E S O F of , M T E AR HE N AR E S CA E D BY T HE N A E S O F WH E T W , LL M IT O R E S AR B E D O R CE AN E E S S E S S A U E S G G , M L P LL V L , T T , AN D U R E S AN D N E S O N E O R E S AN D FIG , FI T G G VE sS E LL s N E VE R BE F O R E A D E I N E N AN D O R , M GL E L S E WH E R E ; AN D AL S O E D I S CO VE R E D T H E MI S TE R Y O F R AN S PAR E N O R CE AN E AN D PACO U S T T P LL , O E D D A N D AR KE -CO O U R E D O R CE AN E O R R , D L P LL CH I N A AN D E R S I AN WAR E S AN D T H E I S E R Y P , M T 44

THE PATE NT GRANTE D To DWIGHT 45

’ O F T H E CO O N E O R S O N E WAR E S L G T , and is endea vouring to settle manufactures of all the said wares within this our kingdom e of E ngland and h vnto hee having humbly besoug t vs , to grant him our Letters Patents for the sole vse and exercise of the same for the terme of fowrteene S years , according to the tatute in that case pro v ided ratiousl , wee are g y pleased to condescend to that his request . KN OW YE E THE R E R E wee FO , that being willing that the said John Dwight may reap some reasonable recom pence and com pensacon for his great charge and paines in and in about the premisses , and to courage the inventors of such arts as may be of publick vse benefitt and , of our especiall r i , ce te ne , grace knowledge and FULHAM , MW" ” his“ m m ocon 7 eere , have given and b granted , and by these presents , for vs , our eires v nto the and successors , doe give and grant , said h John Dwig t , his executors , administrators , and s eciall assignes , p licence , full power , sole privilege h h and aut ority, that hee , the said Jo n Dwight , his executors , administrators , and assignes , and

every of them , by themselves , or their deputy or h h deputys , servants or agents , or suc ot ers as the

said John Dwight , his executors , administrators , 46 E NGLI SH SALT-GLAZE STONE WARE

or assignes , shall at any time agree with , and noe others , from time to time and at all times dure ing the terme of y eares hereafter in these presents v se expressed , shall and lawfully may , exercise , and enioy the said I nvencons of new manufactures within any part or parts, place or places whatso oi kin dom e ever, , in , or belonging to our g of E W ngland , dominion of ales , and all and every or any of our kingdom es and h dominions w atsoever , in such

manner , and according to such reasonable and lawfull rates lim itacons the and , as to him , ex ecu said John Dwight , his

tors , administrators , and as

signes , or any of them , shall h discrecons in t eir seeme meet , the and that hee , said John

1 00. FULHAM . 7 his adm inis Dwight , executors , u Mus L° d°° ' trators h , and assignes , s all enio benefitt rofitt and may have and y the sole , p , com odit y , and advantage from time to time coming , growing , and arising by reason of the said I nv encons new durein of manufactures , for and g the full terme of y eares hereafter m enconed to enio the have , hold , exercise , and y said licence , h powers , privileges , and advantages ereinbefore granted or m enconed to be granted vnto the said h Jo n Dwight , his executors , administrators , and durein vnto ul assignes , for and g and the f l end

THE PATE NT GRANTE D TO DWIGHT 47 and terme of fourteene y eares from the day of the date of these presents next and im ediately ensueing and fully to be com pleate and ended

’ according to the S tatute in this case m ade and provided ; and to the end that the said John his Dwight , executors , administrators , and assignes enio benefitt and every of them , may y the full and the sole v se and exercise of the said I nv en cons of new manufactures according to our gratious intencons - h herein before declared , wee doe by t ese b presents , for vs , our eires and successors , require and strictly comand all and every person and persons , bodys poli tique and corporate , and all other subiects h our whatsoever , of w at estate , quality , or degree , name , FULHAM I N KV E LL condicon or soever they be , within Y s 2 m lon . London Mu . } . g all and every our kingdom es h h dominions , that neit er t ey nor any of them , at any time dureinge the continuance of the said fowrteene eares terme or y hereby granted , either vse directly or indirectly doe , , or put in practise I v cons new the said n en of manufactures , or any atteined of them, or any part of the same soe u v to by the said John Dwight as aforesaid , nor shall in anywise counterfeite or resemble the said I nv encons of manufacture , or any of them , nor shall make or cause to be made any addicon substraccon thereto or from the same , whereby to pretend themselves the inventers or devisers 48 E NGLI SH SALT-GLAZE STONE WARE

thereof, without the licence , consent , or agree ment of the said John Dwight , his executors , v nder administrators , or assignes , in writing his, h their , or some of their ands and seales , first had obte ned behalfe v on and y in that , p such paines and penaltys as can or may be j ustly inflicted on such offenders for their contempt of this our Royall comand and further to be answerable to h the said John Dwig t , his

executors , administrators , and law assignes , according to for his and their damages thereby u t to be s s eined . ‘ And wee doe , of our further certeine especiall grace , know m ocon ledge , and meere , for heires vs , our and successors , grant vnto the said John A FULH M . ad Dwight , his executors , London Mus. 5 In. high . m inistrators , and assignes , by these presents , that hee , they , and every of his them , and , their , and every of their deputys , havein obteined agents , and servants , g first a lawfull warrant from the Lord Chiefe Justice of our Court of King ’ s Bench at Westm for the time being , and with the assistance of a constable or O ffi any other lawful cer , at convenient times in durein the day g the terms hereby granted , and lawfull in manner, may enter into and make search in any place or places whatsoever within TH E PATE NT GRANTE D TO DWIGHT 49 any of our kingdom es and dominions where there shall be iust cause of suspicon for the discovery and finding out of all and every person and per h or sons as s all imitate cause to be imitated , or S hall v se or put in practise the said I nv encons of new manufactures , or any of them , or shall make or counterfeite any instruments or m aterialls to f the same belonging , that soe such o fender or O ffenders may be proceeded against and punished according to law .

And further , wee doe by these presents , for vs , b our eires and successors , will , authorise , and comand all and singular j ustices of the peace , f ba liffes mayors , sheri fs , y , constables , head f boroughs , and all other o ficers and ministers b whatsoever of vs , our eires and successors , for h kin dom e the time being , as well wit in our g of E W ngland and dominion of ales , as within all kin dom es and every other our g and dominions, that they and every of them respectively be from durein time to time g the terme hereby granted , f in their respective o fices , favouring , aiding , help in vnto g, and assisting the said John Dwight , his executors , administrators , and assignes , and to theire his and deputy and deputys , servants all and agents , in and by things in and about the accomplishment of our Royall will and

- pleasure herein before declared , and in the ex er cise and ex ecucon of the powers and privileges e h reby granted as aforesaid . 50 E NGLI SH SALT-GLAZE STONE WARE

And moreover wee doe by these presents , for b l vs , our eires and successors , wi l and comand that our said respective officers and ministers m enconed before , or any of them , doe not , nor shall att any time hereafter dureing the said terme hereby granted , in anywise , molest , trouble , h or hinder the said Jo n Dwight , his executors , administrators , or assignes , or any his or their abO II t deputys , servants , or agents , in or the due and lawfull v se or exercise I nv encons of the aforesaid , or relatin e any of them , or anything g therevnto : Provided always , and these our Letters Patents are and shalbe v on condicon p this , that if at any tym e dureing the said terme hereby granted it shalbe

‘

. E a eare V 8 b 01 FULHAM M DAL made pp to , our eires N LIO . COCK WITH N H C S I X I ITIALS . . successors , or any or more of

8‘m' h’gh' h Councell our or t eir Privy , that this our present grant is contrary to law or preiudiciall or inconvenient to our subiects in I nvencons generall , or that the said and every O f them are not new inv encons as to the pub lick V se and exercise thereof within this our kin dom e g , and not invented and found out by v on the said John Dwight as aforesaid , then p significacon and declaracon thereof to be made b vnder by us , our eires or successors , our or si nett s their g or privy seale , or by the lord

52 E NGLI SH SALT-GLAZE STONE WARE meaning of the said Letters Patents and of these presents .

And lastly wee doe by these presents , for vs, b vnto our eires and successors , grant . the said

John Dwight , his executors , administrators , and h P assignes , that t ese our Letters atents or the inrollment thereof shalbe in and by all things firm e f , valid , su ficient , and effectuall in the law according to the true intent and meaneing shalbe thereof, and taken , con strued adiud ed , and g in the most favourable and beneficial] sense for the best advantage of h the said John Dwig t , his exe cutors , administrators , and as C signes , aswell in all ourts of

Record as elsewhere , and by all and singular the officers and

FULHAM , ministers whatsoever of vs , our L°° d°n M“ “ hi h 7* g beires and successors in all and realm es h singular our and dominions w atsoever , subiects and amongst all and every the of us , b our eires and successors , whatsoever and where l soever, notwithstanding the not fu l and certaine describing the nature or quality of the said In vencons m aterialls , or any of them , or of the conducein thereto g or belonging , or any other defects or incertaintys in these presents con tained , or any act , statute , ordinance , provision ,

TH E PATE NT GRANTE D To DWIGHT 53

roclam acon restriccon p , or , or other matter , cause , or thing whatsoever to the contrary in any wise notwithstanding . witnesse & c Witnesse O urs f . el e W In , at estm , the Twelfth day of June (1 684) B Wr y itt of Privy S eale .

N . E E DOULTO PAP R W IGHT .

. . arshall 3 in. hi h M V M . g . CHAPTE R V DWIGHT ’ S LAWSU ITS AGAINST E LE R S AND OTHE RS

’ JO H N DWIGH T S first letters patent were granted 1 6 1 C S in April 7 , when harles the econd was T C . he King document , headed harles the S &c econd by the grace of God , concludes with the words “ Att Westminster the three ” and twentieth day of Aprill , though the docket says Aprilis and continues John — Dwight the sole use and benefitt of an I nv encon of m akeing transparent earthenware commonly — orselane C fourteene called p or hina for years . The actual record is a part of an immense roll of parchment labelled D ecima P art 23 Charles I I In this relation it will be remembered that Crom well ’ s Protectorate was entirely ignored by the S the succeeding tuart kings , so that Records 1 6 h C notify 49, w en harles I was executed , as the 2 first year of the reign of his son . Hence 3 Charles I I 1 6 2 would be 7 , showing the patents h granted during t e previous year . B efore the first fourteen years had expired , the 1 2 1 68 patentee , on June , 4, made application for 54 DWIGHT ’ S LAWSU ITS 55 an extension of his patent rights for a second

period of fourteen years . His application was was granted , and it during this time , when other potters were striving to wrest from him the fruits of his successful discoveries and practices in his ceramic arts that he lodged complaint in the C C 20 1 6 ourt of hancery , on July , 93 , against C Blers Blers John handler , David and John for h t infringing his patent . T is lawsui throws quite a clear light upon the question — who made the first of those famous redd teapots which ’ are usually called E lers ware ” Are they not a won derful evidence of the skill of the master potters of the seven teenth century 9 About John Chandler we learn FULHAM E rin H m ” 5" Pa m ’s only that he had been one of ’ Dwight s workmen , a servant at Fulham , or ” ’ ffulham , pottery , and part of the master s complaint was a Charge of conspiring and ob taining his secrets unlawfully from his servant C E lers handler by David and John , who are , in ” ffulham the citation , described as of , and by ” trade silversmiths . The answer was a denial ffi on the part of the defendants , who a rmed , amongst other pleas , that they had for three years , without any licence , made redd teapots C openly and not in a secret manner, also ologne 56 E NGLI SH SALT-GLAZE STONE WARE or stoneware which David had learned in Cologne ’ during several years residence there for that purpose . This statement upsets the tradition E rs that the le were potters from Holland . More over , the fact remains that the name does not appear amongst the Delft potters in the second half of the seventeenth century . One Dutchman , who in that period came to E ngland —John Aries Hammen— took out a patent which is thus 1 6 6 recorded : 7 . Van Ham

me(n) J . A . for tiles , porcelain

and earthenware . His name is inscribed upon the list de ’ posited at the potters Guild of U S . t . Luke in Delft pon the C question of ologne ware , we

have already shown that Dr . P 1 6 lot , writing in 77 , stated

obert Afslet x7 ra ndom h R . . The ingenious Jo n Dwight , n sum “ C C formerly M . A . of hrist hurch C m ster o the ollege , Oxon , hath discovered the y y f ’ stone or Colo ne teares d Alv a g (such as bottles , j ugs , nl noggins) , heretofore made o y in Germany and by the Dutch brought over into E ngland in great a quantities , and hath set up a m nufacture of the ” E lers same . The lawsuit against the took place P ’ 1 6 . in 93 , as before noted , and Dr lot s statement is as favourable to Dwight as the result of the S ee trial was . ( History of Oxfordshire . Rather astonishing developments occurred dur

DWIGHT ’ S LAWSUITS 57 N ing the proceedings . James Morley of otting ham was added to the three defendants , especially ” h articu regarding brown muggs, w ich were p ” larly mentioned in addition to redd thea potts . James must not be confounded with Charles Morley who early in the eighteenth century manu factured brown glazed earthenware in N otting M ham . James orley put up a good fight for his brown mugs , but before the case was concluded further orders were made by the Chancery Court b which W h y Aaron edgwood , T omas Wedgwood and Richard Wedg oi B h wood urslem , and also Matt ew G arnor G , or arner , increased the number of defendants . James Morley was ordered to make better answers to the complaint , and

O N E - N finally , he was left to bear the FULHAM . PI T

MUG ' brunt of the trial . It was alleged that the other defendants have , since the order ” the f for the trial , agreed with plainti f , said his counsel , who pleaded that Morley , whilst submitting to an inj unction regarding the redd thea potts , was not infringing the patent by ” n The maki g brown muggs . verdict , however , h ’ was in Dwig t s favour . Inj unctions were granted 1 1 6 G who on May 9, 94, against all but arner , was h 2 1 1 6 similarly dealt wit on June , 94, and Morley 2 6 1 6 on July , 95. I t was after this that the Blers betook them 58 E NGLI SH SALT-GLAZE STONE WARE

’ B S taf selves to radwell . Dr . Plot s History of fordshire published in 1 686 does not mention S them , but haw , another historian of this district , 1 82 writing in 9, gathered some information about

them and their work . He says Their extreme precaution to keep secret their processes ; and j ealousy lest they might be accidentally witnessed by any purchaser of th eir w ar e s— making B them at radwell , and conveying them over the

fields to Dimsdale , there

to be sold , being only two fields distant from

the turnpike road , and some means of com m unication (believed to

be earthenware pipes , h F ULH AM like t ose for water)

“ ns ribed : hom as u ard 1 x ri I c T D g 727 . caused them to e Pe

ondon Mus 8 in hi h . L . . g ence cons1derable and Wh the constant annoyance . ether, however , . E lers came to S taffordshire in 1 690 or 1 693 is uncertain , though it is agreed that they left in 1 1 0 u 7 . It is very doubtf l whether they were even likely to employ two local men , Twyford The and John Astbury, as workmen . story credits these two with feigning the utmost — — in stupidity idiocy , in fact order to worm out ’ the secrets of Blers ware whilst employed at F U LHA M (n

I llS I b L l ed 11 0“ Pear ree T ne ’ ‘ ar G o ds to ne S urr B I I I s , ) . Mu .

DWIGHT ’ S LAWSU ITS 59

We h Bradwell . have seen t at all the defendants h h v Ch h in t e case Dwig t . andler and ot ers were h condemned , so t at if they pursued any manu

facture in defiance of the verdict , they did so at trifled their peril . Dwight was not a man to be

with . This is seen in another action in the Court of — C v C hancery John Dwight . ornelius Hamersley S f h of Howle Ley in the county of ta fords ire , Moses Middleton of S helton and Joshua Astbury of S hel d 1 6 ton , ated December 4, 97 , only two years before the

patent expired . The complaint of conspiring made against the defendants in the former case

was repeated , and they were

al 1 7 1 . speci ly charged with in FULHAM . 3 truding themselves unknown ’ into the ffulham workshopsto inspect his [Dwight s]

furnaces and ways of manufacture . Further he contended that the defendants did make and h sell the said manufactures or some of t em , or others in imitation of them or resembling those

mentioned for several years past . In a private and secret manner made and sould great quantities of earthenwares in imitation and re ' semblance and counterfeiting O f the said new manufactures soe invented or made and sould by Your Orator as aforesaid and have or hath thereby 60 E NGLI SH SALT-GLAZE STONE WARE

gained great profit and advantage to themselves , and by means thereof have much injured your ” h he Orator . T is specially applied to t wares by ” h him sold abroad . T en he waxes indignant because they pretend they have several im prov em ents and that they themselves were the h h first to make these wares , t ough t ey are in ” no sort like . And more their secrecy prevents ” his getting evidence . Probably these defendants met with the same fate as the others , but my researches at the Record Offi ce failed to yield the inscribed decision — h We h the judgment in t is case . reac certain conclusions which seem to arise fairly from the E ers information at our disposal . The l knew some of Dwight ’ s processes and surreptitiously practised them in the secrecy of Bradwell Wood 1 6 0 pottery , producing fine red ware from about 9 1 6 to the expiration of the patent in 99 . Then more openly and probably more successfully till 1 1 0 S f h they left the district in 7 . Other ta fords ire the n potters , notably John Astbury , utilised k ow ledge gained by Joshua Astbury and his co defendants . Generally , too , we may suggest that the Blers were the first potters in that district to use salt - glaze for the thin and delicate ware which h e afterwards became so famous . T ey preferr d the manufacture of unglazed red ware of which the redd teapots , which caused them so much trouble , may be taken as a type .

62 E NGLISH SALT-GLAZE STONE WARE permitted and if upon further Tryall it shall be thought fit to continue the manufacture by me invented and sett up at ffulham and the same in part or all shall be disposed of by my E xecutrix O f to the use and benefit the said Mr . Philip

Dwight and his son , then from such date the said 1 00 yearly payment to him of £ shall cease . N rd Mrs . Lydia Dwight was buried on ovember 3 , 1 0 7 9 . Apparently the pottery was continued and the undutifull S amuel , who had placated his mother and had been by her

received into the business, took We control over it . know

" nothing about his lapse from

M FULHA . duty which his father notices l in his wi l , but his progress at m in-high 1 68 Oxford where , in July 7 , he matriculated as a gentleman commoner at C C . hrist hurch , was eminently satisfactory At the age of eighteen he entered the University B A 1 6 1 and proceeded to the . degree in 9 and to M 1 6 - the A . in February 93 4 . The next event noted is his marriage , the banns for which were 1 1 6 put up by Margaret Price , in 7 , and the S t ceremony took place at the church of . Mary i Aldermary , London . Lydia , their only ch ld , z l C 2 was bapti ed at Fu ham hurch on March , 1 6—1 S 1 7 7 . amuel Dwight became a licentiate

64 E NGLI S H S ALT-GLAZE S TONE WAR E

E Cumberlid e creditor as lizabeth g , of Fulham, widow . In the will of John Dwight , the grand O f son the master potter, which was proved on

6 1 6 : E x e December , 74 , occurs the following cutors Warland ffulham to be Thomas of , gent . (to whom I give 5guineas for a ring) and ffrances W ant , widow The church registers show that Margaret O f S 1 0 Dwight , widow amuel , died in 75 , being

- - 1 in law Warland buried on April 3 ; but her son , , d had predeceased her by two years . His wi ow, Lydia — the third Lydia by the way— married W W W illiam ight or hite , whose records introduce another chapter in which also we trace the won — derful stoneware the creations of the Fulham potters under the ever-watchful supervisio n of John Dwight— from his own possession to their acquisition by the nation . Indeed many of his special models , moulds and tools never left his possession . He buried them somewhere about the pottery and they have never been discovered .

Hence his successors , his widow and his son S Warland W amuel , and the hites were limited with regard to their output . They could not reproduce the masterpieces of the old potter, though they were successively the owners of the ’ original works . The reasons which led to Dwight s action have given rise to many surmises . One says that such artistic productions failed to attract public attention , and the disgust felt by the potter DWIGHT ’ S WI LL AND SU CCE SSORS 65

took this form of expression . Another thinks that having failed to produce certain porcelain , he grew so disheartened that he took this means of removing inducements to continue experiments . A third had an idea that he did not intend that his descendants should carry on that special manufacture which he had been the first to invent . P ossibly , the modeller of the had figures ceased his work , hence his tools , models and moulds would no longer be O f h had service . Dwig t a queermania for hiding money and other things such as his own pots . Jewitt gives a number of entries which he copied from the potter ’ s note - books of moneys hidden in all kinds of curious places .

Here is the first 1 693 FULHAM . “ ” her g . In ye garret in a hole M3? Effigy under ye fireplace 240 G in ” a wooden box . Many of these entries were crossed out to indicate that the money was with so drawn . This was treated , hence we may conclude that the box containing 240 guineas was not out of circulation for any length of time .

That a gentleman , evidently in good circumstances , should take such means of concealing his wealth 66 E NGLI SH S ALT-GLAZE STONE WARE

is inexplicable, and might give rise to conj ectures similar to those previously raised with regard to o the hidden to ls , models and moulds , and even the hidden pots , etc . , though they serve no useful purpose . Originality and unusual ability are not i u infrequently associated with s ng larity of conduct .

However , we will leave these speculations to devote a small space to the family of John and

Lydia Dwight . They had several children John , 1 662 born in , died twenty years later ; George 1 68 1 682 1 68 died in 5 and Gertrude in or 3 Lydia , whose memory the master potter enshrined in the recumbent figure bearing her name and the rd 1 6 2 S P date March 3 7 amuel and hilip . S amuel with his mother managed the pottery after his father ’ s death and an obituary notice of his ’ e The Gentlem an s M a az ine decease app ared in g , 1 737 , as follows Dr . Dwight , author of several 1 0 N ov treatises in Physick , died at Fulham . 1 S 737 . The first that found out the ecret to colour earthenware like china . This is incorrect , because he was only by courtesy a Doctor and N ow his . father discovered the secret Philip , the youngest son , was destined to occupy quite a W prominent place in Fulham . hen an infant , he - 1 came in 1 670 with his parents and the rest , of the family to Fulham , where he spent his boyhood , W S 1 68 entering estminster chool in 5, proceeding e C C C eight y ars later to hrist hurch ollege , Oxford , was where he obtained the usual degrees . He

DWIGHT ’ S WILL AND SU CCE SSORS 67

1 appointed Vicar of Fulham on December 3 , ’

1 08 . 7 , five years after his father s death His B University had conferred the degree of D . D ivinitatis upon him , and as a Doctor of Divinity ( ’ D octor) he is mentioned in his father s will of 1 1 02— 3 Jan . 7 3 , in which he receives distinguished consideration . His work for the Church appears to have received due ap preciation , but his health became feeble ; as a re solution passed by the — Vestry in 1 722 3 shows where it says the r D oct Reverend Dwight , our Vicar, being very Lame and much out of

Order in his health , can F ULHAM . ” ° : ox all : 1 . . nscribed : J n B 773 not go up stairs John , I

Mus m. ” h ‘ the Vicar’ s only son by ' 31 g ’ W nee his wife Jane ilson , a widow , Jane Owen , 1 2 was married in 7 7 , but his parents never saw all h t eir grandchildren , for they died within four days 1 2 of each other at the close of December 7 9, and C h were buried in one vault in Fulham hurc yard . A tradition prevailed at one time that Fulham stoneware manufacture was set up by a younger brother of the unfortunate Dutch statesman W Dewit , or De itt , who , with his mother , escaped the fate of the other murdered members of the 68 E NGLIS H S ALT-GLAZE STONE WARE

E 1 6 2 O ld family and fled to ngland in 7 . The lady maintained a sullen dignity in her m isfor W tunes, and was only accessible to King illiam III , who sometimes visited her at Fulham , and to W persons of the highest rank . hen we consider that De Witt was the inveterate foe of the House

of Orange, we may imagine that the royal visits brought

but cold comfort to his widow . Probably the resemblance in the name Dewit to Dwight

gave rise to the tradition .

However , there is no evidence that the former knew anything

about pottery , whilst Dwight , though he springs into existence h as a potter at Ful am, seems MUG wm r ME DALLION to have been associated with S f fi g high. ta fordshire if we accept an ‘ °f the 0“ E ng iS h Pm “ alteration in the form of his S ’ P name . In hakespeare s Henry IV (First art) 1 S S I I written in 597 , Justice hallow says in cene “ ohn D oit S There was I , and little j of tafford ” shire, which is as near John Dwight , phonetically, W as possible . It is true that Mrs . hite whom we know as the granddaughter of Dwight says in a ’ letter that he was a - gentleman s son of Oxford a shire, who gave him liberal education in the University and that he afterwards became chap lain to three bishops of Chester .

DWI GHT ’ S WILL AND SU CCE SSORS 69 That valuable and interesting work E nvirons of London was written by the Rev . D . Lysons . B efore the second volume was published the author had the privilege of seeing Dwight ’ s com m on lace p book , which recorded certain facts about C his Chaplaincy at hester . He was appointed ” B B W register and scribe by ishop ryan alton , 2 1 661 June 9, . He held the same position under W Henry Ferne , George Hall and John ilkins , who C rapidly followed each other as bishops of hester . B W ishop ilkins , believing that Dwight , acting as executor for his predecessor , had injured the O f income the diocese , brought an action against C him in the High ourt . Dwight , it appeared , had never been an executor, but how the litigation ffi ended could not be traced at the Record O ce , though its immediate result was the severance of C his connection with the athedral . Incidentally we are able to understand the facility with which the legal proceedings were taken by him against Blers C W , handler, Morley , the edgwoods and G arnor 1 6 , Garner or Gardner , in the trial of 93 , and against Hamersley , Middleton and Joshua 1 6 Astbury in that of 97 .

GR E E E E N WN . OT SQU . GR AN D BRO

B . rs all. y M V. Ma h CHAPTE R VII DWIGHT ’ S HE IRLOOMS AND THE IR F ATE

’ AF TE R John Dwight s death his niece married Thomas Warland and continued the business till 1 745, when they became bankrupt . Then when Warland a W W died , she m rried illiam hite , who determined to restore the pottery manufacture of

Fulham , which he did with considerable success , 2 1 62 for on January 5, 7 , he took out a patent for the manufacture of white crucibles which the year before had gained a premium from the S ociety of Arts : The S ociety for the E ncour a em ent C g of Arts , Manufactures and ommerce W W gave a premium to Mr . illiam hite master of the S tone Pot House at Fulham for his inven tion of the art O f making crucibles of British materials which not only equal but excel those ” imported from abroad . On the decease of the — W e—in proprietor another Mr . hit the early part O f 1 862 , the works passed into other hands, as will be seen later . ’ Those wonderful specimens of Dwight s art , kept in the family as heirlooms, were then sold B The Art ournal to Mr . ayliss, who , in j of October 70

DWIGHT ’ S HE IRLOOMS 7 1

in that year , wrote an account of his purchase . He described a large blue dish which is now in B the ritish Museum, where you may see it labelled Lambeth The elaborate decoration is painted — bleu de P erse in white upon a dark blue ground . Of it the owner said : It is believed to be by far the finest specimen extant of this early E ng lish manufacture He thought that as it was ’ in Dwight s collection it was made at Fulham . The Museum authorities have assigned it to

Lambeth . Does it not bear all the characteristics of a certain class of N evers ware Granted that its decoration includes the royal arms and mottoes O f C harles II and that it was one of the heirlooms , still , as we know that Dwight exported quantities of his wares to the Continent and in them he was unsurpassed , we may assume that one of his

French contemporaries supplied him with it .

There is nothing so fine in E nglish delft . B The other pieces of ware which Mr . ayliss ” termed grey ware were undoubtedly made at W Fulham by Dwight . hen you visit the Museums you will be able to recognise some of the specimens from the Bayliss list A bust of Charles II a C B an bust of his queen , atherine de raganza ; oi other James II , and a companion one of his ’ d E ste queen , Mary all four of meritorious execution and excellent likenesses a statuette of

Flora , a likeness of one of the Dwight family , thirteen inches high ; another of . Adonis , same 72 E NGLI SH S ALT-GLAZE STONE WARE height and a likeness of a lady ; a portrait of one of the Dwights a smaller pair of statuettes O f C C a gentleman and lady of the ourt of harles II , i probably intended as l kenesses a curious figure , or rather , bust , of one sleeping , or rather, lying on a pillow , for it was a death likeness , and is rd inscribed Lydia Dwight , dyed March the 3 , ’ 1 6 2 H o arth s 7 a drinking cup , called g cup C ’ it is lettered Midnight onversation , and has on ’ it a representation of H ogarth s picture in raised C C figures , and also four arms of the ity ompanies . There are also four brown liqueur bottles with tem C white figures in relief, p . harles II with his initial letter and one or two specimens such as a butter boat and a couple of pickle saucers of fine grey ware but these appear O f a somewhat f and di ferent kind of manufacture , may have ” been brought from Delft .

The list here given is of great interest , but Mr . B C . W ayliss sold the collection to Mr . . Reynolds , C ’ who afterwards sent it to hristie s , where it was dispersed . Fortunately, many of the best speci mens found their way to the British Museum and h ot ers to the Victoria and Albert Museum . N otable amongst our illustrations are shown some of the finest of these . At the end of Chapter IX will be found the sale prices of the Reynolds S ale at Christie ’ s for which my thanks are here tendered to that eminent firm . B B e efore quoting what Mr . ayliss wrote in Th

DWI GHT ’ S HE IR LOOM S 73

’ u nal R lds s rt o r . e no A j , and Mr y remarks in an S C introduction to the ale atalogue , reference must be made to other Dwight ware found in the O ld C C B W . . Pottery . hen Mr . J . ailey enlarged and improved the works which he had acquired from C 1 86 the Mackintosh and lements in 4, workmen , after breaking down some of the old dilapidated founda buildings , began to dig trenches for new tions . In the course of this operation , they found — a walled up chamber containing a number of

- stoneware ale pots , greybeards and other vessels .

These , no doubt , were made and hidden by

Dwight , who seems to have had a passion for hiding things , including large sums of money and B ’ all his models , moulds , etc . Mr . ailey s produc tions at these works included stoneware as well terra cotta as and china . The bottles , pitchers and drinking mugs were fine, hard and durable , and had a great sale .

E N CH SSMA . B Marshall y M . V . , CHAPTE R VIII

MR B . AYLISS ON DWIGHT

TH I S is the information furnished to The A rt ournal 1 862 B j , , by Mr . ayliss , who was the for tunate r pu chaser of the Dwight heirlooms . The reader will be able to separate the grain from the f cha f without any comment on my part . Mr . Bayliss says E One of the most ancient potteries of ngland , if not the very earliest , existed , and still exists , l within a very few mi es of London , nay, within the bounds of a short walk— only C m three miles and a half from Hyde Park o er .

It is in the primitive , and almost stationary i town or village of Fulham , famous alike as hav ng been for centuries the residence of the Bishops ’ C I I s of London , and for a pottery , which in harles time produced ware of much merit , excellence and beauty and it is a question for considera tion if any manufactory of that period at all own approached it in its particular branch . The potteries which were established at Lambeth , for 1 6 0 stoneware , perhaps as early as 4 , and at C S r aughley, in taffordshi e , at a date, it is pre 74

76 E NGLI SH SALT-GLAZE STON E WARE

botanist , and a superior artist . He was the first who brought over from Italy , and employed in his manufactory , those skilful artisans , the pro duce of whose hands , from existing examples, fortunately preserved by the family . There is a tradition in the family that the pro duction of the classic figures here referred to , together with the specimen of dinner ware , were C ’ made expressly for King harles s own table , and the finely modelled figures of grey clay, in sub stance something like the fine Delft material of the same period , were confined , or mostly so , to the life of the elder De Witt for it is a fact well recorded in the family, that he buried all his models , tools , and moulds connected with this branch of the manufactory, in some secret place on the premises at Fulham , observing that the production O f such matters was expensive and S unremunerative , and , that his successors hould not be tempted to perpetuate this part of the i bus ness , to put it out of their power , by conceal S ing the means . earch has often been made for these hidden treasures , but hitherto without o success , th ugh no doubt exists as to their being

- still in their hiding place . C The manufactory was , in the reign of harles II , much employed in matters relating to the Court S of . that monarch , and that of James II ince that time , its productions have been confined principally to stoneware , such as jugs , bottles and

78 E NGLISH SALT-GLAZE S TONE WARE

identified as to their origin , and thus , for the

first time , be classed under the head of Fulham ’ Pottery . Our ‘ readers will agree with the concluding B sentences of Mr . ayliss . The ceramic world is indebted to him, very deeply , for his enterprise in h buying the Dwight heirlooms , and we are appy in ‘ making a permanent record of our common gratitude in recognition of his bold and successful undertaking .

UL N O . DO TO . D ORSTOP

80 E NGLI SH SALT-GLAZE STONE WARE Dwight had previously established at Oxford a C manufactory of a similar haracter , with consider able success . At an early period of the manu at factory Fulham , he seems to have made W earthenware , known by the name of hite

Gorges , marbled vessels , statues , and figures and E ’ Vessels , never before made in ngland , also red ’ and dark coloured porcelain , etc .

For these a patent was obtained . The speci mens in this collection are supposed to have been made about this period , and were procured from the last representative of the family in the pos session of successive members of Wt h they had remained since their manufacture . A partial success at the commencement induced Mr . Dwight to take out the patent above mentioned , but not succeeding to the full extent of his expectations , he became discouraged , and is said to have buried all his receipts , implements , and moulds O f relating to the manufactory porcelain , and to have turned his attention henceforth to earthen wares alone . In 1 761 the works at Fulham were carried on

W . by Mr . hite , who married a niece of Dr Dwight ulham S (Vicar of F ) , and in that year the ociety ‘ of Arts awarded a premium for the making O f f B ’ crucibles O ritish materials . In 1 8 1 3 the manufactory was in the hands of W Mr . hite , son of the above , and the articles then made were chiefly stone j ars , pots , jugs , etc .

82 E NGLI S H SALT-GLAZE S TONE WARE

L ot . 4 . P urchaser. 2 A fi ure of a ir 75. g g l holding a branch

“ of fl owers two lam s at her ee , b f t 1 0 o o F ranks 2 fi ure of 76 . A g F lora holding a vase of flowers

2 . A ust of a irl 77 b g . 2 8 A ull-len 7 . f gt h figure Of L ydia D wi t I n a s rou wi s ull gh h d th a. k and flow ers at her feet 30 o O Whitehead

2 . A fi ure of a. s ortsm an tem 79 g p , p Charles I I 2 80 A fi ure of el a r . g M e ge 2 8 1 ust of L ia D wi t l in on . b yd gh y g a couc her ea restin on a h , h d g

illow a. roa lace an o r p , b d b d ve her ore ea in her an s a f h d , h d bouquet of flow ers ; wit h an in “ scri tion L ia. D wi t e p , yd gh , dy d ”

arc 1 6 2 . 1 o o ite ea M h 3 , 7 5 Wh h d 2 82 A slate-coloure ottle wit a . d b h ’ c urc a err An rew h h , M y d , etc in relief 1 2 0 A rown ottle wit ust of Wil 2 83 . b b h b liam and ar ir s and M y , b d Merry Andrews 1 3 1 0 8 A m ottle rown ottle wit w ite 2 4 . d b b h h spots Wilson — 2 85 6 A sm all o val bottle of niarbled slate w are and a brown statu ette Of Jupiter rown stat uette o f N e tune 2 8 7 . A b p ars 2 88 . M 8 elea er 2 9 . M g rou of S aturn e ourin his 2 90 . A g p d v g child 1 0 0 Willett

2 1 A lar e is wit arm s of C arles 9 . g d h h h in white on a lue roun I 1 artin c . I I , & , b g d 3 3 M

2 2 A lar e m u wit . R . and flowers 9 . g g h G in blue 1 1 2

2 Tw o lar e m u s one wit A . R 93 . g g h one With portrait Of William I II 2 1 2 Grindley

84 E NGLI SH SALT-GLAZE STONE WARE C tions, regarding which The Memoirs of the ount of Grammont declare , From this time , farewell alembics , crucibles , furnaces and all the black ” h trinkets of chemistry . Love conquers all t ings . 1 6 1 Dwight lived at Fulham in 7 probably , which was sparsely inhabited . He was a gentle a — an man , though potter unusual event in those two days . I venture to suggest that the became P friendly, and that the rince took more than a ’ passive personal concern in the potter s dis cov eries . This would be , I think , a reasonable explanation of that beautiful bust . Possibly , too , the prettiest of the figures in white stoneware was 01 she Margaret Hughes , , as is locally inscribed ,

Hews . Of course , this is all indirect evidence , and two but as time , place the tastes of the men coincide , it appears both possible and probable .

. N E DOULTON FIGURI . bb By s. N icholson Ba . u in. high. CHAPTE R X

STAF F ORDSHIRE SALT-GLAZE WARE

’ BE AR I N G in mind the date of Dwight s proceedings the C C H in ourt of hancery against amersley , A was Middleton and Joshua stbury, which Decem 1 6 ber 4, 97 , more than three years after j udgment was E lers C given against the , handler , James the W Morley , edgwoods and Garner , it is evident that salt - glaze ware had been made during the whole or part of that period in the Potteries by S the Astbury family . On a gravestone in toke upon- Trent churchyard is the epitaph Here O f E lieth the body John Astbury , the lder , of S P rd helton , otter , who departed this life , March 3 ,

He it was , with Twyford , who won the Blers But secrets of , so the story goes . I hardly P B . l rs believe that J . e would break the law by disobeying the injunction against him , and cer tainly David E lers would not venture to sell his productions in their shop in the Poultry . The other defendants in that trial would also be afraid of Dwight . Other potters took their Chances and were caught . The fact was that salt - glazing was no longer a 85 84 E NGLI S H S AL'L GLAZE STO NE WAR E

( tom re ardix . g m h The Memo irs of the Count " of Gn mmont ledare F rom this . time, farewell alem ics cm c furnaces b , fla and all the black trin ets of che f Lose con uer i k q s all th ngs. Dwi ht livec at F ulham in 1 6 1 g 7 probably ,

friendl and ta the Prince too more than a y. t k ’ i passive pt m d com in the potter s ds cov e b I thin a rw sona e er . e i s A . k bl t P i too e x a o f ba uti ul hm . oss plan tion hint bly , , ’ the pret tiest olhe fl utes in White stoneware was ‘ Mar are Hu or as she E locall inscribm g t gh , , y ,

86 E NGLI SH SALT-GLAZE STONE WARE S f secret process , the ta fordshire potters knew all about it and only waited till the patent expired in 1 6 E ers 99 . The l said that for three years before the action they had made redd teapots . S uppose they started again at Bradwell Wood as 1 6 soon as they could in 99 . From the epitaph of John Astbury we gather that his age at death - 688 fift hve 1 . was y , so that he was born in If he j oined E lers as soon as he could he would have been eleven years old AS E lers noted elsewhere , 1 1 0 left the Potteries in 7 .

Joshua Astbury , one O f the defendants in the the second trial , knew

secrets . Probably , though

of this we are not certain , ’ r he was John s fathe , for

- E A A E . STAFFORDSHIR S LT GL Z on the same tombstone , the death of another W . e Joshua , the son of John , is recorded prefer to think that John acquired his good success by his

- skill in manufacturing the new ware , salt glazed .

The clay , found quite close at hand , was suitable and plentiful no doubt specimens of the red tea pots were available , so that rejecting the common

clay , which , mixed with fine sand from Mow

Co , p , formed the ordinary crouch ware he went forward with the style of red ware commonly rs classed as E le . Jewett puts this on record

88 E NGLI SH SALT-GLAZE STONE WARE

O f considered to be an infringement his patent . The ol d combed ware now so difficult to find was the popular ware of the lower classes in S tafford i sh re , and the superior ware was that with slip 1 00 decoration . About 7 much of this pottery was produced , being made of coarse drab clay , washed over in the inside and on the top with a mixture of red clay and manganese upon these grounds the same slips were

used to trace the decoration ,

dark upon light , and light upon

dark . The Toft and kindred

productions were of this nature , having the outlines traced with brown slip punctuated with S TAF F O R D S H I R E wa rm

- E SALT GLAZ white dots , and the design " s ‘’ fil Eg jféfiiifififfifgk completed by being led in gp . G o l w s com e n the Wlth S I I yellow P, probably ggllshz h ihg H ealth to rus i i P p pe clay . Many p eces dated 1783131gm1 758 before the end of the seven S chreiber Con-S -K -M teenth century tend to prove P ’ S f h Dr . lot s accuracy in describing the ta fords ire wares as they were made and decorated at the time when he wrote his N atural History . Hence we may conclude that before the advent of the l r P brothers E o s into the otteries , combed ware and slip ware were the chief productions of the local potters and that crouch ware occupied the attention of some of them in the latter half of s that century . The crouch ware , like the other

90 E NGLI SH SALT-GLAZE STONE WARE production of salt - glazed stoneware presented no ffi W insuperable di culties . hether such was the ulham case at F or whether Dwight had , by read ing , or by visiting the German and Flemish works , acquired the process , is uncertain ; but the resem ” blance between his drab and brown gorges , which may be either j ugs or pitchers— and those fi made in the towns mentioned , is suf ciently striking , though most of the grey ware , decorated in blue and purple , with a portrait of Queen Anne W or illiam III , and with monograms such as R E . W A R . Anne Regina or . . , is not nglish The at all . superior style of treatment suggests a perfected manufacture , and these j ugs bear all the c haracteristics O f Grenzhausen ware , probably being made there and exported to E ngland by way of the Rhine, which brought London into easy communication with the N etherlands and o with Germany , th ugh the latter, at this time , was a somewhat vague term . CHAPTE R XI

STAF F ORDSHIRE SALT-GLAZE WHITE WARE — S ALT GLAZE white ware differs somewhat from

- salt glaze stoneware , but both resemble crouch ware in their glaze . This is formed by the action O f al s t thrown into the kiln , when the tempera ture is judged to be the highest , j ust before active n We firi g ends . will not enlarge upon the pro cess , but , when once the glaze has been carefully examined , we consider it quite unmistakable

- because of the well marked , but very tiny pin holes or depressions which cover the surface . In fact , the glaze is so thin and so entirely a part of the clay that it reveals its colour and all the clear marks made by modelling or moulding . The fineness of the grain and its semi- transparency permit great delicacy and sharpness of outline upon a hard compact body so tenacious that it n can be worked very thi , either on the wheel or in the mould . In the manufacture of the moulds , opinions are agreed that the earliest were made v of metal , the next car ed in alabaster , and the last , which is still in use , from plaster of Paris , n i O cast i to the shapes requ red , ften in three or 9 1 92 E NGLI SH SALT-GLAZE STONE WARE

more pieces , with others for handles , lids and spouts . The metal moulds would only suffice for com paratively small pieces such as pickle- leaves and

— - sweetmeat trays formed of six heart shaped divi sions . The larger pieces , such as teapots , were S two h made from blocks . M . olon had of t ese ; one was a block for making the moulds of a

- - hexagonal tea caddy , rice grain

pattern ; the other, for making the moulds of the body of a u teapot , octagonal pattern , p

right divisions , with the arms of

France, fables and other subj ects

as decoration . Mr . Greg , whose collection of pottery reposes in

the Manchester Museum , a preci

ous gift from the collector , gives the following description of the S TAF F O R D S H I R E S ALT . fi l 1 1 1 1; block and lts uses The first ling: 335232133 step in the method was to carve l i a mou d in ntaglio in alabaster or gypsum , a substance easily procurable in the pottery districts S f i ob of ta fordsh re and Derbyshire . H aving tained such a mould , let us say , for a teapot in four pieces , smooth on the outside and carved in intaglio on the inside , the next step was to obtain “ ” a block . This was done by first tying up or fastening the loose pieces of the alabaster mould and filling it up with clay so that all the interstices

E SALT-GLAZE WHITE WAR 93

were thoroughly and completely filled . The con h the s tents , w en ides of the mould were with

, drawn , would be in the form of a solid block bearing the outward shape of the teapot , with all the patterns standing up in sharp and high relief .

This block was then fired , and became the original ” block from which any number of pitcher or working moulds could be made out of soft clay or plaster of Paris . In the first case , those made of soft clay were , before being used , fired or baked , just sufficiently to turn them into pottery . They would , h in t at state , be highly absorbent of moisture , a very important factor, as

we S . E - E hall next notice STAFFORDSHIR SALT GLAZ . “ “ ME L E Into these pitchers or T APOT : s m' h’gh‘ working moulds , clay in a liquid or slip state was poured . The water in the slip was absorbed by the porous walls of the pitcher mould , leaving a thin film of clay h ad ering to the sides . As soon as the film was ffi considered of su cient thickness , the superfluous slip was poured away , and the mould , with its n d r W clay lini g , was set aside to y . hen dry the clay has a tendency to shrink and come away from the sides , so that as soon as the mould was taken to pieces the clay walls came away of them selves . These sections were j oined up with wet 94 E NGLI SH SALT-GLAZE STONE WARE s e ar l m lip , where nec ss y , and genera ly tri med up , spouts and handles were added , and the ware n was ready for firi g . S i uch a process , involv ng the carving of gypsum ffi or alabaster, would be too di cult for any but a S - skilled artisan . M . olon had an oval fruit basket with raised and perforated decoration , thirteen

- inches long , in white salt glaze , made from a block by Aaron Wood but only a few of such S I gned

blocks are known . This Aaron W ood was apprenticed to Dr . W B Thomas edgwood of urslem , 1 1 W potter, in 73 . hen his apprenticeship was ended he continued to work for the same

master, at five shillings a week . STAFFO R D S H I R E SALT G LAZE . Afterwards he was employed

Martha oron. ul z rd M J y a . in making moulds for this very

1 761 . 5} in. high . - i popular salt glaze wh te ware , Whi ldo 1 e n . by and others Later, in 743 , he B entered the service of John Mitchell , of urslem, l for a term of seven years , at seven shi lings a 1 0 week . Finally , about 75 , he commenced his Own business as a manufacturer of crouch ware — — and white stoneware salt-glazed and when he 1 80 E passed away in 7 , his youngest son noch , P ” the Father of ottery , a skilled potter and B modeller, succeeded him . y that time the salt and glaze white ware was on the decline , two

96 E NGLI SH SALT-GLAZE STONE WARE

1 20 Astbury , the e lder , who , in 7 , when the use of flint was discovered and when the clays were

- imported , was thirty two years old . There were no secrets about this ware . The clay and the processes Were at the disposal of all potters who could use them . We cannot believe the traditional story that Blers - the made much white salt glazed ware, when we consider that at their shop in the Poultry they sold red teapots at ten to twenty- five shil

lings each , that John Dwight proceeded against them specially for mak

ing red teapots , and B that , when the radwell Wood excavations were t w o c o n clu d ed , fa ct s S TAF I S I I R E SALT ; LAZE i ngiJS ; TE R M " were determ ned : except

hi h. s in. g a single salt- glaze pipe B of the series j oining radwell and Dimsdale , red fragments of unglazed ware being the only trou vailles proved one ; the unsuitable character of the

- kilns for salt glazed stoneware , the other . They ’ did manufacture the red ware known as E lers ware , they did not often glaze with salt , though no doubt they were perfectly familiar with the C process which David learned at ologne , as he ’ stated In his answer to Dwight s complaint . The variety of articles produced in this white B E E N N E LAM TH , ARLY I TE E N TH CE N TURY Prob b a lv has B loo dsworth ll . o n . . o tt E S C C J H M , Q

O E E N B M RTLAK D Y . S i ri t fl as . I n hi h p k 52 . g . olln . . o tt E s . C J H M , q

PR B B N N G M O A LY OTTI HA . 1 11 in c h

98 E NGLI SH SALT-GLAZE STONE WARE f muf le or enamel oven . Truly the pitfalls gaping round the path of the tyro are a multitude The two causes which led to the downfall of

- salt glaze were first , the use of plaster of Paris moulds which enabled the potters to make table- ware of considerable size big

dishes , plates and so on . To prevent these from cracking

E - E STAFFORDSHIR SALT GLAZ . they had to be made thick .

m ' h’ h 5 g ' and such clumsy obj ects were undesirable . The smaller pieces suffered by losing much of the delicacy of their ornament . S W 1 62 econd , edgwood , in 7 , perfected the body and ’ h he glaze of his famous Queen s ware , whic did not S o patent . , as he said , A patent would greatly ” have limited its public utility , the exportation of this ware took place to all parts of the civilised 1 world . The opening of the canal , in 777 , was a wonderful incentive to production , h the and w en potters , later, utilised fully the china clay and china rock , the S taffordshire potteries took the leading position amongst the world ’ s

- d producers , except in salt glaze stoneware , which must always be ’ s B M v arshall accounted as Doulton . y M CHAPTE R XI I

STAF F ORD SHIRE SALT-GLAZE E NAME LLE D WARE

N O TWITH S TAN D I N G the result of the lawsuit of 1 6 we 1 6 93 , find that Dwight , in 97 , alleges that other defendants , in a second trial , made and sold great quantities of earthenwares in imita tion and resemblance and counterfeiting of the ” new said manufactures Hamersley , Middleton and Joshua Astbury are cited . Knowing the character of Dwight , it almost appears that these three potters alone made salt- glaze ware in the 1 6 1 6 period from 93 to 97 . If Dwight sued his solicitor for excessive costs , as he did in July 1 6 6 ih 9 , we may be sure he would pursue any fringing potter . W h it out labouring the point further , it may be 1 6 assumed that when the patent expired , in 99, S the taffordshire potters , who knew all about the

- salt glaze , became particularly active and made N ot E lers his remarkable progress . , but successors ,

. W notably Dr Thomas edgwood , Robert Astbury c and Joshua Twyford , conferred real distin tion - The upon salt glaze stoneware . early ware of 9 9 1 00 E NGLI SH SALT-GLAZE STONE WARE W edgwood was drab , but the use of the local clay with sand was of comparatively short duration , 1 20 for , about 7 , the white ware took the place of f that unpleasing drab or bu f colour . C Astbury deserves the credit for this hange . He brought white China Clay (kaolin) from Devon

" shire , and , at first , used it as a wash in order to r hide the drab colour of the crouch wa e later , he added white china clay and flint— burnt white and — ground to powder to the body to form a new and

better material , not only for salt a glazed stonew re , but eventually for the early cream - coloured ’ A st b u r s e arth en w ar e . y dis cov ery O f the value of calcined flint altered the composition O f he earthenware , just as t addition

W E - E HIT SALT GLAZ . O f the white friable bone ash

m‘ hi b‘ G g settled the composition of the E 1 800 nglish bone body in porcelain about . Although salt- glaze ware scarcely ever carries a mark , there is one means of identifying Ast ’ bury s work and that of his son , Thomas , who S succeeded his father , Robert (or John) at helton , 1 in 743 , though he had his own pottery at Lane 1 2 Delph from 7 5. The ornaments applied to

- their red , black and salt glaze wares are white , as C O ld a rule . ollectors of pottery are well advised to bear this distinguishing feature in mind .

' ‘ SALT-GLAZE E NAME LLE D WARE to.

The decoration of salt -glaze ware by enamel paints has been mentioned before , but it merits C ’ . W fuller consideration . Mr Josiah . edgwood s book has a definite and simple description of the W process as follows are , besides being thrown , moulded or cast and coated with the transparent

glaze of salt or lead , requires decoration . This decoration could be given by coloured Clay slips after the the O ld manner of Toft dishes , or after the manner of Ralph ’ ‘ ’ S h raffiato aw s g ware , or as ’ what is called scratched blue . B ut decoration could also be given by means of enamelling

paints . Paints , that is , which

are mixed with glass , and , on being heated , fuse into the glaze h and become fast . T is enamel STAFFO R D S H I R E SALT E ling was in the early days a GLAZ . 1 0 in. high . special trade and no part O f the ’ potter s business . The shopkeeper might , if he i l ked , employ somebody called an enameller to

enamel his particular cups and saucers . The ‘ enameller used a small muffle stove in which the ware could be heated sufficiently to fuse the glaze and paint together while at the same time it was kept away from direct contact with flames or ” smoke . Of course the enameller ’ s palette shows no z oo E NGLI S H SALT-GLAZE STONE WAR E

colours like those which appear after the firing . The heat develops the metallic oxides and the powdered glass acts as a vehicle to attach them to the ware . My opinion entirely coincides with W ’ Mr . edgwood s when he says From an artistic point of view they had much better have left

- their salt glaze plain white , or drab , or uniformly ” tinted by a slip dip , though the construction of the sentence requires attention We read the names of

several enamellers , but know nothing of their particular R work . alph Daniel was the first to establish an enamelling department in his own pottery and he was h soon followed by ot ers , I O - until ! about 7S ! When SALT GLAZE MUG .

' -‘ hi ho rom olon s An 7 in~ 8 F S all the potteries making of h l n lish otter t e O d E g P . salt - glaze stoneware also enamelled it , the painting grew worse and worse . A slip dip gave a very successful result in the hands W O f B h of . Littler , rown ills and Longton Hall , who used a fine silk clay- sieve to secure perfect slip which he coloured with cobalt blue . Into this blue slip the obj ects he made were dipped and - S he afterwards salt glazed . ometimes added de ih - his signs white tin enamel , as he did also on

- Longton Hall porcelain . Transfer printing was

1 04 E N GLI SH S ALT-GLAZE STONE WARE

disgraceful and fraudulent fashion , and although C ’ the maxim aveat emptor is supposed to apply , it cannot be too widely known that no piece of enamelled salt - glaze should ever be treated as innocent until it has clearly proved itself by O pedigree or expert pinion to be not guilty . I can give a concrete example for the especial warning of other collectors . About two years ago I sold a pair of salt - glaze flower vases to a dealer who is above and beyond suspicion . He sold them to another dealer soon after , and in about three months from their leav ing my hands I saw this identical pair (one of which bore a mark by which I could infallibly recognise them) richly enamelled with modern o S enamel col urs , put up for sale at othebys , and bought , as I afterwards learned , by a friend of my own , for more than four times what I had sold them for and at least three times as much as they were worth .

‘ ‘ G R O I E S QUE .

M Marsh l i h . a l. 2 in. B} . V . h g F A ULH M . 1 8 T H CE N TURY T he left - hand m ug is inscribed D rink to the pious m em ory o f go od Q ueen Anne G m ldhall M us

B E E LAM TH . ARLY I gT H CE N TURY olln D oulton E s C HL , q

1 8 FULHAM , 43 high

E 1 8 0 MORTLAK , 3 68 in high B righton Mus

1 856 6§ in high

1 06 E NGLI SH SALT-GLAZE S TONE WARE

1 B ttle Cla . o a y, of bright whitish streaked Colour yellow . 2 -fir . e O f Colour Hard clay , a duller whitish and fully intersp erst with a dark yellow which Black Wares they use for their , being next with the

R ed bl ndin la . e C O f 3 g y, which is a dirty red Col ur o .

White-cla 4 . y , so called , it seems , though of a blewish Colour and used for m akeing ’ y e l l o w c o lo u r d Ware , because yellow is the lightest Colour they make any ware

of . . All . . . well " work on the wheel . Th e d e c or at ion

E - E PI N STAFFORDSHIR SALT GLAZ . and glazing are set GROUP ' out by the learned doctor in ex tenso We will deal with them We generally . may note that Dwight himself, : T o make in his recipes , gives one as follows “ a bri ht red Cle w S ta ordshire red Cle — g y fi y . Take f C ih S ifted S ta fordshire ley thirty pounds . ne dark twenty pounds . Mingle and tread . These statements show clearly that at Fulham some of the clay which was used was brought from the e Potteries , and at this particular period no whit f clay was used in S ta fordshire . E P 1 0 STAF F ORDSHIR AND DR . LOT 7 The clay being wrought by the potter into hollow or flat ware was allowed to dry before receiving the ears and handles which completed W the forms . hen all was dry the orange S lip was applied as a ground and the white and red slips were painted on this after it had dried which two Colours they break with a wire B rush and then cloud them with a P encil when they are ” N pretty dry . ext is the method of glazing , which contains no suggestion of anything like “ P lead O re salt . owdered ” S mithum they call , finely sifted and strewed upon the vessels gave the gloss or glaze , the ordinary lead- glaze which in fin est quality was secured by

Wfl l S A - F calcining the lead into LT GPAZ - edff I w " 6 Ime' 5 m . hlgh' powder . All the colours were chiefly given by the variety of slips , except the M otley- Colour which is procured by blending the L ead M an anese with g , by the workmen called M agnus All that we can say of this pottery is S li Ware comprised in the name p , which had nothing in common with the wares of Fulham h made by Jo n Dwight . S S - - John haw , whose book , toke upon Trent , h 1 8 S f publis ed in 43 , reviews the history of ta ford S shire pottery, says oon after Dr . Plot wrote , 1 6 0 about the year 9 , the practice of glazing with “ 0 01 : 0 . m

a -d n h Mon h oi a y, m g

' y e llo w colour d

I I r r p I it i , any ware w ll All . . e d .

The decoration M M W SCI

“ on “ . W0 3 4 n o” , o k ra ”

—b U s m a i n

1 08 E NGLI SH SALT-GLAZE STONE WARE

S mithum salt was introduced , lead ore or having ” the W been fusible previously used for glaze . ard says truly : It has been thought by some that the salt-glaze was in use before this period ; but Plot would certainly have mentioned it had he known of it , and there can be no doubt that his remarks were made from personal observation .

The more correct opinion , we think , is that the process of glazing by salt first was practised by two ingenious foreigners who set up a small Pot B B work at radwell within two miles of urslem , from whence the people flocked in astonishment to see the immense rolls of smoke

E - STAFFORDSHIR WHITE SALT GLAZE . Which rose from x’ 1m m “ ’ the D utchm en s oven . The same individuals also introduced an improved kind of unglazed red ware , of a delicate S h h sort , resembling that called amian , for w ic some of the clays of this vicinity were suitable ; but they did not long continue their operations S h in taffordshire , being eyed wit the utmost j ealousy and inquisitiveness by the native potters , and they removed the seat of their manufacture h ” to the neig bourhood of London . The two ingenious foreigners were John Philip Blers h and his brot er David , about whom various stories regarding their distinguished birth and I AM B E T H 1 8 1 0 FULHAM ,

G ridiron in relief and ro und it “ ” B eef and i ert the m ot to of L b y , the B eefstea lu O n each S ide a ( o lln H L o ulton k C b D , cocked h at and a m itre

3 1 on M us m . high B right

CR E AM F AVE R Q PR O B AB LY N OTTIN G HAM .

1 1 0 E NGLI SH SALT-GLAZE STONE WARE when the fierce heat of the oven was at its highest point . Twyford and John Astbury are associated with the legend in which they pretended to be idiots in order to worm from the E lers the secrets of their manufacture ; but , disregarding that , we must recognise their merits as potters , especially with the improvements in salt- glaze ware Thomas h Astbury, son of John , was associated with t em , and he introduced calcined flint as a constituent of the body of the ware in 1 20 7 . Ralph S haw of Burslem was a potter ; by him these improvements

were eagerly adopted , but

he was not satisfied , even 1 when , in 733 , he took E - T O D I T ZE . _ S AFF R SH R SAL GLA out a patent for em

m hi h' ' g ploying various sorts of mineral , earth , clay and other earthy matters , h which , being mixt and incorporated toget er, make up a fine body , of which a curious ware a may be m de , whose outside will be of a true chocolate colour , striped with white , and the C inside white , much resembling the brown hina ” I ware , and glazed with salt . said he was not satisfied , because, notwithstanding his success , he was constantly protesting against any improve ments made by his neighbours and threatening STAF F ORDSHIRE AND DR . PLO T 1 1 1 them with lawsuits until he became perfectly unbearable . n H e did bri g an action against John Mitchell, who had succeeded in producing similar ware to 1 6 h his own . This was in 73 , when Mitc ell , sup ported as to the expenses by the neighbouring B potters at urslem , who were interested in the decision , tested the validity of the patent and

~ E W E STAFFORDSHIRE S ALT GLAZE . STAFFOR DSHIR HIT SALT

lncised lines filled in old. E g GLAZ .

in h . 5} in. high. si . hig

the won verdict , after witnesses had testified that Astbury had invented and used the very methods which S haw claimed as his sole right . The judgment of the j udge gave full power to every potter to make any kind of ware , concluding with these words Go home , potters , and make ” N al whatever kinds of pots you please . atur ly B there were great rej oicings in urslem , and John Mitchell resumed his manufacture of salt - glaze e and s war white toneware with a light heart , 1 1 2 E NGLI SH SALT-GLAZE STONE WARE whilst S haw retired to France and took his family with him . I twas the manufacture of white stoneware which , after many failures , brought fortune to Thomas and John Wedgwood of the Big House who 1 6 retired from business in 7 3 , after about twenty years of hard but successful work . This was W the year in which Josiah edgwood , the master

- potter , had perfected his fine cream coloured ware which was destined to supersede the stoneware . ’ ” He named this new product Queen s ware . C As Potter to Her Maj esty Queen harlotte , his the business grew with patronage of royalty , yet the excellence of the ware formed its highest o u commendation , as it was the secret of its p p larit B ut y . the potter claimed no patent , and his prosperity brought a general demand for Queen ’ s or cream ware which other potters helped to supply , so instead of one manufactory there were scores ; he wrote that there were one hun dred manufactories making Queen ’ s ware which was exported to all quarters of the world . Thus it happened that salt- glaze stoneware was ousted P in the otteries , and , turning to the awards of the B 1 862 juries of prize medals to ritish potters , in ,

' ’ j ust a century after the invention of Queen s ware , we find one firm only distinguished for stoneware , W and that was Doulton and atts . a - n This s lt glaze ware , made from the commo clay of the district mixed with fine sand from

” P 1 1 STAF F ORD SHIRE AND DR . LOT 3

ow Co M p , was known as crouch ware , which

r . fu nished all the jugs , cups , dishes , etc , for S -two household use . ome twenty ovens in and B around urslem were occupied in its production ,

- but this crouch ware , though salt glazed , differed from the white stoneware— manufactured at a later period— in its constituent parts it lacked S the white clay . Once a week , on aturday morn ’ ing , from about eight o clock till twelve , the kilns were in full blast , vast volumes of vapour and smoke belched from them , so that , whilst the firin -u en g p continued , the region around was v lo ed e p in a dense white cloud . Crouch ware became the common everyday ware , but it was the precursor of the most remark able ware that was made in S taffordshire from 1 20 1 80 about 7 to 7 , white stoneware , which was often very beautiful in form and sometimes very We - l quaint . have used the words salt g aze ” stoneware frequently , but all stoneware is not glazed with salt it may even be unglazed . ’ Dwight s redd teapots and some of Wedg ’ wood s wares are stonewares without a glaze , and , B ” later , you will find ristol , as a stoneware W S f with a special glaze . hen the ta fordshire

- salt glaze ware was fired , saggers were used as covers for protecting the ware in a measure from the direct action of the flames , and the enamel colours when used were fused upon the surface fl in a muf e oven at a much lower temperature . 1 1 4 E N GLI S H S ALT-GLAZE STONE WARE

Doulton ware is perfected in one firing ; the paste or body and all the colours are exposed to i the direct flames of the k ln , in which they n - receive their coati g of salt glaze . S f P A most useful book , ta fordshire ottery

E - STAFFORDSHIR SALT GLAZE . - - dated iece to e ou rent Mus. The earlies t p . S k T C W M P and its History, by Josiah . edgwood , . .

dedicated to my constituents who do the work , contains a chapter (Chapter IV) on the S alt- glaze I Potters . think that dedication is wonderfully good , and so are the illustrations , including the earliest known piece of S taffordshire salt - glaze ” 1 01 ware , dated 7 , in a stamp like those used by al the old pewter makers , and a scratched blue s t z 1 0 e gla e cup , dated 75 , also an enamell d salt

CHAPTE R XIV

MORTLAKE SALT-GLAZE STONE WARE

O R A KE 1 88 M TL , in 5, was described as a river ” W side village not far from Hammersmith . ith regard to its potteries Jewitt could o nly say Delft- ware works appear to have been in ex is the tence here in seventeenth century . At the close of the eighteenth they were taken by Mr . W f agsta fe , of the Vauxhall Pottery , and passed W with them to his nephew , Mr . isker, about the 1 80 year 4, and were by him continued for the manufacture of Delft and stonewares until 1 820 1 82 1 or , when he removed the whole concern to

- Vauxhall . Two examples of Mortlake Delft ware —a - - large punch bowl , twenty one inches in dia &c meter, painted in blue , with birds , flowers , and a set of twelve tiles , also painted in blue , with s &c S landscape , ruin , figures , . , are in the outh

Kensington Museum . They were removed from ” C the old factory . This appeared in his eramic ”

Art , where he states without any apparent proof that , at Vauxhall , there was also a manufactory 1 81 1 of white stoneware carried on , in , by a i ere N K sh . Mr . Joseph In otes and Queries , 1 1 6 N N G M OTTI HA . in hi h 4k . g . 1 and 2 F ULHAM B E 3 LAM TH ll o n . o tt E s C J H M , q. B E LAM TH . olln eter D o ulton E s C P , q .

1 1 8 E NGLI SH SALT-GLAZE STONE WARE

Co 1 81 who were there in 9 ; then by Prior, and finally by Gurney . This occupied the site 1 8 1 of the present Maltings , built about 7 , being

- on the waterside , somewhat to the north west of B Kish r . 1 e e the church In 759, enj amin was one of the leading hands in the factory belonging to S aunders , and his son , Joseph , was apprenticed there . This Joseph built on the road , but on the side opposite to the older

pottery , a manufactory for white stoneware which was in existence (when the S upplement to Ly sons was written) about 1 8 1 0 , and in his hands in 1 81 9 . His son William him succeeded to , and the pottery was in work in

a 1 8 1 mo n /1x 3 . 3 a row of houses

°a° L° n M“ “ in' high' now occupies its site . Lyson ’ s S upplement gives a short note A manufactory of delft is now carried on by Wag f o sta f C . There is a small manufactory of i Kishere wh te stoneware belonging to Mr . Joseph . S ir ll 1 8 1 : Richard Phi ips , in 7 , wrote I viewed a manufactory of delft and stoneware , for which amongst potters Mortlake is famous . The prin cipal articles manufactured are brown stone jugs and the groups on the jugs were exactly similar ” the to those on the common pottery of Romans , BE H X LAM T VAU HALL . PATRICK .

B E LAM TH . N S J STIFF SO MORTLAKE 1 0 m hi h . g . m . hi h oll 93 g . n . oulton E s C H L D , q

1 2 0 E NGLI SH SALT-GLAZE STON E WARE S Under the lip in the upper line is t . George slay _ the r h ing dragon , facing a tree , to the ig t of which is Toby holding a churchwarden pipe in his mouth with the left hand , whilst the right hand , with two keys hanging from the wrist , grasps a small S t j ug . On the left of . George is a farmer seated on a barrel marked XX , who also holds a jug in his right hand , and a long pipe lying along his arm in his left hand . He is seated near a tree and faces another in a separate ornament . The second line of reliefs shows a hunting scene the fox appears j ust below and to the right of the base of the handle decorated by a vine leaf and bunch of grapes , then come , in a straggling line , a hound , a couple of hounds , a huntsman , a hound , a couple , a hound followed by the whipper in W . hat matters it if the hound is as big as ! f t e the horse The e fect is quaint and curious , calling the lines in S omerville ’ s Chace

S ee m ra e ac !how t o the ead t e ress y b v p k h h y p , Jostling in close array ; t hen m ore diffuse ’ O li uel w eel while rom t eir o nin m ouths b q y h , f h p g r r a The vollied thunde b e ks.

- S ometimes a stag hunt forms the ornament . U ncle Toby and the farmer are separated by a hedge with a tree and a st ile through which one dog is passing , while another dog leaps over it in the lower row the stag is chased by eleven six in other dogs in two lines ( of them couples) , E KI S H E R E MORTLAK .

r fin are A ve y e S p ecnnen of stonew .

8 11 i h % 1 h g .

olln oulton E s C H L D , q

B O B B PRO ABLY FULHAM . PR A LY FULHAM

> m hi h in hi h . 95 . g . 9 g

olln ott E s C J . H . M , q

1 2 2 E NGLI SH SALT-GLAZE STONE WARE with sometimes a name in the large and varied collection contained in the book . When the name is scratched in the clay I think the piece was made for the person whose name it bears ; especially this may be the case when that name cannot be traced amongst the scanty list of potters which has reached us . I have searched and searched for an old print showing the Mort C . . W. lake potteries and others , especially Mr F B Goss , F the librarian of the ishopsgate f Institute , have helped me , but our e forts have been in vain . It is to that gentleman that I owe the fuller account of those potteries , and I him have pleasure in giving my hearty thanks to .

N . N E B DOULTO MI IATUR TO Y .

i n. hi 3 gh. CHAPTE R XV

M R E M KE . AND RSON ON ORTLA

T H E following information is taken from Mr . John E ustace Anderson ’ s S hort Account of the Mortlake Potteries The first pottery for Delft - ware was estab lished W S 1 2 by a Mr . illiam anders between 74 and 1 752 in premises on the north - side of the S now High treet , by the waterside , known as S t ’ h . W C Mary s harf , opposite the hurch , and whic has on its east side the site of the Old Maltings , ’ now occupied by S amuels - terrace and a boat house at the rear , forming a portion of the Mort C E lake harity state , having been left to the parish ullenberch 1 662 by Mrs . Joanna H in . S ’ B I find Mr . anders name in the Rate ooks 1 1 8 from 754 to 7 4, but he may have been rated B earlier and later , as the Rate ooks are not all in order . He was succeeded in the business by his son h Jo n , who lived in the house known as Ivy House , E S ast heen , on the east side of the corner house and premises occupied at one time by a Mr . Paine .

. S Mr John anders died here , and was buried 1 2 3 1 2 4 E NGLI SH SALT-GLAZE STONE WARE in our Old Churchyard on the west -side of the

Church .

There were two kilns at the pottery , one for white ware and the other for coarser work . In the first ten or fifteen years of this century S Mr . anders sold the business to Messrs . Wagstaff

Co . of the Vauxhall Pottery . f A few years afterwards Mr . Wagsta f was suc c ded ee . W by his nephew , Mr John isker (whose name appears in the early directories at Vauxhall) . About 1 827 the whole business was trans the P ferred to Vauxhall ottery and theworks closed . n M P Thus became exti ct our first ortlake ottery , after having been in existence more than seventy years . It is stated that Toby Philpot j ugs were first in invented Mortlake , being manufactured both ’ ’ S Kishere s at anders and Potteries . They were brown , and of a very common ware . ’ Kishere s I have a small one made at Pottery . The top rim is made to represent a three - cornered hat , the liquor being poured out at one of the corners which acts very well as a spout . On the f h ront of the jug , whic is round , is formed very coarsely a nose and chin proj ecting , with scratches to represent the eyes , mouth and whiskers . These j ugs were novelties at the time , but ceased to be ’ 1 6 P ara ra hs on S anders s D el t so after 79 . [ g p f ware are omitted here ] I n addition to the pottery on the north side of

MR E . M KE 1 2 . AND RSON ON ORTLA 5

- the south o side the High street , there was one on , h w ich was started some years after the other , but lasted about twenty years longer . The origin of this second pottery was as fol lows ’ 1 S In 759, one of the leading hands at anders B Kishere Pottery was a enj amin . I find his name B 1 8 1 02 . in the Rate ook of 774, and as overseer in This Benj amin Kishere had two sons by his S wife usannah , one named Joseph , who was an S ’ P apprentice at anders ottery , and the other

Benj amin . “ f ’ Joseph married a Miss Gri fin , a poulterer s W daughter of estminster , and by her had a little money , which , together with a prize which both he and his brother Benj amin obtained in a S tate lottery , gave them a start in life . Joseph built a pottery on the south side of the

’ - . P E d High street , where Mr ether and Mr . ym an s ’ shops stand at the present time , with Martha s place at the back , and commenced business on his own account , manufacturing , it is said , white stone ware but this , I think , must be wrong , as I have only seen brown ware , and a person whose memory goes back 80 years cannot recollect anything but

brown ware being manufactured at this pottery . He appears to have been a man fond of horses , and kept one . He also attended race meetings , not a very lucrative branch , I should say of a , ’ potter s business . I find his name down in 9 1 2 6 E NGLI SH SALT-GLAZE STONE WARE

B in 1 8 1 0 n the Rate ook , and ascertai ed by a parish record that he collected the ‘poor rate in 1 81 1 8 S 3 ; and , in October 33 was the urveyor H ere ollows S ir R i of Highways . [ f chard ’ Phillips s visit to M ortlake given in the chap ter before this , adding] , Hunting scenes were depicted on the several vessels a stag followed by ferocious quadrupeds and hungry bipeds formed their general ornament . He said he had picked up the same groups among Roman ruins , had often con tem lated p them in the cabinets of the curious , and here he was amused at viewing them in ’ creations but a week old . Kishere W Joseph had two sons , illiam and John f Gri fin , both brought up to the pottery business , and two daughters . S usan helped some times to stamp out the hunting figures in clay and place them on the j ugs . “ W Kishere W hen Joseph died , his son illiam became possessed of the pottery , and carried it on with the assistance of a man named John ll . W Po ard , whom he employed illiam married S lann Miss Mary Ann , and had three daughters , E liza , who of late years lived by herself , keeping a china and glass shop . It was on the death of Miss E liza Kishere that her sister S elina very kindly allowed me to have about half- a dozen specimens of the family pottery . “ I have altogether four jugs and two mugs of Kishere the pottery , some stamped at botto

1 28 E NGLI SH SALT-GLAZE STONE WARE

n trees . Adj oini g the handle is another figure of a man sitting on a cask at a table , with a tree at O n h his back . the lower part two untsmen fol six lowing hounds in batches of three each , with a fox in front . An article with a wreath of acorns round it in low relief , is intended for the floor of a bar parlour . Ten years ago there were also two specimens of Mortlake pottery in the Jermyn -street Museum and of drab stoneware , representing hunting other scenes in low relief , one of them bearing ’ Kishere the name of , Mortlake , impressed . ’ O ther wares bear the marks : Kishere s ’ M S re re P . ottery ortlake , urrey The pottery is p sented to be of fair quality , but of no artistic value . Kishere stoneware is very scarce now in the place . I only know of about five persons in the parish who own from one up to six or seven pieces . W Kishere 22nd 1 8 illiam died on the April , 43 , 0 rather suddenly , aged 4 his executrix (and Kishere widow) Mrs . Mary Ann , was rated for 2 the house and pottery at £45 gross , and £3 rate B able . Her name also appears in the Rate ook 8 in respect of the same property in October 1 44 . About this time the property was to be dis of posed , which , reaching the ears of Mr . John

Abbott , of Richmond , china and glass warehouse man , he was desirous of purchasing the place for S -G ALT L AZE M M B E O L E F FRO LA TH , M RT AK , ULHAM OTHE R POTT E RI E S

olln. e ter D oulto n C P , q

1 30 E NGLI SH SALT-GLAZE STONE WARE R ’ our aim . Yet Mr . uel s father and grandfather C had to do with kiln work at helsea , where crucibles were manufactured for the Govern C ment . From helsea the business was removed G oldhawk to Fulham and from thence to Road , S ’ B M hepherd s ush , before migrating to ortlake . ’ The four cottages in Martha s Place still stand S in the passage from the High treet , behind the ’ kinema occupying the front portion of Kishere s premises , but I could find no knowledge of the pottery from the people on the spot to whom I

- spoke . Recently a small salt glaze pottery has begun operations in Mortlake and specimens of its production commended themselves to me as being good in shape and colour .

GROTE SQUE . B arshall y M , V , M . MARTIN WARE olln E arsh E s C M , q

A R in ll J o n o tt E s . C J H M , q

1 32 E NGLI SH SALT-GLAZE STONE WARE m ettal [glass] as cleare , ponderous , and thick as crystal also looking- glasses far larger than any

- that come from Venice . This glass works is n show in the old maps , and near it is a pottery , whilst another appears in the neighbourhood of P Lambeth alace , in which was centred the early C history of the parish . oxe , in his Impressions E of ngland , speaks of it as Old , and yet not m too old retired , and yet not estranged fro men learned , and yet domestic religious , yet nothing ascetic and dignified , without pride or ostenta tion . A fine old ecclesiastical palace U nder the shadow of the E piscopal Manor House of the Archbishops of Canterbury more than two hundred years ago the Dutchmen from h Delft established t eir pottery , and , as time went on , other works were started which formed centres of industry , and consequently of population , con tributing to the growth of Lambeth in no mean W degree . When Doulton and atts left Vauxhall S h Walk and moved to High treet , Lambet , over eighty years since , they converted gardens into factories and studios , and , whilst some small pot teries h passed into oblivion , t eir works have made the name of Lambeth celebrated once more in the S annals of art . John parkes , in one of his lec : E tures , said Our nglish hands are as skilful , h our heads as clear , our t oughts as poetical , our ’ ” lives as high , as any other people s . Inspired E by such thoughts , a new art , an nglish one , MARTIN WARE E arsh M . q

1 34 E NGLI SH SALT- GLAZE STONE WARE firing recur frequently in the chapters which

- treat of salt glazed ware . The earthenwares offered at low prices in almost all shops are mostly composed of clay that will not bear a high degree of heat in the oven , and are covered by a glaze so tender as to craze few after a cleansings in hot water . They look new h do quite good when they are , but t ey not I f last . exposed to high temperature , or if acids the be applied , glaze may be dissolved , and con sequently the wares are rendered useless . This h is true to a great extent of c eap china , such as the Germans make from E nglish china - clay and sell in our shops at a much less price than that of our best china which is one of the finest products in the world in density , whiteness , transparency ,

. S o and fine texture equalling all others too , does S - our stoneware excel . alt glazed stoneware is a very perfect kind of pottery approaching nearer than any other description to the character of I ts porcelain . body is excessively compact and

- hard , and the salt glaze , whilst imparting an attractive appearance , is as impervious as the body itself to the action of liquids . When pro perly made and fired , stoneware is practically indestructible , barring accidents , and this not ut only applies to the various kinds of ware , b to stoneware ornaments in architectural details which have in recent years found favour with a number of most distinguished architects who have utilised E ARLY LONDON POTTE RI E S 1 35 them in schemes of exterior and interior decora f tion with the most e fective results . Time was when E nglish pot tery was sought for and celebrated throughout the civilised world , w when its excellent orkmanship , its solidity , the advantage which it possessed of sustaining the action of fire , its fine glaze impenetrable to acids , the the beauty and convenience of its form , and cheapness of its price gave rise to a commerce so active and so universal , that in travelling from P P A a aris to etersburg , from msterd m to the furthest part of S weden and from Dunkirk to the S extremity of the outh of France , one was served S P E . at every inn upon nglish ware pain , ortugal and I taly were supplied with it and vessels were E W loaded with it for the ast Indies , the est Indies and the continent of America . Time is when E nglish wares are exposed to the keenest competition , when all its excellences are , the in a measure , discounted , by cutting down of prices by foreign manufacturers who are endea v ouring to capture the market in which for many years our productions reigned supreme . Time will be when E nglish potters will find their occu pation gone if their combination is not founded on a firm national basis , apart from petty trade j ealousy . There are many who believe in ev olu tion as a principle in science , as it is in creation , and as it should be in manufactures and in com merce . In the history of events connected with 1 36 E NGLI SH SALT-GLAZE STONE WARE the G reat War there is room for the records of victories accomplished in extending the boun c O f dari s our trade ; but they require prompt , per sistent energy and eager enthusiasm— the only qualities that win . The early and signal pros ’ p erity which attended Josiah Wedgwood s efforts served only as a motive urging him forward to new an exertions . Here then is example of the

right spirit . S O when we look u p o n D o ul t o n ’ s achievements we perceive the same E spirit . ach great International E x hibition seemed to

p oww ow. call forth renewed s Mu : f e forts , which met with the most flattering public appreciation . S o largely did the numbers of the necessary workers 1 882 increase that , in , all the art departments were centralised under one roof , and a suitable h building was erected adj oining the factory , w ich for size and convenience was unsurpassed in the kingdom , containing fifty lofty studios and workrooms , besides an equal number of ware - o rooms , colour rooms , etc . , not f rgetting dining f rooms , museums and o fices for every possible requirement . Let us not forget the beginning . S - alt glazing , as applied to decorative pottery, had

E ARLY LONDON POTTE RI E S 1 37 died out in E ngland nearly at the time of its N O revival at Lambeth . traditions remained , so that the way was quite open for a new start on ground which had a long historic connec

- F h tion with tin enamelled delft ware . rom t at beginning , constant progress had been carried on with a determination to allow an amount of scope and individuality to the designers hitherto few unknown in modern work ; hence , the vases O f r and j ugs good form , well th own and turned h few wit bands of blue and brown , plus a runners for decoration , which formed the first exhibit , grew into such a multitude of beautiful forms with charming ornament that the mere mention of them would be a tedious task .

E E GROT SQU .

B . . ars hall y M V M . CHAPTE R XVII

B U E B E E TO Y J GS , STON OTTL S AND ARTHE N POTS

AMO N G the earlier efforts of decorated stoneware ” - was the well known Toby Jug , which has been made at Lambeth from the first period O f its art pottery manufacture , and its production has been continued up to the present time as a char acteristic e l work of the locality . W usua ly speak of Tobies as being j ugs modelled as topers seated and drinking . The Ralph Wood examples Whieldon and those of form the best of this class, which has been counterfeited very largely and very badly . The Lambeth j ug has quaint and incongruous representations in raised ornament of f topers with oaming tankards , impossible wind and mills , the queerest little animals imaginable fox and hounds and horsemen . I think John

Doulton learnt to make these jugs at Fulham , as they were common to the London potteries , probably taking the place occupied in the seven teenth century by the leathern Black Jacks to

the - at the substantial benefit of beer drinker , for 1 38

TOBY JUGS AND STONE BOTTLE S 1 39

ulham 1 6 8 F , in 5 , a publican was fined for short m S h B un measure : W . nell hat sold eere in l wfull B h a measures called lack Jacks , t at is to say six Jacks at one penny a peece the same measure conte nin h not y g a full quart , t erefore he is amerced Xls That same year saw the death

olln. . ott E s C J H M , q .

O C E of liver romwell , Lord Protector of ngland , B h who was not ashamed to use lack Jacks , t ough his were glorified by other mountings with his

. arms Two came under my notice recently , and , as I handled them , his strange and wonderful

h - career flas ed into my mind , but the beer pots in leather struck a homely note . 1 40 E NGLI SH SALT-GLAZE STONE WARE The original idea of the Toby jug is to be found

- in the stoneware beer pot , which had on its neck , above a wide protuberant belly , the harsh features O f a bearded man coarsely representing Cardinal B 1 62 1 ellarmine , whose death , in , caused great rej oicing among the potters of the reformed N religion in the etherlands , where he had carried on a campaign of religious persecution . The

- potters created , by their bellarmines , grey beards ,

- or long beards , as the pots were named , a new subj ect for j est and byword , and , at the same time , a new O bj ect for most successful business in the

- ale houses throughout this country, where they h were used to serve out ale to t e customers . The allonier two g contained a gallon the pottle pot , a quarts ; the pot , quart and the little pot , a in pint . The expression a pot of beer is still common use . These pots of various sizes were imported mainly through Holland under the C general name of ologne ware , by which they were known to our potters as well as to the public . E ven in Queen E lizabeth ’ s reign applications were made for patents for the manufacture of stone

- S ware ale pots . William impson petitioned Her Maj esty for licence to import them in opposition to one Garnet Tynes , and held out a promise that he would then try to set up a manufactory . It is uncertain whether his prayer was answered or rej ected . O f We set out below the actual terms his prayer,

TOBY JUGS AND STONE BOTTLE S 1 41

sewte i n or , presign fyi g that Acon is the German - - C Aachen , that is , Aix la hapelle , forty miles west C Culloin few of ologne ( ) , and within a miles of O f Raeren , where great quantities stoneware vessels were made , and also of Frechen , another large producer of similar wares . sewte W S m erchaunte The of illiam impson , straun er liv in e Whereas one Garnet Tynes , a g g in the Acon , in parte beyond the seas , being none

m “ m a sub ecte of her j , doth buy uppe alle the Culloin l D rinkin stone pottes made at , ca led g ottes m trans orteth p , and he o elie p them into this E : realm of ngland , and selleth them It may please your ma‘“ to graunt unto the said S impson full power and onelie license to provyde transport and bring into this realm the same or such like drinking pottes and the said S impson will putt 1 in good suretie that it shall not be prejudiciall th ” to anie of your ma subj ects , but that he will r lentifullie h se ve them as p , and sell t em at as reasonable price as the other hath sold them t m e t m from y to y e . maties Item . He will be bound to double her custom e by the year , whenever it hath been at the most .

Item . He will as in him lieth draur the mak ing of such like pottes into some decayed town wherebie within this realm , manie a hundred poore men may be sett a work . N ote . That no E nglishman doth transport 1 0 1 42 E NGLI SH SALT-GLAZE STONE WARE any potte into this realm but onlie the said

Garnet Tynes , who also serveth all the Low C ountries and other places with pottes . S tow states that Jasper Andries and Jacob E h 1 0 Janson also petitioned Queen lizabet , in 57 , to grant them house room in or without the liberties of London , by the waterside , to carry on h h their business as potters . T ey came in t at N year from orwich to London , but no records l of their work are avai able , though they state that they were the first that brought in and in exercised the said science this realm , and were at great charges before they could find h P h materials in t is realm . ossibly t ese men were merged into the potteries then carried on in and near London .

Another application , this time for a patent , C 1 626 was made to harles I , and granted in to alias Cull n Thomas Rous Rius , and Abraham y , a merchant of London , in which similar stress is laid upon the feature that many poore and vn proffitable people may be sett on worke and put to labour and good ymploym ent for their main ” tenance reliefe , and . The first part of this patent follows ; Jewitt gives the whole , but as both of Dwight ’ s patents are given at full length , we simply call your attention to the O bj ects in stoneware which the partners deter h mined to protect as a monopoly . T ey desired the power for The sole making of the S TO N E

1 44 E NGLI SH SALT-GLAZE STONE WARE

S shalbee worke ubj ects , who thereby sett on , and m ainte ned alsoe bee competently y , and will sell them (the E arthen Com odityes) cheaper than h sould t ey are now . During the term , the parties covenanted to pay to the E xchequer one fourth part of their profit yearly . Whilst in none of these petitions and patents do we gather any information of the actual home of the pottery , nor of the character of its products , ’ we must remember that , though Dwight s pot ter F y at ulham produced fine stonewares , we are indebted for our knowledge of those wares to the heirlooms preserved in the family , and to the U contents of a cellar discovered by chance . p to the time of the last of the Tudor sovereigns — Queen E lizabeth the common domestic vessels cruiskens large coarse dishes , , tygs , pitchers ,

- bowls , cups , candlesticks , pans , butter pots , bak - and O f ing dishes , other articles were made coarse clay . Mention is frequently made in the accounts of great households during the fifteenth and six teenth erth n centuries of y potts , and now and then an order is found directing that leather pots

- — Black Jacks be bought in place of earthen ones in consequence of loss by breakage . The

Tudor ware , when glazed , was covered wholly or in part with a green glaze , sometimes mottled ; when , at a later period , slip decoration was applied , - h that took the form of liquid pipe clay , w ich W and became , indeed , quite elaborate in rotham

CHAPTE R XVIII MAINLY SIR HE NRY DOU LTON ’ S CARE E R

FR O M Fulham to Lambeth across the river

Thames , as the crow flies , is just over four miles , O f and , as the former was the home the stoneware manufacture , so the latter , from the seventeenth r re centu y onward to the end of the eighteenth , mained faithful to that form of tin - enamelled earthenware known as delft . At Fulham the descendants of Dwight were content to produce - n the common salt glaze brow jugs , and no doubt

John Doulton , who was an apprentice there to

. W Mr hite , acquired the knowledge which , as we shall see , formed the basis of his success . He was

- one of the best large ware throwers in London , 1 8 1 and when , in 5, he established a stoneware W pottery in Vauxhall alk , he laid the foundation of the business which has since become famous W throughout the world . John atts was soon after this taken into partnership and the title of the 1 8 8 firm , until 5 when he died , was Doulton and

Watts . I copy here an extract from the Rey m 2 1 8 1 C olds catalogue , May 9, 7 , where hristy and Manson sold A jug with busts of Welling 1 46 ’ S I R HE NRY DOU LTON S CARE E R 1 47 ton and Hill in relief in colours and a mug formed h N B olton sic W as a ead of Lord elson , by [ ] atts ,

P 1 1 z s. E Lambeth ottery for £ vidently , even at that time Doulton was not very well known ; or , again , it might have been a poor capital D . W 1 820 hen Henry Doulton was born , in , there were six or seven potters in Lambeth working some sixteen small kilns , of seven or eight feet in diameter , the produce of each kiln being under £20 O f worth ware , the prin cipal articles made being blacking bottles , ginger

- beer bottles , spruce beer

- bottles , ink bottles , oil

- bottles , pickle j ars , hunt

- ing jugs and the like . To S the High treet , Lambeth , ’ Doulton and Watts s pot D N ’ ter 1 828 y was removed in , ggfi Pn M in-high and , four years later , the passing oi the first Reform Act led to the manu facture of thousands of those Reform bottles ” which were immensely popular, with their heads B of the King and the Lords Grey , rougham and

Russell. A great number of them were made at i S the H gh treet pottery and marked with , the

name of the firm . In 1 835 Henry Doulton left University College 1 48 E NGLI SH SALT-GLAZE STONE WARE

S chool with the determination to become a prac tical potter as the best means of succeeding in his ’ f father s business ; but such work was di ficult , for ” In those early days of my factory life , he said in an address to his workmen and women on his

- seventy ninth birthday , I had anything but an own - easy time of it . I had to kick my foot wheel , for there were neither string or steam wheels at that time . After two years I succeeded in making

- a twenty gallon receiver , and when our large

ware thrower died , I undertook the making of the whole of the large

chemical ware for some years . It was that practical knowledge which enabled the firm to emerge from the general mediocrity O f other Lambeth

potteries , one of which , for instance ,

H E E " O llt C V CS S GI S T THROW R . turned a few hemical

a J - E m d' from a kiln which belonged to a potter whose chief boast was that he could drink a gallon of beer a day , and do without rest on

S undays . With the advance of experience came new the ability to deal with developments , and , 1 8 6 in 4 , Henry Doulton built the first factory for the manufacture of stoneware pipes for sanitary h h purposes . T is was the spirit w ich prevailed in 1 8 54, when he took out a patent for improve ments in kilns used in the manufacture of stone ” ware , earthenware and china . Possibly suggestions in this direction arose from

SIR HE NRY DOU LTON ’ S CARE E R 1 49

E 1 8 1 the Great xhibition in 5 , where Doulton and Watts had a small show of garden vases in white terra - cotta and some ornamental chimney-pots for which they received a medal . Yet , we read of the Lambeth factories in 1 860 In place of 20 some sixteen kilns , turning out each under £ a now kiln , we have about seventy , turning out each , perhaps , on an average £50 . They consume O f upwards tons of coal , paying a corporation tax of , say,

per annum . Twenty three thousand tons O f clay are annually changed into useful articles , giving employment to more than eight hundred per sons . The returns of the Lam beth potters cannot be estimated at less than The enterprise of Doulton and Watts was responsible for a large share DO TON E O f this great increase . On the UL VAS

1 1 111 1 1311 . Mr . W . death of atts , Mr John co- Doulton took his sons into partnership , though

Henry was still the guiding spirit whose patent , 1 8 in 59, secured improvements in earthenware h j ars and bottles , whilst two years later anot er patent was executed for “ improvements in the construction of vats and similar vessels for con S taining liquids . ome of the results were shown 1 50 E NGLI SH SALT-GLAZE STONE WARE

E 1 862 in the xhibition of , when another medal was i ga ned . Remembering that this stoneware is a dense hl the and hig y vitrified material , impervious to O f action acids , and of peculiar strength , we now arrive at a period when ornamental ware makes its appearance at these w o rk s un de r t he b e s t

auspices , for Henry Doulton was eager to excel in art ware as well as in that which

was utilitarian . Hence he hailed with delight the efforts of E dward Cresy and S he of John parkes , who came the Head Master of the Lambeth S chool O f Art r in 1 856. C esy suggested many new forms for vases

and jugs, and these were N N E DOULTO . FIGURI made at the works and de B’ corated , in the early years , by the students of the school at the suggestion and under the supervision of the Head Master . When P E Doulton ware was shown at the aris xhibition , 1 86 in in 7 , the highest excellence manufacture had O been btained , though the ware itself comprised in only simple and graceful forms , decorated with cised concentric lines of parallel runners The wide appreciation accorded to the collection stim u

1 52 E NGLI SH SALT-GLAZE STONE WARE

thoroughly well considered , and especially adapted the to material , the mode of production , and the use of the obj ect . There are no affected imita f The tions O antique types . spirit of true design is caught with admirable perception and insight , and when colour is introduced , it is done sparingly and with a View to enhance the form of the obj ect and the natural beauty of the material , rather than to conceal either the one or the

other . The fore going lines give the opinions of the well

known c era mis t , Llewell nn y Jewitt , and are quoted here because we wish to associate ourselves entirely with his

D ouu on. expressions and to

hn Broad. ra . bi h By J o 33 g . e mp has is e t hem with all our power . What praise could be ex pressed better or more worthily ! F ollowing the history of the Lambeth firm , and noting , in passing , how in order to meet the public demand for the wares , the works have been extended to giant dimensions , we might dwell upon its success in the E xhibitions of the wide world . The highest commendations , accompanied two by more than hundred medals , diplomas and DOULTON

E u ton 1 8 78 B y D L p , h ii hi h 1 1 } in hig 1 0 3 in high 1 2 i g

olln oulton E sq C H L D ,

DOULTON E B arlow arshall B y . B v M V . M F

1 1 in hi h 1 2 in h igh g

lln oulton E sq Co H L D ,

1 54 E NGLI SH SALT-GLAZE STONE WARE

Tinworth M to Lambeth and arshall for example .

Then came the first mark of royal favour , for 1 88 Queen Victoria , in 7 , conferred upon him a E 1 01 knighthood , and King dward , in 9 , gave him , the P or rather the firm , appointment of otters O ld to His Majesty the King . The potteries 1 860 which , in , were so numerous in Lambeth ’ have all passed away ; Doulton s only is left . They failed because they persisted in

keeping to the old line and methods . Doulton ’ s survives because the man agem ent has striven to anticipate public requirements in sanitary science

and in art work . When we consider the fine qualities O f Doulton ware we ’ feel convinced that S ir Henry s lifelong work will be recognised more and more by those who love things that are

beautiful , by those who retain the DOULTON treasures purchased years ago by their

predecessors , and by those who wish to furnish posterity with examples of the ceramic art of their own times . i 8 S r 1 . . Henry Doulton died in 97 His son , Mr

Henry Lewis Doulton , continued the business 1 1 8 until January , 99, when it was converted into a Limited Company . The showrooms on the Albert E mbankment reveal the excellence of modern achievement . There will be seen pro cesses of decoration of the most recent types , S I R HE NRY DOU LTON ’ S CARE E R 1 55 showing that the aim of the firm is to be first the n amidst foremost , not only in or amental h wares , but in all t at variety of obj ects which the O ld O f B potters of never dreamed . esides the flower- immense stock of vases and pots , there are bottles , j ars , pitchers and jugs troughs and pans h felt , carriage , bed and ot er warmers barrels and filter- - taps filters , stands , and drip pans and every possible vessel for household service ; in

- addition to which there are force pumps , retorts , receivers , evaporating dishes and pans , filtering funnels , percolators and every other conceivable kind of chemical and manufacturing vessels and apparatus , as well as all kinds of sanitary goods ,

h - n . suc as drain pipes , gullies , si ks and the like These are mentioned here because we are apt to overlook those articles which are more for use than ornament , though the same qualities of durability and excellence of material also mark the less n S i teresting productions of the firm . toneware , the as we shall see , is only one of the branches of ’ potter s art practised at Lambeth , though it is the O ldest , and one which exhibits wonderful develop ments which had their origin in the O ld salt -glaze now jugs and bottles , which are fin din g t heir w a y t o t h e ’ c o l l e c t o r s cabinets .

N DOULTO .

B . . arshall y M V M . CHAPTE R XIX

OTHE R LONDON POTTE RIE S AND DOU LTONS

T H E early history O f Lambeth as a pottery centre remains indefinite , though it is certain that the E early nglish brown ware pitchers and pans , tygs , etc were made there . Then in the seventeenth century a colony of delft ware potters and others h existed , amongst w om , in all probability , were Cull n Rous and y , who manufactured stoneware , receiving in 1 626 a patent for the making of bottels stone potts , stone jugs and stone . To

Lambeth we may also assign Van Hamme, whose Dutch delft ware was introduced into this country e h after his migration from Delft . W find t at he 1 6 6 was granted a patent , in 7 , for the art of m akeinge tiles and p orcelane and other earthen ”

. wares , after the way practiced in Holland

Tiles , plates , jugs , mugs and dishes , sack , claret ’ and other wine bottles , apothecaries pots and pill-slabs appear to have been produced in con F ew siderable quantities . references can be traced until the second half O f the eighteenth century . True, we are told that an earthquake , 1 56

LONDON POTTE RIE S AND DOULTONS 1 57

8 1 — 0 on March , 749 5 , threw down the roof of a -h pot ouse . ’ In the appendix to John N icholls s History of

Lambeth , we learn that the remains of O f N the palace of Howard , Duke orfolk , now con

- - verted into a pot house , sugar house , etc suf fered the same fate as the palace O f the B O f ishop Hereford , now converted into a ” - pot house , and that there are five pot houses for earthen ware , besides one for stoneware , and one ” - r e d p o t h o us e . B earing on this , I have seen an O ld woodcut of a brick building , apparently

O f BE . no great age , which LAM TH E I n hi h olln H . ott s . 6 . . . J M , q } g was described as C O B nce the residence of the ishop of Hereford , a now converted into a pottery . It has been p ro riated 1 0 p p to its present purpose since 75 , which date was upon an earthenware ornament in front , whilst on the signboard appeared the W h name aters . T is eventually became the S property of James tiff , and developed into the S and S London Pottery of Messrs . James tiff ons , 1 1 1 58 E NGLI SH SALT-GLAZE STONE WARE '

re which see . The signboard of delft ware was 1 860 and moved in , when extensive alterations additions were made . ’ We can only give a passing glance at Coade s S W P ’ h Artificial tone orks at edlar s Acre , Lambet 1 Coade h In the year 769 Mrs . establis ed here a manufactory O f artificial stone which was cast in

moulds and burnt . It was intended to answer the purpose of stone , for every species of ornamental architec

ture , at a much cheaper

rate than carving , and ,

indeed , in exposed positions it was found to endure the frost B very well . acon , C f W. . Flaxman , J o fee LAMB E TH (afterwards of Derby) olln H ott E s I n. hi h C . J . . M , q . 5} g . a nd o the r fam o u s modellers were employed at these works, which 1 8 0 were closed about 4 , when the moulds , models , plant , etc . , were sold by auction . 1 2 At Vauxhall , in 79 , were several potteries which made stone earthenware pots which owed ” their origin to Holland . Here , in Vauxhall , John Doulton began to manufacture stoneware h ’ T before he migrated to the T ames side . hree years before he had established his business in

1 60 E NGLI SH SALT-GLAZE STONE WARE

tried during nearly twenty years , and has been found unproductive of any real revenue , there can f be no su ficient reason for continuing the impost .

The tax fell heavily upon the potters , and those at

Lambeth were amongst the sufferers . Goddard , 1 820 in , states that there were six or seven potters in Lambeth , working some sixteen small kilns , of seven or eight feet in diameter, the pro duce of each kiln being under £20 worth O f

ware . Prosperity had not yet reached the ’ borough , for in Allen s P ” arish of Lambeth , 1 82 : 7 , this appears “ Pro c e e din g al o n g Princes- street andF ore

street , running parallel oc with the river , and

E T HE N N UG . LAMB TH . U IO J cupied by persons con

T etherill circa 1 8 2 . B ritish Mus. . W , 5 neCted With the river , with potteries , whiting factories , etc . , the only obj ects the perambulator can notice is the extreme and mean appearance of the neighbourhood , the width of the streets in some cases not allowing more than one small vehicle to pass , without any E footpath and roughly paved . ven on the de O f struction of some the hovels , the proprietors erect them on the same site , though in some cases ' ” half the building projects o n the highway . h B y G T inwort N Ci rca 1 8 7 5 DOULTO , -G E HISTORY OF E N G LAN D VASE I N COLOURE D SALT LAZ STON E WARE .

1 62 E NGLI SH S ALT-GLAZE STONE WARE them : In some O f the coarse pottery made of the yellowish -brown clay from Deptford— used without any admixture , or, if too fat or tenacious , brought down to the proper state by admixture with loam— the glaze is put on with a brush but for small articles , such as pipkins , which are glazed C on the inside only , a little of the reamy mixture of glaze is poured in , and then poured out again , a sufficient quantity adhering to the surface by this process . The stoneware made at Lambeth from a mix ture of pipe - clay from Dorsetshire and Devon shire , calcined and ground flint , presents certain C peculiarities in the glazing . ustom requires that the tops or bottoms of j ars , and some other vessels of this ware , shall be of a deeper brown than the natural colour of the materials affords they are therefore dipped , as far as is required , in a mix ture of red ochre and clay slip . When dry they are piled in the furnace , with pieces of well sanded clay between the articles to prevent them r from adhe ing . A slow fire is kept up for twelve

- to twenty four hours , according to the thickness low of the ware , capable of raising it to a red heat . The fire is then raised until the flam e and the ware are of the same colour this is continued for some hours , during which the glaze is added by pouring down the holes in the top of the kiln some ladlesful of common salt ; the soda forms a f very thin but perfect glaze , su ficient to render LONDON POTTE RIE S AND DOU LTONS 1 63 this compact ware capable of resisting the percola tion of water and strong acids . Large vessels of this ware are now made for the manufacturing chemists , who use it instead of green glass for ’

W . distillatory vessels , oulfe s bottles , etc , some enormous specimens of which were shown in the 1 1 P Great E xhibition of 85 . ickling j ars and other vessels , in which acid sub stances are kept , and also earthen vessels in which great strength is required , f are made O stoneware . The common pottery or delft- ware is also fabri cated at Lambeth of the calcareous clay or marl , of a blue , red or yellow colour , from the neighbourhood

M . of aidstone The ware , formed in the usual way , is converted into biscuit , which is glazed in the following manner : Kelp and Woolwich sand are calcined together under the kiln until they combine into a spongy, imperfect glass or frit ; lead and tin are calcined together

h - until t ey form a greyish white powdery oxide , called by the potters tin and lead ashes the frit

is then ground dry , and afterwards mixed with f the ashes , a little za fre being added if a blue

tint is required , and a little arsenic if the glaze 1 64 E N GLI SH S ALT-GLAZE S TONE WARE

is intended to be white . The composition , being l wel mixed when dry , is put into the hottest part of the kiln , where it runs into a vitreous opaque enamel . This is ground under a heavy iron runner , and is finally mixed with water and rubbed m between stones , to the consistence of crea , into ” which the biscuit is dipped . You m ay rem emberthat Lardner and 1 832 have

be e n m en t io n e d . H is

book , Treatise on Por ” celain and Glass , pub lished in that year, says something about stone ware At Lambeth

especially , several new manufactories of stone pottery have been carried on for considerably more

than a century , producing articles which have never been surpassed in any country , either for the excellence of their materials and workmanship , or for the magnitude of the vessels and the variety of uses to which they are adapted . The Lambeth ware may , in fact , be pro ” W nounced perfect of its kind . ith the advent of E 1 8 1 the Great xhibition , 5 , public attention was drawn to the progress of pottery at Lambeth , though the chimney- pots and terra-cotta vases

LONDON POTTE RIE S AND D OULTO NS 1 65 then S hown gave no indication of the art ware which was to confer such distinction upon the

firm of Doulton and Watts . The exhibit won a medal , the first of a long series , and a second was E awarded at the International xhibition , held at 8 S 1 62 . outh Kensington , in , for stoneware John S S ob parkes , Head of the Lambeth Art chool , tained an introduction to Messrs . Doulton , and it will be best to describe what followed in his own words The Paris E xhibition of 1 867 made its demand on the S kill and enterprise of the E nglish m anufac turer , and the firm made some jugs and ornamental

O f BE . D O G E forms Vases With extra LAM TH WHISTL . M “ 1°“ g' care , but with no great attempt to produce any work of the highest

. E class It was at this period that Mr . dward ’

Cres . y , a friend of Mr Doulton s , suggested several of the forms and gave designs for some of the j ugs that were sent to Paris . His culture and high taste enabled him to suggest to Mr . Doulton the line that the decoration of his material should naturally take . The character of the ware exhibited in Paris was perhaps that the highest practical excellence in manufacture had been

h - reac ed . B ut the art field was as yet un cultivated . A few desultory experiments made two by scratching upon the green clay , done by 1 66 E NGLI SH SALT-GLAZE STONE WARE

s S or three student of the Art chool , were always n bei g made . These are all lost ; but , compara tively simple as the ware in the Paris E xh ibition stim u was , it attracted wide recognition which ’ ” lated Mr . Doulton s efforts to further production . The story of the further development of Doulton ware is told in another chapter the decoration by n scratching , either with the poi t when the clay l was stil wet , or with an implement which scooped out the lines on the dryer clay , was followed by other methods , such as carving away the mould ing or collar left by the thrower , and carving generally whitening the body before scratching applying dots , discs , flowers , borders from seals or moulds , on which the applied clay was first spread cutting in patterns from a mould and stamping a disc or series of dots with a material which burned away with the fierce heat , leaving a small circular inlay , flush with the surface , but

- crystallised and brown grey in colour . These 1 880 the processes were all in active use in , when above was written , and they applied to stoneware ,

- salt glazed , in which one firing only was em ployed .

E GROT SQUE .

h ll. n hi h . B . . ars a i . g y M V M

1 68 E NGLI SH SALT- GLAZE S TONE WARE ware of itself furnishes a marvellous evidence of the growth of artistic taste and technical skill in this country ; and its vigour , vitality and origi nalit hi y are not only ghly pleasing in themselves , but also in the contrast which they offer to the namby- pamhy prettiness cast out of mould by the thousand and painted in strict adherence to a

copy , which forms the bulk of

- what is generally known as orna s

mental porcelain , much of which is imported from abroad and has no other qualification than that it

is cheap . Further comment is

needless . 1 6 In a speech on February , 1 8 6 collec 7 , Gladstone spoke of a tion of works from the Doulton Pottery as follows : Those works were delightful for the eye to be

hold . They were also satisfactory on the distinct ground that the N a m 1 8 0 DOULTO , 3 .

“ i i I nsm bed . My Hope is pr ce of product on appeared to be “ " f so moderate ; but , most of all were a fix? they delightful to me because they were true products of the soil . There was a high faculty of Art as it seemed to me developed in the production of those works , and that faculty L of Art had grown up in ambeth . It was the S Lambeth chool of Art , from which Messrs . N DOULTO . d B w . Cun . TAZZA 1 5 m high . y

1 70 E NGLI SH S ALT-GLAZE STONE WARE

been done there can be done elsewhere . You have only to dig beneath the surface and you will find ample treasures to reward your labour and ” research . Reference has been made to the decoration of - — s r ffi salt glaze stoneware by incised work g a to . d a The mere cutting , upon the soft y , the outlines of scrolls , arabesques or other patterns , is not a re complex process , though considerable skill is quired in this kind of outline drawing . These lines f may form the boundaries of di ferent colours , or of the surfaces to be brought into relief by the superposition of more clay , still this style of art is not comparable to the artistic work of Miss B arlow, whose incised figures , animals and land scapes have a distinct character which will be identified with Doultons for all time . Associated with the ordinary incised patterns are other methods of ornamentation which may be all combined in a single article .

The incrustation with raised ornament , chiefly done by girls , consists in the application of damp clay from an engraved die upon the surface of O the bj ect . The designs so transferred vary con siderabl y . A good idea of them may be gained from the jugs decorated with a hunting scene in h relief . Anot er method applies liquid clay to the obj ect very much in the same way as the baker applies sugar ornament to a cake . Imagine the filler - B of a fountain pen with a large rubber bulb . y GLADSTONE AND DOU LTON WARE 1 7 1 pressure upon such a bulb the skilled decorator secures remarkable results with a facility born of practice . Another style requires indented orna ment of bold lines and patterns . The painting of the ware is effected by pig ments based upon metallic oxides . Whereas in the O lden times potters had a very limited palette of three or five colours , the march of modern science has provided an extensive the range for painter on ware , salt glazed . Owing to the intense heat necessary in the kilns these colours E have a special character . very piece is finished before it goes h into the furnace . It is t rown , turned , incised , incrusted and painted , then it is subj ected to a single firing , and to one only Yet the salt - glazing which takes PURPLE AN D E N place when the fierce white heat GRE . of the furnace has reached its maximum strength does not interfere with the beauty and sharpness of the decoration , indeed effac it blends the colours in a remarkable way , n ing hard lines without impairi g distinctness , and producing a richness , harmony and sobriety which f h produce an e fect w ich is most charming . The stonewares of the Flemish and German potteries in the sixteenth and seventeenth centuries were often meritorious in a high degree ; but Doulton 1 72 E N GLI SH SALT-GLAZE STONE WARE

all ware has, in many points, excelled them . The S iegburg grey stoneware surpasses all in its rich l re ief ornament , but in form , colour and variety the productions of the Lambeth pottery have reached an exceedingly lofty standard which we can say without flattery is one which ought to be regarded with national pride .

In the production of the obj ects of Art , as dis tin uished g from the ordinary and cheaper wares ,

Messrs . Doulton have adhered to certain methods which form the distinctive and guiding features O of those bj ects . These , in time to come , will be l precious to the col ector . First then , every piece is passed directly to the hands of the artist in a soft state to receive a unique form or design of which no copy is either made or kept— except in the case of vases in pairs . With the exception j ust named we may say that no two pieces are alike in decoration , even if the form thrown on E the wheel is the same . ach new design is photographed , or drawn in facsimile , and regis tered for future reference . In this way upwards S of eighteen hundred hapes have been preserved , whilst almost daily additions are being made to the list . E very specimen of fine Doulton ware bears the monogram or the initials of the artist . For the

first time we publish a list of these, which will be valuable as time passes by . Only those pieces ’ which possess an artist s mark can be accounted

GLADSTONE AND DOU LTON WARE 1 73

’ worthy of a place in a collector s cabinet , and is every object , so marked , fit to stand before n ki gs . The factory marks are also given , and every bit of Doulton ware carries one under its base . There are other marks and monograms which we have not selected because they do not indicate the highest type of the productions of the Lambeth potteries , the colouring being done by hand . The

N E E E STO WAR LUSTR .

B L arradine. y . H

colour schemes , in endless variety , study to pre serve the original idea oi the artist so as to ensure ff harmonious e ects . i The earlier dated pieces , show ng the incised B B work of Miss H . . arlow and her brother , also

s E . E 8 . 1 2 . E . Mi s J dwards , begin with 7 Miss S im m ance 1 8 B appears in 73 , and F . A . utler a

. u year later Yet there was no r le that every jug , mug , vase , tankard or bowl should be dated , indeed the artists themselves were so progressive 1 2 T H E CH IE F MO N O GR AMS O N DO U LTO N WAR E

?’ William P arker. hur Barlow. fi Art B .

P earce. E B Arthur E . F B arlow. j/ / F lorence E . F ' L3

P o e. F rank C. Barlow. £3 H annah B . p

R oberts. lorence C. Butler. F F rank A . R

e d William R ow . fi john Broa . m

is E S 5 E lise S immance. D av . Louisa J .

C H eor e H u o T abor. D unn. G E . J a W. T g g

g n hom so . j E dwards. M ar aretE . T 1 Louisa E . g p

e n H enry S im o . Lee. es E . FEl. F ranc

Geor e Tinworth. u ton. g E dith D . L aD1. p

Wilson. H ar M arshall E dg W. MV M M ark V.

l m M ary M itche l.

CHAPTE R X X I M ORE ABOUT T H E ARTI STS AT LAMBE TH

T H E fame of Doulton ware owes much to the late S ir Henry Doulton , whose industry and persistent endeavour, study and observation were no less marked than his thorough sympathy with those who were workers in his studios and workshops . How else can you explain the life -long service of so many of the artists and the workmen From S the thrower , who gave hape and beauty to the lump of clay , to the artist whose deft fingers

- elaborated and decorated the new born form , one mutual bond united all with him in one aim f towards perfection by earnest e fort . B B Miss Hannah . arlow and her brother, B B Arthur . arlow , whose work , as the first of the

Lambeth artists to be engaged , has been noticed , were the pioneers of a little army , all deserving honourable mention and a longer description than can be given here . Already you have seen that the monogram or the initials of each artist was inscribed under the base by the S ide of the factory mark , and the names which follow will help you in identifying the individual . The 1 7 6 N B N S N E E DOULTO . ROW TO WAR .

B . y M V. M arshall.

1 78 E NGLI SH SALT-GLAZE STONE WARE

efforts in stoneware . The grand sculpture in wet clay which produced the reredos at York Minster ’ - six in C and the twenty lunettes the Guards hapel , ’ P S t . James s ark , for instance , are outside our scope ; but we can recall the charming little salt

glaze figures of musicians , which , about forty in

number , made up the band which occupied the

leisure of his last years . They should be worth collecting ! George Tinworth died suddenly on S 1 0 1 1 eptember , 9 3 , whilst on his way from his home to his studio at

Lambeth . His life illustrated very vividly how genius conquers the S greatest obstacles . John parkes

described a stoneware j ug , exhibited by Tinworth in the Royal Academy 1 8 in 74, as perhaps the finest piece of decorated stoneware that has ever

been produced in the modern age . We may think O f this when Tin ’ worth s stoneware , marked with the monogram

. T . S G , attracts our attention . ome of it may

even now be found safely housed in our museums . Referring again for a moment to Gladstone ’ s

speech , when admitted to the freedom of the ’ C Turners ompany, in which he praised Doulton o ware so eloquently, for he had seen and appr ciated the E xhibit which was to be sent to Phila 1 8 6 delphia in 7 , we quote his concluding remarks I t Among the works I would mention one . MORE ABOUT ARTISTS AT LAMBE TH 1 79 was a beautiful piece of work produced by a youth who from his birth was both deaf and dumb ; what a cutting O ff of resources !what a stinting of the means of training and improvement and how then consider , notwithstanding this , through an inborn resolution in the centre O f his being it was in the power of this lad to make himself a producer of works that could command admira tion on the score of beauty again showing how the energies , if rightly directed , can be forthcoming when re en quired . The artist whose com ium s were so eloquently sung by the grand old orator is Frank

B . A . utler He began his artistic life as a designer of stained new glass . In his occupation he found scope for a bold origi D oU LTO N . B M v Mu m “ ’ ' nalit y , and gave play to his gift of invention which he could not attempt in stained glass , in which traditional practice pre i va led . What characterised the stoneware P A massing together of floral forms with a facility in arrang ing and treating dots and discs and intertwining n li es . He not only produced designs enough for himself, but for three or even four assistants whom ex celledin he kept busy in carrying them out . He the carving wet or damp clay , leaving the pattern in relief, and also in the treatment of the wet - E 1 80 E NGLI SH SALT GLAZE STONE WAR clay vessel by squeezing it into the most delightful

O f , forms . He was a master of all kinds repoussé W indented and perforated work . hen you find i B . the monogram F . A . these points w ll attract your attention . B ’ Arthur B . arlow s foliage ornament was a

- flowing , trembling wealth of vegetable form wreaths round the vase or jug , now and then fixed by a boss or pinned down by a point of

modelled form . B ar Miss Florence E . low was the third member oi her family to work in

the Lambeth studios . Her sister had won a silver medal at the Paris E 1 00 xhib it io n , in 9 , amongst many O ther DOULTON LE OPARD SKIN

S E . WAR medals , and both sisters B M V Marsha ’ h ' ‘ " ”m “ h g ’ y received one in bronze at

S t . E 1 0 Louis xhibition , 9 4, when many other artists ’ from Doulton s were similarly honoured . Prob ably many O i you are familiar with Miss Hannah B ’ . . W arlow s etchings of animals , etc , on clay ell , her sister , Florence , not only etched animals, to which she added an extended range of ornament , but she also painted subj ects in coloured clays , ate sur ate p p , especially birds , which gave light , shade and colour to her designs and increased

MORE ABOUT ARTI STS AT LAMBE TH 1 81

’ their variety . Truly Doulton s was the home of

the woman artist . When you see pieces of this ware having elaborately treated backgrounds with small stamped patterns and ornaments consisting O f a mingling of conventional and natural forms you could easily ascribe them to E another woman , Miss mily J . l E dwards . You wi l find the colour clinging to the stamped patterns and flowing into the deeper depressions producing f rich e fects , whilst the de signs in many cases indicate that careful attention has been devoted to antique styles of decoration .

Mark V . Marshall , one of the artists who rendered long and faithful service to Doul ’

, . ton s has joined the maj ority N circa 1 8 0 DOULTO , 3 . He had the most extra ordinary ability in carving the wet clay— great architectural details , such as grotesque eagles supporting shields , tall vases some four feet high , with a marvellous wealth of finely designed n origi al ornament , jugs with decoration equally — ornate in high relief and open-work these reveal few we a of his activities . Then can turn to some of his statuettes in glazed stoneware , sweetly 1 82 E NGLI SH SALT-GLAZE STONE WARE

graceful , especially that of his wife , a typical

Victorian lady . Much do I value a vase , nine

n . I t i ches high , which came from his hand is of

- - a perfect , pear shape inverted form , with a sala - n mander in relief and open work , cli ging round the neck and body on a background of low relief foliage like giant seaweed , exquisitely finished , a marvel of colouring , a proof of the capacity of salt - glaze for colour schemes without a j arring — tone greys and blues , purples and greens with the animal spotted with the nearest approach

to peach bloom possible . Here

is another mark to remember , M M . V . . , and the collectors of

the coming years will know it . He died at B alham on Decem LE OPARD SKIN STON E 1 1 E . 2 WAR ber 9, 9 , after nearly thirty h i h ’ ” g : three years service at Lambeth . E Returning to the woman artists , Miss lise S im m ance has won a reputation for her fine work W with the style and with the brush . hen com m enting on so much of real talent it is somewhat ’ difficult to discriminate , but this artist s painting in pea! sur pate shows such easy elegance and skill as to emulate the same qualities in the work ” of the Italian ornamentists . Often the main body O f her ornament is carved or modelled out of the solid clay , though my own specimen of her work is incised and painted with conventional

1 84 E NGLI SH SALT-GLAZE STONE WARE The old Doulton ware caudle flasks the spirit W C flasks , such as illiam IV Reform ordial , , B S rougham , The pirit of Reform and Lord John Russell the m odelled jugs with S ilenus B and The oar Hunt designs , and others i N represent ng the bust and the head of elson , or N ll the head of apoleon , i ustrate the popular de mands early in the nineteenth century . S ince then the modelling has advanced side by side with the other wares . The chief artists engaged

. in this work , during recent times are Mr John

B . . C. road , Mr . L . Harradine Mr F Pope and Mr . S B H . imeon . Mr . road s hands have fashioned many of the finest and largest modelled produc S tions of the firm . parkes couples him with Mr . B eere in stating They model well , and several of their works of art are graceful and well com posed , with much simple and classical feeling for ” beauty . Then he praises a pilgrim bottle , with : the head of Lysimachus , and continues It is obvious that modellers of figures must submit to the moulding of their productions , as a human figure cannot be supplied with the readiness with which a purely ornamental form can be modelled . By this we understand that when a figure is modelled it can be conveniently moulded in ' oi P plaster aris, which allows repetition of the form . Of such repeated forms more will be said

- in the next chapter on present day wares . E nough has been said to prove that Doulton ’ s

1 86 E NGLI SH SALT-GLAZE STONE WARE

have ever been seen . The strongest purples , ruby , orange and brown were utilised in a mag nificent h colour scheme , all broug t to perfection — — in . ware , colours and glaze one burning If you are acquainted with the technique of salt glaze stoneware you can fully appreciate what this means .

PAPE R WE IGHT arshall M . V . M . CHAPTE R XXII T H E MODE RN DOU LTON WARE

I N the show- rooms at Lambeth you would see a great diversity of wares and styles . The salt glaze stoneware of itself presents no monotony of f e fect , no repetition of motive except in the h c eaper kinds , and even these present some f C di ferences , as are shown in the patented hiné process for impressing patterns on the clay by O means of lace fabrics , which ften impart a decidedly pleasant texture . On looking round the ordinary visitor would conclude that the col lection contained a considerable variety of har m onious flower- , nay , beautiful vases , jugs , pots and so on but the student and the connoisseur would realise that much skill and enterprise , many trials , failures and successes , along very i vary ng lines , by technique comprising quite di divergent methods , were all embo ed in the attainment of that variety . They would know , h too , t at an art pottery employing so many processes which practically covered the world of ceramic art would have to encounter many more difficulties than a pottery whose productions were 1 8 7 1 88 E NGLI SH SALT-GLAZE STONE WARE

limited to a few processes constantly in use . With the success which arises from surmounting obstacles which threatened to hinder progress came the desire to accomplish other and greater in n tasks , and these pri ciples Doultons have S - found their inspiration . alt glaze stoneware marked the starting- point from which sprang S C ilicon ware , Marqueterie ware , arrara stone

- ware , terra cotta , Lambeth Faience , C rown Lambeth and Impasto , Dry Impasto or Vitreous Fresco and S toneware Polychrome , not indeed in this order, but as parts of a great business which never re

mained stationary . The more closely we examine all this the

more we marvel . In decorating the art stoneware it has sometimes been found pos DOULTON CAN DLE . sn cx new . sible to produce quite a order f of e fects . This may be seen more especially in that group of pieces which formerly

s raffito . were distinguished by g , or incised lines In them these lines have been abolished in favour of

- a freely drawn brush line adapted for the designs . The results gave evidence of greater freedom and ease of execution , though the firing was rendered ffi fre more di cult . The incised or etched line f quently had a hardish e fect , but it had the new advantage of holding the colour well . The

THE MODE RN DOU LTON WAR E 1 89 method improves the effect and at the same time S ir economises means . Henry Doulton approved the alteration and we may note that the first example of this new style with the brush line was drawn from the kiln for his inspection only a few N 1 8 weeks before his death in ovember 97 . This will furnish an ap proximate date for the last of the incised line and the first of the brush line in this class of stoneware . The aforesaid new process f does not , of course , a fect the etchings of Miss Hannah B arlow , who , latterly , com arativel p y inactive , will never more work in her studio , and no longer sends forth from it those re

- N . E E markable designs Which DOULTO WHIT SALT GLAZ . ‘ MR E N ' ’ P CKS IFF will , I believe , be associated with her name for all time , because they are unique in decorative ceramic art . C P the T h . e etched work of Mr . F . ope reveals power of his clever brain and hand . For the most part conventional decoration is applied by him to the , damp clay in lines and curves , blended in h original designs , in w ich the unfaltering stylus is guided through a maze of turnings and twist h ul f ings beyond description , yet when t eir f l e fect 1 3 1 90 E N GLI S H S ALT- GLAZE S TONE WAR E is disclosed in combination with admirable colour schemes which leave the etching untouched the result is truly artistic and at

tractive . This artist has de signed some of Doulton ’ s latest forms in leopard skin brown Mr S m stoneware , whilst . H . i eon he is responsible for t others . Here we have the E lizabethan leopard or tiger ware Was E ? reinvented . it nglish be Many persons believe that ,

N . I N E DOULTO FIGUR . cause some fine O ld specimens

in. hi h 7} g . which have silver mounts dated rei n?of B in the g Good Queen ess , the stoneware was produced in this country ; but there is no f evidence to that e fect . The brown ware , salt e glaz d , to which class these belong was , I am c o nvin ce d , m ad e a t

- R a eren , n e ar Aix l a C hapelle , in the six teenth century, for two was pots , one of which

E E dug up on the spot , are GROT SQU .

B . o e 6 in. hi h y F C . P p . g . known , having the date ’ e 1 539. W need say further that John Dwight s mottled brown stoneware was without doubt , E the first production in ngland , In the second half of the seventeenth century . Doultons have pro

1 92 E NGLI SH SALT-GLAZE STONE WARE the painters of maj olica as a modern rival of the I n his old talian , we cannot li ger over work . All in d lustres are pigments , reality metals , eposited or painted on the surface of the ware in a state of ex ’ treme division . Doultons lustre ware is distin guished from all other in that it is salt - glazed stone are ware , and not faience nor porcelain , which fired at a lower temperature and under different E conditions . specially are these stoneware lustres pleasing because they suggest the glorification of a metal with a sheen most suggestive and satisfying . The lustre is applied and no attempt is made to paint in colours , which was the course adopted h with maj olica , in whic lustre added the finishing touches after several firings instead of one only . Why does a perverted taste lead to the purchase of showy wares decorated with transfers in colour from Germany P When we pass along the street

flower- and notice the big, highly coloured pots in the windows we wonder and wonder . And even otherwise well - furnished homes are s poilt by the presence of incongruous ornaments which , from an artistic point of View , are simply awful . They probably are large , and cheapness is another qualification with those who have little sense of N the fitness of things . othing can give a greater contrast to these flaring vases than the charming metallic lustre wares made at Lambeth with their P quiet tones . ossessing more colour , resembling in their effects the variegated glazes seen upon N nworth U . B N N E E B T i . DO LTO ROW STO WAR y G .

T he Merry Musicians . (9 of a set of 37 figurines

1 94 E NGLI SH SALT-GLAZE STONE WARE have yielded admirable results which are beyond description , though their delicacy , suggestiveness and refinement commend themselves to those O ld C who would like hinese examples , the cost of which is prohibitive . Flambé decoration on stone ware is rare , and unless we classify the Han pottery as stoneware we might say that flambé stoneware is a unique production of the Doulton B C 6 . . 20 potteries The Han dynasty lasted from . A D N to . . 2 20 . one of the early green

enamelled ware then made was porcelain , h for it lacked w iteness and transparency , whilst the paste could scarcely be scratched

with a knife . In these qualities Doulton 8 . 0 ware is similar , only it is very hard we have a rediscovery in the twentieth century of a process which was practised

in very early times , the application of fl ambé colours to stoneware .

- — — S alt glaze stoneware figures old ones are ex cessiv el N y rare . ever were they produced in such numbers that the modern collector can hope to in secure many specimens . Indeed there is an creasing difiiculty in buying the old stoneware spirit and cordial bottles dating from the first quarter of the nineteenth century, or even the old

- j ugs with quaint raised ornament of fox hunting , etc . Yet there are many modern political flasks

- in salt glaze stoneware which , during future years , will recall the men who helped to save the E mpire T H E MODE RN DOU LTON WARE 1 95

in its time of sore trial , when war and its train f of horrors , of untold su fering and martyrdom , E swept over urope , and extended its ravages to other continents . Doultons have , by the hands of Mr . L . Harradine , the modeller , created a series h of brown stoneware portrait flasks , in w ich B G may be found Asquith and alfour , Lloyd eorge E C . and A . hamberlain , etc ach statesman has a h c aracteristic expression and , apart from every thing else , this comparatively humble form of memorial will fulfil eventually j ust the s am e fun c t ion s a s were effective with W illiam IV , L ord Brougham and Lord R J ohn uss ell , fo r ,

the N though custom of DOULTO .

M arshall 111 111 11 in wide B . v. . . carrying spirit flasks y M . 5 3 ; g ’ in one s pocket has died out , there will remain a place for them all upon the shelves where we The conserve our treasures . Roosevelt mug , the the by same artist , should commend itself to admirers of this extraordinary statesman , soldier , explorer , etc . , who , in many ways , may be re garded as the embodiment of our blood - brother across the Atlantic . This mug is executed in

- white salt glaze stoneware .

It is in the same kind of stoneware , having the surface and general appearance of old S tafford 1 96 E NGLI SH SALT-GLAZE STONE WARE

’ - H arradine s shire salt glaze , that Mr . models for the Dickens statuettes make their appearance . — Mr His conception of the various characters . P S am S W . S ickwick , eller , airey Gamp , Mr queers , — Mr . Micawber , etc . is exceedingly meritorious , proving that he has saturated himself with the real meaning of that great writer whose created characters are the intimate friends of numberless readers amongst E nglish - speaking people every u where , who wo ld delight in these

small figures , for own their sake , and for their apt illus t r a t i o n o f t h e powers of the man whose pen gave t h e m l i f e a n d

N . E DOULTO ch arac t e r . a ch m r h B G ' T m t y ' model made by the artist is cast in a plaster of Paris mould from which the reproductions in damp clay are taken , except in a few cases in which the reproduction results from the pouring of liquid clay into a mould . In the latter case the thickness of the stoneware figure is uniform throughout , as in a group which I have where a little girl with a winged sprite on either disc is sitting on a pedestal with four steps , on the base of which are the ” words , I do believe in fairies . Mr . Harradine

T HE MODE RN DOU LTON WARE 1 97

- has done work in other than salt glaze ware , but we must leave that , noticing only his designs for ” what are called repetition patterns . Whilst you have learnt that the purely artistic Doulton ware is individualistic , you scarcely need to be told that the ordinary commercial ware is largely made up of repetition patterns , designed in the original by artists such as those already named or two M M . W. E . by iss . Thompson and Mr Rowe , others showing much ability . The excellence of these cheaper wares is indis utable p ; in design , colour and value they are not inferior to the very best of the ordinary the market productions of any pottery in world . We must not forget three of their distinctive : qualities durability , beauty and imperishable d O ne ecoration . of the distinguished j urors of the G E reat xhibition , a patron of the ceramic art , placed on record his O pinions regarding the desi derata in its manufacture Commerce wants rapidity of design and execution , cheapness , con v enience of form , colours at the same time lasting and attractive , eternal reference to the ledger : account on the other hand , art needs genius , n education , origi al conception , accurate drawing , chemical science , the power of remodelling and remedying defects and flaws , refined taste , and , above all , time and money , so is created a per etual p conflict between art and manufacture .

The tendency of the age to save labour , to lessen 1 98 E NGLI SH SALT -GLAZE STONE WARE

expense , and to multiply production , are ab stractedly all adverse to the development of ” taste . Many of the requirements of commerce in those days still are prevalent , indeed , with regard to the E nglish output they have been rein forced by the keenness of foreign competition , and l by the public demand , a most a mania , for cheapness . The flooding of the country with tons of garish goods of continental origin must have f had an injurious e fect upon the trade at home , and to the credit of our manufacturers be it said that they have striven courageously against the h adverse tide , hoping for its turn , w en our people will remember what it owes to the nation . If it is true that fictile fabrics alone will often mark the standard of national civilisation , and indicate ” the progress of a people in the arts of life , then B it must be felt that Great ritain , in recent times , has degenerated , in spite of the efforts of the master- potters to cultivate and improve the public taste . Doultons have always maintained their high standard of excellence in their productions , for the pure art that pervades the whole is seen in every piece of stoneware— in the harmony and sobriety of the colours employed , and in the firmness with which they are set by means of the single burning which yields that wonderful glaze at once so thin and durable . There is , too , an unending richness in the forms of the vases , jugs ,

CHAPTE R XXIII

T H E “ ” “ MPE ” ME LONDON , I RIAL AND SO OTH E R POTTE RI E S

I N the old maps of Lambeth a pottery is shown P 1 1 near Lambeth alace . This was founded in 75 on a portion of the site of old Hereford House which you will find associated with a notice dated 1 e 792 . W know nothing of the productions of the eighteenth century though we can assume 1 8 0 they were Lambeth delft . Only in 4 when the pottery passed into the possession of James S tiff did it O btain success as The London Pot ter I ts 1 8 8 was y . growth from that time until 7 two the result of good business . From kilns of which the larger was ten feet in diameter which covered half an acre of ground , it gradually pro ressed l g until fourteen ki ns were built , some having a diameter of twenty feet , and the works m covered two acres . Visitors to the Albert E bankm ent a short time ago would have noticed a adv er change from the period of prosperity , for tisem ents announcing the sale of the property 1 1 were exhibited and , in 9 3 , the whole block was acquired by Doultons DOULTON S PILL VASE .

“ B B arlo w l hi h . S raffito decoration B iss 1 2 l . g g y M H

E hom son B v H Sim eon B y M . T p h 6 iii hig .

2 02 E NGLI SH SALT- GLAZE STONE WARE

- - whilst a third comprised drain pipes , sewer pipes

- and all kinds of sanitary stoneware . Terra cotta was another branch of the business which had a great reputation for its filters which were of excel lent construction and artistic design . They were made in brown salt - glaze stoneware j ust like the - s drain pipes and the jugs , bottle and all kinds of chemical apparatus .

- Much true stoneware is not salt glazed . Many people believe that because the body is stoneware , the glaze must be produced in the kiln by the ’ ’ But S action of salt . tiff s and Doulton s white

- stoneware , or double glazed ware , or, as it is called B h most frequently , ristol ware , w ich may be recognised by the rich yellow ochre on the upper part of the j ars and jugs while the lower part is a creamy yellow , depends upon liquid glazes for h t e colours . The whitish body is dipped into a h tub of liquid which gives the cream colour t en , when fit for handling , it is again dipped , but into another liquid which is responsible for the rich ochre or no less rich brown . The men who do the dipping show great exactitude in j ust making the brown overlap the cream , yet , now and then , it is possible to see the plain stoneware body on a n piece unglazed . Of course the firi g develops the colours and in that process the brown flows over B on the yellow . This ristol ware, because of its superior appearance and cleanliness , has to a large extent superseded the O ld brown stoneware ” LONDON AND OTHE R POTTE RIE S 203

- — during the time— some fifty six years elapsing since its introduction at Lambeth . B The quality of this stoneware , ristol ware , which was made at the London Pottery , was very good , being not only extremely hard in itself, but well covered with a fine , clear , hard glaze , very 1 8 8 pleasant to the hand . This pottery , in 7 and few for a years after , was amongst the largest in

London , employing about two hundred hands and dealingwith some fifteen thousand tons of clay , coal , etc . , yearly . The wares were exported to nearly all parts of the world , and appeared at the prin ci al E — - p International xhibitions brown salt glaze , ” B f - ristol , bu f , terra cotta and porous ware . The drain - pipes and other sanitary pipes and appliances - d provided two thir s of the business , which appeared to flourish most when this department was in the highest and most prolific stage of production . This pottery has been acquired by Doulton

Co . , and its operations continue in full force . S ome imitations of Doulton ware have been noted amongst the products of the London Pot ‘ ter a sm all y , and vase before me shows a design very similar to those of Lambeth the colouring , too , bears a great resemblance , but the glaze is different , being glassy and showing an infinity of

- . C cracks ertainly it is salt glazed . Then , though l it is marked , no mark like it wil be found in ’ the list of Doulton s factory marks , nor amongst the marks and monograms of their artists . The 2 04 E NGLI S H SALT GLAZE STONE WARE

s mark is a capital D , and the cript number , also

62 . on the base , is 9 3 These few hints may be of

- service to the collectors of salt glaze stoneware , for this vase is stoneware , but the glaze and the mark are sufficient indications to safeguard them against such imitations . The Imperial Pottery was the name given by John Cliff to the works at Lambeth which he 1 8 8 M Co bought , in 5 , from essrs . Green .

Originally , the common red ware was made here , j ust as it was in many prominent towns where s the work has died out . Mr . Green built a mall salt - glaze kiln and produced some ware with a

- - salt glaze then , when he saw the double glazed ware was well received by the public , he added that to his manufacture and dropped the common ware . Like the other Lambeth potters he found drain -pipes and chemical stoneware in demand and in addition to these he manufactured brown f h . C n t e ware filters li f , on taki g over pottery , own enlarged it considerably , and installed his patent kiln for the manufacture of Bristol ware

- double glazed . He also brought into use a circular - ln bag or flue for the salt glaze and pipe ki s . These improvements had such success that , since , they have been adopted generally with other inv en tions from the same fertile brain , his patent wheel and patent lathe— two of the most important additions to the potter in practising his art . When the site of his works was acquired by the

” LONDON AND OTHE R POTTE RIE S 2 05

W 1 86 C f R un Board of orks , in 9, li f removed to corn , manufacturing there, on a large scale , chemi cal stoneware and other goods .

In a short notice of the Old Quay Pottery , C f in Runcorn , where li f betook himself and his i n C f v ent o s : . , Jewitt says Mr li f has taken out h patents for an improved kiln , and for w eels for throwers , and lathes for turners , which have the f reputation of being the most e fective , simple and the valuable of any in existence . During eleven years of his work at Lambeth he had risen to a foremost place amongst the potters of that metropolitan borough where was then commencing that renaissance of art pottery which has brought I P such distinction to it . The mperial ottery and P the London ottery, like many others of lower S O f degree , have gone . ome these small makers H w were little more than names . o many potters were comprised in that nest of brown stoneware L potters which existed at ambeth , or near it , about 1 800 onwards and who were they ’ From various sources , but chiefly from Kelly s and other old directories , the following list has been compiled for me . The dates against some names do not indicate the extent of their tenure , but rather that the tabulation had not attained W its present accuracy . ith the exception of Coade and S eeley all these were brown stone pot t ters , hough in one case not only are brown stone sic and crucibles mentioned but delph ( ) also . I 4 2 06 E NGLI SH SALT-GLAZE STONE WARE Old potters of Lambeth and its neighbourhood C o S 1 8 1 oad and eeley (artificial stone) , 4 and S P S 1 82 onwards ; tephen Green , rinces treet , 9 ; B ra ne P S 1 8 1 y and atrick , Glasshouse treet , 5 ; P — . . G S 1 8 1 1 8 . . J L atrick , lasshouse treet , 7 , etc J Bra ne N E 1 82 — R h W y , ine lms , 7 37 ; ic ard aters , S S 1 8 1 —1 —1 —1 8 Fore treet and High treet , 4 5 7 ; S 1 W h S 8 0 . R . Ferry treet , 4 ; J aters , Hig treet , — 1 82 P S 1 8 1 —1 8- 22 2 7 James Green , rinces treet , 7 7 S n o B S C . C Alfred i ger , rown tone , rucible sic P 1 8 0 C and delph ( ) , etc ottery , Vauxhall , 4 ; . B E P h W 1 8 loodsworth , agle ottery , Vaux all alk , 39 85 8 0 Co . W 1 0 4 ; David Hill , Vauxhall alk , 4 ; m S P S 1 8 0 ohn Wisker W . efton , rinces treet , 4 j , 8 — 8 see M ortlake m N 1 0 . W . Vauxhall , 3 3 ( ) orthern , W 1 8 Millikam n B Vauxhall alk , 53 p , Higgi s , ough P B ton , Garraway , Miskin , Lett , ugh , atson , B athm aker B P , Darrell loodsworth , and aget . During the excavations necessary before building the E mbankment S hards and fragments were

- found in abundance ; delft tiles , posset cups , ’ apothecaries j ars , the handles and rims of many n — — pitchers , j ugs and dri king cups which clearly o pr ved that this particular district was , during a 1 6 0 long period from about 3 onwards , a busy home of the pottery industry which was practised

first by immigrant Dutchmen . When any of the old houses are demolished , abundant but frag mentary evidence of the existence of many indi debris vidual factories is furnished amongst the .

2 08 E NGLI SH SALT-GLAZE STONE WARE

Catherine prove : Clay was exported from the neighbourhood of N orwich by way of Yarmouth 1 1 B to Holland, but stopped before 7 7 . oyton

Mrs. W 1 1 clay was sent to London by arner in 7 4 . In that year E dward T urnour was in treaty with h S h Mr . Turner of Lambet and Wilkinson in out S t wark , near . Mary Overbury , to supply clay W the B from interton similar to oyton clay .

“ 1 1 6 the W In 7 , samples of interton clay were E T rn u u o r . S sent by dward by his agent , Mr cota A M way , to msterdam as aj or Terrier had given up I n 1 1 —1 6 sending clay from near N orwich . 7 5 clay — — from the waste ground a cliff at Winterton was S The Pot . W sent to Mr amuel ilkinson , House , h rk C S out wa e . Montague lose , In the summer of 8 8s 1 1 6 the 1 1 1 0 . 7 5, tons , price a ton in 7 , price 3 was 7 . a ton , but digging was stopped then as the clay would have to be got deeper and in E d cultivated ground . Then follows one of ’ ’ ward T urnour s agent s bills (exact copy) :

T o clearing the clay T o loading 1 80 t ons on Carts by lab ou rers T o boat e ing the sam e t o the boates T o boat eing the sam e t o the ships T o m y ex p enses with the w orkm en N othing is said about the wares made by Wil h h kinson or Turner , so t at we can only add t eir the names and locations to list . S ome further information has reached me re the P O f garding Deptford ottery, which Jewitt I I wrote In the XV century , existed at Dept D N E - N N E OULTO , L OPARD SKI STO WARE

in h . igh B v H S im eon

CHAPTE R XXIV

M W E T H E B E M ARTIN AR . ROTH RS ARTI N AT F U LHAM

T H E O f S u P output the o thall ottery , Middlesex , was never large , and more and more , as time goes the on , will the collector value remarkable ware M h h produced by the brothers artin , w ic , in its early forms , was pierced and carved and etched , but which had a fine development , into a second h period , marked by a style of etc ing on clay , h h perfectly distinctive , s owing fis es , dragons , h h flowers and conventional decoration , w ic , later , was supplemented by inlaying , bossing and rib bing upon forms which improved under the hands of those who devoted their lives to the potter ’ s art , content with its advance , and looking forward h to its full appreciation , knowing meanw ile that two of that band of brothers will never learn the ultimate results of their achievements , will never know what place they have attained amongst the artists working in clay , amongst that group which S T inworth B includes olon , , Marshall , the arlows and others of our own times .

- W C W The brothers Robert allace , harles , alter 2 1 0 MARTIN WARE 2 1 1

E n— and dwi were the sons of Thomas Martin , S stationer , of Queen Hythe , Thames treet , who appears to have inculcated the doctrine of self hi s . W help on boys Robert allace , the eldest , was passing through the Westminster B ridge

Road when he noted an announcement , Drawing useful to all which led him to become a pupil S at the Lambeth chool of Art , which has been referred to in connection with the Doulton works . Here we need only add that the school , which was founded in 1 854 by Canon Gregory (afterwards

Dean) , made great strides under S the Head Master , John parkes , who was appointed in 1 856 and who trained many of the artists who became famous decorators The of Doulton ware . first of

A B E these were rthur arlow and 1111 131 111 WAR ,

B 3 1.1 . t his sister , Miss Hannah . i r h B arlow ; then came George T nwo t . Tin ” a worth and I were chums , Robert M rtin said , when he and his brother E dwin furnished me with these particulars , and then it was evident A 1 862 that he was the modeller of the firm . bout and for two years he worked under modelling

— Mr B - 1 86 masters . yles especially passing , in 4, to the Royal Academy S chool and then to the M studio of Mr . onroe , a sculptor , where he worked 2 1 2 E NGLI SH SALT-GLAZE STONE WARE

for seven years , assisting his master on the statues W I I I of Queen Mary , wife of illiam , in the House of Lords , the statue of Ingram , the founder of The I llustrated L ondon N ews B , erected at oston , also on the fountains in Hyde Park and B erkeley and ih S quare . He won several prizes medals , cluding £5 for a plaster boss , David playing the

1 03 . . Harp , and £7 for a carving in marble His first efforts in pottery were confined to modelling in terra - cotta which he commenced at the Lambeth S chool and continued through his S career at the Academy chool , ’ burning his work at Millicam p s

pottery, in which a kiln had been

built in Clapham Road . Robert did all the modelling for S W outhall . hen I saw him he

111. e E WAR , was still at work modelling those 2 111 11 1 11 3 3 . grotesque figures of comical birds h whose movable eads give such quaint expressions . P h er aps , in the future , he will be remembered more

- for his grotesque face jugs . This is what Hol ’ “ P s M a az i T . . ne : brook Jackson , in g , wrote His

- grotesque face j ugs are j oys for ever , worthy recep tacles of generous beverages his imps and satyrs conquer by their very abandoned impishness inex whilst his birds defy all words , they are h new plicable t ey are a species , an addition to N h ature . T ey are half human , and you find yourself talking to them as though they lived .

MARTIN WARE 2 1 3

And again he speaks of j ugs carved into leering , i n laugh ng , gri ning , and ogling heads , j ostling the most impossible and withal most fascinating , pot birds with strangely anthropological expressions and queer little imps blowing horns or beating in cymbals . Mr . Jackson revels the charms of M artin ware , and it is a pleasure to record his P the recognition of them . erhaps largest piece W was of stoneware modelled by R . . Martin a the h owl large punchbowl in s ape of a monster , the I saw head forming the cover , which at S outhall , an original work which fired badly in the h kiln , so that another was finis ed and sent the B C S an to ohemian lub of Francisco , where it the perished in earthquake . The C second brother harles , though in the early days occupied with the making and decorating of h 1 6 the ware , took c arge of the little shop at , B S rownlow treet , Holborn , until his death in

1 1 0 . June 9 He was the business man , the sales his man , and more , he was the bearer to brothers O f the suggestions made by visitors , suggestions which repeatedly resulted in improvements or C ’ modifications which were all to the good . harles s work needs no comment ; it was auxiliary and necessary to the firm for supplying the means by the was i direc which pottery carried on . In th s F N ettlef l tion the financial support of Mr . red o d towards the building of the kilns at S outhall deserves to be recorded as well as that of S ir 2 1 4 E NGLI SH SALT-GLAZE STONE WARE S amuel Hoare , the banker , who got his 5 per cent . but took it out mostly in ware . Of Mr . f N ettle old the brothers have warm remembrance . 8 B The works at S outhall were built in 1 77 . efore that time the ware had been made at Pomona ’ House , King s Road , Fulham . There were pro duced the jugs , vases , cruet sets , goblets and other S imple obj ects in salt - glaze which marked the 1 8 1 8 period 73 to 77 , though it was three years

- later when the face j ugs and grotesque j ars , the birds and animals , the musical and frog spoon warmers began to appear ; that was when the S outhall Pottery reached its completed state , after the brothers , with the help of a bricklayer and two labourers , could look around them with pride upon the buildings whose concrete cellars had been made watertight from the outside by their puddling— treading in the clay around the N ot foundations . by any means an occupation to be desired , but the work had to be done

FIGURIN E .

road. 8 in. hi h . By J . B } g

2 1 6 E NGLI SH SALT-GLAZE STONE WARE

ulham : - the F pottery , as follows In terra cotta , u the F lham works now produce vases , statues , s architectural enrichment , chimney shafts , stoves ,

. r d etc , of ve y good quality and of admirable esign ,

. . W. Mr R Martin , sculptor , student of the Royal d S Aca emy and Government chools of Art , having been engaged as modeller and designer . The productions in this department are of a very high l h order of merit , and wi l take rank with t ose of any other manufactory . The brackets and j ar dinieres are of great beauty , and are characterised by a pure artistic feeling and a touch such as is seldom obtained ; the pieces bear evidence of being not only modelled by a clever artist , but of receiving finishing touches by the master- hand AR N ecit itself . The mark R . W. M TI f occurs on ” the productions of this artist . The actual founding of the firm of Martin 1 8 B . W. rothers appears to be in 73 , after R had vainly tried to come to an agreement with Mr . - f E B ailey to burn salt glaze stu f . xperiments and trials in the kiln had occupied much of his time and attention , but the crucial point was the

firing , although when the brothers started busi B S ness in rownlow treet , Holborn , the wares there sold had been fired either at Fulham or in an old ’

S B . S crucible kiln at hepherd s ush ome of M . ’ Caz in s signed ware with date such as 1 872 was sold in the shop of the Martins in Brownlow

S treet . N DOULTO .

n hi 7 } i . gh .

B y L H arradine DOULTON

6 I n hi h B arradine . . g y L H

D N OULTO . n 5 i high B . arradine y L H .

2 1 8 E NGLI SH SALT-GLAZE STONE WARE C . W manufacture alter and his nephew , lement , son h W. of Robert , brought up the clay w ich was to E . W. be thrown and modelled , whilst R and dwin followed with a collection of finished art wares . W W hen they arrived they found alter very ill , h and , as they took him to the hospital , he breat ed C a the his last . erebral h emorrhage cut second link in the chain of the brothers . E dwin had served Doulton ’ s for only nine months , but in them he had laid sure foundations ’ for his life s work . His etching on clay and his raised ornament are both masterly , his painting in is inferior to neither , and , whilst large throw in r g his brothe excelled , in smaller wares his skill is evident, and to this must be added his wonderful of manipulation the rounded form , coming from h the wheel in its wet state . On one benc were

- numbers , dozens , of bulb bowls , of the same size , but every one differing in form and decoration .

- Then , too , he did the firing in the salt glaze kiln . Think of it : from the treading of the clay and the mixing of it when it reached the works after the - h leaving Devon and Dorset clay pits , t rough all the processes to the finished form from the virgin colours to the grinding and mixing of them , through all the processes of painting to the com leted ! n the p design Then , after burni g , to see salt -glaze in all its beauty ! And all this the 1 8 the C work of two men , one born in 43 , in ity the C 1 860 in of London other on hristmas Day, , SOUTHALL MARTIN WARE AF TE R 1 877 2 1 9

Mile E nd Road . Well do they maintain the reputation of the family for dogged determination and perseverance , and still , as before , they reach onward to schemes of thorough originality and imagination . To be humorous and quaint is a n T o gift . Mr . R . W. Marti has it be inspired with a love and taste for beauty and to embody Mr both in a pot is to be an artist in clay . . E dwin Martin is that ! Many are the potters I have known, but in none have I found a higher sense of the soul in the work . When my visit to S outhall terminated I brought

- away some literature and a small salt glaze vase , three inch s h ri r w te K . e . A S igh , . G Greenslade —whose knowledge of the Martin B the rothers is exhaustive , in what is , I think , S outhall booklet , does simple j ustice to the best : period of Martin ware . He says There are few records of work so original and beautiful as these later achievements ; the rich metallic and lustrous blacks are unequalled for their dis oi play form , and particularly suited to the colouring, which emphasises perfectly the light and shade of the modelled surfaces of the

. pots The finely shaped and ribbed examples , with their surfaces treated with delightful ’ tex turin s g and markings , varied inlays of different coloured clays , crackles and other h methods of decorating , all of w ich have a charm f and individuality it would be di ficult to rival . 2 20 E NGLI SH SALT- GLAZE STONE WARE Of a totally different character are the very

cleverly modelled grotesque birds , face jugs , and

various small figures . They also , like the

pots , have gradually been evolved , and few ex ’ amples of the modeller s craft S how so lively an l h imagination , and rarely have artists a lowed t em

selves to dream such wild fancies . Which tends ’

. W. to prove the truth of Mr . R Martin s remark

to me We have tried every kind of art . f About prices a few words must su fice . The highest price paid for a single piece of ware was 6 3 I 2 . £ 5 for a salad bowl . have seen some fine

vases , notably a dragon vase , etched and o coloured on a dark blue gr und , almost black ,

1 0 1 03 . and £ another decorated with carp , also 3 S etched and coloured , £9 9 . Very good pecimens

may be secured , just now , for a pound or two ; h some cost only a few shillings . Will t ey work

up and up in price , like Dwight ware Time will

prove that it is possible . The marks follow somewhat the history O f the works and the shop in London which was Closed

1 1 . in May 9 4, after an existence of forty years h 1 8 The productions of Pomona House , Ful am , 73 , F h R . W. , were marked Martin , ul am , in script

and all dates and marks are written . Then , when the Brownlow S treet shop opened a similar mark

was used , only London was substituted for

Fulham then followed Martin Bros . or ” ” S Martin , with London , to which outhall

SOUTHALL MARTIN WARE AF TE R 1 877 2 2 1 B in 1 8 . was added 77 ; thus Martin ros , London S ” S outhall , or Martin , London outh

all own . . These last marks are from my pieces S 1 1 ince May, 9 4, London has disappeared , B S leaving Martin ros . outhall . All of the work R W modelled by . . Martin has the special mark

R . . W Martin with the places modified as shown above . 1 1 E d On Good Friday , 9 5, dwin Martin ied and ll the S outhall output practica y ceased . The last W 1 . . 2 2 22 . time I saw R was on May , 9 I had been invited to attend the opening of an E x hibi tion of Pottery produced in London during the 1 8 2—1 22 saw S fifty years , 7 9 , and him at the outh C London Art Gallery, amberwell , where many n cases contai ing examples of the work of R . B Wa . llace Martin and Martin ros , and others with dated examples from their pottery , were on View . A The Director of the Victoria and lbert Museum , S ir S E C . ecil H mith , opened the xhibition and n n gave a most i teresti g address , in the course of which he said The Brothers Martin have this ll the pottery known by their name wi , I believe , be prized for a long period after the d ate when , with the death of the last brother, the m anufacture has ceased to exist . I remember it must be nearly forty years ago— when I ‘used — to visit the shop they kept a little unpretentious shop in a little unpretentious street off H olbom —and it was then a marvel to me that their repu I s 2 22 E NGLI SH SALT- GLAZE STONE WARE tation was not more widely known . In these — — days I do not know how far this was true it was supposed that each of the four brothers had the his own particular function , one doing design in i g, a second the baking , a third the fir ng , while as the fourth sold in the shop . W there ever another case of four brothers working unitedly in such a way for an artistic purpose Their work offers interesting lessons both by its likeness and by its variety to that of de Morgan . You find the same observation , the same restless experiment going on both in design and in technique ; but B the Martin rothers , as it seems to me , never f forget that they are handling a di ferent material , and their pottery, as pottery , in my opinion , is admirably conceived from the point of view of the material , its possibilities and its limitations , and above all there is this quality about it every n si gle piece , whether it is a grotesque face or bird or a motif inspired perhaps by something in the nature that the artist had just seen , is full of joy of life . He seems to have felt , so to speak , the fun of the thing , and to be able to communi viv e cate in some sense his joie de r . W R . allace Martin was called upon to speak, and he gave a long and striking account of the ’ f to t brothers struggles , very similar , in e fect , wha is recounted in my visit to S outhall ; but I learnt for the first time that Mark V . Marshall had been associated with that pottery before entering

CHAPTE R XXVI T H E SALTING O F A STONE WARE KILN

I HAD been desirous , for a long time , of seeing t he salting of a stoneware kiln ; so much satis on 1 22 faction was mine when , May 9, 9 , I received the following letter from Doultons A kiln will be salted off here sometime on Thursday, but it is impossible in these cases to say at what hour of the day within two or three hours it may be at any time between I O in the morning and 2 in il in the afternoon . You w l be interested this description of the process by which stoneware is ” made perfect by the furnace heat , for through sheer good fortune I saw all of it . S toneware differs from earthenware by its superior hardness and infusibility in the furnace S owing to the ilica in the clay forming the body . That clay thrown upon the wheel is m anipu lated by the thrower into almost any rounded artificer form . Watching the skilled at work is in sheer delight . Like Longfellow Keramos

And while he plied his m agic art F or it w as m agical to m e I stoo in silence and a art d p , And wond ered m ore and m ore to see 2 24

226 E NGLI SH SALT-GLAZE STONE WARE

all i resistance to fire , water and acids . Ow ng to the close combination of body and glaze , the most delicate ornament stands revealed in all its beauty . Palissy discovered the secret of glazing or enamelling pottery after sixteen years of patient and expensive experiments which frequently brought him to the verge of ruin . In Keramos Longfellow proceeds

B m in le eart s and ores com ine y g d h b d , it otenc of fire to find W h p y , S om e new enam el h ard and bright i His ream his assion his el t . d , p , d gh This famous French potter died a Huguenot B 1 8 prisoner in the astile in 5 9, and it seems in n rather strange that , his many roami gs , no - his salt glaze stoneware came under observation , though salt- glazing was practised from the begin ning of the twelfth century onwards by Germans h N ow and Flemings in the R ine district . we con tinue h about the Lambet factory and stoneware ,

- salt glazed .

On arriving at Doultons , I found the men — in stokers and burners the midst of their work , the fires of the kiln , seen from the outside through

fire- - the holes , roaring upwards to the dome shaped h top , t en forced downwards so that the smoke , driven to the bottom , escaped beneath the floor h through a series of tubes, t en by a tall shaft to the B u off t . open air . the salting was not yet SALTING O F A STONE WARE KILN 2 27 Close by was another kiln in which all kinds of obj ects in clay were being assembled to be fired in due course . They were arranged on thick slabs of stoneware supporting other vertical slabs l so that numbers of shelves , each fu ly laden , were in a position to expose , presently , each and every specimen to the direct action of the furnace

fire , an operation j ust then proceeding in the n neighbouring kiln . Goi g amongst the shelves one noticed that every article had its separate space and that all were standing firmly upon their bases , which received either no glaze at all or simply a smear i near the r ms . The domed , cir cular kiln itself was covered with

- — salt glaze roof, wall and floor . Then I was called to the DOULTON V5 55

ar er' m ' h' h ' By w’ P k 7 g active kiln to see the first part of - fire- the salt glazing . The holes were successively opened, and, j ust in the same way that the coal

- - was fed to the flames , the coarse grained rock salt was shovelled into what was now really a burning fiery furnace whose glaring white flames sent forth off an intense heat ; but the salting was not yet , for the two burners j udged that more time was S o necessary . the hours passed . The next operation was the testing of a trial piece which had been placed in a marked posi tion in the kiln and had been glowing white-hot 228 E NGLI SH SALT-GLAZE STONE WARE with its multitudinous companions through the i long process . At the marked position a hole n the wall had been temporarily but efiectiv ely B i stopped . y means of a crowbar this stopp ng was removed , and standing on a platform I could

. N ow View , through the hole , the seething fire one of the bum ers inserted a long iron rod with n n the the end bent , i stantly Withdrawi g it and r trial piece . I wonde ed at the l accuracy and skil displayed . That hole was closed again

by wet clay and bricks . On

examination the trial piece , — like a small flower pot in

shape , gave evidence that the salt - glazing was pursuing its normal satisfactory course and that the time for the final salin e off was w ay ap . roachm p g. Taking up a commanding position from which in l the dome of the kiln , now full functiona e activity, could be viewed , I concluded that ther d were some sixty apertures , each loosely covere with a brick . From these issued both flames and at fumes , which , however, were not very dense ’ hi E s t s stage . ach hole glowed like a giant cat an eye in the dim light . Round the dome ran iron platform having a protecting rail outside , whilst facing me was a ladder to give easy access

SALTING O F A STONE WARE KILN 2 2 9

, to the top of the kiln , and two wooden boxes l fi led with salt . N ow the two burners each took a long-handled iron ladle and the two stokers donned their : specially thick coarse leather in . W gloves orking pairs , one

with ladle and one with gloves , they mounted the ladder covered their aces ex ce t the ( f , p e es with handkerchie s y , f ) , and

the salting off began . Then , ’ in a deed , Milton s words p plied :

A un eon ouse on all si es roun d g h d d , ’ As one great furnace fl am d : yet from t hose fl am es li u a r ar n ss isi l N O t b t r t e e e . gh , h d k v b E ach stoker ran up to the top hole in the dome and with his leather gloves removed c n its overi g brick , whilst his burner stood ready on the platform with his ladle full

T H E N YAW . of salt , which was soon hiss

B . . arshall. 8 in hi h y M V M . g . ing in the fiery flame below .

Forth leaped smoke from the combustion , but the first hole on each side was covered and the next was opened , salted and covered with wonder ful celerity . the Then , as the workers proceeded round 23 0 E NGLI SH SALT-GLAZE STONE WARE

dome , a weird scene presented itself . The leap ing stokers proceeding to the several holes and the walking burners feeding in the salt with their long ladles were seen through an ever denser screen of fumes . Here the whole formed a picture o worthy of the pen of a Milton or a Dante , w rthy of the pencil of the greatest painter who ever e tried to render hell upon canvas . \V are told in the book of Revelation that the devil was c ast into the lake of fire and brimstone , and ,

a in . fter see g this , I can imagine that off Again the workmen appeared , salting the range of the lower holes , gradually growing less ghostly and more human , again the holes belched

their twisted columns of smoke on high until ,

- at length , the last brick cover was laid . The s alting was over , the process was ended and we ’ were not tired . The whole of the day s proceed ings were full of lively interest , forming a mental picture— which the hand of Tim e can scarcely f — oi e face fire , which is a good servant but a bad master, rendering loyal service in a great cause

- - the manufacture of salt glaze stoneware . With the processes employed in an ordinary pot - works I had been familiar from my youth i n up . As a ch ld , my wonderi g eyes watched the - ll pug as it was thrown into the pug mi , where it w as e cut , kneaded and discharg d at the bottom to be removed by the pugger and stored near the i wheel of the thrower, whose work seemed l ke

SALTING O F A STONE WARE KILN 23 1

magic . Then , after drying , the vessels he had shaped were burned in the kiln from which when cold they were removed to the warehouse . F - the lower pots were unglazed , but pans for bread and the other kitchen utensils , including various pitchers , were glazed inside before firing . These E were red earthenware , but in provincial ngland e they were called cloam , clomb or lome , variously f spelt in di ferent districts of the west country , where , indeed , the name was also applied to the common glazed tableware . To the collector of old stoneware , the west would hardly be a pro fitable - hunting ground, though it would be a happy o ne .

- X STON E WARE MON E Y B O .

B arshall in. hi h . y M . V. M . 5 g APPE N DIX DWIGHT ’ S F IRST PATE NT

D WIGHT having patented his discovery of the mistery of transparent earthenware comm only known by the nam es of Po celaine or China or Pe sia ware in il r , r Apr 1 6 1 and ha in renewe it in une 1 68 we uo e 7 , v g d J 4, q t o h the la e is in the e the form e uns as follows b t ; tt r t xt , r r CHAR LE S T HE S E CO N D &c to all to whom e theise esen s shall com e ree in pr t , g t g. WH E R E AS wee have b ene inform ed by the hum ble eticon O f O N D G entl ha he had isco e e p J H WIGHT, , t t d v r d T H E M S E R O F R AN S AR E N E AR E N AR E CO MO N LY I T Y T P T TH W , KN O WN E B Y TH E N A E S O F PO R CE A N E O R C N A AN D M L I HI , PE R S AN WAR E AS ALS O E T H E MI S TE R I E O F THE S O N E I , T WAR E VULGAR LY CALLE D CO LO GN E WAR E ; AN D THAT H E D E S IGN E D To IN TR O D UCE A MAN UF ACTUR E O F TH E S A D WAR E S N O O U R KI N GD O ME O F E N AN D W E R E I I T GL , H

’ E A E N O T E R O B E N E R O O R AD E TH Y H V HITH T W UGHT M . And thereupon the said John D wight hath hum bly be sought vs to grant him the sole benefitt of the m anu fac ure of the sai wares for fourteene eares acco in t d y , rd g a ehalfe m a e and o i e to the statute in th t b d pr vd d . KN O W YE E ha wee ein willin to cherish and , t t , b g g encourage all laudable endeavours and designes of such ur subie ts as shall find out vsefull and o a le ar s o c pr fit b t , mis eries and invencons ran in and a o ia in t , , by g t g ppr pr t g 2 32

234 APPE NDIX

ran e or m enconed to be ran e and everie of hem g t d g t d , t , vnto the sai ohn D wi h his e ecu o s a minis ra ors d J g t , x t r , d t t , and assi nes from and dur in the tearm e of fourteene g , e g eares f om hencefor h nex ensuein and full to be y r t t g, y com leate and en e eildin and a in herefore p d d , y g p y g t y earely and every yeare dureing the said tearm e into the rece of our E x che ue att Wes mins e to the vse of ipt q r t t r, vs our heires and successors the earel en or sum e , , y y r t of twentie shillin s O f lawfull m one of E n lan att the g y g d , two m os vsuall feas s or tearm es in the eare ha is t t y , t t to sa att the F eas of S ain - Michaell the Archan ell y) t t g , and the nnuncia ion of the Blesse Vi in Mar A t d rg y, by e en and e uall orcons And to the end the sai ohn v q p . d J D wi h his e ecu o s a minis ra ors and ass nes and g t , x t r , d t t , ig , everie of hem m a the e e enio the full and whole t , y b tt r y benefitt and sole vse and e ercise of the sai mis eries x d t , inv encons and m anufac ure of the sa wa es as well , t id r , wi hin li er ies as wi hou wee doe theise resen s t b t t t , by p t , for vs our beires and successo s re uire and strei htl , r , q g y char e and com an all and everie erson ersons g d p p , o ies olliti ue and cor o a e of wha soe er ualitie b d p q p r t , t v q , e ree nam e or condicon he be ha nei he he d g , , t y , t t t r t y nor an of hem durein the tearm e here ran e y t , g by g t d, i he irec l or in irec l doe or S hall vse or u in e t r d t y d t y, p tt practise the said misteries and inv encons or m anufacture O f the sai wares or e he of hem soe the sai d , it r t , by d John D wight found out or discovered as aforesaid nor oe or shall coun e fe imi a e or esem e the sam e d t r it, t t , r bl oe or S hall m ake an addicon therevnto or sub nor d y , raccon f om the sam e whe e to e en hem sel es st r , r by pr t d t v the in en o s or e iso s hereof wi hou the l cense v t r d v r t , t t y , consen and a reem en of the sai ohn D wi h his t , g t d J g t , ex ecu o s a m nis a o s or ass nes in writein n er t r , d i tr t r , ig , g u d APPE NDIX 235 his or their hands and seals first had and obteyned in ha behalfe v on such aines and enal ies as can or t t , p p p t m ay be inflicted on such O ffendors for the contem pt O f his our com an e in ha ehalf and further to be an t d t t b , swearable to the sai ohn D wi h his ex ecu ors ad d J g t , t , ministrators and assi nes accor in to law and ustice , g , d g j , for his and heir am a es here susteined And further t d g t by . , we doe theise resen s forv s our beires and successo s by p t , , r , i e and ran u o the sai ohn D wi h his ex ecu ors g v g t v t d J g t , t , a minis a ors and assi nes full owe and authoritie d tr t , g , p r ha he he and everie of hem his theire ev erie t t , t y, t , , , of theire e u ies ser an s and a en s or an of hem d p t , v t , g t , y t , hav eing first obteyned a warrant in this behalfe from the ’ L ord Chiefe Justice of the Court O f King s B ench for the im e ein m a wi h the assis ance O f a cons a le or t b g, y , t t t b an o her lawfull O f cer as well within li er ies as y t fi , b t wi hou v on re ues att con enien im es in the da t t, p q t , v t t y , durein the im e aforesai and in lawfull m anner to g t d, , enter and m ake search in any houses or other places where here sha l be ins causes of sus ition for dis t l t p , covering and finding out of all such p ersons as shall within the tearm e O f fourteene y eares aforesaid imitate or cause to be imitated or vse or putt in practise the said m is eries and invencons or m anufac ure O f the sai wares t , t d , or ei he of hem soe the sai ohn D wi h foun t r t , by d J g t d out and isco ere as afo esai ha soe such O ffendors d v d r d , t t m ay be proceeded against and punished according to heir dem eritts And fur he wee doe theise re t . t r, by p sents for vs our heires and successors will au horise , , , , t , and re uire all and S in uler us ices of the eace m a o s q g j t p , y r , sheriffes ba liffes cons a les hea - orou hs and all , y , t b , d b g , o her O ffi cers and m inis e s wha soe e of vs our heires t t r t v r, , and successors for the m e ein ha he and e e , ti b g, t t t y v ry 2 36 APPE NDIX

‘of them respectively be from tim e to tim e dureing the s ai tearm e here ran e in heir res ec i e laces d by g t d t p t v p , fa ourin a din hel in and assis in vnto the sai v g, y g, p g, t g d ohn D wi h his e ecu ors adminr" and assi nes and J g t , x t , , g , t o be his and heir de utie and e u ies ser an s and t p d p t , v t , a ents in and all hin s in and a ou e the accom g , by t g b t lishm ent O f our will and leasure he ein eclare and p p r d d , in the ex ercise and ex ecucon of the p owers and privi ledges herein and hereby granted or m enconed to be ran e as aforesai and m oreo er wee will and g t d d ; , v , c om an theise resen s for us our heires and suc d by p t , , c essors ha our sai O ffice s or an O f hem doe not , t t d r , y t , m oles ou le or in erru the sai ohn D wi h his t, tr b t pt d J g t , e x ecu ors admm istrators or assi nes or his or heir de t , , g , t utie or e u ies ser an s or workem en or an of hem p d p t , v t , , y t , in or about the vse or ex ercise o f the said misteries and invencons or m anufac u e O f the sai wares or ei her Of t r d , t them or an m a e or hin conce nin the same or , y tt r t g r g , ei he of hem : Pro i e alwaies ha if att an im e t r t vd d , t t y t d ureing the said tearm e of fourteene yeares it shall be m a e a eare u o v s our heires or successors or d pp v t , , an six or m o e of our or hei Pri Councell ha his y r t r vy , t t t !our grant is contrary to law or preiudiciall or incon v enient or not of u lic vse or benefitt hen v on p b , t , p si nificacon declaracon to be m a e VS our heires or g d by , s uccessors vnder our or heir si nett or rivie seale or , t g p , the Lor s and o he s of our Pri Councell or an six by d t r vy , y of hem for the im e ein in writein vnder hei han s t t b g, g t r d , o f such reiudice or incon enience hese our Le ers p v , t tt Pa en s and all hin s here n conte ned shall for h t t , t g t i y , t wi h cease e e mine and be v tterl oi to all in en s t , d t r , y v d t t and ur oses an hin he e n- efo e conte ned to the p p , yt g r i b r y c on ar no wi hs andin And our will and leasu e tr y t t t g. p r

I N D E X

B ra well and D im s ale 6 1 0 8 A d d , 9 , B ram ton w are et se p , 5 q. A am s of ol en ane 1 0 B ristol not a salt- la e 1 1 2 02 d H d L , 9 , g z , 3 , 1 8 tin ware 2 1 et se roa n at D oultons 1 A ter ar . B o f 77 , M , 5 q d, J h , , 75, r n M r on ortla e 1 2 1 8 A n e so . d , , M k , 3 4 of B ram ton 6 et se B rom le Wm . q. y, , p , n l w S re rtins a d an on . ti B rown o t et s o a An ries . s e d , J , J , J , p h p , M , tion ueen E li a et 1 2 2 1 6 2 2 1 Q z b h , 4 , Articles m a e in salt- la e w are B row n ills and on ton all 1 0 2 d g z , h L g H , B row n stoneware at S elton 1 0 h , 9 u nal Mr B a liss on ort B urnin salt - la e w are 1 0 2 2 A rt o r . j , y M g g z , 9 , 4 l e 0 l s a c e . k , 7 , 7 4 q rt s S ociet of awar to enr B urslem otteries 1 0 1 1 0 A , y , d H y p , 9 7 , 5, , l 1 1 1 D ou ton, 5 3 f r E er 8 r F A rai la Ast ur at w or o l s B utle . . se b y k , 5 , , p d by G d A st ur o n 8 6 1 1 0 stone 1 8 b y, J h , 5, 9 , , 7 ’ Ast ur os u a in D wi t s b y, J h , gh lawsuit 86 , 59 , C Ast ur R o ert calcine b y, b , 99 ; d flint 1 00 Canal to the otteries o ene 8 , P p d , 9 Ast ur om as 1 1 0 Ceramic art esi erata in 1 b y, Th , , d d , 9 7 ’ C an ler D wi t s ser ant 0 h d , gh v , 3 , 55 C ec to stoneware m anu actu re h k f , 1 59 l at F ul am ter B is o s of ser e B ai e C. . C es y, J , h , 7 3 h , h p , v d by B an s Mrs E S at D oultons D wi t 2 6 k , . . , gh , 7 , 9 1 8 C esterfi el or B ram ton w are 6 3 h d p , ’ m s B arlow A . B 1 1 6 C ristie s sale of D wi t eirloo , . , 7 3, 7 h gh h , B i F E 1 80 8 1 arlow ss . . \ , M , B arlow iss B 1 0 1 80 1 8 r S A on D wi t w are . . C u c ir . , M H , 7 , , 9 h h , H gh , liss Mr t eir 0 B a . u s D wi y , , b y gh h 4 loom s 0 2 Classification of S ta for s ire salt , 7 , 7 f d h B ellarmine Car inal and the la e w are 2 1 , d , g z , otters 1 0 Cla s rom D e on and D orset p , 4 y ; f v , Bis o s O f C ester ser e rom S tafi ordshire 1 0 h p h v d by 9 5 f , 5 D wi t 2 6 rom N orwich 208 gh , 7 , 9 f , Blac ac s 1 8 1 Cli o n T he m erial P ot k j k , 3 , 44 ff , J h , I p ” B lac neron N ottin am otteries ter 20 k gh p , y , ’ 2 Coa o s A rtificial S tone or s 3 d W k , B ottles R e orm 1 1 8 1 8 , f , 47 , 4 5 for S F nc 2 1 Colo ne ware 1 8 8 B owl an ra isco, 3 g , , 9 2 39 240 INDE X

- Colour on salt la e ware, 9 D wi t ili D D 6 1 66 g z 7 gh , Ph p ( ) , , Gres E w ar and D oultons 1 0 D wi ht S am el 6 1 y, d d, , 5 , , u , et se . 66 g q , 1 65 Crouc ware 1 86 88 1 1 h , 7 , , , 9 5, 3 E Crucibles m ade ; at F ulham 70 at ortla e 1 0 at D e t or E arl on on otteries 1 1 et se M k , 3 p f d , y L d P , 3 q. " 20 E w ar s iss E . . and iss 9 d d , M J M E lt n 1 . . at D ou o s 1 8 1 1 8 L , , 7 3 , , 3 Blers o n ili and D a i 0 D , J h Ph p , v d , 3 ’ in D wi t s lawsuit et se gh , 55 q

a. m ar not on D oulton ware D , k , 20 E nam elle salt- la e w are 4 d g z , 9 7 , 9 9 ll 1 0 t s r r D aniel R al his enam e in 2 e e . o e ies 1 0 et se , ph , g, q f g , 9 7 , 3 q. i at D oult ons 1 0 E nam ellin on otter 1 0 1 D a is ss . . et se v , M L J , , 3 g p y, q. D ecoration of D oulton ware 1 66 E n lis otter ast and resent , g hp y, p p , D e ication 1 d , 3 35 D el t w are 1 8 1 6 E x ca ations at am et 20 6 f , , 3 v L b h , D e t or otter 2 0 8 E x hi itions D oultons aw ar s at p f d P y, b , , d , mic art 1 1 2 ree —T h r D esi erata in cera . e eat 1 8 1 d , 97 5 Th G , 5 D e on and D orset cla —its 2 1 8 1 aris 1 86 1 0 1 6 v y p , 49 P , 7 , 5 , 5 D ewit or D e itt 6 S out K ensin t on 1 1 W , 7 , 75 h g , 5 . v of alcine flint 8 D isco ery c d , 7 lot 2 2 on D wi t D r. P , 7, 9 ; gh , 34 F t se e q. D om estic essels of the u or F ace u s artin w are 2 1 2 2 1 v T d j g , M , , 4 erio 1 F i ures in salt - la e stonewar p d , 44 g g z e n on cla s 1 62 D orset a d D ev y , 95, , 2 1 8 F irin a salt- la e iln 2 2 g g z k , 4

D oulton S ir enr 1 6 et se . in one o eration 1 2 2 , H y, 4 q p , 33 , 4 D oulton enr ewis 1 S ta or s ire o ens 1 0 , H y L , 54 ff d h v , 9 D oulton o n and atts 1 6 F irst atent of D wi t 2 8 2 2 , J h , W , 4 , p gh , , 3 I F lint its u se isco ere 8 49 , d v d , 7 ul m 1 6 - D oulton, lin , wit F a , ; F orei n salt la e otteries 1 8 k h h 4 g g z p , 1 ’ wit the artins, 2 ; m ono F our ranc es of the otter s art h M 7 b h p , ram s 1 ware 8 1 1 2 1 1 1 g , 74 ; , , , 4, 33 8 t s 1 6 1 6 et se . 1 e e . F rance enam el aintin in 1 0 3 , 4 q , 7 q , p g , 3 ’ D utc ainters at B urslem 9 ; F r s on on 1 88 2 6 h p , 7 y L d , 5, in ollan 1 0 F ul am 2 6 t e se . relate to H d , 3 h , q d n 2 6 t se et m et D wi t o e . a gh , J h , 5, q , 34 L b h , 77 s his secon at ent and D wi t 2 6 t s e . , e e . and q d p 44 gh , q ; his first atent 2 2 his at lan 6 0 and ite p , 3 W d , 3 , 7 ; Wh , h e B lers and 0 law suit 0. t and B aile 7 . 7 7 : y. 7 3 ers t se his law suit r m ar s ot e . ra e 1 2 1 h , 54 q k , 7 7 , am ersle and ot ers his H y h , 59 will and his successors 6 1 , G t se e q. ree D wi t , ia, t of t at arner att ew 2 in D wi t gh Lyd h h G , M h , 3 ; gh nam e : rst 6 1 2 md 66 2 lawsuit , ; , , 7 , 57 r 6 6 0 - d. 3 . 4. erm an salt la e w are 0 3 7 G g z , 9 t ia rd niece of D wi , Lyd 3 ) , la stone on D oulton ware 1 68 g ( d , h G , o n D wi t m arrie at lan 1 8 J h gh , d W d , 7 6 W ite 6 0 l ; t en . , , a es coloure 3 h Wh 4 7 G z , d , 97

2 42 INDE X

N otes and Queries on Mort R ous and Cullyn petition Charles la e 1 1 k , 7 6 1 R w Wm a D oulton 1 N ottin ham o e . t s g , 5. , 3 , 57 , , , 9 7 R u erta au ter of rince p , d gh P R u ert 8 p , 3 0 R u ert rince 8 1 8 p , P , , 3 O ld m a s of on on 1 1 p L d , 3 O ld otters in or near am et p L b h, 8 20 6 S ale rices of D wi t eirlooms O ld ua otter R uncorn 20 p gh h , Q y P y, , 5 8 1 O ther London potteries and S altin a stoneware iln 2 2 oultons 1 6 g k , 4 D , 5 S an F rancisco B o emian Clu O ens for salt - la in 1 0 h b v g z g, 9 ou d 2 1 O x i es m etallic in salt- la e b , 3 d , , g z S aun ers Wm at ortla e 1 1 6 iln 1 1 d , M k , , k , 7 1 2 3 f t se S econ atent o D wi t e . d p gh , 44 q P S raffito ecoration of stoneware g d , 0 1 80 1 8 1 , 9 aliss m isse the salt - la e 2 2 6 7 , P y d g z , ’ ’ S a es eare s o n D oit 68 h k p J h , atents D wi t s 2 md 1 st P , gh ( ) , 44 ( ) , S aw R al his scratc e lue h , ph , h d b , 2 32 1 0 1 his atent 1 1 0 his law p , lli s on rtla e 1 1 8 i S ir R . o Ph p , , M k , suit 1 1 1 itc ers or w or in m oul s , P h k g d , 9 3 S elton and om as iles ro h Th M , g lot and D w i ht 2 6 P g , 7 , 34, 5 S im eon enr at D oultons 1 8 om ona ouse F ul am artin , H y, , 4, P H , h , M 1 90 w are 2 1 2 1 , 4 , 7 S im m ance iss E at D oultons P o e F C at D oultons 1 8 1 8 , M , p , . , 4, 9 ort rait fl as s H arra ine 1 P k by d , 9 5 S im son Wm his sewte 1 1 p , , 4 otteries th e 8 2 8 P , , , S mit S ir Cecil H on artin h , . , M ter t H M the Kin 1 ot s o . P . g, 54 r 2 2 1 w a e, S m it u m or lea ore 1 0 8 h , d , S ociet of Arts and W111 hite Q y . W , 0 ’ 7 ueen arlotte ueen s ware 8 C , , S lon L S taf or s ire Q Q o . . on h , M , f d h sto new are 8 2 , 7 , 9 , 9 4 S ut all artin w are 2 1 et s o e . h M , 5 q R S ar s o n 1 2 1 0 1 8 p k , J h , 3 , 5 , 7 R am se and ot ers etition S taf or shire and D r lot 1 0 y h p f d . P , 5 C arles 1 ai se crouc w are I 8 6 h I , 43 q. ; h , 7 , , R e t ea ots 1 08 1 1 88 1 1 otters w ant a dd p , , 3 , 95, 3 ; p R e orm ottles or fl as s 1 oo roa 2 and fire salt f b k , 47 , g d d, 9 , 1 8 laz e o ens 1 0 salt - laz e 4 g v , 9 g ’ R esult of D wi t s lawsuits enam elle w are t e alt e . s gh , 57 d , 99 s q et se la e w are 8 et se salt q. g z , 5 q. R e nol s Mr u s D wi t eir la e w ite w are 1 et se y d , b y gh h g z h , 9 q. loom s 2 ex i its t em S tonew are m a e outsi e the , 7 ; h b h , 79 ; , d d m t s sells ot erie 2 2 l escri es t e e e . t s recent at F u d b h , 79 q P , ; , t em 8 1 ham h , , 7 3 1 S w on R enis ars u s etc . to etition to ueen E li a h h j , j g , , 9 p Q z R oose elt m u arra ine et 1 2 v g by H d , b h , 4 I S t les of aintin on stoneware 9S y p g , 97 INDE X 243 T W m son iss E Warland T succee s h o at . t e Th p , M M . , , d D oultons 1 1 8 1 v i hts 6 0 , 75, 3 , 97 g , 3 , 7 ’ row ers at D oultons 1 arner s trial eart cla 1 Th , 77 W , h y, 4 ’ T in enam el atts o n D oulton s artner , 43 W , J h , p , imw orth eor e at D oultons T , G g , , I 1 e w oo A aron and ot ers in 75, 7 7 W dg d , , h ’ o F il ot 1 1 m a e at ort D wi t s law suit et se T by p , 9 d M gh , 57 q. la e 1 2 e w oo oh n 6 1 1 2 k , 4 W dg d , J , , ’ o u s stone ottles etc 1 8 e w oo osia 8 his ueen s T by j g , b , . , 3 W dg d, J h , Q et se w are 8 1 0 1 1 2 q. , 9 , 9 , um our a Cat erine h er e woo osia C his oo T , L dy h , W dg d, J h . , b k , letter 20 1 0 1 1 1 1 6 , 7 , 4 , 3 w or os ua 1 1 0 e woo h om as 1 1 2 T yf d , J h , 99 , W dg d, T , 99 , nes eor e im ort s Colo ne Whieldon salt - la e ware Ty , G g , p g , g z , 9 4 w are 1 1 ite Mrs h er lett er on D wi t , 4 Wh , . , gh , 68 ite Wm F ul am 0 80 1 2 1 U . Wh , , h , 7 , , the secon illiam 80 em fl d W , , U se of int isco ere 8 d v d, 7 lo e o n D oulton 1 6 p y d J h , 4 hite w ar alt - la e 1 t se e s e . W , g z d, 9 q V oo A aron his si ne m oul s W d , , g d d , aux all lass 1 1 otter V h , g , 3 p y, 9 4 1 2 1 8 oo E noc F at er of P ot 3 , 5 W d , h , h ” aux all al 1 2 1 6 1 6 1 t er V h W k, 3 , 4 , y , 9 4

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