The ABC of Collecting Old En

ic Notes Notes techniques et b ibliog raphiques

' ’ L lnstitut a microfilmé Ie meilleur e xemplaire qu il lui a Les e i c x été possible de se procurer. d ta ls de et e em plaire qui sont peuto étre uniques du point de vue bibli ra hi ue e e od e une ro t og p q , qui p uv nt m ifi r image rep dui e , ou qui peuvent exig er une modification dans la metho - de normale de filmage sont indiqués ci dessous .

Coloured pages I Pages de couleur

Pages damaged Pages endommagées

Pages restored and/or laminated Pages restaurées et/ou pelliculées

P oo or ox ages disc l ured . stained f ed P oo ou ages déc l rées . tachetées piquées manque ure Pages detached Pages détachées 5 en couleur Showthrough Transparence

Q uality of print varies I ’ Q ualité inégale de l impression

Includes supplementary material Comprend du matériel supplémentaire

P o or t o d ages wh lly par ially bscure by errata slips , the etc. to tissues . . have been refilmed ensure best p ossib le ima g e L es pa g e s totalement ou ' t o arun par iellement bscurcies p feuillet d errata . une etc ont été tilmées a o ta o a pelure , n uveau de c n

obtenir la meilleure image possible .

Opp osing pa g e s wi th varying c ol ourati on or discolourations are filmed twice to ensure the best ' possible image Les pages s opposant ayant des colorations variables ou des déc olorati ons sont ' lilmées deux fois aiin d obtenir Ia me illeure image

possible . ' L ox om plolro mm f ut who. a lo g onOrooitodo:

Vancouver Pub l ic L ib rary

Loo im og oo ou iv ontoo ont été roproduitoo ov oo to u ron ooin com to ton u do I o on ition ot pl s g d . p c d ' do lo nottotodo I ox om loiro l mo ot on p i l . c on form i té ov oc loo con d iti ons do contrat do i f lm og o .

Loo ox om ploiroo origi naux dont I o couv ert ure on popior oot im prim oo oont fil m és on com m oncont por lo prom ior pl ot at on torm inont ooit por lo dornioro pogo qui c om p orto uno om prointo ’ ' d im roooion ou d ill uotrotion ooit or lo so on p . p c d l l n l o ou l r o ox om loir o p ot , oo o o co . T o oo out o p o origi n au x oon t fil més on com m oncont por l o promiéro pog o qui com porto uno omprointo ' ' d improooion ou d ill uotrotion ot on torm inont por lo dorn it ro pogo qui c om porto un o tollo em p rei n te .

U n dos oy m b oloo su i v a nts opporoitro ou r to dorn iéro m a e do cho uo microficho oolon l o i g q . " " coo: lo s m o e oi nif io A S U I VR E lo y b l g . “ " s m o n y b l e V sig ifi e F I N .

Loo ort s l ch r o on oo ta ea u otc . ouv ont ot o c . p . bl x . . p film“ a do: t r oux do eduction différen ts . Lorsque lo doc u m ent oot tra p g rond pou r Gt ro ro rodu it on u n sou c licho il est t m oo a rt r p l . il p i ' do l on lo su ér eur ou cho do oucho a ro te g p i g . g d i . ot do h ou t on b oo on renant lo nom ro . p b i d m a g es nocossoiro . L os di a g ra m m es su i v a n ts u en h ill st r t lo met od s .

THE A B C OF COLLECTI NG O L D E NG L I SH POTTE RY

F B L A C KE R J . . “ AUTHO R or T H E A n o O P CO LLECT I NG ow ow tu “ " C O N C I m a E T C. HATS ORIENTAL H NA , ,

Wi th ov er 45 0 I l l ustra tion s

' o u 1 " T H E ( 30 11 13; SCL A KL: C 0 TO R O N T O IN GREAT BRITAI N P R E F A C E

HE desire expressed by many collectors that my various “ articles on collecting Old Pottery should be em bodied in a book is responsible for the appearance of this o i o o i o of A B C v lume , wh ch will be f ll wed by a new ed ti n the " of . Collecting Old China , by the same publishers The

i oo o no h Ch na B k had a marvell us success, less t an ten

o i o o o o a s th usand be ng s ld in ab ut ten m nths . This enc ur ge the hope that this Pottery Book will meet with many friends to o o of o o wh m the pleasure and pr ﬁt c llecting are relaxati n ,

o o o . o recreati n , pure enj yment , and m re As C wper says

‘ Variety s the v ery spice of l ife

T ha t giv es it al l its ﬂav our.

V of o o o in ariety and chang e ccupati n can be secured by c llect g , and no object is more worthy of the attention of collectors

than Old Pottery .

F or o w ho oss s o for o too w ho th se p es p ttery , and th se , ,

wi to a o n o t o sh le rn ab ut it , much i f rma i n and many illustra t be tions have been gathered together . The sketches may no line w e ; they ill nevertheless be instructive , and they are fre ly i -w f - distributed in the text . The th rty t o pages o half tone

o s o o no bl ck include the later c ttage p ttery , which needs

o . o o o on u an descripti n Thr ugh ut , n tes are given val es, and

n Appe dix furnishes reliable information as to Auction Prices .

o r is n o cos All ﬁne Old P tte y risi g in value, th ugh as yet the t 5

7062 0 6 PREFACE

ot is n prohibitive to the m an of moderate mea ns . Collectors w ho o o have, in the past , b ught well , can realise hands mely - to day .

o to o n n In rder f rm an accurate judgment , readi g, seei g l a is of and hand ing are necessary , but h ndling the ﬁrst im

o is o o of p rtance . It the best educati n , th ugh the value the

eu s not o . is o n do not Mus m mu t be ign red There a s methi g , I

o e z o e kn w what , in the f el , the weight , the gla e, and the wh l appearance of Old Pottery which no book can teach : it is

x t r o o pure e perience, rained by p actice until it devel ps int o an instinctive faculty . Examination by handling is a nec s

sit o a o y , but the best results can nly be g ined fr m it when

o o s a accurate c mparis ns are made and , during the early t ges

u a . at least , under careful g id nce The buyer w ho wishes to avoid risks puts his trust in a

o w ho a resp nsible dealer , will nearly always t ke back any N o article which does not give perfect satisfaction . great

a n o s s s is b rgai s can be expected in ad pting thi y tem , which

o . A safe and sure , alth ugh current prices must be paid ripe m a w ho is o to judg ent may , in time, rew rd the man c ntent “

o s o . o s who g l wly Still , whilst human nature remains, ther , ” of o — grasp the skirts happy chance, prefer the attracti n the

z s — s o on own pri es, the ri ks which result fr m hunting their

o . account . Experience gives them p wer The Earl of Shaftesbury (1 671 —1 71 3) describes the position “ of ol o : i ! How ? the ideal c lect r I like , I fancy, I adm re

or N o. n to to By accident , as I please But I lear fancy,

d i to s s s a m re , please as the ubject themselve are deserving

a ut I ex ect o o nd can bear me o . And if p the kn wledge sh uld o to or l o c me me by accident in play , I sha l be gr ssly deluded , o o oso or and pr ve myself, at best , a m ck virtu mere pedant ” of the kind . o of o r F rtunately, the many varieties Old P ttery give f ee

8 PREFACE

G o w o s to . i to . . . o s t o ti n ; Mr Cyr l Andrade Mr S Fent n , wh e

e s on 2 a o o seat d ﬁgure page 35 wait identiﬁcati n ; but ab ve all ,

’ G o of K not to . o . Mr e rge St ner , ing Street , St James s Square , o for l o s of o al so for the nly i lustrati n ﬁne p ttery , but reading

s oo . o u su letterpre s in pr f His practical kn wledge, helpf l g

a v gestions and unfailing kin dness h ve been in aluable . My ” s o o a oo s is to ﬁr t th ught , he wr te, after re ding the pr f , tender

s o my congratulations . I am perfectly ure it is a w rk that ” will ﬁnd appreciative readers . F K J . . BLAC ER . C O N T E N T S

e s PREFACE

L IST O F HALF-TONE ILLUSTRATIONS

1 . I NTRODUCTION

K V ZZ tr. ETRUSCAN OR GREE ASES AN D TA AS

M m . RO AN RED LUSTROUS WARE

V M E DLE VA L I . EARLY ENGLISH AN D POTTERY

r e v . u s

v Y M i . GRE BEARDS OR BELLAR INES

PUZZLE j U G S

v M D E e . m . LA BETH WARE

i x ‘ ‘ . BRISTOL DELF I WARE

x V . LI ERPOOL DELFT WARE

x su p x. WARE

x W I n . H E L DO N WARE x m . FULHAM WARE

' x rv . PLACE S WARE

x v E L E R . S WARE

V X I . ASTBURY WARE I o CONTENTS CHAPTER V X I I . SALT GLAZE WARE

v x xxx. WEDGWOOD

x x continued x . WEDGWOOD ( )

x x . OLD WEDGWOOD M AR K S

“ O x x x. THE STORY OF THE WEDGW OD FI NDS

A N D xxxs VA x x xx. WEDGWOOD R x L s

L x x xxx. USTRE WARE

x x x v . L EEDS WARE

v x x . SWANSEA POTTERY

v x A CK F I E L D x x . J POTTERY

v v o H S K x x xx. s AND I WOR

M x x v xxx. YAR OUTH POTTERY

x xx M — x . NOTTI NGHA POTTERY STONEWARE

K cu x x x . Q UAI NT J UGS AN D DRIN I NG ps

x x x x. THE WILLOW PATTERN

x x x x x. TOBY J UGS x x xxx or ow n E N G L x xx PO x . A SHORT ACCOUNT s

T E R xE s (ALPHABETICALLY ARRANGED)

V O L D XXXI . TOBACCO PIPES

V XXX . CONCLUSION APPENDIX— SALE PRICES

INDEX T O SUBJ ECTS

I NDEX TO POTTERS A N D DECORATORS L I ST O F HAL F -TON E I L L U STR ATI ON S

' ETRURIA HALL , WEDGWOOD S HOME . A DISH FROM TH E SERVICE

MADE FOR CATH ERIN E II EMPRESS OF RUSSIA , FOR TH E PALACE OF LA GRENOU ILLERE P M M F A CI N G P AG E Z SALT GLA E WARE ; SOME COLOURED , TORTOISESHELL WARE

CAN DLESTICK , AN D LEEDS PUNCH KETTLE 0 o

U W H I E L DO N ASTB RY WARE , WARE , LA MBETH DELFT , AND A SLIP WARE CRADLE

W H I E L DO N AN D ASTBU RY WARE

Z SALT GLA E WARE , SOME COLOURED

Z SALT GLA E WARE , BEAR J UG - - EARLY E X PERIMENTAL JASPER WH ITE WEDGWOOD TERRA G OTTA . SOME OF TH E FIN DS

D E A R N G s p L A U E a v WEDGWOOD BROOCH A N R x . Q FLA X MAN SEL E N E v xsxT xN G EN DYM ION

— “ “ J ASPER PLAQ UES : W EDGWOOD E N DY H xO N A N D D xA N A 96

WEDGWOOD WARE : TWELVE p CE s x xz

’ CA N D L E S I‘ ‘ I CK S A N D V F L A x H A N S D E sxG N s WEDGWOO D A ASE ( ) . xN A D WEDGWOOD JASPER WARE MOUNTE D STEEL . NEALE N PALMER V ASE

A CK F I E L D - TURNER STONEWARE J UG . J COFFEE POT - A . ADAMS COFFEE POT , J SPER WARE NEALE AN D PALMER VASE

ADAMS VASE , BLUE AN D WH ITE J ASPER WARE - ADAMS TRANSFER PRINTED DISH . VIEW OF REGENT Q UA DRANT , PICCADILLY 1 2 LIST OF HALF-TONE ILLUSTRATIONS

- ADAMS TRANSFER PRINTE D DISH . VIEW OF BLENHEIM PALACE o

1 8 LEEDS WARE . N INE PIECES 4

' STAFFORDSH IRE FIGUR ES . BOTT S SHAKESPEARE , AND Q UEEN CHARLOTTE

STAFFORDSH IRE . QUAINT CUPI DS STAFFORDSH IRE GROUPS AN D FIGU RES

STAFFORDSH IRE ST . PAUL . WALTON WARE STAFFORDSH IRE SILVER LUSTRE

GY STAFFORDSH IRE . TH E DEPARTU RE INTO E PT , AN D ST . GEORGE AN D THE DRAGON

P STAFFORDSH IRE SHEE . LAMBS , AN D DOGS . EARLY VICTORIAN

D E . v xCT N O L D p ST A T E O R SH xR EARLY O R xA COTTAGES . " SPOTTED cow s

ORDINARY COTTAGE STAFFORDSH IRE . LATE PERIOD

DOULTON WARE . NAPOLEON AN D N ELSON J UGS . BACCHANALIAN 0 0 1 , AN D REFORM SPIRIT FLASK

CA O L xN E M U G w H L xsr oxr Q UEEN R DEFEN DING COUNSEL . " E N G xN E U G V A N D ROCKET J , LI ERPOOL MANCHESTER RAILWAY

- O U T sxD E or SUN DERLAN D LUSTRE WARE , TRANSFER PRINTED . “ M U G FROG . FOU R PIECES

1 2 SUNDERLAN D LUSTRE WARE , TRANSFER PRINTED . FIVE PIECES o 3

V Z TOBY J UG BY ENOCH WOOD . BACCHUS J UG BY OYE

A x E T H E w xx. L xA M E E M R O S E S FAMOUS SOLON PLAQ UES , FROM , x 0 DERBY , MARCH , 9 9 O L D P O T T E R Y

CHAPTER I I NTR ODUCTOR Y

' HE origin of the potter s art is lost in the darkness ’

ounds a earl o . that surr m n s y hist ry The rain fell , the clay became moist in the moist state it could be easily and its a in u moulded . The sun shone , he t , those co ntries and a a d generally dry hot , g ve h r ness to the moulded form , a which w as retained until the damp c used it to fall to pieces . w as a and The moulded vessel pl ced upon the fire , the dis cov ery w as made that burning in the fierce fire gave such a degree of hardness that enoug h of vitrification or glazing took place to enable the domestic vessel to assume a an a permanent form d to hold w ter . Little by little this a knowledge spread . The ccidental discovery of clays con t ainin g more or less glassy materials led in the end to the a a a r and - as l as gr du l bolition of the ho n skin bottle , we l to an increasing dema nd for the products of the potter . These and a a a an were the potters , those th t dwelt mong pl nts d r his hedges . the e they dwelt with the king , for work , is the Biblical description of a family of potters of the tribe

. A nd of Judah , evidently held in hig h esteem these are a a n h ncient things is the st tement precedi g it , w ich shows - that pot making w as known and practised in very early ou m a a a ma times . Th gh co mon n tur l cl y supplied terial a o a suit ble enoug h for common p ttery , soon it h ppened that some clays were observed to be better than others even and for this purpose ; whilst the methods employed , and a u a the degree of he t sec red , were somewh t the same, the advantage O btained by washing and mixing the clay marked x3 T4 O L D POTTE RY

the a a the next step forward . Then followed artiﬁci l prepar w as tion of clays for pottery , but this process not employed w a i a the C in E urope until centuries after it as f m li r to hinese , and indeed does not seem to have been adopted until early a a h in the eig hteenth cer tury . It ppears prob ble , too , t at ’ d C a the potter s wheel was derive from hin , but how and when it reached O E uT pe is unknown . The ﬁrst illustration ’ shows a potter s w heel u represented on the tombs of a ncient Thebes , and t h e s e c o n d a n

E a . ’ — g y p t i n deity Pom n s wa rn r u r au rov er . , The rotary motion a w as w of the wheel , on which the cl y thro n , was , by the a l c lin ction of the fingers , uti ised in raising circular or y cal k h l s dri forms of various inds from the s ape e s lump . l a Let us fo low , for moment , the processes throug h which A modern pottery passes when it leaves the wheel . fter being air- a are a fire- dried , the pieces of earthenw re pl ced in proof sa ers v l a and a h gg or pans , ha ing f t bottoms vertic l sides , w ich a u are arr nged in a kiln . The bisc it kiln is then ” and a a a a and fired , fter three cle r d ys dr wn , its contents removed . In this biscuit state the p o t t e r y w o u l d r e a d i l y a b s o r b a w ter , therefore it az has to be gl ed , “G y m “ E Y - - unless decoration is POTT R T H : con u n u n m oucnr ( s) . to be applied under ( 4 as a . a a the glaze , in printed w re In th t c se the impres an l a r s sion from engraved p ate is taken on p per, p es ed and d A e on to the ware , then exterously removed . ft r a printing , the pottery , still in its biscuit st te, is placed ” a the in a h rdening kiln , where oil in the colours applied

1 6 O L D POTTERY

at a m a . G d to further ﬁring lower te per ture old , for gil ing, at a a is ﬁred this temper ture too , but the various en mels may demand man y v isits to the kiln before the ware is

Having rapidly described the modern process of manu facturin ma l d a g pottery , it y be we l to in ic te the lines of our a a A a a as and ch pters bout it . short sketch of the cl ssic l v es ware of G reece will be followed by some description of R om an E a m a a pottery found in ngl nd , co p red with th t found else Mediazv al a E where ; then pottery , including e rly nglish pottery S af and found in London ; t fordshire pottery , the products of

E a l a . the other nglish potteries , with m ny i lustr tions A nd a a a an a here it will be dvis ble to st te fr kly, th t the difficulties of collecting are due to the ex istence of immense quantities of pieces quite modern and entir ely fraudulent ar e as a F a which produced required from the f ctories of r nce, l E Not G a a and a . a erm ny , Hol nd , ngl nd only does this pply S af and t o to the commoner t fordshire figures Toby jugs , the a and a r — Leeds w re , the ordin ry old potte y which is worth collecting only when it is old— but we have seen the finest e al - a a colour d s t gl ze w re , the gems of the potters of the a and d d l te seventeenth eighteenth centuries , repro uce in soft r and a a a colou ing , correct form , in every p rticul r of p ttern , and a a a a , when necess ry , of m rk , so th t the beg inner is he vily handicapped if his own prudence and knowledg e do not a ua N o bou t . idl e s feg rd his start . collector troubles a or a al his a rtful t es ; he depends upon eyes , so highly tr ined a a ar and th t they seldom f il to c ry conviction ; therefore , to e and i ottes and ars m b ginners others buy ng p figg , we com end the words of Solomon : They are all plain to him that under

and a ﬁnd . standeth , rig ht to them th t knowledge

We a a n d w as a regret th t, by error, no acknowle g ment m de th at the illustration forming the F rontispiece w as from the

e f a Dinner S t which belong s to the Imperial Court O R ussi .

W . w as a d o L td for x . It lent to Josi h e g wood C , . , e hibition

CHAPTER II

E TR USCAN O R G R E E K VASE S AND TAZ Z AS

H E most striking glaze applied by the G reeks in their a w as a a scheme of decor tion bl ck one which , it is a a said , is due to the dust of volc nic shes spread by the brush F over the selected part of the surface . usion took place when a the v ses were exposed to a hig h degree of heat . But it is certain that the same glaze could have . been made arti ﬁcially by mixing glass cont aining much soda with oxide of a a a a iron . This is r ther technic l , but the m in point is th t a a the bl ck glaze w as used for painting . The ﬁrst illustr tion

ar G a i a c shows e ly reek v se w th reddish body , on whi h the ﬁg ures were sketched in red and then coloured with a a the bl ck gl ze before ﬁring in the oven or kiln . The other decoration used upon these vases in white or red or other w as e a — a colours paint d on by coloured c l ys th t is , coloured slips . The name engobe disting uishes this form of 1 7 2 1 8 O L D POTTERY

a a as m a p inting , so th t , someti es h ppens , when the eng obes off e a have peeled , the cl ver designs sketched upon the v ses reveal a facility which recalls the a A a m N e a l test meric nis , ev r t ke ” We two strokes when one will do . a a our — t lk bout pottery well , this

w 0 0 B . l vase as made about 7 C . The lines showing red through the black glaze were scratched out with

a point . The second vase is not so r ar old by two or three hund ed ye s, d but , like the ﬁrst , the body is red ish , a a a the design is dr wn with bl ck gl ze , and the det ails of the ﬁgures are worked out by scratching through

this glaze with a point . Some persons think that they know be c ause they read ; but reading is a a O ur ssisted by illustr tions . illus trations are meant to send our a M S re ders to the British useum or to outh Kensing ton , m ar C a an where ﬁne speci ens e to be seen . ollectors h ve

occasional chance of picking up genuine vases . if they know ! O ur next specimen shows two views— top and

2 0 O L D POTTERY

A nother potter who w as attracted by the classical desig ns a a W s as of the G reek v ses was Josi h edgwood , who , in thi ph e i was a a of h s work , very m teri lly helped by John

The result of this collaboration w as to make Wedg wood ware famous al l over the world ; and it is remarkable that ri — one as these two men, both c ppled, broug ht together ETRUSCAN O R G REEK VASES A ND TAZ Z AS 2 1

’ ass e o a master of the potter s art , and the other of cl ical d c ra tion— so much ﬁne feelingfand artisticiex cell ence that it is

doubtful if anything more beautiful has ever had a greater W a infl uence in directing public taste . edgwood broke aw y entirely from the traditions which had guided Staffordshire

M GREEK A PHORA. a e and f ctori s , took G reek art for his model in form as well a We a n assi a as in decor tion . give three illustr tio s of cl c l 2 2 O L D POTTERY

We designs followed by him . show how the be autiful E and G at an truscan reek productions , even a vast dist ce

CY I V E PR AN AS .

time , impressed themselves upon later work to such a degree as to make it always dis in tiv t c e. Mr. G ladstone , in the course of his speech at the laying of t he foundation stone of a museum and library in memory of W x - edgwood , si ty three years after a a : E a h his de th , s id ngl nd as long t aken a lead among the nations of E urope for the cheapness of her a a m nuf ctures , not so for their

be auty . If the day shall come when she shall be eminent in

taste as in economy of production ,

' my belief is that the resul t will probably be due to no single man in so great a degree as to Wedg

E E V . GR K ASE. wood CHA F TER II I

R OM AN R E D L U STR OUS W AR E

OMAN pottery had but little infl uence upon the British R a i . a potter in l ter t mes Indeed , fter the omans quitted E a a ngl nd , e rly in the ﬁfth century , the pottery which they left behind seems to have continued in use amongst a a the principal inh bit nts of the country , as is shown by fragments of vessels of red lustrous and other ware found a a a in graves of e rly S xon date . This red lustrous w re a e R a as a m rked the settl ments of the om n people they c me ,

and saw and . I ts a a , conquered m nuf cture extended from D the firs t century to the third century A . . Some friends i l n a S a of m ne were stro li g cross the ussex Downs , ne r Brighton , ’ a m on lovely sum er s day , when they flung themselves down d a a O ne a to rest at the e ge of ch lk pit . of them felt stony a and subst nce just projecting from the top of the turf , soon - two fine red lustrous amphora shaped vases were unearthed and o before their delig hted eyes . How when they g t there a n a R a must ever rem in unknow , but the old c mps of the om ns are not uncommon on the Downs . The paste of this ware a -w ax is commonly of fine sealing red colour , worked with unusual skill into vessels of various forms , and the glaze is

M . ron a a . B niart gener lly brilli nt g praises this pottery . He says that it w as worked in the most perfect manner and with the aid of the greater part of the processes and means ” now employed in the most perfect manufacture . Plain a a and pieces seem to h ve been turned on the l the, stamps f a a a of di ferent kinds produced gre t variety of p tterns . ’ A all a a lthough of this w re does not show potters m rks , ' a large proportion of it is found c arefully st amped with 2 3 2 4 O L D porrerw

a a as Sa a , them . R om n red w re is sometimes known mi n w a ﬁne w as a ; from Sa mos , here red pottery m de but it is t doubtful if any true Samian ware has ever been found a a a e a the R om an stations in Brit in . The illustr tion giv s

a a a . a a l rge eleg ntly formed v se , 94 in cross the top , h ving ' the red paste or body and the lustrous gl azel The potter s

mark DE VITAL is to be seen on the bottom of the vase . ’ w Ma -le-G a 1 8 This as found in St . rtin s r nd in 45 during a a and a exc v tions , further ex mples will be given of such R a E a — in a a a om n pottery found in ngl nd f ct , quite l rge

number were unearthed in London . In the history of ceramics the question of marks plays a l a a and R a as w i we o l rge p rt , om n pottery , i seen fr m our

ll a a . a i ustr tions , was often m rked The ﬁrst m rk is on

a a . a fragment of cup , just over 3 in in di meter , which

w at G e a a as found the re nwich r ilw y terminus in 1 841 . The ’ footprint w as a common potter s mark at A rctium— modern

A . S m a mortarium a rezzo The next peci en is or mort r , in which substances were ground or pounded for domestic a a w use . Up to cert in heig ht inside it as lined with grains of hard stone forced into the paste before the piece w as ﬁx ed

2 6 O L D POTTERY ties should pay special attention to this subject in every are a and case where old buildings being displ ced by new, where the foundations h ave to be dug deep dow n into the ma a a a a earth . It y well be th t tre sures h ve been sm shed

a n 0 C 8 e M u g -u h: m '

s n v el of the street road a v A . pre e t l e ; a. w y, pre i r t r f L o do o us to the G ea F i e o n n , 1 666 ; C, g round i n w hich the Nor man and E arly E ng l i sh pottery is R om an m n rou n found ; D , pa v e e t ; E , g nd i w hich the red l ustrous an d other R oman w a re is found ;

l a v el . F , c y ; c , g ra

e a i am a b yond recovery by the ste m dev l or ste n vvy , whose iron teeth h ave but little regard to anything ex cept the shifting of the greatest amount of soil in the sm allest possible m Y ti e . et an inspection before the digging operations are m a archmol c ist and in full swing ight rew rd the g , furnish - rich tre asure trove for the museums of the Metropolis . The

- a i a R oman terra cotta toy , with redd sh brown body , of and w as in 1 8 0 , boy on horseback , found in the Borough 4 u a l w as a another ﬁg re of boy , part y clothed, also London ROM AN R E D LUSTROUS W ARE 2 7

N a a i R a find . turally, fter the d scovery of om n kilns at Cas a ra tor, we should expect to find m ny f gments illus tra iv e a R t of the style of decor tion employed by the omans , who must be reckoned amongst our ancestors— for when u Cae a G J lius s r , in his own Commentaries on the al li c ” W a — B ars , describes the invasion of Brit in , 55 54 . c. , a he shows the beginning of process by which , in Britain , the foundations were laid of a cosmopolitan people . R a Pi om ns , Britons , cts , S Sa N a cots , xons , orm ns , and other races prae ticall y disappear as sepa a a and r te r ces , their further history becomes E a the history of ngl nd . Cas a It is to tor , then , th t we turn for information on R oman pottery an d a and a S a its style of decor tion , the illustr tions how th t there were no local ex isting influences to divert the potter from the patterns which he brought with him from the banks of a a a de the Tiber . The l rge fragment of v se with uprig ht si s

ound at Cas . al and was tor It shows sever cracks , these

a h ve been ingeniously mended by means of lead rivets . a a and i a do The two pieces , one with h re the other w th g , “ ‘ r the l c came f om same p a e , to which must also be ascri bed 2 8 O L D POTTERY

a a us the three v se sh pes in the next ill t ion . O f these a has a the third is curious , bec use it ribbed corners , app rently

a the a a m de by overl pping of cut pieces of the cl y, before an glazing d ﬁring . R a 1 0 A a . O . Before the om ns quitted Brit in , in 4 , they and a a Ca drew their supplies of pots p ns m inly from stor, a P N ew F a ne r eterborough ; orest , H mpshire ; Upchurch , K and R a - ent ; from the henish district , by w ter carriage, R n . W throug h the mouths of the hi e London , inchester,

and Colchester have furnished a large number of N ow a a few ff mens . we will ex mine more , of di ering a and a shapes and decoration . The sh pe decor tion of the R O M A N R E D LUSTR O US W A R E 2 9

a a a a Ca . 8 . ﬁrst v se indic tes th t it is stor piece It is in hig h , - and its decoration is in white slip on a pale yellowish brown a a a a and and p ste , with bl ck gl ze in the l rger upper portion

a . at W red glaze on the stem of the v se It was found inchester .

a . i has a a The next v se , 5§ in h g h , p ttern produced by tool marks in hands ; after turning on the lathe the sides were m was depressed into seven co partments . This dug up in and ha s a Lothbury , London , red paste where most fused,

R O M A N A M P B O R A .

a a u . a a with d rker colo r inside The gl ze is bl ck , with the

ar . red tint of the paste showing throug h . It is Upchurch w e S a . w as at Cateaton The third v se , 4§ in high , found treet ,

an 1 8 . as w a ar London, in J uary 45 The p te is white , ith d k and — — was glaze, the decoration hounds hunting a stag ai w l d on in slip after the vase as turned . Tool work is at G e a a shown the bottom . ner lly the Castor w re is grey or yellowish brown with a dull black or slightly reddish gl az e ; a it is thin , h rd , and well potted . a a a and a New F s The v ses , unguent ri , j rs of the ore t 3 0 O L D PO TTE R Y are made of local clay furnishing a smooth porous body in a f a and l sh des of grey , buf , p le red , brown whilst the g aze is and a in a either purplish or reddish , w shed on b nds , or stripes , ar am a a or circul orn ents . Upchurch w re , also m de of the o a a ash- a a a l cal cl ys , is of dark grey or sl te colour , with bl ckish hue on the surface caused by the imperfect oxidation when the supply of air w as almost cut off and the smoke could a ais neither escape nor burn . The decor tion consisted of r ed

an A R a dots or bosses d incised lines . fter the om n conquest we expect to find evidences of the knowledge and skill of the ’ S and a a outhern potters , we do find the ccur cy of the potter s a E a wheel , which does not seem to h ve been known in ngl nd before the first century We have evidences of the use of the lathe there are slip patterns and moulded ornaments on a d a ar a an u e a . gr ceful sh pes , , sometimes , the s rf ces gl zed The R a m i a om n pottery found in London includes so e f ne amphor e . The figure in the illustration on the last pag e w as not intended a a a — a to st nd like v se the two rms were used for suspension . ' R O M A N R E D LUSTR O US WA R E 3 1

The next amphora w as found in digging the foundation of L and O ld a S ondon Bridge , the following one in Bro d treet 1 a a a a a in 850 . The decor tion on this l st is pl in b nd with a zigzag edge at the heig ht of the base

o f t h e handles . The others have no decoration . T h e dish or mortarium has a light brown , somewhat c o a r s e ' A L B I NVS and a . a . body, is ungl zed The potter s m rk is

w as du C a Sm ithﬁeld 1 8 . This g up in ock L ne , , London , in 44 x x am a C The ne t e ples were chieﬂy obt ined from ologne ,

having been discovered in that city or in its vicinity . They are m a ar n a i port nt for the purposes of comp ison , showi g th t - — R oman ware even the red lustrous ware w as introduced a R n a a into Brit in from the henish provinces , bei g m nuf ctured at Heile enber a o a m S a g g , b ut ﬁve le gues fro tr sburg , where some of it w as found in a R oman kiln similar to that already pictured Ca a a R a a from stor . The rem ins of sever l om n kilns h ve been

a R i d at T abernia R heni R une rthed in the h ne istrict , ( hein a N z bern) . o less than ﬁfteen kilns were discovered in a sm all a a . A c a w as u at re perfect bowl , onsequently very r re , fo nd C and a I R a ologne , is shown in the illustr tion . t is om n red 3 2 O L D P O TTE R Y

-w a a ax 6 . w re , lustrous , like red se ling in texture , in hig h

am . and 1 0 in . in di eter The desig n shows a soldier in a m s' ord and r our , with

shield, engaged in com

bat . A retiarius his o o , pp arm nent , holds in his left a and net , in his rig ht hand a trident or three ma pronged spear . This y well be a scene from the a a ren , for the ﬁghting ﬁgures are by the side of an E mperor seated on a W a s t hrone . h t memorie does this evoke ? The thumbs down or thumbsup —Death or Life— which The character and manufacture of this bowl are so closely allied to the specimens found in E ngland that there is but little doubt that much of this ware came from Southern G er a or a m ny , th t the potters from G ermany came to E ngland and P a made the pottery here . l tes A a a and dishse are rare . p ter

a 8 . of red lustrous w re , in in has ur diameter , been ﬁg ed very and a often , our illustr tion - shows it with the ivy leaves i in relief, laid on in sl p or ’ a barbotine. The potter s m rk

i s V R S VL V S. The two handl ed vase shown next is

in . and f 7; hig h , di fers in style from the amphora previously

described . The whole form d f and a a a i fers , the desig n, l id on in slip , represents pe cock - a a a a and a mid ivy le ves . In this case the w re , the m nuf cture,

R O M AN R E D w srnous W A R E 33 the kind of ornament are similar to fragments which have d a a been ug out during exc v tions in London . The deduction e and o is obvious th y came from the same kilns , these L ndon m G a pieces were i ported from erm ny . As a a a contr st , we mig ht take the v se of Upchurch and ware , with raised bosses or dots the blackish hue before o a r . a in a eferred to The p ttern is r ised d ts or bosses , l id a i a had on in slip s milar to the body , fter that been turned A on the wheel . short time since , a friend in the

R O MA N MP T R N L A W I H E IG HT BU E R S.

a P foundation for his new house t ortsmouth , was lucky in nd n N w F a a ﬁ i g a pitcher of e orest w re , deep down in the e rth, and still more fortunate in getting it out absolutely sound . O ther examples of a later period have been unearthed in the wa a n a same y, and in followi g chapter we give an illustr tion of a small greybeard pitcher which was found when the excava tions were being carried out for the fou nda tions of the Hotel M r o et op le at Brig hton . The mark made by the pick is plain , A a l but otherwise it is uninjured . re l y ﬁne example of a R m a o an l mp with eig ht burners is shown above. The lamp was suspended by the aid of three loops upon an interior circle ; but wha t a contrast is this in lig hting — the best of 3 34 O L D PO TTE R Y that past— to the worst of the present day ! The higher style of art employed in ornamenting the red lustrous a t a R a w re, the mos be utiful product of om n ceramic ma 2 art , is shown in the s ll bowl , } in . high , 5 in . wide ,

a A — which gets its n me from rretium , or Arctium modern - u an . a a Arezzo, in T sc y The moulds were m de of terra cott , — — and the pottery A rretian ware seems to have been made as a with success l te as the seventh century. CHA PTE R IV

E A R L Y E NG L ISH AND M E DIE VA L P O TT E R Y

as a a A SE S were often used ciner ry or sepulchr l urns , and in the British a nd South Kensing ton Museums are a - specimens of ancient British w re , which were ﬁrst sun dried an an as d then burnt in open ﬁre , is shown by the partial

a an . bl ckening , resulting from such imperfect ﬁring process These urns appe ar to have been used for sepulchral purposes

a a . A n a only, simply to hold the shes of the de d illustr tion

shows an ancient British urn of this type . Contrast this m a a R a - a with the uch more el bor te om no British urn , or v se , a a and can a a of gl zed slip w re , it be e sily seen th t the an d a R a a British products , both before fter the om n occup tion , A -S w as suffered by comparison . nglo axon pottery poor in

a a a . A t qu lity , m de of local cl y , with very simple designs the most a twisted cord w as impressed in the soft clay ; or a a a a o a a zigz g design , scr tched by p int into v riety of a a a i w as combin tions , usu lly in str ig ht l nes , produced, but w as h : a this pottery never hig ly ﬁred in f ct , it is wonderful a am a a th t ex ples should h ve survived to our times , bec use w a - some of it as sc rcely more than sun or air dried . The pottery used in Britain before the Norm an times

1 0 66 A D . a a a a e ( ) is not e sily pl ced with reg rd to g . It is , in “

C n . O ne a i a this respect , like old hi ese s ys , Th s is Ming ’ " ' a C - and can piece or h ien Lung piece , who refute the expert s st atement P So in the British section it is diﬁicul t to state a o ar l the ex ct date of any old piece . C nsult the e y ill uminated and a pictures , cert in pottery forms will be noted In early “ manuscripts references are found to La P otere or Le ” S ueler a a q , seller of pots in the ﬁrst c se , and porring ers, 35 3 6 O L D P O TTE R Y

and . O are dishes , basins in the other rders noted to the " “ and a a erth n pitcher house for pottes , l ter , th t y “ a and pottes be bought , or e rthen potts for red wine E P 1 66 a — a a ipocras . ven epys, in 3 , in his Di ry wh t rru man w as l— d delightful , ga lous old he mentions rinking ” ’ Ma a A ll out of earthen pitchers at a Lord yor s fe st .

MA N R NS A N Cl E NT BR IT IS H A N D R O U . of this shows that ordinary pitchers and pots were used t a a r n a the t bles of import nt pe so s ; were mentioned , in the a a -a inventories of roy l households , in which the bl ck j ck , a a made of le ther , was commonly used as drinking vessel , ” together with smaller cups all made of ledder . These e e a arthen v ssels , many of which were m de in this country, continued in use down to the sixteenth century . r a a G a The e is , however , much re son to believe th t erm n and E A R LY E NG LISH AND M E DIE VA L P O TTE R Y 37

— — F lemish wares notably Cologne ware were still imported. A e s Cologne w are had a great reput ation . curious and int re t E a W ing petition w as addressed to Queen liz beth by illiam W G a r a . Simpson , merch nt hereas one rnet Tynes , a st anger - - a s living in A con (A ix l a Chapelle) in the p rts beyond the sea , m” ma sub ecte being none of her j , doth buy uppe all the pottes oin C r and onlie made at Cull ( ologne) , d inking stone pottes , he d s transporteth them into this realm of E ngl and an elleth tle them : It may please your ma to graunte unto the sayd

L E O P A R D W A R E T A N KA R DS .

S u an m r v de impson f ll power d o elie licence to p o y , transport , and bring into this realm the same or such -like drinking pottes and the sayd Simpson will sell them at as reasonable ” his price as the other hath sold them from tyme to ryme . T ware and the F lemish ware were very popular from 1 540 to 1 62 0 a , when it is supposed , though the evidence is slight , th t C h r hinese porcelain as introduced into E urope . The ea then “ ” w s a pots ere often garnished with silver . This introduce a a W . as a very deb t ble point there , then , no manuf ctory of such pots in E ngland It is quite probable that the drinking ” s - a so vessel known as grey be rds and Bellarmines , much used in the inns of the sixteenth and seventeen th ” r a G a t centuries , we e m de in erm ny, but we mus not a c forget th t stoneware, ornamented with designs in white lay, 38 O L D P OTTE R Y

‘ was made at F ulham and Lambeth in t e seventeenth

a S f . century , and a little l ter in ta fordshire F a a D' Vi ht It is only recently that the ulh m stonew re of g , a m as a 1 6 0 an d a who beg n his experi ents e rly as 4 , took out 1 1 patent in 67 , has been properly Who a so— appreciated . m de the called E lizabethan leopard or tiger - a a a s ware tin gl zed t nk rd , three specimens of which are in the G old O rn ament R oom of the British ? Museum The second one , in the a - a illustr tion , has the hall m rk - — 1 549 50 on its E nglish silver gilt a a mount . The others h ve simil r are mounts unmarked . They valu a and a ble , ﬁne specimens with e rly dated silver mounts are worth two m m n m u “ N M “ .

or three hundred pounds . The ware has a a a coarse body, gl ze usually spotted with purplish a i and an bl ck , redd sh yellow, impure blue , or streaked a n a with purplish brow or splashed with bolder colour . A ro os ar a a a al a p p of tiger w e t nk rds , provinci de ler had a in N and an he rd of one ewcastle , , through agent ,

boug ht it for £45 . The London experts often visited him ,

a a a . O ne m not bly two , who alw ys c me together someti es W a i . boug ht few pieces , the other bought noth ng hen asked l O h a ot a t n why , he rep ied , you h ve never g ny hi g good enoug h for me I Jhereupon the E lizabethan tankard w as “ ” ? w as a s . A produced . How much the inst nt que tion ” Ma w as . o and hundred guineas , the reply ke it p unds ,

w as . a an pounds it The two comp nions left the shop, d a ar w as the t nk d put up on the return journey to London , and the last bid w as {2 80 1 a E a But to return to e rly nglish pottery nterior to this . O ur are a ﬁrst three jugs , or pitchers , , prob bly, thirteenth

. ar century The ﬁrst is unglazed, but the other two e a a l a e covered with dull green gl ze upon ight brown cl y , eith r a a al in p tches or over the whole surf ce . It is most im

40 O L D P O TTE R Y

a w as but has gl ze often coloured green , sometimes it a

and na c . e yellowish tone , , occasio lly, purplish bla k The n xt r and a i ere g oup consists of two jugs costrel , all of wh ch w a a e found in London . The ﬁrst is pitcher with double sw ll l - a the body is of ig ht coloured cl y, partly covered with a - a . u a a yellow gl ze The second j g has cre m coloured body, and the upper part of the outside is covered with transparent

a a . gl ze , spotted with bl ck The third , the costrel , has pro - jections two on each side— pierced for a cord or strap for ' a O f a il suspension in the m nner p grim s bottle . The body of and a ar a r the costrel is red , it is gl zed in a m bled p tte n of ’ an a mixed red d white . Spe king of pilgrims bottles gives

' R O MA N P I LG R I I I S OT T L E S. E A R L E N L SH . B Y G I .

an opportunity for a contrast between a R oman and an early P a o E nglish bottle . ossibly the ﬁrst might h ve been the b ttl e a R a a a sus of om n soldier , yet the s me general ide of pen a sion is carried out in the present time , lthough pottery a - is not used . The body is the lig ht str w coloured ordinary a as u u t R om n pottery disting ished from the red l s rous ware , the a E has a - whilst e rly nglish bottle a cre m coloured body,

much less ﬂat than the other . a a w as It will be noted th t the common w re usually plain , a and without decor tion , it is unlikely that such pieces would have been found at the tables of the rich in an ag e when the - w metal work as so be autiful . The common pottery was for l W everyday use by menia s . hen it was more highly orna

ented a a a . R l m it re ched higher social st tus eal y, the best of - the decoration consisted of hand moulded reliefs of anirrml E A R LY E NG LISH AND ME DIE VA L P O TTE R Y 41

as and a and plant forms , m ks , rudely incised dr wings or a R patterns impressed with the notched end of stick . arely w a l ere the designs stamped , but pplied strips , discs , or eaf shaped pieces of clay were not uncommon . The use of slip or barbotine decoration seems to have been known from an early period. The highest development of the ' potter s art at this time consisted in the excision of certain a a a an d parts of the body in ccord nce with design , , as it were, n a a a a i l ying coloured or bl ck cl y , which , when rubbed down , made a pattern which w as practically everlasting ag ainst w as reasonable wear and tear . This the principle underlying a a the celebr ted Henry Deux w re , priceless specimens of which are to be seen in the South Kensington Museum and at a the Musée Cluny at Paris . The priv te collections of the R are a i a othschilds s id to hold wonderful pieces of th s w re , ” unfortunately caviare to the general . The few examples a belong ing to the n tion were extremely costly, yet , considering

are inestirnable . P i their rarity , they of value ass ng along are l the streets, how few they who wou d recognise a piece of this famous faience l G rotesque cups were amongst the productions of

the E e ae v er potteries of ng land in m di val times, which howe co s er and s s nsi ted chieﬂy of pitch s j ugs, cup and bowl , 4: O L D PO TTE R Y

bottles and dishes . The term pottes referred to the - l F an ri a . d r d nking cups then in gener use rom them , f om m - - a al e- e the Bellar ines , grey beards or long be rds , the hous s , i as ale a us ng them pots , derived the expression pot of ” A w as a a a a i ale . pot qu rt ; little pot , p nt ; the and all onier a a As pottle pot , two quarts ; the g , g llon . a a a rule, they were glazed , but pl in , except the l rger j ugs e a s or pitchers , which were sometim s decor ted with head a and i e or foli ge in more or less high relief, somet m s they a k ﬁ took the form of mounted nig ht or other gures . The illustration on the previous page shows a mounted knight of

very primitive workmanship . Note the h andle and the long and r ck a pointed toes p y spurs , which indic te the reign of

. a e 1 1 . Henry II The ﬁgure me sur d 0 ; in . long by 3 or 1 4 in w as a a a It m de of co rse cl y , glazed green

in the top as usual . The next example is a mounted knight

a a a e e in armour. It is b dly d m ged , yet it very much r sembl s

as G a S . the ﬁg ure of R ich ard I . shown on his re t eal The are a and eyes of the knig ht seen bove the shield , the round

ai a . a dots represent ch n rmour The h ndle is broken , though

the circula r hole at the bottom of the h andle can be seen . as e Through this hole , in the previous specimen , the v ssel ’ l and w as a a a . was ﬁl ed , the drink t ken from the nim l s mouth C ri a a a e u ously, the same ide seems to h ve been dopt d in the E A R LY E NG LISH AND ME DIE VA L P OTTE R Y 43

' - E as nex t il lustration a rs le ei far off t , the , of ho e sadd d , b ng e C san an d a i decorat d in front with the hry themum , h v ng

a a a l a i le d rk green g l ze sp ashed with l ghter green . The gs are r sa m a : and feet ve y unusual, not to y co ical , in sh pe a l in f ct , the model ing of the whole of the three suggests much a a to the im gin tion . T h e s a m e remark applies to th e animal a with twisted horn , which we will call a h cow , which as the same green g laz e as the ﬁrst two described . It is in Scar boroug h M an d a w useum , possibly was m de in th at to n , where a ’ N it a potter s kiln was discovered in 1 854. otw hst nding ’ a u a an ou I go s dict m , your D ne, your G erm , and y r 44 O L D PO TTE R Y

- an i E swag bellied Holl der , are noth ng to your ng lish a has e e m sk l in powers of drinking , no n tion b stow d ore il - in quaint des igns for drinking cups a G h th n the ermans , who , per aps , should occupy the place above as E l signed to the nglish . The O d silversmiths of A ugsburg and N urem berg made the most grotesque ﬁgures m of men , ani als , and birds , beside which the quaint rude pottery ﬁgu res described here seem too feeble for h a i e words . Yet t ey h ve an nt res t

all their own . ’ Costrels or Pilgrims bottles were used for liquor to be carried slung and R a on the person , the om ns ﬁrst adopted the form and material which were stil l used in the

’ Mi A a e the rdin r i rim s ddle ges . The ﬂ tten d amphora and o a y p lg E AR LY E NG LISH AND ME DIE VAL PO TTE R Y 45

l e l a O e m les bott e have b en il ustr ted side by side . ther xa p are now given where the amphora form is modiﬁed and

ion . eventually displaced . The first example shows a modificat o o u -s e not In this case the b ttle is gl b lar or gourd hap d , e s a le are i flattened at the sid s , whil t the h nd s s mply flat pieces of clay amx ed to the sides and pierced with holes

. i I ts for suspension This may be ascribed to T ckenhall . a all re l so surf ce is mottled over with g en glaze , ike many t a ion ho the of the early pieces . The two o her illustr t s s w a o a s t end e e so at b rrel and g urd sh pe wi h one ﬂatt n d , th the e a th end when not in use v ssel could st nd upon e ﬂat . i Two v ews are given of each piece , so that the curious mam

miform character of the other end may be clear ly seen . e a o for the Such small bottl s would sc rcely be very p pular ,

small one is only 4} in . hig h and holds about half a pint . C H A P T E R V

O L D T ILE S

AL ZA C has O ften remarked in his novels that the mania a a for collecting things is a prim ry symptom of m dness . If this were true many collectors must long ago h ave been a a i pronounced ins ne , for they beg n collect ng when they were at and a and i i i school, h ve gone on forming mprov ng the r c a ollections ever since . Indeed , the converse seems ne rer the truth— the collector keeps ever young and need not die i aff a unt l he wants to . Such is the relief orded by hobby s from the troubles and cares of business . It is not nece sary r a to spend la ge sums of money in making collection , pro v ided th at the collector is prepared to devote his leisure

i an d a a al and has a . to collect ng , lso is speci ist cquired know ledge by his special study which enables him to buy what he wants at a reasonable price . e a a a a as e a The r m rks th t h ve been m de to medi v l pottery , ma a which y h ve been common , but could not be called - a a so a i . be utiful, do not pply to the called enc ustic t les - The tile maker paved the ﬂoors and sometimes ornamented a l e and a e as as the w l s of the church s the mon steri s , well e and a of the hous s of the nobility, , coming into cont ct with a i and e e a e a i the le rn ng r ﬁnem nt of the g , he rose bove the med ocrit - his an y of the pot maker, and became, in craft , artist . W a ial s a o a e ith no other m ter th n th se we h ve d scribed , the l la in as a a h ti e took its p ce the scheme of ecclesi tic l rc itecture, and i did not suffer by compar son with the other details . a o ri M G w In fo tnote of the B tish useum uide , the riter a - a s ys , with much truth The ill considered word enc ustic has been widely adopted as a generic term for medie val 46

48 O L D POTTE R Y

burnt in a kil n t take for granted has been . I f, on he other is l hand , it app ied to the slip ornament that is baa /u in ta il e ss a the in g lios of those t s which have impre ed p tterns , it ” v a inlaid As is not so sugg esti e word as . a rule , the tiles a a s were of red cl y, bout four to ﬁve inche square and an h s inch in t ickne s . They were made, and had reached a a as a as t an hig h st ndard , e rly the hirteenth century, d a e ri are the ex mpl s of this pe od , which we illustrate , in the M a du British useum , h ving been g out of the ruins of Chertsey A bbey . It is quite probable that these be autiful tiles were m ade r e l a . k in the gre t igious houses by the mon s , who were in

- P A VE M E NT ﬂm B I m N A N D B R I STO L CA T H E DR A L

n i t and a ﬂue ced by Cont nen al especially It lian art , and a a r ri e W they kept the process of m nuf ctu e st ctly s cret . e can imagine these O ld craftsmen matching themselves with an the scul ptor d the carver, under whose hands the stone and wood seemed a new nature anim ated with angel and ghoul ; grotesque and fant astic man in all his moods ; ani s and ee rs and c e n mal birds ; tr s , fruit , ﬂowe , things r epi g t n le. oo s e i numerab Then , , the wall were brig ht with sup rb fres coes frse h from the hand of the master painter— perhaps a n in his saw wi s brother mo k who , turn , the ndows blu h c ai las rosy red, as the perfe t st ned g s told the story of hope l o ile for evermore . In his cell , a one yet not l nely, the t e e and a e h e maker d sig ns the pav ment , m rks the siz s and s ap s i e S the a na e of his t l s . hall surf ce be or ment d by incised es ns i ? or impr sed desig , or by ra sed patterns Shall they S U I T G L A Z E W A R E SO M E CO L O , U R E D . en t b M L y r. G . S toner.

50 O L D P O TTE R Y

- u a ? R i be inlaid , or painted with slip colo red cl y ghtly he a as and decides th t , the raised the incised patterns will i a ai de n soon show signs of wear, he w ll dopt the inl d sig , and use white or coloured clay to ﬁll the hollows made by

a . n the st mp on the clay, when it is dry enoug h The to a the kiln ; but ﬁrst , before ﬁring , powdered le d ore was dusted a on , which combined with the red body to give rich reddish w a and hi a e bro n surf ce , with the w te slip to give no l ss

. all k n a n rich yellow tone Thus, wor i g with si gle aim , the i w as and a e the . house ﬁn shed, the best g v their best to best a s o h lai The e rlie t tiles were of one c lour, the w ite in d l e a diﬁerent rs and ti s were succeeded by inl ys of colou , the raised pattern seems to have been discarded at a very early a a a th period , but it re ppe red in the b ser work of e seven n K - tee th century . ilns for tile makin g have been unearthed at Mal F a i S vern , Droitwich , rr ngdon treet , London , and a W G W S ff various pl ces in orcester, loucester, iltshire , ta ord

and S . A a shire, hropshire mongst m ny other old churches , C a W Ma P ri C the h pter House , estminster , lvern ory hurch , i Ca a G e a a and C Br stol thedr l , louc ster C thedr l , hertsey

A bbey show ﬁne examples of these medi aeval tilse . The a a ill ustr tion of stove tile with letters of the Tudor period , 1 8 -1 60 m a E a t s are i d 4 5 3 , y be nglish , though the u horitie ncline to assign it to G ermany rather than to E ngland in the reign of Qu een E lizabeth . CHA PTE R VI

G R E Y BE A R DS O R BE L L A R M I NE S

E have noticed the pots made at Cologne called drink in stone ottes and a a a ce r g p , we st ted th t the e rly pie s we e w as i the u without ornament of any sort . It not unt l fo rteenth century that even the crudest human heads appeared on t them . Later, in the second half of the sixteen h century , these G erman an d F lemish wares were more highl y decorated . They received the name of Bellarmine from Cardinal Bellar 6 d 1 2 r. w as a rs u mine, who die in He determined pe ec tor an a of the reformed religion , d the Protest nts seized upon h a him a a t is method of showing their h tred of , so th t his h rd features and squat fat f i g u r e became the standing joke of the alehouse and the by f word o the people . Ben Jonson calls the Bellarmine A jug a a f ced with beard , that ﬁl ls out to the ” “ e s and a A gu st , ag in larger jug th at some men call a Bellarmine ” a but we Consci ence . Many of the old wri ters PO R E N E L L A R M I N E IG B S . make allusions to its ”

at e and . a an general use alehous s homes Uds bud , s ys a E som Wells ri ctor in the play p in a d nking scene, my ' ’ ’ a e n e t - he d b gi s to turn round l t sin o the house . Tis 53 PO TTE R Y

’ W a B onus dark . e ll h ve one Bellarmine there, and then ' F s a a nacras. rom the e s me pots or mugs with the h rd mouthed visage are no doubt deri ved the vulg ar names for th a a and man and e hum n f ce, for the muddled with drink — " therefore silly each w as a mug . In 1 635 a patent w as granted to David R amsey and others a a a sea c l for new method of he ting boilers by me ns of oa , which invencion is alsoe very useq for the Dryeinge of b a T les . Bricke , all manner of y , etc and a oe th t they

B E L L A R U I N E CA R O L I A N N E N L SH B E L L A I I . G I R N E . have found out the A rt e and Skill of Makeinge and Dyeinge all s e P a T les S u s of ort s of nne y , tone J gg , etc which nowe Straun ers F orrai e Par s arem n . ade by g in g tes , etc The partie - concerned were bound to pay one fourt h of their proﬁt yearly E ! W a into the xchequer h t were the products of this factory , was ac e ? We F or the f tory ever start d do not know . ulham et i e a e and Lamb h have y eld d wasters of uncertain g , and it is quite recently that we h ave been able to piece together John ’ Dwight s history as a F

54 POTTE R Y

a a a potteries of E ngland . They were usu lly m de of lig ht l and e a co oured clay turn d on the wheel , the p ttern being a e a a a — ﬂow ers l scr tch d in the soft cl y with sh rp point , scrol s , S a a s w as s and other designs . ometimes ﬂower or initi l pre sed

as a e r w as. es on the front , just the greybe rd d co ation Th e

L I 'I A M — W A R P U j U G STO N E E .

s ar a and a e a . e rly piece thick, h rd, very dur ble However , it is but little we know of the men and their work in the W a i e h . s xt ent century here, for inst nce, were the kilns of G as a A s and G u a i p r ndrie y J nson , fore gn potters , who estab

' lished at N I x O , a a a the a orwich , in ‘ f ctory fter f shion of F and a a a i w landers , m de decor tive w re wh ch as called les ' poten es gracieuses de l a rei ne E lizabeth Did they make the tiger ware and the Bellarm ines CHA PTE R VII

P U Z ZL E JU G S

HE a s e ear t e vill ge inn , be id s using the greyb d , the s on u and - u and e j g , the ale pot , had its puzzle j g puzzl cup , a e ers e both of which were f vourit s with the villag , who enjoy d the fun that res ulted when the uninitiated spilt over them selves the good liquor that w as drained at a draught by s e e those who knew the secr et of the jug . The e jugs w r per forated as i u t s in the neck , will be seen by the ll stra ion , and ri m e so t a the the had thr e, ﬁve, or even seven spouts , h t o e o t ale c uld not be drunk in the ordinary way. O n sp u a alone g ve access to the contents . All the other spouts had to be lo a c sed by the ﬁngers , as well as hole hidden under the top of the a n h ndl e . The by suction at the a i spout the invit tion often g ven , ” Co a me, t ste me if you can ,

was a . ccepted The late Mr. Henry ’ Willett s old Staﬁordshire now e ri M enrich s the B ghton useum , where there are several of these

. are a jugs Two white, p inted t an i cri wi h ns ption in blue . The earlier one is ascribed to 1 670 e a t w as ua m x cm — oo or th re bout , and the o her c. r7 . a 1 bout 750 . The ﬁrst is Lambeth co er N astl e delft , the se nd Liverpool. A noth is ewc earthen ” ar ri e i a - tin c F in and w e, p nt d w th fox hun g s ene, The d,

e 1 82 0 . O f the e ce is s re plac d about same dat and pla a lu t d , 55 56 90m m!

’ ri e and o re u atin the F t p nt d , col u d j g , illustr g riendly Socie y s ” Da F east and the Club y . the

R A MP TO N R O WN W A R E - ESI N A NO T H E R E R A I PTO N 0 6 B B D G 1 . I R E E N L I F.

s a in en e t r and at j ug were ﬁrst m de the sevente th c n u y , the beginn ing of the twentieth are still being produced on

' w . — w e w rz wooo p uzz rx 0 6 1 6 1 . 1 , 9 em u : J un 1 7m csrrrmw .

the old model s. r to or as B amp n, , it is sometimes cal led, C s er eld re— a r n he t ﬁ , wa b ow ware of a remarkably hard

PUZZLE JUG S S7

— and durable quality embodied the puzzle jug in a variety me e at of shapes and sizes. someti s with d cor ion of ﬁgures s and designs in relief and sometime quite plain . They

were ﬁrst made centuries ago. The earlies t dated pieces

1 6 1 68 and 1 6 1 . a a are 74, 4, 9 The l tter d te is found on the u w j g ith an inscription , John ” We w is a dg ood , which the e rliest example of the celebrated n ame of Wedgwood occurri ng on pot ter a a y . John ppears to h ve been born in 1 654 and to have died in 1 0 -ﬁv e the 7 5 , twenty years before

We ood was . u dg w born His j g , like many ex amwes by Thomas t e r the n e Tof , b a s ame of the p rson

In contrast to the Wedgwood puzzle jug is a puzzle cup of unusual shape of Lambeth delft bearing the arms of the Drapers

1 6 . Company, and dated 74 This was two years before Van Hamme took out his patent with the oh ect n j of maki g tiles , porcelain , and earthenware at Lambeth bu t more w ill be said on this in - " m“ cup -m m " ou rr the next chapter . It is probable “ , ha rs e 7“ t t , yea b fore , pottery had e de it at b en ma in London , not Lambeth . To the same the e period in s venteenth century belongs the jug with a na -a and a a - s ke h ndle bird for mouth . The slip ware of this w as n clay, reduced to a wash by addi g water, and applied as s a as in the l t two ca es as w h for the whole vessel . So m s w as meti e , however , it dotted on or trailed from a — spout the common method of decoration— at other times w w it as combed ith a tool such as grainers use in imitating

ds, u i a various woo tho gh w re, or even le ther, w as used to ce the produ marbled appearance . Lastly , the ground was 5a ow 9 0 m m:

- and a w as coated with one colour slip , then the surf ce wash a applied and the desig n scr atched through . The l st illus o a trati n dates from the early p rt of the last century . It is a ﬁne example of the hard comp act while earthenware and a ra n and of Leeds , is most el bo te in desig careful in

execution . Jewitt thus describes “ it : The upper part is orna mented with punched perfora and c u tions , the entre of the j g h o is open t r ughout , having an 0 p e n ﬂower conventionally a — on tre ted either side , between which is a swan standing clear in u the inside . The j g is painted and with borders sprigs of ﬂowers , and is marked with the usual E E S PO T impressed mark , L D O f course it is well known that Leeds ware is gene a a - r lly cre m coloured , but the col lector should remember that the while Leeds ware is deserving of — m m W A R E "A R “ D L E E DS a a ent n speci l tt ro . Black transfer

m m v ‘ printed pictures , such as The and M a a Vicar oses , with the old ballad h ving the same n me , are a has found on this white earthenw re , which often the ﬂeece— a — a a golden the rms of the borough of Leeds as m sk, dependent from the spouts of the jugs . Transfer printing a 1 is said to h ve been adopted in Leeds as early as 780 . Ma a ny of these old jugs h ve other inscriptions , such as

H ere en tl eme come r our Skil l , g n , t y y ’ I ll hol d a w ag er if you will Tha t you drink n ot this L iquor all W ithout you spill or let som fall

60 O L D P O TTE R Y

h Van his a 1 6 6 Dutc man , Hamme, who took out p tent in 7 , w a - as the successor of line of local delft workers . These

T O R P E R O R E E N L A Z E P T CH UD I D G G D I E R S. had are made the Lambeth wine vessels , which even now ' Ma a a a a not rare . ny of them h ve d tes earlier th n Van H mme s

CO L O R E L A M E T H E L T I TH CE NT R . U D B D F , 7 U Y

and a a a a a patent , this early w re is in speci l f mily, having f a pale brown or bu f body, covered with white enamel , and LAM BE TH DE LF T W A R E 6 1

a r s being altogether harder th n the common fo eign pecimerm. - a - as Besides the white wine pots , or s ck pots they are named, a and s s a othe tiles , pl tes , jugs , mugs , di hes were made , al o p ’ - a ls a and . All hem caries l be , wine bin l bels , pill slabs of t and a i t s are were painted in blue, covered with th n ran p nt a S ure lead gl ze . hortly described, the process of manufact was this — The prepared clay was shaped and baked into a u a a a r ina bisc it st te , resembling in colour p le red o d ry w r- a e ﬂo e pot at this st ge . Then it was dipped into a v ssel ni and r contai ng tin enamel ground to powder, stir ed up

M A O L CA S H — EA R L 1 TH CE NT R J I DI Y 7 U Y .

a a a in w ter till it could hold no more . The w ter h ving a a out , ﬁne co ting of the white powder was deposited ov er

a . a w as the entire surf ce The p inting , in blue , done on - this soft , dusty, non adherent coating of tin enamel which — would scarcely bear touching a fact which may account for the crude painting on the E ng lish specimens as compared a with the ﬁne Dutch work , in the l tter case skilful and artis

tic , in the other , coarse drawing or a clumsy imitation of r ns. A impo ted desig fter the painting was completed , a c a and r r thin o t of vitreous , the efo e transparent , lead glaze was a r in pplied either by a second dipping or by sp ay g . Most 62 O L D P O TTE R Y

of the painting was done in blue, but coloured delft had also received attention . A R P 1 6 2 a a the oyal roclamation , before 7 decl red th t “ import ation of coloured earthenware to compete with a a E a the n tive product , but l tely found out in ngl nd ,

w as a l . So unl wfu , and should not be permitted delft E f — a s rinlded nglish del t is found with coloured decor tion , p a and m n mang nese purple yellow being the co mo est , then a black , green , puce , and poor brownish red . Three a c dishes are given as illustrations for comparison . The rti les

L A M E T H E L E T SH I T I ‘I CE N T R B D DI , 7 U Y. made were mainly things in everyday use ornamental pieces a are Pew such s the puzzle jugs rare . The dish with the ’

t A a 1 6 a 1 6 in . te ers rms , d ted 55, bout ; in diameter, now B M in the ritish useum , is well worth seeing ; so , too , is ar a P a i a and the rem k ble specimen by l ssy, oval in sh pe , a about 1 8§ in . long . It is held by some that the delft w re E a e n made in ngland, in various loc liti s , is not to be disti u he g is d from the ordinary kind of Dutch delft . The latter ’ is often marked with a factory or maker s mark . Lambeth a a delft is never marked . In addition to wh t h s been said a a of the p inting , comparisons , carefully drawn , show th t - LAM B E TI I DE LF T WAR E 63 the Dutch body is composed of a ﬁner and more carefully a is s r prepared clay , th t it ofter, that it rings mo e clearly,

a nd h . d t at it is whiter , and has more lustre Lambeth elft is characterised by a rosy tin t due to the paste showing through the thin glaze ; by the common E nglish fault of the cracking or crazirrg of the glaze ; by the greyish tone and a ri of the blue ; by unusu lly quaint insc ptions , which n the worth studyi g in museums , not only in London , 1 0 re are a but in the provinces . few specimens of these

ra n-u rr p u rr m an 1 6 B , 55.

M O n a inscriptions in the British useum . set of six delft a e a and a 1 8 pl t s e ch has one line of inscription the d te, 73

1 . What is a Merry Man ?

2 . L et him do What he Can

3 . To E ntertain his G uests

. W W M 4 ith ine and erry Jests .

5 . But if his Wife do frown

~ 6. All rr ima G o me es down .

B E E ME R R Y AN This is another, D WISE , 1 660 . A i has R C A R B I R th rd I H D CHE T , on the neck of a 64 pom nv

u d R N TO jug , with the motto ro nd the mid le , D I K THY ”

F RE N R E ME M E R E N E . D , BVT B THY D s or e as w The simple t f ms of Lambeth pott ry , sho n by ' s r a al c r a ar es s sketche f om ctu spe imens , we e the pothec i pot , du a s on which are, even now, g up in various p rt of L don . ar and a e The forms are simple but v ied , the decor tion is quit — The simme too a conventional scroll in mang anese purple . c io F r most interesting is the one with the ins ript n in ench, ’ A R has r - P te a La eine , which the c ossed L s , the well known Sevres mark the glaze is a slightly -r as bluish g ey white, and the p te a all very light red, just like the

others . These may be worth only a h l in a a few s i l gs e ch , but they indic te quite the beginnings of Lambeth pottery as contrasted with the ela borate forms and decoration before

described . - The drinking vessels vary in size and shape from the cruskin to the - Ti e posset cup and sack pot . cruskin cruske , cruse , or had one

handle like a cup . Usually they r a and we e quite plain earthenw re , the common shape was l ike that i of ordinary basins . The pipk n w as m or porringer very si ilar . a cru had a l s The e rly se two h nd e , but w as a a as u n it alw ys bottle , ﬂ k, j g , or cup for holdi g : F or G od liquids . Bickersteth wrote , let David wit ' i r and s ness , puts His ch ldren s tears into His c use write ” ma i them in His book , from which it y be nferred that - the cruse was allied to the tear bottle of simple v ase “ shape . The cruisken of whisky is a usual form of r s m de exp e sion in Ireland, where , however, they are a of — - wood . The godet or goddard an other drinking cup much — in use was a large cup or bowl in which spiced liquor was m x and ri e s oon c anions. i ed and drunk by gossips f nd , b omp S A L T L A Z G E B E A R j U G . 6 p. 4]

66 O L D POTTE R Y

W u a premises . Said he , ell , I wo ld not give you penny C m more than two gu ineas for it . o mon specimens are a 1 0 1 are u e worth about th t , ﬁne ones £ to £ 5 but if they mo nt d and are in pewter with a lid they are worth more , they very valuable when mounted in silver of an e arly date . The word a Sack is painted in blue on the pot , with just few curves a below . This is the usual decor tion , thoug h the second one shows a crown with the letters G R and it is mou nted Sa a in pewter . ck me nt , a - t ﬁrst , the lig ht coloured Spanish wine ; afterwards it w as applied during the seventeenth century to all S the strong , white, outh i n ern w nes , disti guishing them from the R henish and e other red wines . Th se latter were sc rv ed in pots m a exactly si il r , except for t h e s u b s t i t u t i o n of

C L A R E T f o r S A C K . a C a w as made P 1 6 2 O rigin lly , l ret PO SS E T CU , 3 . F a in Médoc , r nce , but the a E a a n me, ﬁrst given in ngl nd to any Borde ux or other red has a a l but wine, been extended to such as C liforni n c aret , F is not used in this sense in rance . Before leaving Lambeth delft a few words would not be amiss regarding the dishes on which were portrayed dis in uished n a i t g perso s st nd ng , or enthroned , or mounted on ia and h a . C a . and a . W orseb ck h rles I II J mes II , ill m M u A P i E u Ma ary, Q een nne , r nce gene , the Duke of rlborough , and a a are few other portr its the usual subjects . They show more of the home — the purely E nglish— work than the a l l a other dishes we h ve previously i ustr ted, being roug h a l a pieces en mel ed on the face only, the b ck being simply a - a l a a ma le d gl zed , or on y sme red over with the gl ze , which y occasionally be found tin ted with such colours as are used on l a a e tortoiseshe l w re . The dr wings ar quaint but not artistic ; L A M BE ‘I ‘ H DE LF ‘I‘ W AR E 67 - are u a the colours d ll , on a somewh t dirty greenish white and is a e a enamel blue is largely used , found in d sh d cor tion on the rims . N o doubt in the early development of Lambeth some - pieces of foreign origin were copied and re copied . But it is still more likely that advant age w as t aken of the services a ma a of Italian and Dutch workmen who were ble to nuf cture ,

sa ck uG 1 6 sa ck O TT L E on PO T cru mmie 1 1 . j , 53. B ,

at e o d the works , pieces which resembl d th se pro uced in o So a their wn countries . th t the Lambeth pottery family w as really the product of the several London potteries which were working for a period ex tending from 1 637 to 1 70 2

a and a . aff speci lly, onw rd from then till now St ordshire a a S S a claimed to h ve m de these dishes , but imeon h w, whilst n a eﬁect a produci g evidence to th t , discounts it by st ting that delft was introduced into Staﬂordshire by Thomas 68 O L D PO TTE R Y

Heath at Del h ab0 ut 1 1 0 ! C c , Lane p , 7 The claim of the o kpit P a s t a Hill ottery , Derby , c nnot be sub tan i ted , because its history cannot be followed farther back than the eig hteenth l century . The artistic excel ence of the celebrated Doulton ” at P estabLished 1 81 products The Lambeth ottery , in 8, ifi n M . St So and those, too , of essrs at The London ” a 1 1 s Pottery , est blished in 75 , deserve the hig hest prai e .

m m 131:e H UG .

- h w Barrel shaped, 5} in. hig , painted ith birds, insects, “ ﬂowers in blue. A rou nd the rim is inscribed William

E liza beth Borg es : 2 4th A ug ust, and da ted under the - handle i 63a A lthoug h the white g lazed surface of this mug

~ somewhat resembles sa l t g lase, it possesses qual ities which mark

it as L ambeth of early date. O ther mug s with inscribed names “ “ as W such J ohn L emar) , 1 634, and J ohn illiamson,

if in m thm warq come into the same class of h mbeth delft . CHA PTE R IX

B R ISTO L DE L F T

a S a a era 2 1 — our N the l ws of hotoku Taishi , J p nese 37 era 1 71 1 — the seventeenth law says : Import ant matters should only be settled after due conference with many men . T in a ma a are riﬁ g m tters y be decided , bec use they not so a f i a u m terial in their e fects ; but we g hty m tters , on acco nt far- a of their re ching consequences , must be discussed with a wa many counsellors . It is thus th t the rig ht y shall be A a found and pursued . pplying this to the e rly history of E a c pottery in ngl nd , one would like to hold a conferen e i a m and of collectors w th the custodi ns of the chief museu s , a a are to h ve their opinions on the m ny specimens which ,

at a . present , doubtfully cl ssiﬁed The comparisons between

a and u . L mbeth , Bristol , Liverpool delft wo ld be edifying We i a - a need not dwell on the buf le d glazed w re, nor the a r a a at e d rk g ey or brown stonew re m de Bristol , b cause such ware w as without means of special identiﬁcation ; ’

a E a . e but it must be noted th t in dw rd I s reign , und r date 1 2 8 a a ro term odienda 4, reference occurs in the rchives , p I ad vasa ctilia acienda a ﬁ l , which pl ces beyond doubt the a a had ﬁctil e at a a f ct th t Bristol works very e rly period . The delft industry began at the close of the seventeenth n - century , and conti ued until lea d glazed pottery became

a . a an are popul r Two f ctories , both producing earthenw a a a tin a body h ving co ting of white en mel , were in operation a n R a F at the s me time , one belongi g to ich rd rank , which w as founded by an unknown potter and acquired by F rank a a an s in the e rly p rt of the eighteenth century , d old by R a 1 88 a Joseph ing , in J nuary 7 , when delft ce sed to be 69

MI CRO CO PY 11 550 1 0 t 1 25 1 cun t

A RT N 2 (A NSI a nd ISO TEST CH 0 . )

L u i s

Z I . S I . 6

A P P L IE D IM A G E I

1 65 3 East Mom Street

Roch ester . New York M GO9 USA ( 7 1 6 ) 48 2 0300 Phone 2 88 5989 For 70 porrenv

and w as F made ; the other founded by J oseph lower, who

1 N o. 2 u a C S in 777 removed from on the Q y to 3 , orn treet , M a E a - a F where ich el dkins painted sign bo rd for him , lower ,

P . N ow M a E 1 61 a a otter , ich el dkins , who , in 7 , m nuf ctured ’ w as a ai a F Bristol glass , p nter of delft w re in rank s works , " m a a E . the pl te given as n illustration has the initials M . B .

s (Painted by Michacl E dkin . )

and . a 1 60 or his wife Betty It is d ted 7 , when he ’

F a . a a a left r nk s This rr ngement of initi ls , where the upper letter w as the surnam e and the lower ones those of the d o a an was . husb nd wife , quite comm n a a W a E w as a The gr ndson of the p inter, illi m dkins , a and a and collector of Bristol pottery , chin , gl ss , his collection ’

w as a o at S . a dispersed years g otheby s The next pl te ,

7: P O TTE R Y

G eo M Church , Bristol , was formerly in the logical useum , Jermyn Street ; and the Willett collection had the March ” - to F in c hley similarly painted on seventy two tiles . Tile the a s a cat do ts pictures for ﬁrepl ce , repre enting and g , in se e at u of nine til s , were one time frequently fo nd in Bristol

s . e and a and a house Besid s these pl tes dishes , delft te poys - and punch bowls may often be safely ascribed to either F rank

F . a a or lower The bowls , seldom d ted , show v rious designs , l commonly in blue , but also in red , yellow , and purp e . The li are as w as a as out nes sometimes in this l t colour , which pplied

P a inted b B ow en ( y . )

a i hi had n s a mottled ground , le v ng compartments w ch Chi e e

e a in . P s fig ur s , flowers or convention l ornament blue rofe sor Church says A pproximate dates m ay be assigned to some a of the ext nt specimens of Bristol delft , by noting the form F and a . or a as f shioning of the pieces ex mple, in the c e of l a l sa 1 0 6—1 p ates , those of the e r ier period , y 7 735, resemble an a at their Dutch prototypes , being without y fl nge bene h , and having either simple curved sides and a nearly flat

a and a . bottom , or steep sloping ledge then sharp curve uri 1 —1 m D ng the second period , 735 745, the outer ledg e or bri s a wa ne rly level , the circumference was frequently cut or B R ISTO L DE LF T 73

a a a w as lobed in six divisions , the re of the centr l portion reduced and a ﬂange w as added beneath . Some intermediate an a a 1 a d transition l forms occur , but , bout 755, the ﬁn l form w as c a t reached , whi h is seen in the m jority of the ex ant a s and a ex mple , which closely resembles th t now generally

E L P T E — H W H D FT L A W ITE U PO N ITE . a dopted for dinner plates . The body of Bristol delft is a f a and d r generally light bu f colour, d rker re de than the

u . has a D tch delft The enamel often greenish blue tint , a a thinner and more op que th n the Dutch , very uniform in ’ a a colour and texture . It is cl imed th t F lower s ware was thinner and neater in m ake th an most Bristol delft the glaze 74 O L D P O TTE R Y

and a and — good , the colour cle r brilliant in tone indeed , in no res pect inferi or to the Dutch . Usually the Bristol blue w as a a l employed under the glaze r ther du l blue , and the decoration w as either copied directly from Chinese patterns m a C e . or from the Dutch , who the selves imit ted the hin se O ne kind of ornament is said to be peculiar to Bristol delft this is the use of pure white enamel as a pattern upon the - t greenish white body of the ware . This whi e upon white " r a co a a is known as bianco sop o bi n . The s me decor tion is a e a found on bowls , bout seven inch s cross , with the outside i O ri a and a a pa nted in ent l style , the interior with ch r cteristic bianco sopro bi anco decoration an d inscribed Success to the

R ST O L E L T O W L B I D F B .

British A rms . These would be worth about A p proximate pri ces for other pieces would be — Dishes from 1 2

1 6 . i i m a N a to in in d ameter pa nted in blue i it tion of old nkin , d and £3 to £4, if in goo condition of ﬁne quality . The smaller a a pl tes from 7 to 1 0 ins . in di meter depend for their value

the a . a ai sa largely on decor tion Those co rsely p nted in colour, y a l a and e a a 1 0 are with ady, gentlem n , tre s , d ted bout 74 , worth t 1 5 . 1 a and a a a a 5 to £ e ch , the s me v lue would be tt ched to hose — - slightly sketched in blue , with the white upon white border . Smaller bowls are generally worth about twice as much as a a a a and o a a pl tes h ving the s me decor tion , b ttles bout the s me

as . P ri a v re . bowls ces , howe er , rising The specimens in the ri M m a and A M a S B tish useu , the Victori lbert useum t outh at M a Kensington , and Bristol useum , deserve special ttention .

CHA PTE R X

L IVE R P OO L DE L PT

HE a s a a s as s co rse ware of medi ev l time , such pitchers , jug , ” s d the dishe , and muggs , were ma e, without doubt , in e e pot works of Liv rpool , but the r cords only commence with 1 6 a : F or e 74, when entries ppear in the town tolls ev ry cart i load of muggs shipped into foreig n parts 6d. Was th s delft W a h We do not know . h tever the seventeent century produced a cannot be traced , but early in the eig hteenth century a A W s P e G a C d ted plaque, e t rosp ct of re t rosby,

E A L L R T R Y IVE PO O L P L A E .

M M ff- l now in the ayer useum , shows the bu coloured c ay, a a fi a sme red with ne white cl y, then painted in blue and ’ . S a A an glazed This came from h w s Brow works , where lderm S a a ars an h w must h ve been working for ye , if this piece is y e E t st . very merch ant of note w as concerned in the net 76 m -s vi oor. DE LF T 77

work of kilns which covered the Brow . In 1 790 no fewer a r n e e at e the th n 374 pe so s were ngag d these potteri s , so a wa a output must h ve been very lar ge . The early re has i w as ainted blu sh ting e, and p in blue . - Many of the delft punch bowls painted with a ship belong

S r . O h a i to the haw pe iod ftentimes t ey h ve inscr ptions , such as Ma M C M l the one in the yer useum , made for aptain etca fe , a The G olden L ion es who comm nded , which was the ﬁrst v sel

L H E L L A E IVE R PO O L R A DI C P T . that sailed out of Liverpool on the whale fishery and G reen a w as s his r r his l nd trade, and pre ented to him on retu n f om o his l r a o an sec nd voyage by emp oyers , who we e c mp y com r o a posed of the principal me chants of Liverp ol, in the ye r Not ls and h only were punch bow mugs made , but c ar r fish the il l s pots or dishes for cha , of salmonoid fam y, p ate , i e and r - -e a c d sh s , d ug pots were delft , with the tin n mel whi h ’ e s distinguish s this class from other wares . F rank s Bri tol was a bu - and t was ab o delft fi colour , the Liverpool delf ff- a e h bu colour . The f ctori s followed after Lambeth in t is order i t s e : e . o of t me Bristol, Liv rpool The early Liverp ol ile vari d s as and a in thickne s to much as an inch half, which is the 73 O L D PO TTE R Y

thickness of the plaque in old Crosby Church dated 1 72 2 . O a a e a a e 1 2 8 1 1 8 ther e rly d t d pieces be r the d t s 7 , 753 , 75 , ’ and so on . The site of Shaw s works on the Brow was ex a a 1 8 and a c v ted in 57, the discoveries made indicated th t w as a a a a d Liverpool delft m de of co rse cl y , re dish or pinkish ainte and d . white in tone, p in blue The a a — a a a a next n me is one ne rly forgotten Z ch ri h B rnes . He w as born in 1 743 an d

died in 1 82 0 . He w as noted as the maker of wall ’ and ars tiles druggists j , or - a drug pots . But m ny of a oc the l rge round dishes , ta onal a and e g pl tes , dish s for dinner services and - potted ﬁsh pots were from his factory in the old Hay a a m rket . The l rge round dishes were mainly used in Wa les , where the house hold fed from the common dish by dipping their

spoons into the food . These large coarse pieces were plain thick whi te

delft . Liverpool delft is

" a ' PO T O I E R PO O L E L decidedly inferior to e rly DR U G L IV D FT . a - L mbeth in its tin enamel, but immensely superior to all other factories in its transfer ’

in a . a a print g decor tion B rnes s tiles , bout ﬁve inches a and a a a an are squ re bout qu rter of inch in thickness ,

and a a . A a better potted h rder th n the Dutch ones g in , the e e a O f e are a dg s of the b cks the Dutch til s quite squ re , whereas the Liverpool tiles h ave the edges bevelled so as to give a a a r better hold on the cement . The e rly tiles m de by Ba nes r i n l an d a n e we e used for l ni g wal s ﬁrepl ces , for chim eypiec s , ainted and they were p in the Dutch style with ﬂowers , land a a a sc p , ships , groups , etc usu lly in blue, but other colours

80 O L D POTTE R Y

a e n u i a t p p r and the ce comm n c ted to the ware al er it is glazed. " i he manner in which this continues to be done here remains i " st ll unrivalled in perfection . The Sa l w as a John d er, the engraver, kindly soul . When waste or soiled impressions c ame from his engraved plates he i m t used to g ve the to the children , who stuck hem upon the ' broken fragments from Sh aw s Brow pottery and m ade orna ’ n s me ts for dolls hou es . This evolved the idea of decorating e e S pott ry with printed pictur s . adler invoked the assistance O f G u G , a di shO and y reen stu ous youth who frequented his p,

sow n, 1 . 1 VE R P oor. p u rr .

n i . together they succeeded , and entered i to partnersh p They r a an l i e had found out how to t ansfer print to ename led t l , just as Janssen had found how to transfer it to an enamelled

i a di i . metal , but the r method seems to h ve been very expe t ous i a r There is a record show ng th t the two partne s , without as a i t i r es sist nce , pr nted wi h n the space of six hou s no l s than a f The twelv e hundred earthenw re tiles O different patterns. i i e a c t pr nt ng colours w re bl ck , red , and purple, or pu e, wi h a a A a m s S aw green sometim es dded by h nd . lderm n Tho a h an G ilbod ti A 2 1 6 to eﬂect d Samual y cer ﬁed on ugust , 75 , this , and stated further that Sadler G reen have been several - - E A R L Y E X P E R l M E N T A L j A S P E R ‘VH I T E T E R R A G O T T A .

So l th F ds ent b osiah W ed w ood Sons. me o e in . L y J g

82 O L D PO TTE R Y and a w as a caric tures , etc . It not likely th t other potters e a and e ectiv e a would n glect such novel fi means of decor tion . w as a W s . a ed Be ides , it very che p Therefore we find Josi h g o a a in a and t and wo d p cking his w res w ggons car s , even using a his a a a p ckhorses to convey goods , not bly his cre m w re, to a G a ri a dshir S dler reen for tr nsfer p nting . O ther St fior e s a We at a a ri potter did the s me, though dgwood l ter pe od carried on this kind of work him

self . Specimens of this Liverpool printed Wedg a are a wood w re r re . The transfer printing is t e markable for the sh arp ness and clearness of the av i a engr ng , which g ve beautiful transfers for the excellent quality of the print ing ink ; and for the

superiority of the glazes . Though tiles furnish the greater number of the

pieces now in existence , - transfer printed m u g s

s a . are jug , te pots , etc , not uncommon some of them were made by Sadler G had an L E R PO O L P R N TE W E W M A R reen , who ex IV I D DG O O D K .

tensive business as potters . A W a Sa G e a propos of edgwood w re printed by dler r en , — curious teapot is i n the Brighton Museum Willett Collection — which bears on one side an engra ving of a mill to grind old eo l e oun a ain h a p p y g g , and on the other , wit in border of “ ’ l a a ad M l M i O ld fo iage, b ll entitled The i ler s aid gr nding ” Men Young Again :

Com e ol d decre it l ame or b l i nd , , p , , , d I nto m y mil l to take a grin .

Visitors to this museum will be keenly interested not so much LIVE R P O O L DE LPT 83

es as a r in the ﬁnen s of the pottery, in the illustr tions of histo y

a a d W w . O t and social events . The te pot is m rke edg ood her designs of this printing include a lady pouring out tea for a a and O a gentlem n , on the pposite side verse

K indl ake his i t of mine y t t g f , T h e if t and iv er I ha e is thin e g g p , ' A nd th o the v al ue is b u t small , A l ov in heart is w orth it al l g .

P assing from the consideration of the pri nted decoration to

T I L E L E R PO O L E L T , IV D F .

at Ma the other potters who worked Liverpool, it is to the yer Museum there that we must look for authenticated examples G a h ad a of the work of eorge Drinkw ter , who pottery in

Duke Street . A i a a R a C ff — nother interest ng n me is th t of ich rd ha ers who, a 1 2 a an a e bout 75 , fter serving pprentic ship to the famous ’ A a S a a S a lderm n h w, took some sm ll works at h w s Brow , and a at — - - — m de , first , the ordinary delft blue and white for some years . He succeeded in placing his ware amongst the A best of his time . Curiously, it is merica which supplies ’ “ fine old specimens of Chafiers delft . He export ed a 84 POTTE R Y very large portion of his manufacture to the then E nglish ” ff rs e his colonies . Cha e carri d on works for many years , i and and his making both ch na earthenware ; on death , which — was the result of his affection for his foreman Podmore m from whom he caught the fever, some of his work en a A ri a e emigr ted to me c , though a few of the b st hands were and Stafiordshire r employed by Wedgwood other potte s . a a 1 a W. R eid formed comp ny in 753 , or there bouts , and 1 6 as founded pottery works , which in 75 were known The

R E E R SE or r un L rv znroor. w orn U G snow m c A L AN SCA PE V J , D P E R I O A no 1 0 - D ur 77 75.

h a Ma a an a C d s a . Liverpool in nuf ctory , m de all kind of w re

His work is little known , but from his advert isement in the as - ar L iver ool A dvertiser l t mentioned ye , in the p , he seems to have possessed an uncommon and enterprising spirit Samples sent to any gentlemen or ladies in the country who ” a A a will p y carriag e . nother n me , which stands out more m w as a S P i t pro inently, th t of eth enn ngton , who , wi h his r r s h ad a a s b othe s , Jame and John , e ch his own pottery . J me , e a the eld st , produced only the common kinds of w re . He m a e n a a see s to h ve b e somewhat of fool, for he gave aw y

LIVE R P OO L DE L F T 87 by Penning ton after he had served his apprenticeship with A a d n remarkable delft bowl , h ving the imensio s

" ” omp t im z — D r u A G A R N I T U R E c u cu p rr .

a a R st ted bove, was given by obinson to ’ the P otteries Mechanics Institute at H an i ley . This w as pa nted outside with a C n a a and s a hi ese l ndsc pe , in ide with group and oa a of ships b ts , h ving the inscription A a a S . bene th , uccess to the fric trade G a eorge Dickenson . The inside p rt of a a the bowl , bove the centre , was decor ted a i with trophies , separ ted by various k nds A m M of shot . si ilar bowl in the useum at S a outh Kensington is of the s me size . “ S h 1 M onmout 0 . uccess to the , 77 " S I sabell a are uccess to the , types of other

. a inscriptions The ﬁne v ses and beakers , ll a given as i ustr tions, were bought from ’ S P i n and eth enn ngton s o ly daughter, though e they are not delft , they serve to show to what excellenc A of t s s he had brought his work . group Dutch delf va e 88 O L D PO TTE R Y

a are set out for comparison . The pl te is

wi . S S ch ere delft , th a portrait of Dr that is , Henry a ev ll.

sn E L . u v roor. D FT who was impeached by the Whig G overnment before the House of Lords for preaching ag ainst the A ct 0/ Tolerat He a o a 2 tta ined immense p pul rity died in 1 7 4.

CH A PT E R XI

SL IP WA R E

- E saw that delft differed from the green g lazed Tudor ware mainly in the substitution of a tin glaze ; the a So l r . body unde went but little ch nge with s ip ware, the style a a — — of decor tion changed, but the m terials the clays were and 1 2 2 a i simply more more reﬁned . In 7 Thom s B llin invented a method of making the most reﬁned earthen

with help of clay and other mater ials found in We n r him k ow nothing mo e of , but we do - kn ow that in the twenty seven years from this date no less a than nine p tents were taken out . They seem , however , to have eﬁect w as had but one good , which the general irnprov e r ment in the deco ation, mainly seen in pieces ordered for 89 90 O L D PO TTE RY

— a special functions to commemorate birth , a marriag e ,

as s . Christm , or ome other event The common ware was manufactured from clays in the s vicinity of the works , blunged , or mixed in water by mean d a u of a blunger or woo en instrument like shovel . The p g d n a mill for grin ing , mixing , or temperi g cl ys was not yet a invented . The pl in red ware which was produced from this clay w as decorated with slip at the end of the sixteenth a S a a w as century , but this is not d ted . lip w re orn ment E a a at not conﬁned to ngl nd , but seems to h ve been used a F F and about the s me period by the lemish , rench

P W a i potters , and even by the ortuguese . h t is sl p It is i an a a s mply y coloured cl y reduced to the thickness of cre m , d a a a u an pplied by me ns of spouted vessel , pon the surface a n - be ore w to be decor ted , bei g sun dried f it as glazed and

e . S a a fir d lip is commonly white, applied to d rk body, bu t i ma a dark and coloured sl ps y be found on lig ht body . If used as a wash the body was hidden if the body w as then a a r efi ect w as c combed with toothed tool , ma bled produ ed . a e d and n as r Ag in , wh n the bo y the overlyi g slip w h we e dry l a enoug h to be hand ed , designs could be scr tched throug h — m r a in a a a to. W the th l yer of slip process ter ed g fi hen , as a a l a sometimes h ppened, the slip wash was pp ied as paste m a n for orna ent tion in low relief, it was k own as barbotine . The coll ector will have some difficulty in assig ning the

92 O L D PO TTE R Y

and S f i early specimens : two counties , Kent ta fordsh re , a each claim a large number of pieces, but the inform tion W S v available is very slight . rotham in Kent , between e en an M had a oaks d aidstone , pottery in the middle of the seventeenth century which produced the ordinary red or an l brown ware ornamented with white d coloured s ip . This a a m a was pplied in p tches or bosses , someti es st mped with a a — a a ﬂeurs- ﬂower , spread eagle , sw n , or with rosettes , de l a lis , crosses , etc . The usual s ip and dotted p tterns were

r rr r rr 6 - rncrsrn PA TT E R N w no A n n s , l 99 .

all dropped or trailed upon it , and over was the yellowish lead glaze . The examples in the British Museum are dated 1 62 1 1 a a from 7 to 7 7, though the initials ccomp nying the a as w nom am re WR O THA M 1 0 d tes , such ; , . 7 3 ; W R O THA w M . R . s. C . R . 1 6 a . , , 59, h ve not been identiﬁed The Staffordshire slip generally has not so great a variety a i W m e of decor tion as the sl p ware of rotha , neith r is it so

ra . A t a m l d elabo te the s me ti e it is equal y interesting , ating as a 1 660 and R it does from bout , when Thomas alph Toft , - a with other potters , made the well known large , somewh t a — 1 1 8 a irregul r , round dishes 7 to in . in di meter and nearly — . r a 3 in deep which bear thei names in l rge letters, su e WA R E 93 and have both decoration and name put on in coloured l n — slips . Their style was adopted by the fol owi g that is , m k rs c if the names on the dishes are those of the a e , whi h — a R m . 1 681 R r is sometimes question ble alph Tu or, c oba t 1 1 6 W Chaterl 1 6 6 Shaw, 692 ; T. Johnson , 94 ; illiam y, 9 ; W 1 00 W R 1 02 Wr 1 0 illiam Talor , 7 ; . ich , 7 ; John ight , 7 7 G and W i S R S s Joseph lass , Thomas ill am ans , alph imp on, n a a — Mar ere Nas M a d G eorge T ylor . Two n mes g h and ary — Perkins are on two dishes in the British Museum . The body of the Toft ware is the common coarse reddish - or buff coloured clay— ﬁre brick clay— washed over with white slip w hen a l ight ground O n w as wanted . this the a a at border, usually l ttice p and a u tern , the chief fe t res in the orn amentation were laid in a reddish or black-brown -l slip . Then orang e s ip com leted p the colouring , dots of white slip were added to the i a and trailed sl p p ttern , the whole was glazed with the lead — R E W R O T H A M G L AZ E D R E D W A . glaze that gave a yellowish an a O ne a tone both to the ground d to the decor tion . c nnot

assume that these dishes were made for domestic use . It seems much more likely that they were bought as

curiosities and used for ornamenting the home . The London a a museums h ve quite a number . Three t South Kensington a i a e . h ve the name Thom s Toft below the d s gn , on the rim ’ ’

at . Toft s works were Tinker s Clough, near Shelton The name is supposed to be derived from the fact that the cloug h or dell w as noted in olden times as a resort of g ipsies and

r . a a n tinke s Toft w re is rough ware , but it shows nothi g E of foreig n influence . The nglish potter of the period is l a u seen in it at his best . It required no smal mo nt of skill a a a a to tr il p ttern with a free hand on a l rge piece of pottery . The old pot works ex isted in various parts of E ngland 94 O L D PO TTE R Y

Wa a a and les , and we h ve seen th t the artist was none the less an artist because at the time when the Court of Charles I . Van was singing the praises of Dyck , he , in his village hamlet , a and rendered to the best of his bility the King , the lion - a a the unicorn , the double he ded eagle , or the portrait of a a lady holding a ﬂower . L ter , the s me sentiment of loyalty G R a a C R W R . . . C prevailed, so we h ve . . or for h rles II W G ul ielmus R ex ai eﬂi but illiam or , in qu nt gy , it is true,

“ ” m p A E 6 1 p rr cmzn su W R , 1 8.

i n even delicate lines . Before the potter stands the r a a a i a co e dish of reddish cl y , with co t of finer wh te cl y N ow covering the inside . , with the vessel filled with slip , having a spout in which a quill w as inserted when fine w as a a work necessary , he lines out r pidly the p ttern which has him x he before , or, possibly, the desig n e ists only in

. G a a a l his mind r du lly the surf ce is covered . The trel is a a iece de resist border bec me lmost conventional , but the p “ ance a n n r , the ttempt to realise The Ki g , or some ki d ed i subject , the ev dent desire for something which should be

96 O L D POTTE R Y

a l The m terials used for colouring the s ips were few. The l a rich yel ow tint was due to the g lena or lead glaze , and the slip colours were those in use by the delft m anu facturers as a well , though these pplied them with a brush , r f r as may be seen in the colou ed del t . The red was och e an a u u a m g nese ore f rnished the c rious purple, whilst a more or less vivid yellow c me from ochre . Collectors of - E nglish pottery value specimens not al one of slip ware a - and dishes, but lso of the tygs , posset pots , pitchers , a fount ins of the same period h aving sim ilar decoration . F a 1 660 to rom bout the close of the eighteenth century , ar a a slip w e , though roug h , held high position mongst potters , not perh aps such elaborate forms as are presented in the a a as a a illustr tions except for present tion pieces, but st ple a a a a m nuf cture in brown w re with yellow tr ceries , which was gradually superseded by the ﬁner and U I L serviceable - a a m i nd tin en melled delft w re of La beth , Bris Liver

pool . Barbotine or moulded decoration is not usually associated a o with the Toft school . The slips were pplied from m ulds , so that many raised outlined patterns could be taken am P from the s e mould . rofessor Church thus describes a a : piece of this w re The roug h brownish body , the a and difier r white cl y slip , the yellow g laze do not f om the a specimens of the Toft school , but the piece has been m de a on form or mould, whilst the design is quite orig inal . The 8 1 6 a a dish on page 9 , which is 5 inches cross , has border of - a r . small det ched scrolls in brown , on the white slip g ound a a a a a The central , or m in decor tion , represents pl nt with single stem from which spring some leaves and three large a a flowers , the centres of which resemble hum n he ds ; on An either side of the uppermost flower is a dove . oblong

a M . l bel bearing the letters S . occupies the middle of the are dish . The details of the design slig htly sunk in the i are a white sl p, but they bordered on either side by ridge , - the sunk space between being ﬁlled in with an ochre yellow ” See a 8. or a deep brown clay . p ge 9 The British Museum and the Victoria and A lbert Museum

L D P O E R 98 O TT Y

Cobrid e un W . M by Samuel Meir or for him by eir of g is There seems to be no reason why the slip potters

“ A N O T H E R P E L ICA N m H E R P rE rY .

— L P A R E M O U L O E D D E CO R A T I O N S I W .

O f Burslem and H anley should not have progressed from the - somewh at irregular wheel turned dish to the mould for form ,

- a . and from the slip pot to the mould for barbotine decor tion SLIP W A R E 99

all o e a e a e as the W am This is the m r prob ble b c us , in roth

a a e e are ex a e w w re , so in the Toft w r , th re mpl s sho ing the m e r a e two ethods of slip d co ation on the s me pi ce . W and a E lers a e o S af as hen John D vid c m int t fordshire . a and e a 1 6 0 we sh ll see presently , worked ther from bout 9 1 1 0 the a o u w as a e a to 7 , decor ti n they sed l rgely reli f orn me a a O f a m m etal stam s ment for d of pplied p ds wet cl y fro p , or m ma as W d a m a a as . A it y be , edg woo st ted , fro l b ter oulds ’ n atural result of the revelat ions of the E lerses sccrets by john

- M O L E E CO R A T O N R S. U D D D I .

Astbury and Twyford would be that the neighbouring potters a a a a O f soon le rnt to pply their orn ment by me ns moulds . a a a a A The coincidence of d tes is rem rk ble , for Thom s stbury , 1 2 son of John , commenced business in 7 3 , which is quite close 6 a 1 2 S M . . O n to the 7 on the dish with the initi ls all grounds , a a a as r a a therefore , it ppe rs s fer to ibe the b rbotine slip w re Staﬁordshire a a an k w to the potteries , r ther th n to set up un no n a a e umuel M Ma Ma as Derby potter, mythic l eir , yer, or re , a O f a the m ker these pieces in Derby pottery . Contemporary history seems to point in the same direc ’ . P S a b tion In lot s History of t ffordshire , pu lished in 1 686 a , he s ys 1 00 O L D POTTE RY

The greatest pottery they have in this county is carried - at near N ew cas e de - e for on Burslem , tl un r Lyme , wh re making their several sorts o f pots they have as many different a e di a o n a ll sorts of cl y , which th y g round b ut the tow s , w a a l a es ou a ithin h lf mi e dist nce , the b t being f nd ne rest

A M E S T O W — O L E E A G L F j D UB .

and are and e the coals , distinguished by their colours us s , as follows

CL AYS F O R T HE BO DY or T HE Porr E R Y

1 a a - a . Bottle cl y , of brig ht whitish stre ked yellow colour . ar ﬁre- a a a 2 . H d cl y, of dullish whitish colour, nd fuller ters erst a a in p with d rk yellow, which they use for a a their bl ck w res , being mixed with the R ed a a 3 . blending cl y , which is of dirty red colour . W a a bl 4. hite cl y , so called , it seems , though of ewish and a n -c a colour, used for m ki g yellow oloured w res , because yellow is the lig htest colour they make any

ware of . All i a a of which they call throw ng cl ys , bec use they are a a nd l of closer texture , wil work on the wheel .

1 0 : O L D POTTE R Y

a a i a the wheel . they prep re the cl y by steep ng it in w ter in a g a square pit , till it be of due consistence then they brin

e - oa w a s a a a it to their b ating b rd , where ith long p tul t hey be t ’ it till it be well mix t ; then being ﬁrst made into gre at

’ ' ‘ S T C L P S L I P A N D MO U I D I D ECO R A T O N . T Y G O R I O S E . D I

w e a s l w a ein oa , squ ri h rol s , it is brought to the g g b rd h re it e a and a e is slit into ﬂat thin piec s with wire , the le st ston s ’ n or gravel pick t out of it . This bei g done , they wage it ,

- S L I P W A R E P O SS E T CU P .

a a and a kne d or mould it like bre d, m ke it into round ’ and balls proportionable to their work , then tis brought to ”

e and a o . the wh el , formed as the workm n sees go d - The description of the various processes of the slip ware SL I P W AR E t o3

a an d d a a and n t m nufacture ecor tion , gl zing , bur ing is bo h interesting and i nstructive .

A peu cn ron or O R N A M E NT

When the potter has wrought the clay into either hollow

ﬂat a e a a a a , or w re , th y set it bro d to dry in f ir we ther but

' a the a by turn ing them s y see occ sion , which touk they c all w hav ing : when they are dry they s them ,

nd a s as . i . a. u t a a , p e rs h ndles to such ves els require them

su p -w a ne PO SS E I‘ ' cu e 1 6 , 90 .

a ei i a n These lso b ng dry , they then sl p or p i t them with their a i a o d as sever l sorts of sl p , cc r ing they designe their work , a s when the first slip is dry , l ying on the others at their lei ure , a i r and and the or nge sl p making the g ound , the white red a a the p int which two colours they break with wire brush , a a e w a much fter the m nn r they doe hen they marble p per , a and then cloud them with pencil when they are pretty dry . A are a a a fter the vessels p inted , they le d them , with th t a a sort of le d ore called smithum , which is the sm llest ore all a n and of be ten into dust , fi ely sifted strewed upon them u which gives them the g loss , but not the colour all the colo rs a c the being chiefly given by the v riety of slips , ex ept motley r i t man colour , which is p ocured by blend ng the lead wi h ’ a m call d n . g nese , by the work en mag us But when they 1 0 4 O L D P OTTE R Y h ave a mind to shew the utmost of their skill in giving their a a a a wares a fairer gloss th n ordin ry , they le d them with le d a s an d c alcined into powder, which they l o sift fine strew a upon them as before , which not only gives them hig her a a gloss , but goes much further too in their work , th n le d ore would have done .

B UR N I N G i n r un K I L N

are a A fter this is done , they c rried to the oven , which is nd a a ordinarily above 8 foot high a bout 5 foot wide, of round

SU P-W A R E O W L 1 B , 755.

are a a copped forme , where they pl ced one upon nother from the bottom to the top ; if they be ordinary war es such as

c lindricall . a are a are y butter pots , etc , th t not le ded , they a and all ﬂat a exposed to the n ked ﬁre , so is their w re though

a hav ein a i . e. it be le ded, g parting sh rds , , thin bits of old pots m put between them , to keep the from sticking together : a a but if they be le ded hollow w res , they do not expose them a m shra ers a to the n ked ﬁre , but put the in g , th t is , in course ’ all d a a met pots , made of m rle (not cl y) of divers formes a as a ccording their w res require , in which they put com u a a a mo ly three pieces of cl y c lled bobbs , for the w re to stand k shra ers as on , to keep it from stic ing to the g ; they put

1 0 6 O L D P O TTE R Y

S af ma a Staﬂordshire t fordshire , we y note th t in some of the - churchyards slip ware headstones are to be found with the a am usu l red or brown pottery , orn ented with slip either of - — S m am a or . the s e colour th t is , red or brown with white o e a O ne are even inl id . most interesting piece in the British m a Museum should not be issed . It is either tombstone or an a a - a a a a In Memori m w ll t blet , with somewh t el bor te O n and . designs in slip , incised it will be found the old distich

W h thi V en s . C. R m m M e e ber ee.

There are just a few other considerations which must be borne in mind when seeking the place from which slip ware in i a . O ne a a or gin ted is th t the poorer slip w re , without

a n a a at an . volved p tter s , could h ve been m de y pottery The second is that the artists who drew the various orn aments in

slip probably migrated from one pottery to an other . The a W a a m a a a third is th t , whilst roth m w re y occ sion lly show some signs of the influence of foreign potters who are s aid to a K Staflord h ve settled in ent in the sixteenth century , old E all and a S f r shire was nglish throug h , the l ter ta fordshi e an d fi ure — a Toby jugs g s were E nglish too . The slip w re made in Sussex at the end of the eighteenth and ear ly in the nineteenth century is chiefly remarkable for minute inlaid am orn ents . CHA PTE R XI l

W HI E L DO N W A R E

O L L O WI NG the slip decoration and the scratched grafiito s ra iato a a or g fl orn ment tion comes the combed , tortoise ar a a a are shell , m bled , or g te w res , which of such interest a — a a a — had a to the collector . The l st the g te w re solid d a a ff F or x a bo y of cl ys of di erent colour . e mple . red ice er a a a v v s . veins in yellow cl y , or This process is an and can a a a a old one , be tr ced in e rly pieces of J p nese n n a a pottery . It consisted in thoroug hly refi i g e ch cl y by an d a a -off itself, then pl cing sliced piece of one colour upon a a -off a a simil r sliced piece of nother , so th t the result showed - the two coloured clay all h E a t rough . rly pieces of solid ag ate are uncom a re l mon . The s me su t w as aim ed at in the marbled ware by means in e li of t t d s ps. The brush by which the thin clay w as applied w as dipped W H I E L DO N CL O E W A R E UD D . into one colour and ap a plied to the piece , to be immedi tely followed in a similar w a a a y by brush dipped into nother colour . The result w as a a quite good m rbling . The surplus slip was usually wiped W w off . as an the base hen this not done , accumulation — at a tears formed the b se , which in old specimens will be found very much rubbed , owing to the weig ht of the piece u . n a u was pon it In combi g , the s me res lt produw d as when

1 1 0 O L D PO TTE R Y

a had a at F outdist nced him . He pottery Little enton , or F 1 0 1 80 enton Low , from 74 to 7 . where he produced much w m a A fine ware ; but he as indebted to Tho s stbury , John ’ A stbur s a e m y son , whose body or p ste includ d new ele ents , and a ground flint with Devon Dorset cl y , roug hly potted at a and a a a first , but improving l ter , giving gre t v riety of a o ec s e a ffi fine sh rp work . The c ll tor will find con id r ble di culty e a a 1 2 0 in assigning dates to e x am pl s which are e rlier th n 7 . 77 mm that date onwards for twenty years the progress just had x w described been going on , whilst during the ne t t enty years extensive use w as m ade of scratched blue

and other designs . Josiah Wedgwood and A s S A a tbury , pode , ron W G a an d G a ood , rner , re t bach were associated with ’ Whiel don s w ork , not alone in the early pro - duction of knife handles for the Sheffield cutlers and snuff-box es for Bir mingham factories to finiS h W and r oa rorszsu su . w a ne ca o u p . ith boom a hinges , but lso in the a u new W w as a e rly fig res , so much in request . edgwood a 1 1 and ma a a p rtner from 753 to 759, it y be ssumed th t when he left F enton Low he only continued the manufacture of ag ate and tortoiseshell ware till such time as his experi a - a ments resulted in the discovery of his cre m w re , which practically destroyed these wares and soon also took the an place of salt glaz e d delft . Th is assumption opens up a a wide field . How m ny of the unmarked figures ascribed to Whieldon were really m ade by him The chapters on - Staffordshire figures and Toby jugs make further reference ’ ieldon s to Wh productions .

CHA PTE R XIII

F U LH AM W A R E

O W G O x w as an HN M . A C C D I HT, of hrist hurch , ford ,

' — a a a w as . rtist in cl y th t is , if he his own modeller His a a 1 6 1 and 1 68 two p tents, t ken out in 7 4, give but little n a a a a a i form tion as to the mystery of tr nsp rent e rthenw re , am a a and commonly known by the n es of porcel ine or chin , of

a a a C . P a a a stonew re , vulg rly c lled olog ne r ctic l potters decl re a a al a a th t his ctu recipes would not produce tr nsp rent , or even

a a a a a . tr nslucent chin , but only ﬁne op que stonew re This contention seems to be borne out by the specimens which

h ave been recogn ised as the production of the F ulham works . The Chinese made no distinction between true porcelain that which is translucent— and the grey or red bodies which E a in E ngland would be classiﬁed as stoneware . ven en mels o P are included in the term they use for p rcelain . Dr . lot , " r O x a who w ote of pottery in his History of ford , tells bout ’ a a Dwig ht s discoveries . The Cologne w re the Hessi n “ w e t and a a as a a are ; ar h , white tr nsp rent porcell ne st tues

a a a are . or figures of the s id tr nsp rent earth , all mentioned The figures were diversified with a great variety of colours a and a - as A a - iron , copper , br ss, p rty coloured , some ch t stones O a a are a ther w res specified in the p tent m rbled , n - a w w blue a d mouse coloured stonew res . D ight as born d at F a 1 a 1 6 an 0 . As a bout 37, died ulh m in 7 3 his first p tent 1 6 1 a a a a d was taken out in 7 , he must h ve m de his tri ls n ’ a P experiments some consider ble time previously , for lot s a wr 1 6 8 a e a a ccount , itten in 7 , st t s th t he (Dwight) h th set ’ up a manufacture of the same which in three or four years time he hath brought to greater perfection than it hath attained I [ 2

F ULHAM WAR E 1 1 3

e nd ed where it hath been used for many ag s. I e . the statuettes are quite deserving of all praise . Triumphs of ’ ’ " P C and art a r . the modeller s the potter s , s ys rofesso hurch “ Undoubtedly the ﬁnest and most orig inal productions of an E o ' a y nglish p tter indeed , it would be h rd to ﬁnd their i a n equal among Cont nent l wares . It is nothi g short of

" R l N Ct R PE R T P L H A N — B R I TLS H n uam u — aoueu t P U , U ron £ 39 1 8a astounding to see this sudden and brilliant outbu rst of the ’ potter s genius at a time when the greater part of the country had a r l not adv nced beyond the crude , if pictu esque , s ip ” M a . w res . Such is the verdict of the British useum 1 68 rs w as for In 4, the ﬁ t patent expired , and it renewed Wh F another fou rteen years. en did Dwight come to ulham 8 1 1 4 O LD PO TTE R Y

1 68 a a It must have been long before 4, bec use the p tent recites as HA RL E S m a SE CO N D a G od follows C , by the gr ce of , e etc . , to all to whom these pres nts shall come , greeting .

WH E R E A S G entl . a e John Dwig ht , , h th repres nted unto us that by his owh e industry and at his ow ne proper costs and a a and ch rges , hee h th invented sett up F a u Middx a t ul h m , in our co nty of SE VE R A L L N ew MA N U F A CTU R E S or "

A R T HE N WA R E . F or a E , etc bout forty

“ o T A T m n w rcrrr ST O N EW A R E n aA S E TT E r u u u . . , U , L H A M FU .

a a a and years Dwig ht must h ve c rried on his investig tions ; , o c a an e th ug h few colle tors h ve y sp cimen of his work , there a a must be m ny pieces which h ve not been identiﬁed , still m a S in ex istence . This is the ore likely bec use his son amuel l 1 at in . A kept the business til he died 737 fter this , in n i a Warl and his l part ersh p with Thom s , widow continued til 1 6 the i e at his 74 , when bus ness failed ; to be revived wh n ,

1 1 6 O L D PO TTE R Y

a a a a w as i e tions for new found tions , v ult or cell r d scover d , in which there w as found quite a number of greybeards or - fin a al e . e w e Bell rmines , pots , etc Th se ere the stone g orges m ade in E ngland to displace the O ld Cologne im

e w as a a . portations. This obj ct tt ined m s e a e o The i men e numb r of stonew r b ttles , jugs , noggins , a n d other measures m ade for everyday use displaced the

a D w as . pieces made in G erm ny . wig ht clever He

O - — CT O R A A N D R us L A DW i c H r l A L B r r n r u m. YDI , 73 4. VI I O HT F O R 1 8 B UG £ 5 .

a a a as - m de contr ct with the gl s sellers of London , who covenanted to buy only his E nglish —made stonewares and We a a to refuse the foreign . repe t the st tement that there must be many of these specimens in existence only waiting m a a identification . It y well be th t some of the readers O f this book have pieces in t heir possession worth a pound are and e a or more , which lying unknown , negl cted bec use i 1 862 a Mr. a a at a a unknown . In , B yl s obt ined s le about - twenty fiv e ex tremely interesting specimens of the Dwight ad a factory which h been kept in the f mily . The A rt F ULHAM W AR E 1 1 7 j ournal had an account of them as follows : The first is a a a a dish , s id to be one of dinner set m nufactured for the a O f O f especi l service Charles II . It is round form and

a z 6 . l rge si e , being 4} in in circumference . The groundwork a a a is rich blue , ppro ching to the ultramarine ; it is sur a a m a u rounded by bro d bri ne rly fo r inches wide , formed by a graceful border of foliag e and birds in white and shaded ' i al n p e blue . The whole of the centre is occupied by the

” L A DW i oH r rU L H A u . sr A r usrr s L H A u . YDI , , rU

a a and roy l rms , surmounted by its kingly helmet , crown , a are the lion crest . The rms themselves encircled with ' a h l - H om g rter, on w ich is inscribed the wel known motto , e a and a soil qui mal y pens . The rms supporters rest upon a groundwork of foli g e , in the middle of which is the motto, O f o r Dieu et man Droit. The workmanship of this piece cr cke y i a a a and a set s of very superior ch r cter , dinner of similar ” ware would make many a modern one look poor . There may be other examples of this mag niﬁcent dinner serv ice 1 1 8 O L D POTTE R Y

a and then ms far ext nt , the owners do not know is by the O the am finest early E nglish work . ther specimens of s e - Sa ow period include brow n ware figures . turn is sh n with a a in a a child in his rms , which he is devouring , ccord nce a N with his agreement with his brother Tit n . J upiter , eptune, Ma A M a a as oa rs , donis or ele ger , ccording the b r is conqueror d are a a or conquere , types of the cl ssic l figures which were a a a a a a a m de . Ch rles his wife C therine of Br g nz , J mes II ' ' his ueen Ma d E ste are a o ar fq ry , mongst the contemp r y figures , which include gentlemen andladies of the Court of Charles II

O N E O F T H E O R E S O N F U L H A N MP R E E G G F U D , I SS D

I N T H E CE L L A R . O R N A M E N T .

F a and u a lor , the curious ﬁg re of one sleeping or lying upon a D d d Ma rd pillow , inscribed Lydi wig ht , y rch the 3 , I n O ld o a the notebo ks John Dwight refers to Lydi Dwig ht , his a w as 1 66 and d ug hter , who born in 7 died in her seventh year . a and A e Mu This little ﬁg ure , now in the Victori lb rt seum , is

an em a art . un unique, exquisite g of cer mic The opport ity of the collector is to study specimens which h ave been acquired by the nation then the pieces which are now neglected a are a O will be appreci ted . There m ny pinions with regard a a to the w re itself. The truth is th t it resembles the common r a a C a a g ey h rd porcel in from hin , v rying from pure White

a . a F to greyish white Then there is the gl ze . rom careful

CHAPTE R XIV

P L A CE ’S W A R E

A L PO L E F a P a dis gives some notice to r ncis l ce , who Cov an a and a ered e rth for , methodof making porcelain , a at Ma at w hich he put into pr ctice the nor House , York , of a a a w hich manuf cture he g ve Thoresby ﬁne mug . His pottery - cost him much moneys he attempted it solely from a turn for e t but C and experim n s ; one lifton took the hint from him ,

a . a made fortune by it Thoresby , in his book Duc tus ” 1 1 P a and a a L eodiensis, 7 4, mentions l ce his w res sever l W a o a at W times. riting b ut a white cl y found ortley, he

fri Mr. a cites his end, Houg hton ; he tells us th t the ﬁnest u and a a are a m gs , even chin w re , m de of this sort of earth , of which we m ay make as good in E ngland as any in the ” e a s and am world, and th n he rem rk , this I fully convinced m E of, having a specimen in this useum made of ng lish materials in the Manor House at York by the very ingenious P Of Mr. F rancis lace , who presented it to me with one the outer coverings purposely made to secure them from the ” ﬁre a n violence of the in b king . The only know specimen a a K of this kind of earthenw re is now t South ensington . It cu a a a a a is a p with h ndle , of thin gl zed greyish or dr b w re

and a a 2 . and with streaks of brown bl ck , bout } in hig h , a a a nearly as wide at the top . There is n rrow raised b nd ’ a Was T hor b around it some dist nce from the top . this es y s ’ a a W and cup , or nother which c me into alpole s possession was sold at the Strawberry Hill sale ? Walpole described a c ff - a it as o ee cup of this w re ; it is of gray earth , with a and a a streaks of bl ck, not superior to common e rthenw re . ’ An O ld a Wa n pasteboard label , prob bly in lpole s writi g , is 1 2 0 ' - w s Dow oon . F L A q x s D rt sm s s.

W T H ST E E L M O N T S N N I U E A L E A D P A L M E R . J A SP E R O T-TO N A N D \V BY B U A T T . o p . n }

CHAPTE R XV

E L E R S’ WA R E

E must now t ake the story of old pottery to S f 1 6 0 ta fordshire , where two Dutch potters , in 9 , W far u at a . erected kilns not from B rslem , Br dwell ood Here they made a ﬁne red ware in imita tion of the red

O a . a u and rient l The cl y used w as d g on the spot , the production of a h ard compact body of a g ood colour w as a enh nced by the excellence of the designs , in both form

’ — sw as w a ne cu p A N D sa ucz n m ruzu z r .

F - and decoration . rom the clumsy liquor pots of the seven - teenth century to the eleg ant teaware of 1 690 1 71 0 made

Ble a a . by John P hilip rs was not step, but a le p True, - a w as . te drinking , though denounced , becoming common a tea a C a i Pepys sent for cup of , hin dr nk of which he ’

S 2 1 660 . R a a s had never drunk before , on eptember 5 , gg a in 1 6 tea w as r Di urnal tells us th t , 59, sold in almost eve y w as street in London . Two pounds of it thoug ht a gift 1 2 2 ’ E L E R S W A R E 1 2 3

a a K . 1 6 8 are worthy of the ccept nce of the ing But , in 7 , we M a a told by r. Harry S ville th t some of his friends have fallen into the base unworthy Indian practice of call ing for ” ea a a and t fter dinner in pl ce of the pipe bottle , and that

A ra b ia n tea w w l s dish ater to a dish of hey .

The World giving a description of a model country a : a is tea bu t rector , s id His only rticle of luxury , the doctor says he would forbid that if his wife could forg et a f her London educ tion . However , they seldom of er it but to

’ — u sa s w a n t sa un a su aosszo oursm s.

a less than a ound will last a the best comp ny , and p ” h a tw el vemont . This shows th t Blers seized the opportunity and a a s met the dem nd for small , delic tely ﬁni hed tea an f f a d co fee services ; for co fee , curiously enoug h , c me into a a tea and vogue bout the s me time as , met with similar

. a 1 a opposition In f ct , in 675 , proclamation was issued for - and r all f . coﬁee shutting up supp essing co fee houses But , tea a and r like , soon became favourite drink , the shops, whe e

was . is a v s it sold , places of general resort Th may be di er ion dia has n from our imme te subject , but it this con ection : - had C na E the tea services been imported from hi , and lem 1 2 4 O L D PO TTE R Y

e o a made the Chinese or J apanese ﬁn dry red p rcel in , with - h tea a w as ea , t e ornaments , his model . His w re not ch p for -ﬁv e l each at red teapots sold for ten to twenty shi lings , the London warehouse in the Poultry where David E lers was

P . Blers O f , . manager . course , with such opportunities I strove to keep his manufacture a trade secret . He did a a w as a not p tent it , though the ﬁrst p tent for pottery t ken ull n out in 1 62 6 by R ose C y , of whom we know nothing

u s an dbottells. but that their patent w as for stone potts , j gg , Their extreme precaution to

keep secret their processes , and jealousy lest they mig ht be accident ally witnessed by an y purch aser of their wares — m aking them at and Bradwell . conveying them by night over the fields m a to Di sd le , there to be sold , being only two fi elds dist ant

’ — G-N sw a s W A R E R E D P I G I . from the turnpike

gave them much trouble . all and They tried to keep their operations secret , only - engaged half witted men to do the roug h work . These they locked up in their several rooms and examined closely when a they left at night . Str ngers were warned off ; but soon John Astbury and Twyford— who g ai ned admittance as workers a — a a and a by fr ud m stered all there was to le rn , g ve their and knowledge freely fully to the Potteries . s a 1 1 0 E l erses a The equel c me in 7 , when the g ve up their an S m sa Staffordshire factory d moved to Lambeth . o e y they left because of the emphat ic protests of the inhabit ants against the dense volumes of smoke caused during the process of - a i r u a u salt gl zing , wh ch b o ght all the m ster potters of B rslem — — in a a . E lerses eight dism y to Br dwell The left , but the work they had done had an immense effect upon the P ot r a the a E lers terfes . The potte s le rnt the use of l the , which had applied to turn out far thinner and more uniform ware a b a than the wheel lone could produce . This e decor ted

1 3 6

r an a o ba w as used by othe d l ter potters , th ug h it pro bly s N o t a al o employed by B iers himself . frag men s of red w re have been yet discovered near the site of his works at ’ a W d a at a . S stem at Br dwell oo , nor t the store Dimsd le y excavations at these two localities ought to clear up some of our doubts as to the true attribution of pieces now com m only given to B lers and his imit ators and successors ih a A t h a discrimin tely . present , when we t ink we h ve identified an a are undoubted piece of the original w re , we often sud denly disillusioned by finding a piece identical in form and a a a decor tion , but of body which is known to h ve been devised ’ a E le da a of a a fter rs y, or with orn ments historical ch r cter which refer to a t ime when E lers had left Staffordshire and ’ ” a a 0 b ndoned t he potter s art . Let us h pe th at this sugg estion a out and a a will be c rried , th t the work of investig tion will ‘ E lers a all settle the question of real w re once for . In a d a h a and d ition to the red w re of w ich we h ve written , the - a ma a a salt gl ze , it y be th t we sh ll find the common lead a e and a a gl z with tortoiseshell mottlings , even the bl ck w re, ’ u W a a a the prec rsor of edgwood s bl ck b s ltes , were also pro duced a W t Bradwell ood. CHA PTE R XVI

A ST B U R Y W A R E

HE method by which John Astbu ry accomplished his T and an o Blers the object , by improper me s won fr m of a a ma secret of his unique processes m nuf cture , y be con demne bu a a d, t Astbury g ve aw y this knowledg e to the a hi0 Staffordshire potters . He also g ve them the results of w as an irnitator w as own improvements , for , though he , he had a much more . He sense enoug h to ch nge , more or less , a the character of the work of the B ut en . His imit tions

— MYR A L v r nno 1 . a sr nu nv W A R t A D n, 739

were inferior to theirs in the smoothness and ﬁneness of the and a n and a es body , still more in the cle r ess sh rpn s of the nam h a and or ent . T ere seems but little doubt th t he , a a at S a an d a - a perh ps Twyford , m de helton red , bl ck , s lt gl zed

a . A r a f r es w re But stbu y w re is quite dif erent f om th e . The u a a mixt re of cl ys , which formed the body of his e rthenware , r r a — u f a a p oduced potte y of v rious colours b f , chocol te , f wn , a a an or nge , red or yellow . The orn ment was stamped d l e- a so m n a general y in pip cl y , meti es ti ged with purple brown . The a a i w as a ﬁn e co ting ppl ed lead glaze . O L D PO TTE R Y

The elder A stbury— died 1 743— seems to have made ” an a - a crouch d white stone w re , using salt gl ze for a w as some of the pieces and lead for others . His w re W w R a a . a in its turn imit ted by Dr Thom s edg ood , lph

S and a . haw , other potters e rly in the eighteenth century as a 1 80 and these imit ations continued l te as 7 . The other ’ special features of John A stbury s work seem to have beer: an a m i ato a and a marbled d scr tched (or g fl ) w re , , bove all , the introduction of the r i as a use of g ound fl nt , a and substitute for s nd , of the Dorset and Devon a as a a shire cl ys first w sh , l ater as ingredients of the

body . m a A Tho s stbury , son 1 2 a of J ohn , in 7 5 , st rted a a at a f ctory L ne Delph , where he became dis tin uished as a g potter , a n d fi r s t produced a ma cre m ware . It y safely be assumed that most of these early pieces a were unm rked , thoug h now and a ai n an example a sr nun v w a n: mou nt s. g marked A STBUR Y may a a a S indic te rather the work of the son th n the f ther . ome few figures in different coloured clays with a very good lead l a a s S i g ze h ve been a signed to helton , but the ev dence is i and A stbur school a a S sl g ht , the term y is cert inly s fer . uch a a a a a fig ures , usu lly sm ll , h ve spl shes of green nd brown a red a on or brown cl y, often with coloured slip orn a A a ment . The dmir l Vernon bowl is a fine specimen of

Astbury ware .

CH A P TE R X V I I

SAL T-G L A ZE

- SHO R T description of sal t glaze is that it is a pottery glaze formed by volatilising common salt in a kiln in

are a . r a which placed the articles to be co ted He e , vol tilising

i a e . So a e means turn ng into v pour by h at th t pott ry, e - a a a u al r w wh n white hot , is tt cked by the v po r of s t th o n i il a ac nto the k n , and ﬁne glaze is formed on the surf e , which does not in terfere with the sharpness of the designs . a r as e in There ppea s , we have shown , to have be n some i i - and d cation that Dwig ht knew someth ng about salt glaze, Bier a i s -la be that s pr ct sed it , but none of this alt g ze can ﬁ a uff identi ed . The early pieces are of drab or b colour , ” a a P 1 680 - 0 often known s crouch w re . ossibly 9 was the ’ E l rs ar 1 1 x r r d. w e 0 e pe imental pe io Then follo s w e until 7 , and in 1 72 0 a variation was introduced in the paste by the

introduction of flin t and Devon and Dorset clay . The r see a n h esults were n in the increased be uty of the potti g , w ich m e fine beca e v ry and sharp . er 1 60 t s r e The next p iod, till 7 , saw the adop ion of c atch d r designs in blue . Late work in this period was the use of - coloured enamels and gil ded ornamentation on the salt glaze u c h ear bmket- s rfa e , w ilst during the next twen ty y s work - and pierced work after the O riental style made their ap earance as - lea -l p ; but , salt glaze had displaced d g aze, so ’ W r a r er m so edgwood s c eam w re , b ought to p fection , u - ze ar c ure as pop lar that salt gla d w e , thoug h manufa t d late as 1 82 0 c as e er ea r , e ed to be th rival of the fin rthenwa es 1 Th after 780 . e early improvements are ascribed to the b Ast urys. John Astbury tr ied to remedy the drab or but} 1 2 9 9 1 3 0 O L D P O TTE R Y

a a a a colour in crouch w re by w sh of white Devonshire cl y , a a fterw rds used as an ingredient of the paste itself . a - a m a a t The story of the discovery of s lt gl ze y be my h, “ ' A Mr Y ates s a t . S but it is interesting . Joseph , t nley , a a a a S a ne r B gn ll , ﬁve miles e st of Burslem , in t ffordshire , the

e - s rvant w as preparing in an earthen vessel a salt ley (brine) and n a u for curing pork , duri g her temporary bsence the liq id and - boiled over , the sides of the pot were quickly red hot a an from intense he t ; yet , when cold, were covered with a excellent glaze . The f ct

w as Mr. P a detailed to lmer, a potter , of B gnall , who availed himself of the oc and currence , told other " a potters . It is s id that A a at d ms , Holden Lane , an W at d edgwood , Brown

hills , devoted themselves to the manufacture of salt a glazed w re . The ovens a and were very l rg e , from the scaffold round them the ﬁremen cast salt through a e holes , speci lly d signed,

into the interior , where the

heat vaporised it . The ware itself w as enclosed in a a SA L T-L AZ E — P A TT E N perfor ted sagg ers , so th t G R I O U L D . the vapour could easily a an a circul te throug h them , d thus g laze the surf ce of the a a d ordin ry rticles for do mestic use , such as jugs , cups , ishes , a pl tes , etc .

- s There were onl y twenty two ovens at thi time in Burslem . and the special weekly ﬁring up took place on Saturday mornings from eight to twelve . The dense white smoke isa a and was e produced was extremely d gree ble , liken d to f E a i the umes of tna or Vesuvius . The decor tion of th s - early ware w as at ﬁrst of the simplest form ; engine turned

1 32 O L D PO TTE R Y

A and stoneware of stbury Twyford , also of Shelton . But all - a i though they used salt g l ze for some of their product ons ,

a a . they pplied le d ore to others Indeed, there seems to be a consensus of opinion th at the potters added a little red

S A L T -G M I C— TT E R O A T MP R E SSE BU B . I D. lead to the salt thrown into the kiln to make the glaze both and smoother thicker . C a Joseph artledge , of Bl ckley, Yorkshire , doctor of physic, n — i 1 783 4 took out a patent for glazing earthenware . In the application which he made he gives some information with reg ard to the glazes then in use : All sorts of com a are and a b at s mon w re now , h ve een heretofore all time , and all a both in this other countries I know , gl zed either

- — - L E H A N L E TT E R O W M P R E S SE PA T TE R N . SA L T G LA Zl DO UB D D BU B L . I D

-al a re aration of by sea s t , or by le d ore , or by some p p Z lead, ” or of lead and tin united to ground ﬁints or clay or both . Tin enamelling on a blue ground will be found on white n - i a red or sto eware , to which transfer pr nting in bl ck, , violet - S s was often applied for over glaze decoration . ometime SA LT-G LA ZE 1 33

- oil gilding and j apanning were used but generall y the drab - or white surface of sal t glazed ware relied upon its own

i and u . beautiful impressed des gns , received no aid from colo r The distinguishing feature of the surface is a ﬁne or minute a a n pitting , which gives it the ppear nce of leather or ora ge a r i skin . This is due to the hig h temper tu e at wh ch the l e u as a g az was f sed , as well to its h ving been formed upon the ware whilst in the kiln by the vaporised salt combining a a with the silic , one of the constituents of the cl y itself . ' ’ The incremed popularity of Wedgwood s Queen s ware - — lead glazed— was one of the causes of the decay of salt

- ' - SA L T G L A ﬂ O R L O E HA L L T M PO T . I I I D F U B D S PR E SB .

A nother w as the roughn ess of the glazed surface A w . as for use with spoons , etc . , of silver third to be found in its tendency to crack when exposed to chang es of tem

erature. a S f p But for m ny years ta fordshire , Liverpool , S a a and a e and ackﬁeld e w nse , perh ps Le ds J , w re devoted u a u - a a w as to the man f ct re of salt gl ze w re , which sent in a a C i consider ble qu ntities to the ontinent , where it was ag a n a r W and a l ousted by the cre m wa e of edgwood , pr ctical y in w Ma ar a 1 780 it as dying . ny potters e s id to have made a - e a and a - a a s lt glaz w re s lt gl ze ﬁgures , none of the l tter

a e e . h ve as yet be n found mark d Indeed , with the exception a i a n a r r of few blocks wh ch be r the sig tu es of the cutte s , - h a A the early eig hteenth century ware ad no m rk . aron

x36 O LD PO TTE R Y

1 1 0 M u m but from 743 to 75 he worked for John itchell , of B rsle , u a the u an as a mo ld maker . The m king of mo lds was and fi intricate dif cult process , especially at first , when carved e -of moulds only were used , to be followed later by plast r P F a R a aris moulds brought from r nce by alph D niel , at some u time between 1 743 and 1 750 . The carved mo ld had first l to be cu t in sections in some soft stone , usual y alabaster , N according to the shape of the piece to be mou lded . ext a block a c me the , which was thick piece of clay in one piece , e pressed when quite soft upon the outside of the mould, th n F dried and fired in the kiln . rom these earthenware blocks other earthenware moulds

or pitchers could be multiplied , and the seams which showed the sections [of the original carving were utilised as borders for

if a . a and the d ferent p tterns H ndles , legs , and w mi spouts were added , the whole piece

placed in the kiln and glazed with salt . - The decadence of salt glaze ware beg an a o h with the adoption of pl ster m ulds , w ich a i g ve very inferior impressions , espec ally

after they hadbeen worn by frequent use . The poor character of these is emphasised by comparison with the a i a e rl er ones , which were m de in metal moulds with designs a a S - pp rently borrowed from the ilversmith or wood carver . a r a l e l us The p tterns we e m inly shel s , leav s , tendri s , vario and a but te flutings , diapers , frets , co ts of arms ; the pot r f t al was not fastidious . He joy ully set a my hologic subject a C e a a a E by the side of hin se m nd rin , or homely nglish

. n a s s scene Then , agai , the sh pe of the articles themselve are — a o - a - a quite quaint te p ts shell sh ped , heart sh ped, lozenge a - a am - a and sh ped, house sh ped , c el sh ped , so on . The M a ri e i museums of the etropolis show m ny st king sp c mens , which shoul d be carefully inspected . O ne feels inclined to ag ree with Professor Church : The i a and sharp archaic des gns , the w ferlike thinness , the other characteristics of this ware are perhaps best seen upon the a and o e richly decorated sauceboats , te pots , pickle r swe t SALT-G LAZE r37

do t mea t trays of this beautiful pottery . There can be no ub that these things are far more worthy of preservation than many of the E nglish porcelaine and earthenwares which command hig h prices at sales and for m the usual objects of -- are worship amongst the devotees of brie a brac . They a a a i a a c and origin l , but void me n ngless extr vag n es of form a decoration . Duly displayed upon the shelves of cabinet - lined with puce coloured velvet , they hold their own in competition with most of the hig hly esteemed wares of " i E uropean orig n . - ered The very ﬁnest and rarest pieces of salt glaze ware , cov

L T- E R O P SA OW G U .

e e r all ov r with a d ep blue or pink g ound colour , now

W . Staﬁordshire to Littler , the ﬁrst man in to a a e attempt the m king of chinaw re . He commenc d business r hi a 1 and a a a at B own lls , bout 745, few years fterw rds re ve l a a mo d to Longton Ha l , where he produced chin of gre t - e a ar ur . r b auty, h ving simil colo s His salt glazed wa e is s e h and a na ometim s enric ed with black op que white tin e mels. a a a His china has simil r white en mel decor tion . Speci a - a ar e re mens of this decor tion on salt gl ze very ra , and are s n and a - Al so tho e with gildi g tr nsfer printing . ou R S a u h r th g h alph h we , of B rslem , is not mentioned , t e e - r is scarcely a doubt that he made salt glaze wa e . He had 1 38 O L D POTTE R Y

A and and w as adopted the improvements of stbury others , constantly threa tening the neighbouring potters with law i olo a - suits for infring ng his s p tent rig hts , till , in self defence, 1 6 t M they , in 73 , suppor ed John itchell , the employer of

a W a S a a a . A ron ood , in suit which h we brought g inst him a The verdict w as ag inst Shawe . The judge nullified his and a a a a patent , , ddressing the m nuf cturers present , s id , and a a G o home , potters , m ke wh tever kinds of pots you ” a a a a a a ple se , which , tr nsl ted into the n tive di lect , bec me , ' ’ w homm an mak w at soourts 0 ea G ooa , potters , pots y ” iken w as a u l o . This decision h iled with joy in B rslem , and a , indeed , was l rgely responsible for the enterprise and determin ation which ultimately m ade the Potteries the a a and h a a and d a centre of the e rthenw re c in tr de , imme i tely a a a - l a set the m nuf cturers to improve the s lt g aze w re , which 1 0 an 1 60 w as perfected between 74 d 7 . A bout 1 750 painting in enamels on the fin ished ware w u a fl as introduced , the colo rs being fired in muf e kiln , i a - a which requ red less th n the kiln he t used for glazing . a a Cobrid e y an R lph D niel , of g , emplo ed workmen from Delft , d at Bag nall he started works for them so as to keep the proces s of enamelling secret ; but soon other enamellers were at — R s and R work elsewhere obin on hodes , of Leeds , being

especially prominent as advertisers till 1 760 . The earliest - attempts to apply colour on the salt glaze were simply dabs a a of blue or m ng nese , just like those found on pieces having O c a a a lead glaze . c sionally bl ck or brown slip was

a a . S a a used , either in the det ils or inl id cr tched blue w re received its name from the patterns being first scratched on the surface an d then the scratches filled in by the cobalt P r a - dusted on . ottery fig u es in s lt glaze are very rare are and usually they small sometimes modelled by hand , a u a a thoug h the m jority were mo lded , some fter the ntique , a and a O al others perha ps from chin , few in the rient style . — a a and a A nimals r bbits , c ts , sheep , monkeys , swans , h wks as and are not so uncommon the figures groups . The - u a a a do well known j g , the figure of be r hugg ing g , with as a n i the head the cup , has an unusual decor tio , be ng

1 40 O L D PO TTE R Y

- and r i . tea service is almost unique , its wo kmansh p is excellent l f Several orn aments , where the pecten shel is used with e fect , a d e e should be noticed . A comp rison may be ma e b twe n two s - a ze and teapots from the same mould , one in alt gl the T he a - a other in marbled earthenware . s lt gl ze is the smaller, - l a a ﬁercer a , i i because sa t gl ze , subjected to he t d min shed The a a rre more by shrinkage . subject of the te pots is squi l ho] a nut Besi des the several ﬁg ures of F rederi c k the a K P a are a G re t , ing of russi , there some others which ptly illustrate the fact that - Whieldon made salt glaze as well as tortoises hell and the other articles which are w w ar kno n as Whieldon e . The Victoria and A lbert Mu seum has quite a treasure in - a block for a small milk jug R al W cut by ph ood , whose R W . w initials . , ith the date

1 a . ar 749, it be rs There e also several other good u a mo lds , including very a a a cle r sh rp one for cup , and a a e cup t k n from it . N ote that the plain rim has

7 . 0 , e e a “ 0 m m c, ”3 b en roughly d cor ted in “ ” a s c r t c h blue . The S h A c reiber collection contains some good specimens . tten tion is drawn to the facilities for seeing and closely examining ﬁn e a are - ex mples , which like object lessons , for which we n fur ish the text . The public museums of Staffordshire a c a W cont in some choice pie es , not bly the edgwood Institute 90 3 1 0 at i has a TA E N Burslem , wh ch block K , and HE L L O the

’ M a at a h has a ech nics Institute H nley , w ich series of these a - blocks in h ard stoneware . The subject of s lt glaze ware a a a F ulham ma a is most ttr ctive one , for though y h ve had something to do with the St affordshire crouch ware— drab

1 4: O L D PO TTE R Y - — w as l salt glaze the influence but s ig ht , if we judge by the ’ i fi ure- wonderful superiority of Dw g ht s g modelling . The - modelling of the Staffordshire fig ures in salt g laze was not o -it w b as ad. a r exactly po r L ter, the coloured ea thenware u e and a a So n fig r s groups m de v st progress . much the , for the F a a ulham influence . The s me c nnot be sai d of the O r n al E i ie t hold upon the ngl sh potteries . The embossed ornament was often copied directly from J apanese stone a na w res , thoug h tive a i talent ded details . S till , with every allow a nce for this , and per haps for a little help f r o m the G erman e a ston w res , this salt glaze ware must hold a f o r e m o s t p l a c e amongst E nglish de

corativ e pottery . Before leaving such an attractive branch a of cer mics , the ques tion as to what part the Wedgwoods took in it will lead naturally ’ to Wedg wood s pro i be duct ons, which will the subject of our next We n w W w as h e . e c apt r k ow that Dr . Thom dgwood a a e be h celebr t d potter , but he must not confounded wit m W a a a W Tho as edgwood , f ther of J osi h ; nor Thom s edgwood, ’ s e r a w as a . eld t b other of Josi h , to whom he pprenticed J osiah s i a a a an d n relat ves in nother br nch of the family , Thom s Joh W a a e le - e edgwood , were potters , who m nuf ctur d ad glaz w as x n n 1 0 . ware till 74 , when , though one e cellent in bur i g a and an r t or ﬁring the w re , the other excellent th ower, hey a s a a for time unsucce sfully ttempted to make white stonew re , - and in 1 6 a . a e th t is salt glaze Ultim tely they succeed d , 7 3

C H A P T E R X V I I I

WE DG WO O D

HE introduction to Wedgwood in our last chapter is We a suﬂicient for our purpose . h ve noted the small be a e and are a g innings of gr at concern, we only unfortun te Wh a a W k his in two items . t w re did edgwood ma e before

em .

S E TCH HA P O P T H E PO TT E R E K I S.

Since 1 80 2 many of the smal l er pl aces hav e b een absorbed by the H anl ey and Shel ton b ecame one m arket town— Hanl ey 8 L ane E nd is mer ed into L on ton L ane Del h in to F en in 1 1 2 . g g p ton. Hanl e L on ton Stoke B ursl em T uns all and F en orm the y , g , , , t , ton f liamen ta Borou h of Stoke u on-T ren P ar ry g p t.

’ Queen s ware came in to fashion When did he begin regu larly to mark the products of his works ? We can only sur as are ai a a mise to the ﬁrst question , though we cert n th t m ny “4

1 46 O L D PO TTE R Y

S and ix A i Co . ; . (Barker , utton , Till) ; D on , ust n . J WA E O E and a rs a s LL Y V Y Z, few othe but m rked figure W w a a e . So are r re , in some c s s very rare indeed that edg ood only followed the prevai ling custom in sending out thse e a s F a w rse without a mark . The set of figure ith . Hope , ” and C a s harity , which h ve been referred to , were al o made upon square moulded bases with the n ames impressed in Whi ldon R G a a n a e . front by obert rner, other pprentice to A ll the potters seem to have made figu res after similar ' d an d a a We mo els , in his e rly d ys dgwood s works were quite

ST A F F O R DSH I R E L O N W E WO O I . DO D .

a an d can a a a on small scale, we im gine th t he g ined his early success by the sheer superiority of his ware . The task of a fi Mi M ar complete identific tion is dif cult , but ss etey d, who the oio ra her W d may be looked upon as g p of e gwood , ex pres ses a strong opinion that the time will come when Wedg wood figu res will be identifiecL She gives one hint : the ’ marbling of the plinth gives positive assurance of Wedgwood s ” Whil a workm anship . st not altogether ccepting this as ’ a W Stafiordshire u ma the fin l word on edgwood s fig res , it y “ F ” be worth investigating . See ortitude at the base is

a i at a . O t e the m rbl ng , also the b se of the Lion her sugg sted a tests are the piercing of the base or bottom by hole, or a a sa W d in the c se of l rge ﬁgures , y the e gwood lion , by three w eoow oon x47

the rio i holes . Possibly other test will be the supe r ty of ars had W the body itself . Ten ye elapsed since edgwood e was a him . h and Mrs . started for imself , L ndr working for ars a d l But Theodore P arker also appe on the list as mo el er . ” A s his k at a a 1 6 M mong t wor s the s me d te, 7 9, are ilton , " " ” ” s e r C P e an d . Shake p a e , eres , Juno , rud nce , others This w as three years later th an the period when Wedg wood “ ” a a E a produced his b s ltes or gyptian ﬁne bl ck ware , a which , though f mous , neither in his own time nor since

s o assa PR I N T t D av n o n R E E N . w oow o o. rm u m o G “ " om P E O P LE onov uo v ounc A A N G I . has been subject to any considerable appreciation in price there is little demand for it . I n t his catalogue description of his various wares pre pared by himself in 1 787 come before any attempt is made to analyse them

I . A terra cotta e a E ian , r sembling porphyry , gr nite , gypt , and a e a pebble , other be utiful ston s of the silicious or cryst lline order .

2 . B asal tes or black ware a black porcelain biscuit of nearly the same properties with the natural stone ; striking a i as a ﬁre with steel , receiving hig h pol sh , serving touch l s a and a h stone for meta s , re isting all the cids , be ring wit out a ﬁre— r d a as e injury strong st onger, indee , th n the b alt s itself . - . White orcel ain biscuit a w ax k a 3 p , of smooth , li e surf ce , 1 48 porranv

s m e i e h of the a e properties with the prec d ng , xcept in w at e en s d p d on colour . as er a ai 3x uisite 4. j p ; white porcel n biscuit of q beauty and e i a a e a es d l c cy, possessing the gener l properti s of the b salt , together with the singu lar one of receiving throug h its whole s a m a e e sub tance, from the d ixture of metallic c lc s (oxid s) e a a a urs o with the oth r m teri ls , the s me colo which th se calces communica te to g lass or en amels in fusion a property which no other porcelain or earthenware body of ancient sses or modern composition has been found to po s . This

O R oonnw a u n A N D L O R N E L SO N . b eam or E N E R A w or su r L D s D G L n . ‘ r sra rronosm ns 1 . r r m s ron nsm as c 1 80 . ca m , 799 s , . 7

w soc w ooo ? W A R t . w sncw oon

rs a a a o a an d all rende it peculi rly ﬁt for m king c meos , p rtr its , - subjects in bus rel ief as the ground may be of any particular l ai s a colour , whi e the r sed ﬁgure are of pure white . - . B amboo a 5 , or c ne coloured biscuit porcelain , of the

a a as N . s me n ture o. 3

6. A orcel ain bi scuit a a a r s p , rem rk ble for gre t ha dne s ,

a a a . t little inferior to th t of g te This property, toge her e a a and e with its r sist nce to the strongest cids corrosiv s , and irn enetrabilit e l a a its p y by very known iquid , d pts it t i e nt for mor ars and many d ﬂre kinds of chemical vessels . ’ e u These six distinct speci s , with the Q een s ware already d a and mentione , exp nded by the industry ingenuity of the

1 50 O L D PO TTE R Y

1 0 e a C In 77 , the partners st blished works in helsea for the c a s a s and a de or tion of the e enc ustic vase , etc employed number of workmen in painting and enamelling till nearly the close of the century . 1 a a a a in i In 773 , it is evident from the s le c t logue th t addit on to the cream w ere only three kinds of ornamental ware are a a e— term cotta basaltes an d white bi scuit ware m d , , . To ; e a an d e thi p riod belong the v ses medallions of white ﬁgur s ,

l . a a . a s a scrol s , etc , on bl ck ground The ov l , for in t nce , of a a la ar an the pl que was frequently m de of the b ck w e, d the - a. 1 a bust of the white terra cott In 774, ﬁne white terra cotta a and a or , of gre t beauty delic cy, proper for cameos , p

s - an d b a w as a . So a traits , reliefs , dded th t remained till 1 8 e as a as er a 7 7, wh n , we h ve seen , j p ppeared , with its lovely Was and . a n blue other coloured grounds it merely coincide ce, or did Wedgwood avail himself of the opportunity afiorded ’ by Rich ard Champion s application for an ex tension of ’ Cookworthy s patent to fight for freedom to use china stone and china (growan) clay Ch ampion obtained his patent S 1 an o i in eptember 775, but with imp rtant modificat on , i : P a i wh ch is quite worth quoting rovided , also, th t noth ng in this A ct (by which the patent w as granted) contained shall an o r be construed to hinder or prevent y potter or p tte s , or an e rs i an y oth r pe on or persons , from mak ng use of y such a an i o raw m terials , or y m xtures there f (except such mixture a a and as are i of raw m teri ls , in such proportions , descr bed a i n l in the specific tion here nbefore directed to be e rol ed) , anything in this A ct to the contrary notwithstanding All of this indicates that the potters coul d make everything except hard paste translucent porcelain . W w as an edgwood keen , with energy , perseverance, and and can a ability rarely met with , we imagine th t he made A the fullest use of the liberty given under the ct . In an a 1 6 a o a a a i y c se , in 77 , b ut ye r fter its d scovery , we h as a have t e first mention of the new white body , j sper , an d the catalogue of 1 787 has his comment : As thes e are a my lates t I hope they will be found my most pproved works . be e h I must , therefore , g l ave to refer those who wis for

1 52 pom av the opportunity of his life ; quite fully did he avail himself e ‘ at e a e of it . O rders pour d in upon him pric s which m d a an d an d his fortune . This useful w re , not the artistic r r lem to beautiful ornamental war e , drove him f om Bu s a a at e li a o e E truria. Yet the t ble w re , fift en shil ngs for d z n c io h ad a . o w as ; plates , its own be uty The b dy perfe t n carefully ground clays and flint lent themselves to an excel A l s lence of potting not often seen . pi e of plate fitted into each other as if they had been made only to fit other. The Trencher pattern , the concave rim , and

’ ' sa ucm ar, wm woon s g uru s w an .

n other varieties had the same adaptation. The exportatio ti s i t s n to the Con nent was enormous . Host of im ta or spra g ’ ki ue W w up , all ma ng Q en s ware . edg ood

his improvements. He relied solely upon a of his productions . The dmirable teapots were so shaped a oﬂ r i th t the lids ﬁtted and did not fall , the spouts pou ed eas ly, l s e a W es i the hand e w re comfort ble . ith the other piec t am — r was the s e no leaking f om the lips of kettl es or jugs. too li c u the e Then , , the ware was ght , the olo r uniform , glaz

i an d e eff . es e e th n , the g neral ect clean and reﬁned It d rv d its popularity but this is not the kind of Wedg wood ware which is valued by the collector unl ess it is decorated by ai t t ﬂ s t an p n ing of conven ional foliag e, ower , etc or by r sfer L E A N D W H T E A Sn A SE . W . A D A M S. B U I j V 1 2 p. 5 ]

1 54 O L D POTTE R Y

’ ’ u t Y u hae Wedg t s ware for t be printed heer . known as ' ’ ’ ” ther wur 11 00 black printin on ware dun i Boslem i thoos deys .

“ LA E G sonct n am e: or w a ne a r u t q N . w eoowoon P QU , s, v Another kind of decorati on is found on some of this ware a in w as e at that is , p k lustre from gold , which us d the end - E E R L E A N D R E E N WI DG W OO D VA SE I N T H R E E CO L O U R D J A SP . B U G ,

WTT H W H ITE R E L I E FS .

h E s . 1 F rom tlu CM ”of F . Rat bone, q (pp.:53 1 56 porrsnv

i and was of the e g hteenth century , more common later . G f and d old itsel is seldom found , , when use , the gilding is

. A s W ai quite slight in Bristol and orcester porcel n , so with W d d a - e gwoo , the p ttern is frequently transfer printed in an d a i as a outline, with th t outl ne guide (not an unimportant one) the en amel colours in the design were painted by h an d a a a i more ccur cy, less art more of the m ch ne, less of the man . Bl ack basa wa 2 . l tes re or E gyptian bl ack is a ﬁne hard

OO L E L A C ASA -T M E A L L O N O F OSI A H » CA M E O O F WE DG W D. B U B K B I D I J

A N D W H TE A S P E R . WE WO O DI O DE L LE D H A C W O O . I J DG D, BY K D

a u . stoneware or bl ck porcelain , which owes its colo r to iron But it must not be thought that all black basaltes ware is W A P a N nl edgwood . Turner , dams , lmer, eale , were o y a

a r We o i as in h a . few of the imit to s of dgw od in th s , ot er w re are S m and Before me two peci ens very rich in tone , smooth i W e a o d. O n with ﬁne grain j ust l ke edg w o , a sucrier with is a PO E and a has SWA N cover m rked S D , the other, vase , a e a SE A unpressed . The decoration consists of r ised m d llions s n - e l a ai i of cla sical designs and e gine turn d ines , g n just l ke

CHA PTE R XIX

WE DG WO O D (contin ued)

T is quite likely that Josiah Wedgwood gets credit for ” all a a W d the pieces th t are m rked e gwood , though there were m an y Wedgwoods who m ay h ave marked their a W rs r am . A a d d w es with their own n e ron e gwoo , of Bu lem , - - is mentioned as h aving made crouch ware (salt g laze) in 1 6 said a a 90 . He is to h ve been one of the e rliest followers ’ of Blers in m aking this ware out of common potter s clay and w A We a grit from Mo Cop. bner dgwood ttested the a Ca W d o w as a indentures of J osi h . rlos e gw od good thrower e at G W employ d the Chelsea works . ilbert edgwood was the grandfather of A aron Wedgwood mentioned above ; a Ma a and co- e a he m rried ry Burslem , d ughter heir ss of Thom s W w as a e Burslem . John edgwood potter of Bursl m , too , and an a a a u n Wed in e rly ch pter puzzle j g , sig ed John g W o d w as as an a . M d w o , given illustr tion oses e gwood ' was the brother of Aa ron and G ilbert Wedgwood s ﬁfth son . R alph Wedgwood (about 1 790 ) w as the son of that Thomas ’ Wedgwood whom we h ave noted as Josiah s partn er for W w man a a a . as a the useful edgwood w re He of gre t bility, an at W d his Hill orks he took out at least three patents . " w as 1 e His style Wedgwood and Co. In 796 he remov d h and to Yorks ire commenced business again at F errybridge . at C a 1 8 R a W w as a He died helse in 37. ich rd edgwood son A of the ﬁrst aron Wedgwood . He w as a potter at Burslem ”

and a a . S in the middle of the town , m de stonew re amuel W o and Sa a W d edgwo d r h e gwood were potters , the latter ’ a — a 1 6 W Josi h s cousin m rried him in 7 4. Thomas edgwood ' a a a as a a n 1 we h ve lre dy noted being Josi h s p rt er in 759. 1 58 WE DG W O O D r59

a We w d has n as a e s Dr . Thom s dg oo bee mentioned succ s r W Wed a a e a . potter . He m de bl ck and mottl d w e illiam g e o 1 00 wood had a factory at Yea rsl y ab ut 7 , to which the old distich refers ,

A t Yearsl ey there was pancheons made

W wood ha oun bl ade. B y Wil l ie edg , t t y g

He belonged to the Burslem Wedgwood family . R everting to the com position of the other wares h in t eir order , we take next : R ed ware rosso antico 3 . ( ) - W d a cottas etc. e terr , g ' E lers a wood imitated w re , but we cannot say that his i m i t a t i o n w as s u c cessful ; it never rea ched - the w ax like fineness of ' the B lers red ware in colour and grain . The ferrug inous clay of Brad well w as carefully levi a a s g ted , p s ed through fine e hair siev s , then artificially a a a a ev por ted , so th t kind red n a of unglazed sto ew re , in imitation of the red a an pottery of J p , was suc c full ess y copied . Wedg wood used another process - a a I P L A C A SA L TE S W E G WO O . for his terra cott in m ny L A , B K B , D D colours , red in combination f a a red with bu f, c ne , chocolate, cream , b mboo . grey . green , t a l and vice e e wi h bl ck re iefs , versa . It should be rem mber d a a and a th t the e rlier cameos , such as seals gems , were m de a- a so of terr cott body, but it was nearly white , and al that s - o in ct ome of the other terra cottas appear in came s ; fa , x60 O L D PO TTE R Y

- - some of the so called terra cottas approach very nearly to - A - ﬁne white semi porcelain or stoneware . cane coloured ’ sugar basin with white ﬁgures in relief in the writer s

h a- a has sion seems to be of t is terr cott , as it none of the a a a a qualities of the j sper w re , lthough it is m rked with what Miss Meteyard describes as the mark of a ﬁne period

W o r a a d. edg wo d , o 3 3 , i regularly rr nge

WE DG W O O D 1 6 :

hi emi- ain or are W te s o cel stonew . e 4. p r This differ d from the a- a a a e and a white terr cott in being of w xy smoothn ss , in h ving ,

a a a in s . as its n me implies , tr nslucency the very thin part i was e a an d Th s , too , us d for some c meos medallions and for his ri a the slabs or plinths , either square or round , of va eg ted a a - vases . It is quite possible th t m ny of the so called poor medallions are made of this white semi—porcelain upon coloured - t erra cotta. The obj ection to its use was found in its

PE W R W WO O N E CK L A CI A N D R A CE L E T . J AS R A I . E DG D B

e m h warping and cracking in the kiln . It differ d fro t e

a a i a . s j sper w re, wh ch was later invention Jasper had baryte t and e ces in its composi ion , this barytes when us d in ex s e produced an unpleasant chalky whiten ss .

. Varie ated We a al a e l 5 g ware. h ve re dy se n how so id a a a w as Whieldon diﬁerent g te w re made by , who blended W i r s coloured clays in bands . edgwood improved th s p oce s, and a a a a l as m de two forms of ag te or m rbled w re, one so id in a a Whieldon er r am e the solid g te ware of , and the oth c e war

e S a ar i . o mottl d, p ngled or m bled to mitate stones In b th I I 1 6: O L D POTTE R Y cases u c e n t the s rfa e colouring show d ba ds , stripes , twis s , and waves ; but the diﬁerence w as that whereas the one was u a i a - a a w as in the on the s rf ce, the sol d gate w re p ttern a a a w as clay itself . This v rieg ted w re perhaps good for deco rativ e at a a purposes , but the best it was only poor imit tion ’ of the real onyx or j asper or marble . Though Wedgwood s work w as an improvement on anything of this kin d before a e l a as tt mpted, we must c assify this w re being merely

A SP E R W A R E P L A E B Y su n t a n . J QU , ' “ ' " v v s L snr sur s O R A L E x C DI .

and a a . interesting not very v lu ble It is well to note, too , and and th at both kinds were g lazed, the ornam ents reliefs were often in gilt .

as er ware. a a an d a 6 . j p It is by this most v lu ble rtistic of all the wares ever produced in E ngland th at Wedgwood rs l is distinguished above all other potters . In the ﬁ t p ace a the body w as new, new ingredients were used to form new paste in which b arytse composed more th an a half of its s a and percentage, being no le s th n per cent barium

a . l was carbonate very ne rly 5 per cent , so that the c ay only - a just about one qu rter of the whole body. The natural i a n a a a l n result of this comb n tio was cl y with ye low ti ge,

1 64 pon env

as a a dip , we can e ily underst nd th t when the reliefs in white were applied the colour could often be seen through the a a thinner p rts of the applied ornament . A striking fe ture a of m ny of the ﬁnest of thes e medals is the undercutting , which must h ave been done after the removal of the block w as a e a by which the white medallion ppli d ; so , too , m ny of the drapery through which the undercolour appears

W P LA E R E E N R O N A N O E R N TO PE A J A SP E R WA R E : W E DG OO D QU , G G U D, FF I G CE . seem to be cut as if a tool were used for that purpose on the wet or dry clay before ﬁring . The marks of Wedgwood w i a a ill be g ven l ter, but it is interesting to note th t some pieces h ave holes bored in the backs which were made to a in ce as remove surplus subst nce the pie itself, so to prevent a and a w rping , to aid ﬁring , to void shrinkag e . These holes are at a a l a often found the b cks of c meos , meda s , pl ques

nd . S e a tablets ome pieces not mark d have these holes . S ma — F ome few hints y be of use to collectors irst , the surface of old Wedgwood is always perfectly smooth WE DG WOO D i 6s

air s e , ma and war like, there are no bubble or hol s and it y

ho t . be said to be perfectly homog eneous and uniform throug u Some portrai t medallions in very hig h relief are exceeding ly A ma e t e rare and very valuable . mongst these y be m n ion d ir F a , S R obert Boyle , Sir Joseph Banks , Benjamin r nklin

ir aa N Prie e , W a i . S , illiam H m lton , J Lock , Is c ewton J oseph stl y We ll e are a o 1 0 . Dr . Solander . A th se b ut } in by notice in this connection the prices received by

O L D W E G WOO A R I N I ER E W H T E O R N A H N T O N CH O CO L A T K R O U N . D D J D . I G D for modelling these and similar portraits : Sir Joseph a m s. l C at a R B nks , 42 ; Dr . So ander. Lord h h , ousseau , an d S C C o 1 63 . a zs. terne, e ch ; Dr . Herschel, 4 ; aptain o k ,

. n C the G o Dr Joh son , . J enkinson , same price ; vernor as O Meerman 3 . 3 Mr. and Mrs. H tings , £3 3 ; , £5 5 ther o F a m a Sir a R a p rtraits by l x n were Joshu eynolds , Josi h W and an d Sir W li a a . Th e edgwood his wife, il m H milton most delightful and pleasing works of E truria were the - c a a a as three olour c meos with cl ssic l subjects , such the 1 66 O L D POTTE R Y

S le C e are l e h ee-c o al ho h a of upids th y ca l d t r ol ur , t ug a h usuall y there re two colours with white . T e e little plaques a t are about 2 } in . by oblong in sh pe wi h the corners s wer bar el ic taken off . Vases in ja per e with r /s are very

so a e and e u o s . rs much ught ft r , s c re go d price The ﬁ t of s a 1 81 t e the e were produced bout 7 , hough the ﬁn st period - was 1 786 95 . 1 8 a a n had at h In 7 1 , the ye r fter Be tley died Turn am G a a i a e W o reen , th t p rt of the stock in the jo nt n m s of edgwo d w C and and Bentley as sold by hristy Ansell. The prices paid for what we should now term O ld Wedgwood were

o t . rs e F xm c mpara ively small The chief purchase w re la an , who o ar as Sir or o b ught l gely, did Harb d Harb rd , the Duke

Sir as R o rs. la of Devonshire , Thom umb ld, and othe B ck

c e 83 . a a 0 3 . 0 3 . a an d seals fet h d dozen , bl ck busts 3 to 7 e ch ,

a 60 3 . th vases in imit tion of marbles only 40 3 . to e set of a ﬁve . The rem rkable feature of this sale was the small

al . F 3 prices fetched by large cameo med lions rom 1 5 . to

05 . e s 2 3 . 3 were the usual pric s paid, whil t teapots fetched 4 ar a dozen . Comp e these recent prices :

B l ack basaltes ware 3 L . d.

Vases and cov ers air w ith al m tO s ormi n a er , p p p , f g t p h ol de s u orted b hree ar l dra ed cl assical ur r , s pp y t p t y p ﬁg es

on rian ul ar l in hs 1 in . hi h on circul ar marbl e t g p t , 3 g ,

ur on socl e 1 8 in . hi h Merc y , g Vases wi h cov ers air lar e t , p , g

s of tcher the drama is 1 in . hi h B u t F l e t t, 5 } g

J asper ware Cabaret w ith chil dren an d cupids in relief in w hite on P i nk round consis in of ea o and cov er su ar basin g , t g t p t . g bow cu and sauce and an ov al l atea u and l , p r, p

l a ue th e M edusa in hi h relie W ed wood B en l e . P q , g f, g t y ue l e of scroll ol ia e an d conv ol v ul us ow ers b l ue Pl aq , arg . f g ﬂ , 33 0 0

l u h e P ortraits, b e a nd w it B ank re -bl ue and Ma t hew P rior W ed Sir J oseph s, g y , t , g

an Solander Wed w ood 4: B entl e L ord Hood d , g y Jonas H anw ay and J oseph E mperor of

1 68 O LD P O TTE R Y

Chas. T ownl e ori inal blac rame y, g k f

M r. and M rs. Meerman M arquis and Marchioness of B uckingham M idd al e b ue rs. S ons (p l )

P ortra its on colou red groun ds B er man reen g , g ground

. Stua cel adon round J rt . g Sir ose h L ad B anks a ir on ell ow ro nd J p y , pa y g u Vases air b l ue and w hite w i h rel ie s of w om , p t f en and

chil dren w hite l in ths 8 in . hi h , p } g Pl a ue Duke of ork b l ue as er in ormol u rame q , Y , j p , f Pla ue L ad A uckland dark b l ue and w hite in il ra q , y , , g t f me P l a ues air of bl ue as er b W ed w ood B en l e q , p j p , y g t y , w ith figures in rel ief a r o P l a ues fiv e dark b l ue w ith sub ects of A S q , , j acrifice to F l ora n m hs sacrificin and u r embl em of , y p g , fig es atic the Thames an d the S wern ramed , f Pl a ue ob l on of b l ue-and-w hite as er w ith sub ect q , g , j p , j of

a sacriﬁce in relie 1 0 in. b 2 ia . ramed f, y 4} . f

ea serv ice F rench w i h ow ers in b l ue red an d old T , , t ﬂ , , g , consistin of tea o cov e an d s an d su ar b ow l and g p t , r t , g cov er b asin crea m u hree l a es a sha ed dish , . j g , t p t , p , ourteen eacu s el ev en coﬂee-cu s and ourteen saucers 8 o o f t p , p , f

It is very interesting to learn how the plaster casts were

a a . prep red, from which the models were t ken The design a w ax a and d was usuall y m de in of reddish tint , the me allion w as then struck down on a slate bed . These formed the a the a a origin l subjects , from which pl ster c sts were taken in o a n int aglio . The came s were ex ct reproductions of the origi al

a and a r a d and . designs taken from the c sts , fte w rds mo elled cut and a The work of preparing modelling a black b saltes bust ,

a o . 8: G for instance, took b ut a fortnight Haskins rant did the cast work for Wedgwood at a price varying from d 3 2 3 . an . 63 . to £2 for single obj ects , £3 3 for sets of four - or five b as reliefs . The modellers were notable men ; amongst them w as ’ W a W d a a 1 82 a ebber, who bec me e gwood s m n ger in 7 , fter a the death of Bentley . He modelled mongst other - works the following b as reliefs : Triumph of Mars ; Cupid WE DG WO O D 1 69 drawing his Dart ; Apollo and Daphn e ; A Sacrifice to Hymen ; A Sacrifice to Concordia H0 pe A ddressing P eace ;

an d P n . l a m s . Labour le ty He a so did v ses , cups , chi neypiece F lascman a e ed as for Wed , whom we h ve b fore not working g and 1 a a wood Bentley in 775 , in ddition to the portraits alre dy d b as- — M A le given , mo elled reliefs uses and pollo ; Hercu s and the Lion Hercules and the Bo ar Hercules and Cerberus ; Bacchus and A ri adne ; J upiter ; J une ; Juno ; J ustice and H0 pe ; a F or a the F our Se sons . set of the E nglish poets he received d a 6 . 1 . O 1 0 3 . e ch in 777 ther works of his were : A Sacrifice to P an ; G reek Heads ; D ancing Hours Marriage of Psyche ; A potheosis of Homer ; A potheosis of Virgil ; Triumph of A riadne ; Homer and Hesiod ; A n O ffering to F a A a a a a a lor ; B cch n li n S crifice . Two celebrated statuettes of VO ! taire and R ousseau were modelle d K w as Wed by eeling , who in g ’ a wood s employ for m ny years . In 1 783 F laxman was p aid at a a i a W the r te of gu ne a day . e find three has-reliefs took him a and three d ys , for his work he w as a a p id three guine s . But with “ Dem on nu cx m u ss a as a increased f me modeller B us, 0 , m g “ no, “ c ame increased charges ; for

s some models he received as much a £2 3 . That price was a G a p id for the model of Hercules in the Hesperian rdens . The M a and F a 1 ercury Uniting the H ands of E ngl nd r nce (p . 62 )

W l i . cost edgwood £1 3 1 35 . for mode l ng It must be remem bered th at much of the modelling attributed to F laxman w as m a a really the work of so e of the It li n modellers , of : Dalm zon i Vaere whom the chief were az , John De , who afterwards succeeded Webber as m anager of the ornament al x7c ow Porrsnv

P e A el i F ratoddi Man ia tti Manzolini works ; ac tti , ng in , , g ro , .

C dets. The l r a ast two wo ked in R ome . ’ 1 0 W n o In 79 . edgwood s sons , Joh , J siah , and Thomas, c be ame his partners , with Thomas Byerley, and the name w as i W d an of the ﬁrm Jos ah e gwood , Sons , d Byerley . In 1 W i a a O n 793 edgwood ret red . and died two ye rs l ter . the t ablet erected to his memory in the chancel of the church - - at Stoke upon Trent are these words

Sacred to the Memory of osrm W enc w oon J , S. A of E t uria in his Coun r . t ty. B orn in A u ust 1 0 di a n uar rd g , 73 , ed J y 3 , 1 79 5. W ho conv erted a ru de an d incon sidera bl e manufacture into an el eg an t A rt A nd an importa n t par t of N ational

Commerce.

a i W i a Before le v ng edgwood ware , it w ll be well just to t ke o a a one or two p ints which should be m de cle r . Take Wedg '

l a a . a wood s in id ware, for ex mple Very little stress is l id a upon this , although he m de a variety of articles in it . The process was to impress a pattern on the wet cla y from a a w as f metal runner . This p ttern ﬁl led up with a di ferent a a coloured clay, and the surf ce was then turned or scr ped a S -P a level , fter the style of the aint orchaire w re, some a times c lled Henri Deux ware , which is among the rarest F faience ever made . To show the value of this rench a ma a a an d inlaid w re we y note th t c lestick , which cost F i a a a o al Mr. ounta n more th n century g , re ised the enormous sum of when offered at the sale of his W a a l a collection . edgwood inl id w re wi l one day be valu ble . al a P a i a a The ﬁrm so m de r an ware , but th t was later , bout ar 1 848. The best modellers were employed for this w e ,

as W a . P a W o such yon and Be ttie But ari n , whether edgwo d , M n a a n i ton or Copel nd, be utiful as it is , has never bee in a S 1 8 8 a E dem nd . till later, in 5 , we h ve the works of mile L essore a , whose paintings are so ﬁne th t eventually they may reachial v ery hig h price .

1 72 O L D P O TTE R Y

” a A The story of the P ortl nd Vase is well known . t a 1 8 as w as an d W uction in 7 7 this glass v e put up , edgwood P a e bid up to for it , but the Duke of ortl nd promis d th at if he would not bid further he should h ave the vase to an d W copy, so the Duke bought it for edgwood i 1 kept it for twelve months experimentalising , unt l in 790

at 0 n s. a a 1 0 he issued ﬁfty copies 5 g e ch , m rked to 5 in written ﬁgures but w as the cost of producing the ’ a a W f a v ses , so th t edgwood s e forts here were to demonstr te

MA R R E P R O CE R O M T H E A C K DU D F B K . h s art a al i rather th n to re ise proﬁt . The body of the vase w as a a a and a bl ck j sper, or mixture of blue bl ck , dipped

a . a in bl ck The figures were white , and cut by the engr ver n i al to the finest possible fi ish . The orig n blocks are still and are a used, copies of the vase produced in bl ck , deep l P a a blue, or ig ht blue . The ortl nd V se is now in the R M G old oom of the British useum . We shall deal more fully with the potters who imit ated W a a a asa edgwood , either the cre m w re , bl ck b ltes , or coloured W A a a R : . ; . . a jasper d ms , Tunst ll J B ddeley, S W a a E . C. . helton ; B ddeley , H nley Bourne , Denbigh , WE DG WOO D 1 73

a E . i a Derbyshire ; lso Bourne , Derbysh re ; D vid Dunder a Ca G 81 Co i d le , stleford ; Hartley , reens , Leeds ; Lak n 81 P a N al a S oole , H nley ; I . e e , H nley ewells Donkin , - - N e w c a s t l e on Tyn e ; i Co. F Toml nson , erry

; . bridg e J Turner, of Stoke and Lane E nd and many others of the Stai fordshire P . S otters pode, a for inst nce , copied the a a a bl ck b saltes w re , which w as al so done at Swansea . In other countries we ﬁnd that Wedgwood w as irni tated at Se vres , where biscuit plaques of blue and and white, grey white, sea- and green white , were a a m de, in imit tion of a a B - j sper w re . as reliefs B oizot were designed by , and the tinted porcelain w as largely used for the a i decor tion of furn ture . o a a In Lisb n , j sper w re plaques in imitation of Wedgwood were pro

duced. S at In weden , Ma w as rieberg , it also copied . The last point in Wedg ’ wood s work that we need consider is the celebrated

w z no w oon aw n A N D w a rn : A SP E R . - a j green frog service J m de Km ‘m” M m “ for the E mpress Catherine R a G l e P al c ic II . of ussi , for the renoui l re a e, in wh h a er e ch piece w as marked by a painted green frog , not und a and a ne th , as stated by Chaffers others , but in shield over 1 74 porranv

M the middle of each of the views . uch misapprehension o nl is caused by the mention of the green fr g , and we o y need emphasise the point that this splendid service had views of the seats of the noblemen and gentlemen of E a and a i F rontis ngl nd , green frog pa nted on each piece ( W h ce . P w as a pie ) orcelain not m de by edgwood imself , but 1 80 8 did W Byerley , in , produce some edgwood porcelain , i a a S wh ch showed certain ch r cteristics of pode, but was not

i a se . otherwise d stinguished , and the manuf cture soon cea d

P rices

It will be interesting to put on record for reference some W E . d prices of vases , etc , as sold by e gwood . truscan and

G e a a u 65 . . a recian vas s were c t log ed from or 75 to 305 . (th t i is the ord nary kind of ware) ; with elaborate decoration

1 n . i a from 83 . to 5 g s but the ﬁnely pa nted ones cost a l rge

and 0 ns. sum to produce , were sold for 3 g or more . These a — prices are t ken from the old invoices 1 768 9. The ro-in as s a and . v es , for in t nce, with four serpents festoons a 1 a - a with vine p ttern , were sold for £ each bl ck urn sh ped - s 1 2 . 1 s. va es , } in high , £ 4 ; blue vases , serpent handled l 1 a a 1 1 5 . 6d. l on m rbled p inth with gold decor tion , £ ; p ain

a s. 6d E ca m rbled vases without plinths , 7 . ; trus n vases

r a 1 2 n . ui o n mented with husks , 4} in . hig h , g s ; white bisc t

2 1 1 in . ns. a a as e o vases , 4 by , 3 g v rieg ted marbled v es d c ’

a a and a 1 n . a r ted with satyrs he ds gilt orn ments , g ; v ses

1 05 . 6d. n e with blue ground and shell shoulders , Bro z d

as r 1 05 . 6d 2 ns. a n e v es ranged f om . to g those h vi g a pebbl d '

a a and n . ground , s tyrs he ds horns , were listed at 2 g s ;

E a 1 . a truscan v ses , 3} in hig h , with h ndles or shoulders in

o a and 2 ns. a to ns of dr pery , covers , g others with le fag e

2 ns. a 1 . on neck , no handles , g smaller ones of s me design , gn '

E a a a and a ns. trusc n , with go ts he ds dr pery in festoons , 3 g ”

O a a S 2 1 2 5 . 6d. thers with med llion of The acriﬁce , £ ; E i - a E a 2 ns. ses truscan dolph n h ndled ewers , g ; trusc n va ,

in . E 1 in . 1 0 ns. e o 9 hig h by } . 4 g truscan with f sto ns of d l u r 1 r an 2 2 5 . 6d. drapery a rel f ieze , £ vases with grey ma bled

s and a t 1 2 3 . 6d. 1 85 rs ba e gilt orn men s , to othe , blue, with

1 76 P O TTE R Y W ware famous , so edgwood , by his intense devotion to his n art and his determination to issue nothi g but the best , a i has left a precious possession to the E nglish n tion , wh ch

i a . for all time will keep old Wedgwood in the h ghest estim tion

AS E FI N E WE DGWO O D V .

1 78 PO TTE R Y

and a a are l ar e blue or other colours , j sper w re , usual y m k d ” t W a as wi h edgwood only . The st mp, shown in our k a as a mar s , seems to be indiscrimin tely used far as reg rds a b i a m a a the size, for g st mp y often be found on small piece , as E a a as an a in the truri pla que alre dy used illustr tion , d As as an w a w as 1 . t . , as sho n , the m rk } in in leng h long the w as a a piece st mped , it seemed to be quite a m tter of i ff am ndi erence as to the size of the st p . a a r c T king the m rks in order, the ﬁrst is mode n , the se ond ,

r a . E a w as a the earliest m k , is quite uneven ch letter st mped

a a a are . separ tely, but only few specimens of this m rk known The nex t group of three marks seems to belong to Wedg ” ’ - u a 1 68 80 . wood p to the time of Bentley s p rtnership, 7 The a i an d and circular st mp, without the nner outer ring , without E w as a a a a a . truri , the e rlier circul r st mp The next m rk, n an d w as a as a a without the i ner outer lines , pplied w fer or “1 b at and m a r i n i , y be fou . fixed the corner inside the pl nth a e a e a a a l a of b salt s v s s , busts , c ndel br , and other rge speci a and mens . The well known circular m rk with inner outer lin es is often found round the screw by which the base of a W d the b saltes vases was fitted up . The group of e gwood and Ben tley mar ks may frequently be met with impressed and ac a a ed n" on granite bl k v ses , busts , figures , pl ques , m allio , and a a a c meos , from the l rgest t blet to the minutest cameo , an a d also upon useful ware of the period . Int glios were as often marked with catalogue numbers , in the one given 6 a a 35 . Very sm ll intaglios are sometimes found m rked W an W. and a m Th d B or with nu ber only. e oval . a a -an - i B . m rk is met with on the chocol te d white intagl o ”

s. A W d a portrait fter Bentley died, the e gwood m rk w as a ai a nd w as a given g n used, continued for time after a the dea th of Wedgwood . The dated mark of Josi h Wedgwood is the mark of Josiah the younger ; the use of E truria with Wedgwood dates from early in the nine teenth 1 81 W a century, from 5 . The edgwood porcelain m rk , i w as a 1 80 8 pr nted in red , blue, or gold, used, prob bly, from

1 81 . r a l e to 5 The ma k l st on the ist , varied in siz , is still s and ar i nd l a u ed , the modern m k for ch na a ti es is pl ced ﬁrst WE DGWOOD BE NTL EY W E D G W O O D Gr B E NT L E Y We dgw ood B en tley Wedgw ood

W w edg 0 0 d W e dg w ood 5‘ l l wsncwoon ga ey

Wedgwood

Wedgwomod

J OSIA H WE DGWO O D

Feb 0 or zu d Feby 1805

W E DG WO O D E T R UR I A

E TRUR IA

WE DG WOO D

or od d}

W E DG WO O D CHA PTE R XXI

E T H STO R Y O F T HE WE DG WO O D F INDS.

E are able to give most interesting inform ation reg arding n at an n the ﬁ ds E truria . Th ks to the kind ess

Mr. C W d a a of ecil edgwoo , we give further p rticul rs , which , f as ar as a a a . we know, h ve not before ppe red in book form The years 1 90 5 and 1 90 6 m arked an epoch in the history W d and of e gwood its productions . Two momentous incidents a and a occurred first , the not ble finds of old experiment l e as a a a piec s ; second , result of the first , the form tion of

museum . a ac The present directors , whose courtesy we w rmly are n a knowledge , li eal descend nts of the illustrious old h ad a potter. They noted , with keen perception , th t numerous r and interesting pieces were dist ibuted over the works , they consequently formed the resolution to bring them al l together ; hence the order w as given for the collection a and i of the old p ttern pieces , other ﬁne old spec mens , which had a a a a e during long ye rs ccumul ted , not lone in the pr sent an and workshops , but also in the m y old workshops , in some

unused rooms . A further decision w as m ade that these specimens should a a a and be stored in pl ce of s fety , until order method could s a a i be instituted in their clas iﬁc tion , with view to the r far further use in furnishing a museum . The result exceeded ” a expect tions , for the ﬁnds included some hundreds of a a and a a a i w ax d valu ble bas ltes j sper v ses , m ny orig nal mo els l - a n of we l known subjects , numerous patterns r ngi g from the 1 0 a a a 77 period onw rds , which were unique in the f ct th t they were undoubtedly the sh apes an d decoration carried

1 80

1 8: O LD POTTE RY

the ﬁne -c a re e and d li a that white terra ott , of g at b auty e c cy, was e ed h c eced the discov r , w i h pr ed invention of the jasper

w . is o t are Th became , by c ns ant care and improvement , the ’ o u W m st beautif l of all edgwood s productions . He pronounced it absolutely the best . The trials and experiments were found in tw o old d e i ed t battere crat s wh ch had remain , un hought of and r —of-the- unca ed for, in an out way corner of one of the rooms , the t and of which no one knew conten s . These were carefull y a a opened . It was found th t pr ctically the whole of the experi mental works of Josiah Wedg wood were once again da - to see the light of y, and to form an obj ect lesson the m c a l t i portance of whi h must be invalu b e to the s uden t , a i a who may be ble to realise its full s gniﬁc tion . Collectors and connoisseurs are equall y delighted with S e i e the p c m ns , now displayed in the ﬁne museum , and they are amazed at the amount of time and labour tha t must have been bestowed upon the jasper ware before it reached its absolute state : thous ands of carefully tabulated t e resul s of trials of the various colour d jasper in cameos,

a a a . e int glios , portrait medallions , g te, etc , each one car ft the u an d a noted with n mber, in m ny instances with ah ated l tb t v r to brev i etters , showing where we e be placed in the e r the oven for firing , so as to secure exact d g ee of heat W a for their perfect developmen t . e repeat th t in the firing i a - ndic ted the tip top of the biscuit oven ; T. e w the top of the biscuit oven , where the h at as most O th M . B . e l intense ; midd e of the biscuit oven . The first firing of most of the pieces w as known as an

an d w as e u so as ha e. easy firing , r g lated to fix the s p The w as n e t f second firing firi g , us d wi h the obj ect o developing the colour and face perhaps the bes t definition of face of the j asper ware is that it is like the surface

of an eggshell. It m ay be here interesting to note that in the ordinary course of manufacture it is often necessary th at it should be the -ﬁrstl an as passed through oven twice y in e y place, e ec secon so that the pi ce shall b ome set, preparatory to the d “ " THE STO R Y O F THE WE DG WO O D F INDS 1 83

i a v hic is and final fire , wh ch is more se ere one , and w h n the o necessary for the developme t of col ur , and also of a e a the beautiful surf c of the white c meo . All these details hel p us to a fuller appreciation of the character of the master pot a a ter . Some l ter writers h ve shown a ten dency to decry his works ; yet from the “ trials and experiments ” we learn that Wedgwood w as gifted with that perseverance t u which , if it is not rue geni s , often attains results infinitely superior to the sparkling efforts of the man who has no lasting power . Hence , from the initial stag es of any ” a particul r body, or, simi larl an u y, y partic lar colour , it is quite possible to trace the proof of his skill , his and unlimited tenacity, his final success so thoroug hly

Many of the colours and effects produced are very charming ; in some instances they are known as chance colours chance from the fact that the uncontrollable vag aries of the ﬁre played a very important part in the ultimate beauty of the pro

duct , though in its early stages temporary defects may have been found But Wedg wood laboured on until he had succeeded in securing the exact ingredients for both paste and colour ; until he was able to produce the cameos so consistently that the gold 1 84 pom nv

- r and - r and silversmiths , the steel worke s the cabinet make s of the latter part of the eighteenth century all found the a a W adv ntages of using the fine c meos of edgwood , in i conjunction with their own artistic des gns . W o Mr A A Mr. C. . J . . ustin , whom edgwo d was good enoug h r a al to send to see me with regard to this info m tion , was so able to give some interesting details relating to the im a - a pressed marks on the earthenw re . The three letter m rks were first used in 1 846. The first two letters of the three a and a letter mark were for use of the workm n , were alw ys and i a subject to change , the th rd letter alw ys signifies the a has w year . The alph bet for the third letter been used t ice since the letter A marked 1 846. The ten years that have elapsed since 1 897 bring us to ” A a a the letter J . ssoci ted with this J new mark for the

a . A s a a cycle has been dopted we h ve seen, two cycles h ve

as and . 1 0 p sed, the third cycle is now in progress In 9 7 1 0 8 rs a a and 9 , the ﬁ t m rk is ﬁg ure 3 , for the cycle, the a i a a and second is letter ind c ting the workm n , the third a F or 1 1 0 letter indicates the ye r . 9 the fourth letter is M t c a which is the thirteenth letter in the hird cy le of m rks . Since the formation of the Museum in the E truria Works many distinguished visitors and collectors from all parts of

a i . O f u a the world h ve v sited it these, many were p rch sers de W are of mo rn specimens of edgwood , which now in their e and are e a poss ssion, of which they none the l ss proud bec use w We a simil ar pieces are sho n in the museum . w nt to rouse or national enthusiasm f purely British art . O n a the next p g e we show sketches of four ﬁne plaques , two of which are given in our ill ustra tions at the end of the book .

A N A PO TH E O S S . A SE NA TO R . I

DI A NA . CHAPTE R XXI I

WE DG WO O D A ND -HI S R IVA L S

al r hi i The R iv s of W edg w ood o s Im tators, Which

ATU R A L L Y the success of the great potter stirred up 1 his contemporaries in the district to try to produce a C a a the same kind of w re . hief mong the imit tors were W A P a W . N . john Turner, . dams , Henry lmer , I eale hilst a at an a not proposing to de l y gre t leng th with these , it is necessary to know who imitated Wedgwood so well that a c frequently , if it were not for the bsen e of marks , the speci W mens mig ht be accepted as true edgwood ware .

J ohn T urn er

at S a 1 6 John Turner worked toke as potter up to 75 ,

e t o o E nd 1 62 and d 1 86. w a rem v d Lane 7 , ied in 7 He s a a and a a clever potter, part side from his imit tive work, and among st his productions were fine jugs in stoneware u a and o and beautif l jasper w re in blue white , which g t very W close indeed to the standard of edgwood. But there are d f — differences . The body is i ferent being much nearer being true porcelain than Wedgwood ware . It showed a t e N w f markably fine grain . ext , the colour as di ferent instead of being pure blue it was usuall y too purple or too a green . Turner m de very good statuettes or figures in black as e and a m aterial b alt s , busts also in the s me , some of a these being of very fine qu lity . A few are found marked TUR N E R or TUR NE R impressed or c stamped in the paste . The se ond mark indicates the period when A bbott joined the firm , which was then des cribed as 1 86

1 88 O L D PO TTE R Y

' W a edgwood. Turner s busts were not conﬁned to bl ck sal ma a ba tes , but y be found in cre m colour , on black plinths . These are not imitations at all . With reg ard to as had C a the p te or body used by Turner, this ornish cl y in

W ESL E . ST A O R DSH R E 1 0 . W H T E L . STA O R S H R E 1 0 . Y FF I , 79 I FI D FF D I , 79 its a composition , which ccounts for the ﬁne texture of the

jasper ware .

Will iam A dam s

A William dams was a pupil and friend of Wedgwood . a at u and a d He had a f ctory T nstall , , in ddition to the or inary all a a u a ware made by the potters , he m nuf ct red jasper w re, 1 a on beginning it in 787. He died i n 1 80 5 Several gener ti s of WE DG WOO D AND H I S R IVA LS 1 89

A damses and a ami r d , several br nches of the f ly f om the mid le u es a e of the seventeenth cent ry till the pr ent time, h ve be n at S - o - Cob rid e e potters toke up n Trent , g , and Burslem . Th advertisement date claimed for the o rigin of the works at

1 6 . W A d Tunstall is 57 There were three illiam amses, of a W d whom the Tunstall one was the chief imit tor of e gwood . e a a - a His productions includ d jasper w re , cre m coloured w re , a a 1 7 86 and chin gl zed ware . In the ﬁrm was William

A a 8: Co. a A d ms By comparison , here ag in , dams only falls very slig htly below Wedgwood in some of his j asper

E E P nu n: P R N TE P L A T E 1 820 P E R O . D I D , I D

n t al a a ware , but the Tu s l products were usu lly unm rked , W and edgwood is almost i nvariably marked . The value of ﬁne A dams ware is shown by the following — A plaque of Diana resting with her Dogs after the Chase fetched

W A . W A AMS . a 1 1 The a . under the h mmer £ 7 . m rks are D ; W A S . . .

We received a very interesting letter from Messrs . W P s A 8: o . an reen ates illiam dams C , G reenﬁeld d G g otterie , S af a u W l Tunstall , t fordshire , as res lt of our note on il iam A d ams , the old Staffordshire potter . In the booklet which w as i a a k ndly forw rded to us , the following inform tion is 1 90 O L D POTTE R Y

ma e s ac given , which y be of inter st to our reader , and we knowledg e wi th thanks the privilege of using the illustrations of this chapter . O ne of the oldest names in the Stafiordshire Potteries A N o a v a is that of dams. fewer th n twel e persons h ving the name of William A dams have been occupied in pro f a ducing Sta fordshire pottery . The e rly history of the present a 1 1 W a A w as a firm shows th t , in 6 7, a illi m dams potter , a N colas A d and his f ther y ams , who flourished in the reign of G ood and Queen Bess , w as buried in the church of B urslem 1 68 in 5 , owned both a pottery and a s colliery . The mo t noted potters of this

A G e dams , of r en a 1 —1 80 g tes , 745 5, the famous Stafford shire potter and f o u n d e r of the G reeng ates P o t eries and t , Tunstall m W com : ‘ his illiam A N i Sm -czuw n v a w e A N D m r s a , w M T p“ cm A dams O f StO ke' w rr n SH E E L -P L A T E m u Dm sm eaor u a u . FFI D . - n cou acr i o . upon Trent a n d l 1 -1 2 Tunstal , 772 8 9. a W A The present he d of the firm , illiam dams , is ninth in direct descent from the eminent old master potter . In 1 6 A and P 57, John dams built founded the Brick House otteries , a a a a a which , little more th n hundred ye rs l ter , were let to a a W o a the the f mous J osi h edg wo d for some ten ye rs , when A a heir of the d ms family was a minor . The old William A dams made j asper ware having a blue ground with classical an a fig ures in relief d n unglazed or matt surface . He al so a made fine stonew re, black basaltes , blue painted and

1 92 porranv

i a and A and E i r Br tish , Victori lbert , ngl sh p ovincial museums , in a includ g Tunstall , compare very f vourably with any made at e i the close of the eight enth century , when the Sta

A SE ns . a w e A N D w m r r: V , 9} , A u se MA DE i n n u: m u ons A SP E R PO N P O L S H E E PT A N A A M S e e A S P E R w m r J U I D GY I D w J , - C A A T E S A SE n m ou B LA K (B S L ) B . r a ssi e FIGU R ES m w in r :

corm cr i on. 1 0 P E R O . nearer L N A 79 I D ( U ) . fordshire potters reached the very apex of their fame and - produced such resul ts as g ave them a world wide reputa A tion . It is said that dams an d Turner were both very

1 94 O L D PO TTE R Y

’ i nor the black basal tes ware were Wedgwood s nventions . a in 1 62 had He improved the bl ck basaltes 7 , but it been w for a a and a kno n m ny ye rs previously, pieces were continu lly

CO L O R E E A R T H E N W A R E S I R SA A C H A N E L ST A O R H R E U D , I D FF DS I .

N E W T O N . sr A rronn rz B U R R A L P H WO O N s , D, J U .

su m c. 1 80 R A , 7 . L P H W O O D, E N A M E L CO LO R S U .

a produced by m ny potters. Wedgwood acknowledg ed to ' Bentley that P almer s work was very good with reg ard to the a and an a body, sh pe , composition ; d, he dded, we WE DG W O O D A ND HI S R I VA LS 1 95

e our s. P must proceed , or they will tr ad on heel almer and his o a N al set the Lond n p rtner , e e , out next to copy E ca a a a al s trus n p inted v ses , which were mostly in b s te a a and ﬁr The p inting w as done in enc ustic colours then ed . i a n w as S f Try ng to void trouble , the body o ly made in ta ford and a o A n n w as . c i n shire, the p inting done in L ndon i jun t o al E i w as r followed on beh f of the truria ﬁrm , wh ch comp o by the acquisition by P almer of certain rig hts from

CO LO R E E A R T H E NW A R E . r owN ce csorm v cuA U D , ucsR . R A L P H

E L L A N D N O T CE . sr ArrO R Ds r i 80 . w OO D UN aN A u rL CO B I , 7 , J . LO U R S .

W ’ w . P a a PA ME R edg ood lmer s m rks were H . L , or the same a A in circle . N E LE AN D PA LME R marked the period of a r w as 1 66 P ot p rtne ship , which dissolved in 7 , when almer g f i u and h t 1 N into di f c lties , from t at ime to 777 eale carried a al d a N an his . on the f ctory one , with own m rk, I E A LE , AN E a 1 R W H L Y, or in circle . In 777 obert ilson joined a the ﬁrm , which ch nged its name and its mark to Neale 3 7 1 96 O L D 1 01 1 4 “

' The r i n n Co. chief p oducts of this were blue and white a W and n and o jasper w re , just like edg wood , gree g ld a an w res . O ne of their specialities was the m ufacture of

u and i s a a u r . ﬁg res Toby jugs , of wh ch they old gre t n mbe A beautiful set of ﬁgures of S a r and The e sons , colou ed m a gilt , y be seen in Lady ’ Charlotte Schreiber s Coll ec tion in the South Kensington M useum .

Th e Woods, of

B ursl em .

There is some misconception with reg ard to this family

and the work they did. The father of R alph and A ar on W R W ood was alph ood , of R a a ill . Burslem , m er lph Wood the potter was born in 1 1 6 and 1 2 7 , died in 77 ; he w as two years older than his A a W o a brother , ron ood , als 1 1 8 potter , who was born in 7 R and died in 1 783 . alph l a W . a ood, jun , so potter , was born in 1 748 and died in E c W al 1 . 797 no h ood, so a w as u son potter, the yo ngest w as of A aron . He born in SO 1 759 an d died in 1 840 . you see there were two pot R a W and ters named lph ood, the two brothers and the two cousins were engaged in the W d r r a potteries at Burslem . The oo s we e the ﬁ st to m rk in w as specimen productions at their works , but the mark g

1 98 O L D PO TTE R Y

a . a very quiet tone They h ve been reproduced in F rance , G m and P er any, the otteries with colours so strong and l a a a and a mode ling so poor, so l cking in ch r cter sh rpness , such a contrast to the hig hly finished and fine work of the W as a a al genuine ood period , to be comp r tively v ueless . A r A P a a a h few fig u es , such as ir of H ym kers , 7§ in . igh ; “ ” “ ” C a 8 . and O ld A e ar h rity, in hig h ; g , e m arked R . ” WOO . O a and M D thers , such as The Vic r oses , The

ST A O R S H R E R E S R A L P H W . FF D I FIGU . O O D

” ” ” P an Sir aa N t Mil arson d Clerk , Beckford, Is c ew on , ” R a R W O . WO O R a a . O S E M . t on , are m rked D , or D , BU L a W Aaron Wood was pprenticed to Dr . Thos . edgwood 1 1 and a his a in 73 , he worked for him for ﬁve years fter p a a a prenticeship w as completed t w ge of 53 . per week then r i M for seven yea s he hired h mself out to John itchell , of and a a a Burslem , fter th t he started for himself as potter 1 n a 1 8 e E a 0 . O bout 75 his de th , in 7 3 , his young st son , noch

W . w as a and ood , took over the pottery He g ood potter a a a skilful modeller . Some of his busts att ined very great ” a as a W l popul rity , such th t of J ohn esley , which he mode led W ’ i r i 1 81 . had f om l fe , in 7 esley s rel gious work made great WE DG WO O D A ND HI S R IVA LS 1 99

a S f i and n w as headw y in ta fordsh re , in co nection with it he o E W a a frequent visitor t noch ood , who was not only potter l E i and modeller , but one of the ﬁrst col ectors of old ngl sh

and a S f r . a pottery, especi lly of old ta fordshi e It seems great a w as 1 8 pity th t when his collection broken up , in 35, the nation did not acquire it a a 1 82 s whole , for of the ﬁnest pieces went to M and the Dresden useum , al thoug h there are some ﬁne Specimens in the

London museums , the loss sustained by the breaking up of the collection is irre a par ble . The specimens marked WO O E E NO C . H D , or WO O are D , excellent in w a and o far every y, g to prove what a skilful artist W w ar this ood as. The l ge bust of Shakspeare was modelled by him , though Bott Co. pro duced c one almost identi al . O ther ﬁne specimens are ”

St . S a a eb sti n , the bust “ W o f es l e y , be fore referred to, showing an ov a-1 a at b aCk R A L P H WO O . t blet the v rCA R A N D noses. D bearing the inscription : THE R E V . O N WE S E M .A . 8 J H L Y , , ag ed 7 ; and ” ” a and W i w two l ter busts of Wesley h tﬁeld , ith circular t ablets at the back and suitable inscriptions : “ HE R T E V. O N M nd 1 1 WE S E M . A . 2 J H L Y , , died arch , 79 , “ a 88. E nocrr T HE R E V. WO O D um U R SL E M . ged , Sc , B G E O R G E W F E D ie S 1 0 a HIT I L , d d eptember 3oth , 77 , g ed " 6. E NOCH WO O D UR 1 0 a e 5 , B SL E M . In 79 , a p rtn r named zoo O L D P O TTE R Y

C a and n w as J . aldwell was t ken into the ﬁrm , the busi ess r on till 1 81 8 a and a ca ried , , in their joint n mes , the m rk used w as WO O CA WE D LD LL . “ G ood specimens of the Woods ﬁgures are worth from

£5 upwards . The presence of the mark increases the value

‘ ' - ﬂrz P AR SO N A N D r n s cq srA rrO R Dsu rR rz R E . t I . FIGU

sr A rrO R Dsn re . R A L P H W O O D.

E nd a . a ar a about hundred per cent xception lly r e ﬁne pieces ,

a a d . R however , c nnot be judged by this st n ard ecently as as 0 w as a u w as much £3 given for Toby j g , but it of the

a and a e M 1 . best qu lity ; the l rg ﬁg ure of ilton , 5} in hig h , is not ma a dear at £1 5 . A gain we y note th t for ﬁne g enuine pieces a a a i f prices h ve strong upw rd tendency , wh ch is not af ected

b . y thousands of spurious ﬁgures , Toby jugs , etc To identify

2 0 2 O L D PO TTE R Y

a a His to m nuf cture on his own account in 1 754. ware d a and w as attained very consi er ble merit , mainly cream a a w re , blue painted , blue printed , old willow p ttern , black E a o printed, black gypti n , etc . He als produced jasper a a are w re , though the m rked specimens of this rare . In 1 S o w as the year 754 the second Josiah p de born , who, in ’ a a due time , cquired the rudiments of potting t his father s a a — small m nuf ctory which , however, was extended by the a at cquisition of the pottery Stoke , previously carried on ’

M . an S a by essrs Banks d Turner . J osiah pode s n me occurs

N E STO N E WA R E . SPO E . JUG . FI D amongst the eighty potters who are named in the list of a S af 1 86 manufacturers of pottery w re in t fordshire , in 7 , where he is mentioned as one of the six potters at Stoke .

Many of the specimens of early Spode are unmarked . The A 1 and his i elder Spode died in ugust , 797, son Jos ah , who had previously been taken into partnership by his a h ad a s f ther , g ined business experience by being ent to at a was at London to assist the London w rehouse , which a a W a C a tha t time under the m n gement of illi m opel nd , a had r a native of Stoke, who at ﬁ st tr velled with productions S and as of the toke works , when trade became so good to WE DG W O O D AND H I S R IVA LS 2 0 3

a a o r Co w rr nt the establishment of a L ndon wa ehouse , peland took charge of it . A t this period the London merchants and shippers were i a W and a suppl ed with chin from orcester , Derby , C ughley, and with earthenware from the Staffordshire and other pot ’

e . S o a and teri s Still p de s trade continued to incre se , the a F S C he dquarters were removed from ore treet , ripplegate , l ’ P a S e F . London , to ortug l tre t , Linco n s Inn ields O n a a 1 S S the de th of his f ther , in 797 , pode returned to toke , a leaving his partner Copeland in ch rge of the London business . He now g ave all his attention to the manufactur e of his

a and a a . w re , eng ged m ny g ood modellers and artists Henry a ] a 1 80 2 D niel , his en meller , introduced , in , the method of a in an d orn menting porcelain raised burnished gold, but Spode himself introduced transfer printing on his earthen f a . a a o ar and w re The pplic tion the prints to the w e , the beautiful lig ht tint of blue in which the pattern w as pro duc a - ed r . , g ve results which are to day much p ized by collectors a 1 80 a a n In the ye r 5 he m de ﬁne opaque porcelain , which e a C as E joyed wide popul rity on the ontinent as well in ng land , as a ul a a did the be utif earthenw re which , under the gener l ”

a C i a a . n me of Ironstone h n , had such large sale

Spode commenced to make porcelain before this . In 1 800 a s ch and r he invented pa te, in whi bone felspar ﬁgured la gely . P a c r ws erh ps the style of de oration , in which eds , yello , and - a a dark cobalt blues predomin te , fter the style of the old a a a are a r J p nese p tterns , the most popul r of the rep oductions i i a a a from the or g nal p tterns , which h ve been widely imit ted. It is interesting to note that the second Josiah Spode

a . in made fortune in his business Before he died, July 1 82 had a a 7, he done much to elev te the ch racter of the a at P and w re produced the otteries , his earthenware may be said to rival the productions of the best early china manu

fac ur W . a t ers. C opel nd , his partner, predeceased him , 1 82 6 and W a C a as in , his son , illiam T ylor opel nd, who w Ma 1 8 —6 Lord yor of London 35 , boug ht the entire business as a going concern from the executors of the third Josiah S 1 8 and rs a pode in 33, ten yea later his princip l traveller , 2 0 4 O LD PO TTE R Y

a G r n a Thom s ar ett , became a part er, and from th t date till 1 847 the title of the ﬁrm w as Copeland and G arrett . Then h was s o and w as carrie the partners ip di s lved , the business d on

W. . C a S . en under the title of T opel nd, late pode Tw ty years a A C o an l ter lderman opeland to k his four sons into the ﬁrm , d W and S w as d now the title of . T. Copeland ons a opted. A t the presen t time the best artists at work producing very beautiful china .

S PO E P A ST LL E R D I BU N E R .

RA DE M A R S SE D B Y m s T K U F rau . We give on the opposite pag e the vari ous marks which have ’ been used on the ware produced [by the ﬁrm from Spode s 8 d ays to 1 47.

' The last illustration shows a vase with a perforated cov er or as a a a p tille burner , mounted on st nd formed by t hree dolphins on a triang ular base . The body is red with black ornaments in W a e SPO relief, in the edgwood style . The m rk impr ssed is DE .

CHA PTE R XXI I I

L U STR E W AR E

E TAL L I C lustre w as an interesting material much used in the early nineteenth century for decorative a o w as i a ma purposes , and long g it a strik ng fe ture in old - r jolica and in Hispano Moresco ware . The lustres we e ” ” rs r ﬂets l also termed iridescent colou , e métal iques , ”

o and a r a. r c lori cangianti , m d eperl These were p operly the names for the eﬁects produced by the various metallic for a of a pigments used the decor tion the surface of the w re, a u in the same way th t the ordinary colo rs were used , but a e having a metal as their b se . The metal was h ld in such a state of extreme subdivision that when it was applied a and s it produced ﬁlm of exceeding thinness , succe sive

films were painted when necessary one over the other, so that the colours were reflected according to the relative fil s n a u ff depth of the m , thus produci g very be utif l e ects,

ma a a . some of which, however, y be due to tmospheric ction Modern chemists and manufacturers have failed to dis c m u of a a over the arvellous l stre the ﬁne old m jolica w re , of which the two chief colours were the celebrated crimson r di or ruby lust e , which ed out early in the sixteenth century , and a was the very be utiful gold or yellow lustre, which also a a w as e more ncient th n the copper , and its decline coincid nt w E ith the close of the sixteenth century . The best ng lish imitation of the old lustre ware has been the recent work c W i M r a 1 8 0 and t produ ed by ill am de o g n , who since 7 , s ill l and a 1 888 at F h a has ater better fter , ul m , done much to a of a a i n popul rise this kind w re, imit t ng not alone the a cient - a M r . Hisp no oresco , but also the old P ersian lustre wa e LUSTR E w ane 2 07

The earliest E ng lish product which had lustre in its deco ra R a F an at a tion was made by ich rd r k Brisling ton , ne r Bristol , u w a abo t 1 770 . This s copper lustre . S a a ilver lustre w re , m de for domestic use , was produced a a at S f R in l rge qu ntities the ta fordshire potteries , obert W N a Pa ilson , who succeeded e le and lmer , taking the lead and o in this direction ; his brother David , als of Hanley , l P was was no less successfu . ink lustre not alone made W i r e by edgwood , whose s lver lust e is amongst the b st o f

O L CA W A R E P L A TE A PO R T RA T or 9 1 5 7 11 0 P E R G NO W I U . I U I ,

ro t but a s S n and the lustre p duc ions , l o by the u derland N ewcastle factories , in such abundance t hat it is not common for some collectors to ascri be most of this pink 8: Co S a and er lustre to Dixon underl nd, j to the oth S a a underland manufacturers , n med l ter . The dispute which has arisen as to the inventor of lustre ware leaves it a question as a H t to whether John H ncock of anley, or John Boo h , of W the i . Am st ell Street , had best r g ht to the honour ong G a e a tr the early makers were J . rdn r , who is said to h ve in o ’ duced decoration in the form of silver lustre at Woolie s 2 08 O L D PO TTE R Y

’ W S and a at S Horobin orks , toke , fterwards pode s pottery ; ,

and E nd and A E nd. of Tunstall Lane ; ynsley , of Lane

S. S a . a G Dr . haw ascribes the e rly lustre to J H ncock , J . ardner, a W. nd Hennys . They seem to have been employed by

e a u Wi other potters , as som times m rked pieces are fo nd th “ ” “ ” i P S W 8: names , s uch as Lak n oole, pode, ood ” al and a . C dwell , D venport , of Longport We a al c h ve noted the several met lic lustres , of whi h the a a of rarest is gold or yellow, which contains small qu ntity

LUSTR E WA R E 2 09 gold in a film so fin e that the actual colour of the metal is and r preserved ; silver steel lustre , both derived f om the a a and and h actu l presence of pl tinum ; copper pink , w ich are produced by the reducing action of the fire in the kiln a a upon the metal . Lustre is used either on a pl in surf ce an s or on embossed surface with other ground colour , such

r an d ra . as b own , green , blue, or even with painted deco tion O f m e a course , its si pl st form is where it is as whole

a ou ca w ar ns-w a ne v ase av n u sr a o O R O corn A N D u , GI GI .

n u s? L sr ns c. 1 1 8 u , 5

a - i surf ce colour ng to the piece . This is sometimes called e r h s solid lustre , but , whether in copper, bronz , or silve , t i - whole lustre class is the least interesting ; it is simply using the as a wash or laze w a and its lustre g in the ordinary y, beauty depends upon the quality of the paste and the shape a nt and a e. as a i of the piec Lustre is also used p , pplied with the the brush on the white, blue , or green sur face below a ra a a or a gl ze , gene lly in decor tion of curves le ves , or again as a a fr mework to the white reserves . The best pieces are W the ﬁgures . here stroke is laid upon stroke the intensity 1 4 2 ro O L D PO TTE R Y

' T h and of the colour is increased . e most interesting , , indeed , l a va u ble of our E ng lish lustres is known as resist lustre . A a a resist simple expl n tion of lustre will be , no doubt , helpful to many who have often heard and used the term a e L et without knowing how or why the n me w as deriv d . i resist a bu t us discuss the process of decorat ng lustre w re, ﬁrst look at a piece where the silver lustre reveals a a p ttern in white , which is a and often very delic te, where the white g laze and paste are contrasted with the silver lustre which forms at one andthe same time the n ground a d the ornament . N ow , in the process of r a ca rying out this orn ment , the par ts to be reserved in white were ﬁrst painted over with a solution usually of a tre cle or glycerine , throug h which a thin coating of

lustre could not penetrate . When this w as dried the whole surface w as covered a with the lustre w sh , and a ai g n left to dry . The solu

tion used for the reserves , a being tre cle or g lycerine , was soluble in water and W E D W O O D P L A T TN U M D E CO G the lustre applied to the R A T E D BY SCR A P I N G O F F T H E P L A T I a N U M E O RE R N pottery resisted the ction B F FI I G. a — of w ter that is , it did not dissolve— so that when the piece w as plunged in water the i solution , being dissolved , left those parts white to wh ch it had been applied ; all the rest was covered with the

r resist a th e a e . lust e , which had the power to the ction of w t r a w a al a Hence the n me, which , by the y , is gener ly sso are O L D POTTE R Y depends largely upon whether the lustre is applied to a a a fil m lig ht or to dark cl y body . The of lustre is so thin as to allow the colour of the underlying clay to have a great A modifying effect on the brilliancy of the lustre itsel f. nother modification is seen in pieces where lustre has been applied a a a ai r a as p int , e ch stroke of lustre pigment , p nted ove a a a f a previous one, m king consider ble dif erence in the sh de and al n and intensity of the colour . Sever tints of bro ze a a S a pink will be found on the f mili r underl nd lustre jugs , a W a for inst nce, with the view of the bridge over the e r a - and o r on the one side , first tr nsfer printed then col u ed in a is a en mels ; usually on the other side motto , or verse , similar to that given in the frog mug in our chapter on Jugs an M d ugs . The one before me gives the verse

F rm er M E N or o .

Th e sa il or tost in storm seas y , T hou h far his bar ma roa m g k y , Still h ears a v oice in ev ery b reeze T t w n me ha ake s thoug h ts of ho . H e hin ks u on his distan rien ds t p t f , H is wi e his hu mbl e cot f , ; A nd from hi s inmost heart ascen ds ” T he ra er F or et m e not. p y , g

s These jugs show how the reserve , left white , are often a a are a decor ted with tr nsfer prints , which somewh t curious , a are an e he laze and bec use they printed d burnt in ov r t g , r a o . then further coloured with en mels , more less rudely

a and l and o over the laze. p inted, in green ye low blue, als g W a orn amen r are here r ised . is used , two tints of lust e and frequently found upon it , the ground tint being pinkish , the raised ornament of a bronze colour ; but seemingly the whole pattern has been coloured with the pink tint r and a n a n has ﬁ st , , fter dryi g , further bro ze lustre been n a a added, so as to disti guish the raised orn ment , usu lly a and - a a conventional gr pes vine le ves , which is style of a a re O decor tion l rgely used for sist lustre too . ther raised ornament makes crude attempts to produce scenes in proper A - a u colours . well known p ttern showing one c pid leading LUSTR E W A R E 2 1 3

a a lion , on which nother cupid is mounted , whilst a third

an l a . G a follows , is i lustr tion of this reen en mel is used a and the for the gr ss ; green , yellow , brown for foliag e ’ a and brown for the trunks of the trees , the lion s m ne , tail , paws ; whilst the cupids and the body and head of the lion - are a are in ﬂesh colour . The wings of the cupids en melled a a a in green . The whole result on b nd of curious blue a l a at and shade, with mou ded bronze lustre b nd the top a bronze lustre stand a a and base , is f ir ill ustration o f t h e lustre ware used about a hundred years ag o for cottage decoration . A mongst the pro ductions in earthen a and w re, even in the a ﬁner work in chin , it is questionable whether E n g l a n d produced anything much better than the silver resist a a lustre , especi lly th t which has been de scribed as h aving the

S L E R L S T R E . I N E L H O DE L L I D SO L E R ' I V U F Y DI blue M fer pﬁnted "m un “ p a t t e r n under the Wh r a glaze . en the rese ves were p inted out by the solution , ic r r d suﬁ cient w to wh h we have befo e refer e , white as u r u a e left s r o nding the whole of the subject , landsc p s ,

s i . l d ora bird , an mals , etc , to give much bril iancy and ec tive f th b ut e fect , not alone to e central panel also to other - reserves similarly transfer printed and decorated with roses and a and r le ves , with the convolvulus with birds in sepa ate

s ffe . small reserve on the rim . This e ct may be noticed in u a a l the j g given an illustr tion, the whole out ine round the n r bird showi g ve y clearly . O L D POTTE R Y

The commonest application of silver resist 8 used on a a a white or ivory ground , but occ sion lly interesting and m i a k valuable speci ens w th c nary , turquoise , blue , and pin

u e r u or ap ricot gro nd are met with . These colour d g o nds are Whiel on an are as rare as the coloured d d Leeds ware. ar u s s are With regard to v ious articles made , j g and mug a an far more common th n y of the other forms. Cups and

O L D PO TTE R Y

as we saucers are more common than whole tea services , c two should expect with the lapse of time . Toba co jars , d and han led cups , goblets are seldom seen , and vases

Th ne scarce . e commonest pattern is the conv entional vi e a l af and grapes . Bird decor tion , es is in s als often on the best specimens . Hunt g cenes , anim of i s n C i ese various k nd , conventio al leaf decoration, ships , h n , S T A F F O R DS I H R E R O G U P S .

STA F F O R D S H l R E .

F rom M iss E dith ’ F eildcn s Col lection . p . 2 1 6]

CH A P TE R X X I V

LE E DS W A R E

O ME WHE R E about the year 1 760 two brothers n amed e W G reen founded the L eds Pottery orks at Hunslet . A a a a a 1 and fter few ye rs they took p rtner , in 775, the ﬁrm ” W . a G Co. 1 81 1 8 bec me Humble , reen In 7 or 7 3 a a n H rtley joined the business , with correspondi g change “

G Co. a in its title to Hartley , reens The ctive m a 1 1 period see s to h ve been from this time to 79 , though w as 1 1 1 a the best period from 775 to 78 . The e rly products

' CR E A M -N A R E L E E S T E A P O N O T E T H E L H E A D T . IG T R S H DE O N H A N L E SPO T ET C P A N T E W E D , U , . I D FL O R S. differed little from the usual earthenware produced at all

. a l the potteries They included glossy b ack , and black sa e a a W ba lt s , not m de in imit tion of edgwood , for in this an c he was not inventor ; he improved bla k basaltes , so a a a a he th t speci l quality bec me all his own , althoug h had . A W worthy rivals gain , edgwood did not invent cream 2 1 8 LE E DS WA R E 2 1 9

’ a is r ware he evolved from it his Queen s w re , it t ue but had i here again he rivals , and amongst the most form dable P o an of them was the Leeds ottery , which pr duced excellent cream ware just at the time when the salt glaze w as dis a - a placed by the soft lead gl ze . This lead gl zing r a and sp ead r pidly, the Leeds glaze w as of excellent quality— a a a rich cre my gl ze , w h i c h s h o w e d a g r e e n i s h or bluish green tin t where it ran thick . The body or paste w as cream u a colo red too , being composition in which clays from Cornwall and Poole were mix ed - with pipe clay and ground flint . The usual forms of deco ration were employed on the Leeds cream A ware . llusion has been made to t he a l u s t r e decor tion , which was very fin e e ind ed, but the other were no less well ap i plied, espec ally the e D a m e l colourm - g m os CR E A M W A R E ST or A I R . 6 m m on. BU ; s. n pai ted in green , blue , l etc. a red , yellow , , which , though it was not finely painted, - was very soft and quiet in tone . The transfer printing w as rc d t o W good ; in fact , it can sca ely be is inguished fr m edg i h u wood . Th s is w at wo ld be expected when we know that both early Wedg wood ware and Leeds ware were sent to O LD PO TTE R Y

- i r o be r . 1 1 e L ve po l to transfer p inted Later , in 79 , L eds had i eeds ex tensive print ng plant in its own factories . The L a ware of ﬁne quality with gilt decoration is r re . r a d a The e is special style of ecor tion , however , which at W reached considerable excellence Leeds . e mig ht well say that in pierced work this factory w as pre

eminent . The clay was stamped with a geome trical design more or less ” complicated , but always n s an a r very sharp d accur te . s wx The open work was pro r duced by the removal of a the cl y, either by means of the stamp itself or by c x s a . w h nd The ba ket work , r a i too , was feature of th s

c m factory . The twigs were w made by hand , cleverly o n a and a s dj usted, decor ted

, T by twisted, braided, or E K S plai ted strips , also made A B a and applied by h nd . This style w as so well carried out as to give quite a distinction to the W - product of the factory, in M A ﬁnd ad5 E which also we g R o n e d and C r o , ﬂ u t e d, moul ded patterns of con

e as sert serv ic s , shown in a l ate were often decorated by pierced - borders combined with transfer printing . In comparing Leeds ware with that of other factories as we must remember that it w as particularly lig ht and, a a a u rule , elegant in sh pe . Its cre m colo r causes it often to

2 2 : O L D PO TTE R Y

' W pete successfully with the Queen s ware of edgwood . Particular attention should be paid by the collector to the a glaze , which is extremely good , owing perh ps to the some a a w as a wh t unusual use of rsenic , which , however, so h rmful to the potters that they were disabled in three or four years . The chestnut basket given in the illustration is an example of elaborate open pierced work ; the handl es are double a twisted and terminated in ﬂowers . It is cl imed by some w as a that the open work punched or pierced by h nd, and , the if so, the skill of workman must have been extremely grea t — l as un ess , is more i t e l kely , he simply moved the clay that had been separated by the process of S a stamping . u c h piece as this chestnut b a s k e t would be m arked in the cata 1 a 6d logue of 794 t 83 . a wholes le . The twig w as a work , as we h ve cs n u u r ns w a n e c s u r u sr u aa sk ar , w rr u e m a 3 0 S n s f - - not dI d f t p u rrow t e P i r a csn pa n arm . rw rsr rn

m uc enm r c O f a ou s, r ua m m n ow m s. cl y. either long or m a short , si ply pl in , or i a tw sted into any sh pe required . Wedgwood produced i - i sim lar twig pieces , wh ch were imitated at the Don P at Ca and a a f ot ottery , stleford , in m ny St f ordshire p - works . Basket work , combined with perforated and em a e a a at bossed p tterns , b c me speciality Leeds . The process was as follows The pla te or dish was formed in the mould in such a way that the pattern stood out in relief above w as a the part which to be tre ted by incision . It was the a w as a and relief work th t cut out by h nd removed, so as to a - a le ve the open basket work p ttern . A P al o testimony to the enterprise of the Leeds ottery, s LE E DS W AR E 2 2 3

a l u to its vast business , is to be found in the numerous c ta og es

E F and G a . or books of designs , printed in nglish , rench , erm n N ot only with these countries w as a large trade carried bu o on , t also with H lland ,

and R a. Spain , ussi In the 1 783 catalogue the F rench list had the following title Desseins d e d i v e r s A rticles de Poteries de l a u C e R eine en coule r de r me , F abriqués a l a Poterie de a G and Com H rtley, reens a a a p ny, Leeds , vec une ’ Quantité d autres A rticles ; e a m les m mes ém illés , impri és ’ ou om es d O r a chaqu e P a a a des tron , ussi vec A C if rmes , des h fres , des

P aisa ec . g , etc etc , Leeds , This catalogue is rare : has any one of our readers ever seen one ? O r even more to the point , is any reader the happy pos sessor of a copy of one of these most interesting old pattern books Amongst the illustrations in the catal ogu e are the following : — Terrines (tu an d reens) , with spoons r stands ; dishes , in the fo m

a e pl tes and dish s , compo r er d tie s , pi ced dessert ishes with openwork} rims , pierced i and u and and s ngle do ble salts , jugs mugs , covered r and a a e uncove ed ; butter tubs st nds , w t r bottles and ice l and a ar a basins , pai s , strawberry dishes st nds , l ge m t n 2 2 4 O L D PO TTE R Y

a and a a s for s lt , mustard pepper, oil and vineg r st nd , candle a a a a as sticks in v riety of p tterns , ewers and b sins , fruit b kets a a and - and stands of eleg nt b sket , twig , open work, chestnut a and a a u b skets st nds , jars for potpourri , sweetme t c ps , and a a tea a a f - baskets st nds , inkst nds , w re , te pots , cof ee pots , tea a r a a milk jugs , c niste s , slop b sins , sugar bowls or b sins and and a r a and a covers , cups s uce s of various p tterns , O ne an ﬁf - mul titude of other articles . hundred d ty two general articles are described in the 1 783 catalogue; In a a 1 r a S l ter one , published in 794, the e was panish list ; in the 1 81 4 edition 2 2 1 articles are described ; the whole of a the pl tes had Leeds Pottery impressed on them . Bes ides i a -e a tea ff c l e th s w re , forty ig ht p tterns of , co ee, and cho o at are services included. In the middle of the eighteenth century a tramway was laid down from the colliery at Middl eton to the town of h a s a Leeds , w ich p ssed throug h the pot works . Thi h ppened in 1 8 and a to 75 , may be noted, in passing , as testimony ” e th . ar P e ly foundation of the Leeds otteries . They must a a We t a have existed before th t d te . no e shortly th t various G o r . changes ccurred in the proprieta y Hartley, reens ” s C0 . a and 1 8 G 8: Co. 2 bec me reen , Hartley , then , in 5 ,

Mr. S W i a and amuel ainwr ght had the predomin nt interest , Samuel Wainwrig ht and Company infused new spirit into i u 1 8 2 Wa the enterpr se ntil 3 , when inwrig ht died, and The Leeds Pottery Company appointed Stephen Chappell as the a 1 8 0 a sole m nager until 4 . In th t year he became sole pro rietor a him p , and his brother J mes joined as partner . In 1 8 S and 47, bankruptcy overtook the ﬁrm of tephen J ames ” C a and a R a w as h ppell , for the next three ye rs ich rd Britton a a Wa a m nager for the creditors . S muel rburton purch sed the and Wa w as works , as rburton and Britton the concern rr 1 86 a W u ca ied on until 3 , in which ye r arb rton died and a h his Britton bec me the owner . He took into partners ip

1 8 2 was k R . B S . sons in 7 , and the ﬁrm nown as ritton ons t h e As showing the extent of works , the turnover for 1 791 was no less than and we ﬁn d that the copper - plates used for producing the transfer printing were valued

LE E DS WAR E 2 3 5

2 0 . e ari a c at £ 4 They were engrav d with v ous p tterns , su h and rs r s as willow other Nankin desig ns , borde and g oup of n a he a e a d . t ﬂowers , landsc p s , ruins In combin tion with a - ﬁne r ar is tr nsfer printing , resist lust e w e was made , and th ,

an a . h r a like the Leeds gold d silver lustre , is r re T e e is contrast between the black basaltes of Wedgwood and the a a a has s bl ck w re of Leeds , in th t the latter a decided blui h A c an r h r a . o tint , ombined with ext emely a d comp ct body b ut a hundred patterns and sizes of teapots alone were produced a 1 in b saltes up to the year 81 3 . The old marks given are W forged continually . e have seen very ﬁne ﬁgures and services stamped with the LE E DS PO TTE R Y marks which a n h ve puzzled those who really oug ht to k ow better . a c a genuine old Leeds is , we repe t , both re my in lig ht in weig ht .

HA RT L EY G REEN S a co L E E DS as P O T T E R Y

Ll l DS ° FOTTE R VQ

LE EDSI' POTTER Y

( cc. CG w CHAP TE R XXV

SWANSE A P O TTE R Y

SMA LL pottery w as in existence in Swansea shortly a 1 6 as C fter 7 4, which became known The ambrian P a a ottery when G . H yn es occupied it bout twenty years l a u a a c d i ater ; the d te for his occ p tion , usu lly ac epte , be ng 1 80 1 80 0 a 7 . In , the works underwent very extensive alter and a a We tions , were remodelled fter the pl n of the dgwood a E 6 t u 1 . C works opened tr ria in 7 9 ommodious rooms , a a and ak n r u a suit ble furn ces , b ing kil s we e b ilt for the m nu facture of the various kinds of earthenware and china by

a w as . a process which kept secret The earliest w re , though c w as l an a — an a called por elain , rea ly ironstone w re op que ’ " — a china something fter the style of Mason s .

w as . W Haynes joined by L . Dillwyn , and the ﬁrm became

A N E S I L L W N 8: Co. CA M B R I A N P orraams SWA N H Y , D Y , , " A a O i as ma . SE . Th s is used but r rely a rk wing to the

a a 1 80 2 . A friction between the p rtners, H ynes retired in l at c h c e awsuit followed, the lose of which Dillwyn c u kl d “ over the fact that he had saddled Haynes with about ”

. i w as is and h r costs D llwyn very enterpr ing , furt e experiments led to an improvement in the body of the opaque i w as 1 81 a a c porcela n , althoug h it not until 4 th t tr nslu ent porcelain was made . The earliest Swansea was decorated Y a W. W . a ru by oung , whose be utiful p intings of shells , f it,

a and r ma k . birds, fe thers , butterﬂies, insects are quite e r able are as His ﬂowers not so good , by comparison with Billingsley l a are f and m and Pol rd they stif for al . ll 1 81 a W. a L . Di wyn retired in 3 , the ye r before the m nu a l and for his f cture of the translucent porce ain , made way

. a a S a a son , L . L Dillwyn , under whose m n gement w nse

2 2 6

MI CRO CO PY RESO LUTIO N TEST CHART

A NSI a nd ISO TEST HA RT N ( C o. 2 )

I 2 . S I . 6

A P P L IE D llVl/ l G E I

1 55 3 “d in En . Street Roch N r ester. ew YO k 1 460 9 USA ( 7 1 6 ) 4 82 P hone ( 7 1 5 ) 2 8 8 5 989 Fax 2 2 8 O L D PO TTE R Y

ma a Y as the china . Services y be foun d p inted by oung ’ r and a h P l a a with sprays of ﬂowe s foli ge , w ilst ol rd s p intings o f ru and a as i a f it foli ge subjects , such the w ld str wberry ,

i n a . A s a a just ch rming seen in our illustr tion , Swanse

did not conﬁne itself to any part icular form of dec tion a We o r c Imit tions of dgwo d were p odu ed , such as black asa and a a a a n b ltes , white c meo decor tion on bl ck grou d , a a a E a i n addition to a r ther rem rk ble trusc n ware , which

CHAPTE R XXVI

J A CK F I E L D P O TTE R Y

N S ackﬁeld P ar hropshire , the J ottery commenced e ly in a the seventeenth century , the e rliest dated piece being 1 634 ; but it w as at the beginnin g of the eighteenth century a and at a th t this pottery, those C ug hley and Broseley,

displayed more activity . Little is known of their ear ly al Thursfield t kfiel products , thoug h John a J ac d made salt an a — glaze d the ordin ry t ableware white stoneware . He a a an d M withdrew fterw rds to Benthall , his son , aurice Thursfield a ackfield 1 1 a , c rried on the J works from 75 to bout

80 R a a 1 . A rs a 1 772 few yea l ter , in 7 , ose m de chin here for n C a a a short time , before removi g to o lport , where he bec me as the purchaser of the pottery of Turner , his old m ter

the mark after the union is given at t he end of this chapter . kﬁel d a a az The J ac red w re , with ﬁne bl ck lustre gl e , was a has ee a a distinctive , so th t it b n customary to scribe ne rly

ackfield u f . al l of such pieces to J , witho t su ficient proof The black lustre glaze w as very good— being highly vitrified 2 30 J A CKF I E L D P O TTE R Y 2 3 1 and glazed— and the decoration of scrolls an d flowers in w al a a relief is well kno n . Loc ly, these bl ck rticles were ” a called black decanters . There is no doubt th t the - black glaze ware of Whieldon w as copied in St affordshire kfi l S ackfiel d w as and at J ac e d too . ome of this J pottery a W finely incised and coloured in conventional p tterns . e a S a a a h ave dealt with this factory next fter w nse , bec use it

6 A c xrrsw 1 0 .

al was so removed to Coalport , on the other side of the river S r Ca had eve n , from ug hley, where commodious premises R been erected by ose . Black ware w as produced at Benthall by John Thursﬁel d

ackfiel d. a when he retired from J The cl y, of very fine w as dr a n quality, w from a pit quite close to the kil ns . It is said that the secret of the black glaze w as onl y known Th fi l urs e d and a him . to , th t it died with there This is not t a a a a a a all prob ble , bec use of the mount of this bl ck w re 2 32 O L D PO TTE R Y

which is still in existence . The black jugs and tea ware re d c ra ai a a i - a e we e o ted with r sed orn ment , usu lly v ne le v s w as and grapes . Just as the rose the top for the cover W so a a to of the orcester china, bird was gener lly the p of — a a the black pieces not for bl ck pieces lone , but for salt ad S and S f glaz ed ware m e in hropshire in ta fordshire , in

a Whieldon a had a im l a . imit tion of the w re, which s i r bird a a a and The raised decor tion , the sh pe of the h ndles spouts , and la a a a the c w feet are common to the bl ck gl ze f mily ,

w as an d a a . which often gilded or coloured in oils , even j p nned

Mr. P S a son S a C eter teph n , of teph n the modeller of oal r a al e a l po t , had sm l pottery h re, where he m de encaustic ti es

and ear a a a a a rn . thenw re , p inted with ﬁne blue r besque p tte s

are a . a a identi His signed pieces r re In the bsence of m rks ,

ﬁcation fﬁ l and a a O . is very di cu t , must remain m tter of pinion

cwweo

Sal on.

2 34 O L D P O TTE R Y and a a a e a c meos , and in c meo or int glio produced qu lly good Ma A man a a and designs of rcus urelius , of a making v se ,

a m . A n hundreds of other subjects , chieﬂy from ntique ge s

interesting note is given as to the prices at which these

at rs. a a were sold ; unset e ch , or ne tly set in gilt metal

d s 6d. al ad from 23 . 6 . to 3 . each . He so m e excellent vases

2 36 O L D POTTE R Y and t ablets for chimneypieces in various sizes and other pieces a h o wi were pl ques with t ree gr oms drinking , th a cask as a a h a serving t ble , eleven inches ig h ; tri ple ma tch holder ; vases with a tree stem with an owl perched upon an do a bo and d at a e. The a it , with y girl , lamb , g b s sh pe , and a a are a colouring , bsence of gl ze peculiar fe tures of ’ Vo ez s . a W y work In these they resembled e rly edgwood , R a W d and the products of the elder lph oo . a are S aff s The two se ted ﬁgures old t ord hire , but , like some a other ﬁgures which h ve been submitted to us , they are as far a a puzzling as the m ker is concerned . The m rk on a the base of one is given . Perh ps some one of our readers a O S aff can trace the n me of wen , Burslem , t ordshire . If a a an a a so , we shall be ple sed to h ve y inform tion th t can

So far can O as a t . be given . we ﬁnd no trace of wen pot er a o a w a It is e sy to c nclude th t they ere m de for, and not u i a a S af by, O wen . The ﬁg re of D n is t fordshire . The modelling is very g ood .

E D I N T H E P A ST ! N E R A SE U D B .

V O Y E Z - 1 7 8 8 J VOY E Z

2 38 O L D PO TTE R Y were sent from these factories in white to be painted in

London . ’ O n The site of A bsolon s kiln is stil l known as The ve s , and some day excavations there m ay help to decide what A a Ma a 1 86 bsolon re lly did make . ny ye rs since , in 7, the Bow x r a o products of were e posed to collecto s , by excav ti ns ’

M r . e a a a t so made for ess s B ll 8: Bl ck s m tch f c ory ; , in x a a N i a our ne t ch pter, we sh ll show how ott ngh m

was ﬁe a identi d from discoveries m de there . The the Yarmouth problem on similar lin es ought to be com ha a a the paratively easy . P er ps these remarks m y re ch eyes of some one who holds authenticated historical records of Yarmouth ; at present we have the story— the usual — of a N a o ie one the decor ting potters . e rly all the auth rit s say that white ware was imported and decorated with ﬂowers n n how h coun and la dscapes in the local ove s , t en , can we ac t for the impressed arrow which is foun d accompanying ’ A bsolon s a and i ar n me, wh ch , no doubt , is the m k of the YAR MO UTH POTTE R Y 2 39

Now a e n an maker ? , this rrow has not b e ascribed as w impressed mark to any earthen are factory . The ware a a l e and manufactured w as mainly th t for the t b e , dish s

and . plates with brown or gilt rims , with green bands a a an Sometimes a ﬂower was p inted on t he pl te , d its a O n is name written in red or brown at the b ck . th point a T a t nc Professor Church s ys , here is s rong resembla e between the plates and dishes decorated by A bsolon and " a S a a n those made and painted t w nse , but the painti g on and the piece given is very crude , resembles much more the early decoration of E nglish delft in style . The local records would settle the relative import ance of t he works ; the old a a an r te books , for ex mple , would show the nual value for ” a rating purposes of The O vens . Two e rly plates of coarse paste were described by Marryat as being in his col had and i lection ; they blue borders , bore the inscript on

O f m a a at o course , they y have been m de the neig hb uring can town of Lowestoft , which point to dated examples of pottery from 1 752 to 1 760 ; but from 1 762 to 1 789 dated s a and example of Lowestoft are all chin , it seems futile to sa a at r d a y th t the same pe io , th t is , the latter half of the n c a P eightee th entury , the Y rmouth ottery would only undertake the work that could be done by an enamelling

There are two other considerations which should be borne in mind the mill for grinding the material for the Lowestoft s w as at G n and was work unton De e , this not far from Y ar t a c the other ott ries mou h ; again , the gre t distan e from a p e , a A s which were s id to supply b olon with the white ware , taken in conjunction with the great expense of carriage to r a by horses , seems make it imp ob ble that the white ware was e Staﬂordshire brought either from L eds , from , or from ence we are Shropshire . H driven to the conclusion that 2 40 PO TTE R Y

the truth about the Yarm outh works will never be found out a a as has unless the site of the old works is exc v ted , been done elsewhere ; then the question of porcelain or pottery a l a s a and its decor tion wil be settled by ctual ob erv tion . ' ’ I t is said tha t some ware similar to Wedgwood s Queen s a was a a a w w re m de here, and also th t lustre w re as pro duced and a S a f a , fig ures fter the t f ordshire style , h ving the — ° a fi impressed mark the arrow . Her is eld for the ia a A t s a v estig tor. pre ent no collector is s tisfied with what O t not kn ow about Yarmouth . her marks on Y ar mouth are

CHAPTE R XXI X

NO TTING HA M P O TTE R Y— STO NE W A R E

a n a N the historic l account of N otti gh m , written by 1 1 a a oa a Dr . Deering in 75 , mention is m de th t c ls , le d, ’ and P otter ware n . timber, corn , s were sent dow the river ’ M n a a l 1 6 1 ore tha one hundred ye rs e r ier , in 4 , only one potter s a a a a n me appe rs in the list of tr des of the town , but in similar S 1 1 are . list , dated 739, two mentioned till later , in 757, A n a N a h a a was a in the n ls of otting h ms ire , st tement m de M w as a a a r a t that Mr . orley m nuf cturer of b own e r henware s S an carrying on his work in the lower part of Beck treet , d a by the business he massed a very considerable fortune . N a a and a . in The m king of pots p ns , etc , of ott g h m ceased w as the about a hundred years ag o. Little known of pro ducts except tha t they were mainly stoneware mugs for the - use of public houses . In this connection it is curious to know - that the old Morley P ottery w as situated in Mug House - a Ma a Mu S . Y rd , g House L ne, Beck treet ny of these old a of a a and in mugs h ve ﬁgures men , nim ls , houses , etc stamped a a was a relief , but more interesting fe ture the n mes and a a a n inscriptions th t were scr tched on the w re before ﬁri g, and a a not the n mes of the m kers , but those of the persons for a an a whom the w re w as made . We give ex mple

d%f n J u di/ f f a n c

The name of John Smith here given has been found on h S a ot er pieces as J ohn h w . R e a a ef rring to our l st ch pter, we spoke about the difﬁcul ty

1 6 2 42 O L D PO TTE R Y

n c of identifyi g the Yarmouth products , be ause there had

a a . Now at been no exc v tion on the siteof the old works , N a a a a a ottingh m , the ex ct w re m de from the e rliest times has been rendered familiar by the discoveries resultin g from

ca a a n 1 81 1 and ex v tions during building oper tio s in 5 , 874,

1 8 . a m a 79 The sites of nu ber of kilns were investig ted, and a a a e s not lone were complete pieces found , but m ny w st r and a a a a broken fr gments . These showed th t from very e rly had a N a period there been extensive works t ottingh m , where

2 44 O L D P O TTE R Y

S a u N n a itting be r j gs were , like the otti gh m mugs a n and puzzle jugs previously described , the ordin ry dri king vessels in inns and beerhouses late in the seventeenth and x a during the ne t century . They were m de in the other o N a a ro p tteries , but the bright brown otting h m stonew re p l a a in a ducts were quite popu r , v rying tone from red to an orange brown with a lustrous glaze ; the pieces were a an d a a m rked by good potting gener lly by graceful sh pes . The blackish brown stoneware jugs m ay be ascribed to C a and a hesterﬁeld or to Br mpton , the white stonew re pieces aff a a to St ordshire . It will be noted th t whilst the surf ce a - a a a of the s lt gl ze is not bsolutely smooth , these brown be rs are a a are sometimes quite smooth , but m ny ex mples covered a d i a on the head n body w th tiny fr gments of clay . The Nottingham stoneware w as largely manufactured by the M a a a a orley f mily , who m de gre t success of the business , a a C a M a f which , fter the dece se of h rles orley, sheri f of N 1 w as and a a otts in 737, unsuccessful , only dr gged out

feeble existence till early in the nineteenth century . The last note on Notting ham stoneware should be carefully a P - a an d m a a m rked . osset pots , l rge s ll mugs , globul r jugs , - - a l - and puzzle jugs , two h nd ed cups , punch bowls , tiles were “ ” a a a ea mong the objects m de in ddition to the b r jugs . The decoration consisted of incised ornament— bands and a a and concentric rings , convention l ﬂor l designs , birds ,

. a a ﬂowers The scr tched inscriptions were often d ted , the at last date being 1 80 5 . The Museum South Kensington

. 3 a a and a h sever l specimens d ted inscribed , with motto ,

O ld E n l a nd or E v er 1 0 g [ , 75

a with a n me ,

E d S rk 1 2 w. ta , 7 7,

a a a or with f ctory m rk ,

M ade at N ottingha m ye r7fb D ay of

A u st A D . 1 1 . gu . 77 CHA PTE R XXX

QU A INT juG S A ND DR INK ING -CUPS

MO NG ST the early potters rig ht back to the Anglo a e— and Sax ons , curious old pitchers were m d very rough v i an d unﬁnished from our point of iew , but st ll most interesting N a a a rare . The orm n potter produced m ny qu int specimens , som e of which have been given as illustrations in our earlier a a a chapters , ﬁgures of mounted knights on horseb ck in th t e rly green glazed ware which s pecially marks t he thirteenth and E a — e . a a fourteenth centuri s ven so e rly , Toby jugs ppear t a as a least , jugs sh ped men in costume , with the he d modelled a a had on the top . These g in the old green glaze ; so , too , a a had the e arly puzzle jugs , which were comp r tively common - . a a l an in the Tudor period The cre m slip w re fo lowed , d the - f a a fuddling cups in bu f w re , both preceding the dvent of

a a . a a the decor ted slip w re of the Toft school It ppe rs , how a and a a ever , th t the cups jugs sh ped in the form of be rs , ’ ’ a x a . had a dogs he ds , fo es he ds , etc , their origin bout the time when Whieldon and A stbury forsook the red and black lers a a ware of B in f vour of more homely style , though for a a Whiel don a quaintness nd be uty w re , in its finest specimens a a au and of g te , tortoiseshell , mottled , c liflower , pineapple a suflers a w p tterns , nothing by comp rison ith the embossed u or st amped patterns of the t rned ware of E lers. - The old Astbury bear shaped jugs are not now easily ’

d are a . a a foun , but they very qu int The be r s he d formed the cup from which the liquor poured from the jug w as

. a are a drunk These old be rs very rough on the surf ce , because they were covered with tiny bits of clay which were l w as A t a stuck on whi st the piece wet . the s me time the 2 45 2 46 O L D PO TTE R Y

l at a . d head , cl ws , teeth , etc , were mo el ed , not moulded , as

. a was a w a later period The gl ze usu lly bro n , though some of the be ars are found to be made of a dark brown clay de d corate on the edg es with white . The early Toby jugs with

the soft blue , green , yellow, . D Y N E and brown glazes are de A L N —R sc r i b e d i n a s u c c eedi n g E U R B ad a . We d A ch pter need only , W N a a l A th t quite number of smal M R ju s of this class w ere made O g N a a by R lph S lt of Hanley . . E S a . till , these were much l ter R M Whieldon as than the period , " 1 ’ 0 Salt s factory does not appear E I N H O to have commenced before W T C 1 82 0 . a —E His sm ll jugs varied Y L L R from 3 } to 4} inches in heig ht . E O C T a W ds T G oing b ck to the oo , O E P H T we ﬁnd they made ﬁne Toby E R M a I O jugs , but they also m nu H R S F d D facture many curious cups R O . a - a a and F A with s tyr he d m sks , F N A a a a T H h ndles imit ting piece of S C

a a . N Y cr b stick or c ne Here we I B R and S ﬁnd soft green , brown , P E U D a Ma gray gl zes . ny of these C-D ’ G N a as N A cups were sh ped foxes T ’ ’ K H a a a N he ds , dogs he ds , be rs I A R H a . and D G he ds , etc , jugs of the N S X a o l U K s me peri d were model ed in O C I O a R R the form of the head of A a a . V B cch nte Turner, too , fol lowed the lead of the other a potters . Howev er, he varied the process somewh t , for some satyr-head mask cups have been found in black

a U R N E R . basaltes , m rked T P and Amongst the products of the Leeds ottery, of

m: 2 48 9 0 m

l ma m ark , so well known to co lectors , and it y be noted that l Sir R P the pigt ail forms the hand e . obert eel appears in

c a , this series , the jugs being ins ribed with his n me and the

l a a scrol , which he is holding , re ds Bre d for the Not alone w as earthenware used for the purpose of making

an a a . c we these curious jugs d cups , but chin s well Hen e a - a h ve rhytons or drinking cups formed as he ds of deer , dogs ,

2 50 O L D PO TTE R Y

F w a at S l . rog mugs ere made l rgely under and , where Messrs

n C a a a M 81 Co. r Brunto and omp ny, fterw rds oore , ca ried on an extensive business . The frog w as modelled and m u a placed inside the g , so th t when the contents were a o a n a a A n b ut h lf co sumed the frog ppe red . inscription is - frequentl y found transfer printed on the outside . The

' ' R O G M U G . S N E R L A N W A R E . M I SS E DI T H F E I L DE N S CO L L E CT O N F U D D I .

a a S n a mu a 1 tration is r re u derl nd g , d ted 793 , The opening ” a of the bridge over the Wear . The bl ck frog with pink a - mouth and tr nsfer printed ﬂowers is quite uncommon . Thanks are due to Miss E dith F eilden for permission to use a this illustration from her valuable nd interesting collection . The most curious specimen that has come under our notice QUA INT JUG S A ND DR INKING -CUP S 3 5 :

not be assumed tha t all of these frog mugs were made at S n a a at u derl nd m ny were Leeds , shire CHA PTE R XXXI

T HE WIL LO W P A TTE R N

ITH the ﬁve illustrations we giv e of the willow attf m a ma a p , the story of the pl te y not be miss . It a is a Chinese story . Thoug h E nglish pl tes and dishes in a are E a a e arthenw re very common , nglish porcel in pl tes and am a a - are dishes with the s e p ttern , tr nsfer printed , compara l a and C a e an d are a tiv e y r re , old hinese pl t s dishes very sc rce . So E nglish e arthenware pl ates and dishes are cheap thoug h

a 5 . er a and 1 0 s old , they will only sell for bout 3 p pl te . per E e a a and are dish . The nglish porc l in pl tes dishes worth as m an d C are three or four times uch , old hinese ones worth N a much m ore than this . ow for the pl te Looking down ’ the a upon the scene , we notice just one corner of m ndarin s the house peeping out behind on right . Then in front there a a a- a a an a is pretty p god sh ped p vilion , over which or nge a a l tree in full fruit spre ds its br nches , whi st to the rig ht is m a a . the pe ch tree in bloo The pe ch tree , in the land a and a a where ﬂowers , pl nts , trees , nim ls were symbols , is ‘ a a and f an emblem both of m rri ge longevity . In such ' a w as a - a a a scene , it wonder Li chi , the m nd rin s d ughter, ’ a a a a and Ch ng , the gr ndee s secret ry, should le rn to love D a a a each other r yton , the poet , knew hum n n ture

' E ach l i ttl e b ird, this tide

Doth choose h er l ov ed eer p , W hich constantl y ab ide I n w edl ock al l the ear y , A s nature is their g ui de : So m ay w e too be true his ear n r h n T y , o c a g e for new ” ur es cou l e w r A s t tl p d e e. 2 5 2

2 54 O L D P O TTE R Y out where his daughter had gone will never be told P a a a a C a had s e h riv l , who n turally h ted h ng , e n him wit the

a and then had m a g rdener , fl hurried to tell the ndarin , as as ha soon news of the elopement d become known . The w as a — a a rest e sy perh ps not for the g rdener . There was THE WI LLO W P A TTE R N 2 55

a a and t a i the b stin do , the ruth might h ve been d vulged under a as m a a a hin treatment by it . Be th t it y , the m ndarin , bre t g ’ a and a a thre tenings sl ughter , found out the lovers retre t , and w as about to beat them to death with a whip when the - gods took pity on them and changed them into turtle doves . and There , too , the dovecot stood , with its meek innocent ” inm ates murmuring ever of love . a a a The willow p ttern is so c lled bec use of the willow, in a a a the foreground , which beg n to shed its le ves just bout a the season when the elopement took pl ce . Differences will be noticed between the det ails of the number a a of or nges , the number of c tkins on the willow, the blossoms m a a a . of the pe ch , the rr nge ent of the fence , etc The ﬁrst - - and foremost blue printed willow pattern E nglish chin a

a . a at Ca . and a pl tes , etc , were m de ughley by T Turner , l ter at C a and are a as o lport , known in the tr de the Broseley

a w a . E a p ttern . It as most popul r rly examples with the Ca a Sa a a ar e a ughley, C m rk , or the lopi n , S m rk , r re , especially

i a a a cups w thout h ndles , ribbed nd ﬁnished ex ctly like the C hinese originals . Most of the potters have made the willow a a a a a p ttern , but comp r tively few pplied it to porcel in . So ! when the collector gets a marked piece of earthenware the a a 2 value is incre sed by bout 5 per cent . over the prices a are a a given bove . These prices t he ctu l prices at which -a a and can willow p ttern pl tes dishes be sold . CHAPTE R XXXI I

TO B Y JU G S

E have had the privilege of seeing hun dreds of these in ’ Mr an d a a a n . Turner s collection ; p rt from their qu i t s i ne s , we were struck with their ﬁtness in h s scheme of room

ora F are a a a a . s dec tion . ine specimens lw ys s le ble The e F - F P Toby ill pot , illpot , or hilpot jugs were the homely, h a an a - a ighly valued treasures of the f rmers d f rm h nds , as a ll which were used , their n me implies , more for fi ing the a - smaller vessels with liquor th n as drinking pots themselves . a They were made mostly in Staffordshire . The e rliest Whield n o a i belonged to the o or Tortoiseshell scho l , h v ng the beautiful soft markings and glaze which were associated a F Whieldon with the works at Little F enton nd enton Low . a his a 1 0 and r i -a beg n work bout 74 , fi st produced kn fe h fts , f - and am as snu f boxes , toys , chimney orn ents , in white well as a a tortoiseshell , and Toby jugs , repres enting fig ure se ted d u and a . 1 W o an with j g , pipe , b rrel In 754 edgwo d Harrison ’

am Whieldon s . a bec e partners H rrison soon retired , but W 1 . 1 edg wood continued in the ﬁrm till 759 Here , in 754, a r a but a he produced his f mous g een gl ze , more , he le rnt the a a as business that was to m ke him f mous . The question to whether Wedgwood made an y large number of Toby jugs or other pieces of coloured and glazed earthenware has not yet M W a a been solved . ost edgwood w re is m rked ; very few O ld S af a an a n specimens of t fordshire h ve y m rk , o ly now and then is a Toby jug deﬁnitely attached to a factory as a sa R a W being m de , y, by lph ood the elder , or the younger

Whieldon A a W . N Co. R . G a a by , ron ood , J eale , rner , L kin and P E Wo W 8: C oole , noch od, ood aldwell , John Turner, 2 56

TOBY JUG S 3 57

Wa W. R W R . Sa . 8: Co. . Turner , ilson , lt , J lton , Dale 1 . A a . P a o Co . . , d ms , B l nt , B tt , J Lockett , a E 81 G a S and Davenport , B rker , dge rocott , B rker , utton ,

S a s a . N ot u t e r Till , or Bentley of w n e one j g illus rat d he e ” a a S af v en to is marked ; the gener l n me , t fordshire , is gi

h all a in li t em , and the price varies ccord g to the model ng ,

the de o a and a c . c r tion , the r rity of the pie e on a a a n wro the m rket , the m jority, unfortun tely, bei g ng ones but these reproductions and forgeries are compara tiv el c in y easy to detect . The softness of the olour the old sa a nar w r specimens , to y nothing of the m rks of ordi y ea , is I 7 2 58 O L D 90m m!

a and rt a a due to atmospheric ction , sudden di c nnot imit te this . Still more interesting , thoug h not yet widely known , is a ﬁ as the test of the colour . In m ny of the nest Toby jugs , a a R a W also in the ﬁgures , not bly those m de by the lph oods , a w as a a father and son , the colour gl zing pplied with brush , la d so that some parts have no g ze. Then the mo ern pieces

a n a . S are have a we ker, poorer modelli g ltogether ince there are a a bu t few examples marked , collectors dvised to void

a a o a . R a strong colouring in f vour of s ft , quiet h rmony lph

Wood the younger was the first to use enamel colours in order to secure a greater range of colour and to overcome one of the greatest difficulties of the early potters— the a running of one colour into nother. F l u w as at a The Toby il pot j g , first , in the form of n old man holding a jug with one hand whilst in his other hand a a a n a din was pipe . V ri tions in the sitti g or st n g postures N w a a . o n m u a were common , y figure of a n in j g form is a ! Toby . The first illustr tion does not . how the mass of blue , oa man a soft in tone , in the c t of the who holds brown jug

2 60 O L D PO TTE R Y

I ts 1 2 in . and w as made about 1 770 . height is , following inscription is incised

o H ard Doll ars b me H allo, B rother B rit n , y T Whoev er hou be. A nd dri nh a health

Sit dow n on T o al l scal ars B old. That chest 0 ]

F a 2 61 a S af Toby illpot , p ge is lso t fordshire

a . r 1 1 . a earthenw re The O pposite ﬁgu e , 5 in hig h , is se ted, and a u a his holds j g with the rig ht h nd on knee, whilst in the left a as a a a r a hand he r ises the gl s . The d te of its m nuf ctu e is bout 6 We a u and u and s 1 7 0 . h ve seen the j g pipe , the j g gla s , which sometimes have the adt itiou of a barrel with or without roar JUG S 2 61

a d are e as n s , a dog . There oth r forms , such Joh Bull e te and a man a a s a d white earthenware coloured , with gl ss e te M S aff u on a barrel , which are old . odern t ordshire j gs do not a Mr. P , profess to be anything else . unch se ted coloured " F a C a , eart henware , and the bust of ther hristm s coloured a m a a few earthenware , are s mples which y be bought for a a R o g a a shillings . The l st Toby is type of the ckin h m w re

G Co G had of reens , Bingley of whom reen been a partner with Hartley in the Leeds Pottery under the title A S i M W a G . t of H rtley, reens Co this w nton oor orks a a a l C a be utiful brown gl ze , so we l known upon the adog n

a a a a a . a te pots , cquired gre t reput tion The ﬁg ure , one of ” Snufftakers w a and a pair , The , as also m de , simil r ﬁg ures are at S a P still produced , the w dlincote otteries in Derbyshire , t i ockin ham a all az and o bo h a g w re , in brown gl e , in c loured earthenware . O L D PO TTE R Y

It is necess ary to insist that ordinary O ld Staflordshire will never be val uable in the sense that Worcester and Chelsea are a O ld E i P , but , on t he other h nd, the finest ngl sh ottery, a E n genuine nglish product , without the foreig influence our a has a r a a ai a whic h is so evident in old chin , l e dy tt ned l as a high level of value , which wi l yet hig her the ye rs a a pass w y .

- R ocx i N cn m snort T u r n.

O THE R E NG LISH P O TTE R IE S 2 65

- hn and 1 80 1 806 a R . a had o F rom 7 , fter B ddeley retired , j and a E dward B addeley were the proprietors , prob bly the 806 E . . . 1 mark J . B belongs to this period Then , in , the H icks and M ei h B addeleys were succeeded by g , who , from 1 6 ﬁrm H icks M ei h an d 1 82 0 to 83 , extended their into , g ,

ohnson and a and a . j , produced chin pottery of good qu lity

a R id wa M orl e Wear and Co. The works , cquired by g y, y, , , a R a W . and Co. as a . adopted R . M . m rk Then idgw y left

M rl and Co. G . . A t n a F . a e in 1 845 , le ving y L shwor h joi ed 1 8 1 8 1 a a as a partner in 50 or 5 , fter the purch se of

a a d . the patent for ironstone chin n all the moulds , etc , of a F M son , of enton , for merly c alled Lane Delph .

The present ﬁrm is G eo.

A and . L . shworth Bros , of Hanley . A DDE L E W I L L I A M B Y , , e arly nineteenth century, 82 2 Han 1 80 2 c. 1 c. to , — W. a ley . This B ddeley was a brother of the

and E . a J . B ddeley, of a Shelton . He m de the r R rR B A N D . s u m Dsn , L E E N , c. 1 81 3 ordinary St affordshire a a and a and a w re , cre m bl ck , from the situ tion of his works an d be his desire to be distinguished from his brothers , a E A S WO O im m rked his products T D , which is found

ou a a . pressed v ses , m tchboxes , etc , for some of which he a a a and l a used yellow cl y with blue r ised ﬁgures fo i ge .

He was a Wedg wood copyist . B A G ST E R A N D P HI L I PS 1 82 0 1 82 8 — s , to , Hanley The e W potters were the successors of the Wilsons . R obert ilson had a a N a w as as a been p rtner of e le , who noted rival of W a edgwood when the firm w as Pal mer and Neale . So th t B agster and P hilips were intermediary between the old firm W and R . A t rs of ilson the new firm of idg way fi t , when

a R a 1 8 0 W. R d it bec me one of the six idg w y works , in 3 , i gway,

Son and Co. rs a a were the proprieto ; l ter, the title v ried, 2 66 O L D P O TTE R Y

R a a e and P with idgway lw ys prominent . B gster hilips a a and a a a m de stonew re , lustre ware , gener l e rthenw re . A I L E A N D B A T K i N a B Y , e rly nineteenth century , Lane E nd — This w as the only ﬁrm which took out a patent for x i — lustre pottery . They e celled in s lver lustre whole lustre

without reserves . In the a a 2 illustr tion on p ge 64, which is from the col

E . N a Mr . lection of orm n , of are Burnley, shown three of the old pieces used for a m and dvertise ent , these have an inscription in an a A I L E A N D AT I N ov l , B Y B K , P A E N W a SO L E T T E E s. illi m ’ Bail ey s name occurs in the list of potters for 1 80 2 “ as a gilder of earthen

ware .

A R E R S. 1 8 Don B K , , 34.

P a . ottery , Donc ster It w as in this year that a B rker , who owned the O ld Pottery at Mex

borough , bought the Don P had ottery, which been

founded by John G reen , who ca me from the Leeds Pottery in 1 790 or there a bout . G reen made a varied selection of earthen a c w re goods , servi es for tea and s dinner , , des ert , a a v ses , b skets with pierced a a L and a work , m inly fter the eeds style p ttern , some of - it very cheap ware with transfer printed and coloured a w as DO N PO E R decoration . The m rk used either TT Y “ ” E E N a - and a a or G R , on cre m coloured ﬁne e rthenw re ;

2 68 O L D P O TTE R Y l aw A w as a m an n a , ntony Keeling , of co sider ble enterprise . ’ N ot a content with simply c rrying on Booth s business , to w as which he succeeded , he one of the little group who , in ’ 1 a a a a 777, m nuf ctured porcel in under Ch mpion s patent

a . Wa r and C for Bristol chin Hollins , rbu ton , lowes were his a w as a p rtners in this work , which c rried on in his premises w as N ew a until he retired , when it removed to H ll , under W a and o. the control of Hollins , rburton , C R eference is a him 1 86 as A K a a m de to , in 7 , ntony eeling , m nuf cturer of ’ n a a a and a E a Quee s w re in gener l , blue p inted en melled , gypti n ”

a . 1 80 2 a bl ck , etc In , two pott eries were t work for the

E O R Ds E L A N E E N D c 1 81 . ST A O R SH R E L ST R E L A N ST A TE , , . 3 FF D I U ,

E N D, 1 82 0 .

f l a w as A . E . K E E L rN G . Someo Kee ings , whose m rk the best of their ware is richly gilt and painted in bright colours with O rient al landscape and ﬁgures . — A N D o. c. 1 8 a . B O O T H C , 39, H nley These potters produced a — a a- a a a red w re kind of terr cott , decor ted with med llions , m a and at a . wre ths , etc , in relief , so etimes in bl ck others the whole of the body and ornament were in red . The a w as a a r and a a P u b m rk the n me , dd ess , d te , in border Ma d . a af l is d . o a n Co S he by G . R Bo th , H nley, t fordshire , y

P a D . d . 1 8 O U R N E E . an . c 0 B , J , 4 , Denby ottery, ne r erby The e arly products of this factory were imitations of Wedg ~ ’ a E and E a a s a wood s bl ck gyptian trusc n w re , m rked with ‘ OTHE R E NG LISH PO T I E R IE S 2 69

’

E . O U R N E e and P B , or Belp r Denby , Bourne s otteries , " Derbyshire . — w as R O M L E WM . 1 80 0 a a a B Y, , 0 . , Br mpton Br mpton w re hard brown pottery with a reddish brown glaze in ordinary - i a a a et c. jugs , tob cco j rs , puzzle jugs , Toby jugs , Qu te e rly - in the nineteenth century a cream coloured e arthenware w as produced and decorated with transfer prints . Ca — F a R O W N E c. 1 1 . B , 75 , ughley rom the sm ll beginnings a a a of this pottery rose the oper tions of Thom s Turner , who a W a and c me here from the orcester f ctory , produced the

A R MS or T H E U N i T E D STA T E S 1 N CE N T R E . N A PO L E O N A s ri RsT CoN sU L .

‘ ’ sr A P roa os E A T L I 1 80 2 . CO L O R E sr A rP O R Ds E . , D U D R SL E M 1 80 2 BU , .

a Ca a a i a celebr ted ug hley porcel in , not bly the w llow p ttern , ” and the blue dr agon pattern which have remained a a a public f vourites for so m ny ye rs . — U R T O N S. and . 1 8 a l B , J , 43 , H nley . The pottery origina ly E a K a 1 86 belonging to dw rd eeling , whose n me is in the 7 w as a ut tons a n list , t ken over by the B from J mes Keeli g , a K a a successor to E dward . J mes eeling took out p tent 1 6 a a a a - d in 79 for le dless gl ze , to be used on cre m coloure

a . A u . C a a w re lso in conj nction with V lose , nother H nley a n in potter, he took out another p tent for improveme ts and ﬁrm a kilns ovens . The productions of this were not ble 2 70 O L D PO TTE R Y with regard to the transfer prints of views in the E ast P a and a a a S t a Turkey, ersi , Indi ; celebr ted dinner ervi ’ “ reproduced the il lustrations from Buckingha m s Trave. s a in Mesopot ami . U L E R E DW A R D 1 S n — B T , , 757, winto This potter succeeded a a a Ma R Twigg , who est blished f ctory on the rquis of ock ’ a a a w as as R a ingh m s est te , hence the w re known ocking h m ” a TWTG G S has a a ware . The m rk been found on dish decor ted - with the N ort h West View of the E arthenware Manufactory a w a R a a l t S inton , ne r otherh m , in Yorkshire ; est b ished in the year E d — CH E T HA M A N D WO O L L E c. 1 a n Y , 795 , L ne This ﬁrm ,

L L A TT N G CO L O R E ST A O R S H R E . BU B I . U D FF D I at a a wi bout the d te given , in troduced a ware thout glaze , a a dr o a -a o h ving y b dy of fine grain , presum bly non bs rbent , i w a a body wh ch s unaffected by chang e of temperature . O ther attempts made to produce pearl ware were generally failures ; nothing approached it in delicate whiteness amongst ” a E a . WA R the e rthenw res It w as marked P E A R L , l and specimen figures in this uncomm on materi a have been “ a Chatham and Wooll e L ane E nd found st mped y, , N a a a - n ot ble mongst these is life sized bust , i scribed A o a a dmiral L rd Viscount Dunc n , who defe ted the Dutch m a A a a fleet , com nded by dmir l De Winter , off the co st of W a 1 1 th O Holland, on ednesd y , the of ctober , This

2 72 O L D PO TTE R Y

L E 8 S e — a a t C O S A N D o. . 1 0 C , a 5 , tok This pottery m nuf c ured - cream ware an d white ware decorated with transfer printing

a was a . O ne for the most p rt , though some of it p inted W A had a a his of the three . dams l rge business here before

a the W . A a a 1 82 . de th in 9 He was not d ms , but distant a A . a as W rel tive The firm seems to h ve continued . dams d an S d . ons until they were succeeded by Close an Co , whose a w A S as C O SE A N D CO . L A T E W m rk L , . dams and ons , S - - toke upon Trent . — A L E I . 1 8 0 ? m a S af D , , 3 Bursle This potter m de t fordshire ” as Wa a O f a i a e figures , such ter , figure g rl with cre l in a and a a the left h nd, c rrying two fishes in her rig ht h nd, i k at and al which is hold ng up her s irt , fish her feet , the usu S af a t fordshire tree t her back . The impressed mark is

A E I . D L , R S E BU L M .

’ f W a I a O . A E R S E D le s Bust esley is st mped D L . BU L M, and impressed on the back is

T H E R E V O H N W E S E . J L Y

M . A .

B O R N A T E P W O R T H J U N E 1 7th 1 70 5

D i E D M A R . 2 n d 1 79 1

A G E D 88.

82 6 — a a E L E N R 1 S . was n a DA N I , H Y , , helton D niel en meller ’ and a a ﬁn e n a at A from Spode s , beg n to m ke chi Stoke . t a a a a S the date given bove he m nuf ctured stone chin at kelton . a a a a di a a Sh w s ys th t , in d tion to the ordin ry en melling , he adopted grounds O f different colours and used gildin g both

and . ﬁrm a and R burn ished embossed The bec me H . . ”

w as a . a a Daniel , which the m rk The w re rightly won good

na O f a a s and a . me for the excellence sh pes , p ttern , decor tion — A N I E L R A L P H c. 1 Cob rid e a a D , , 743 , g This R lph D niel d his a a a and succee ed f ther , who bore the s me n me , whose

establishment existed in Hot Lane or Cob ridge before 1 71 0 . He conferred immense beneﬁt upon the P otteries by intro

2 74 O L D PO TTE R Y

' " AVE N PO R T . 1 o . a a m a D , J , 793 , Longp rt Brindley s e rthenw re d

at a 1 a i i e . W this f ctory from 773 c nnot now be d stingu sh d hen ,

a a . a a s s O f twenty ye rs l ter , J D venport cquired po se sion the at a a works , he ﬁrst continued to m ke the ordin ry pottery , blue h and a O f Hercul a printed , w ite cre m , resembling the products

a i a and O f a . a a neum , v r ed in p ttern good qu lity L ter , porcel in w as a a e e ra m nuf ctur d , and its richn ss cont sted with the earthen had a O a al r s f a . w re, which but the usu fe tu e good w re The mark ” an a Day ‘ n ort is nchor with or without p or Longport . AW SO N a S a d — D , e rly eighteenth century , underl n P ink a t a - met llic lustre , with r nsfer printed ﬁgures , was produced at n a a as this pottery , of which little is know , s ve th t it w

ﬂn ﬂog nn a o u r) l rcm u c

- ‘ ' PO TT E R P R O CESSE S . T E R R A CO T A P A N E L 6 T I N W O R T H T H E M O ST Y I BY . , A M O S M O E L L E R 0 ? M O E R N ME F U D D T I S. engaged in making pottery and earthenware services early 1 8 in the eighteenth century . In 57 Thomas Dawson and

CO . w as the title of the ﬁrm , which does not now appe ar in a a the list of m nuf cturers .

I XO N A U STI N A N D CO . a D , , , e rly eighteenth century , Sun derland — S a a i a Like other underl nd f ctories , ord n ry ware was m ade at this pottery with the pink metallic lustre a and a a o decor tion tr nsfer printing so usu l on jugs , b wls ,

and . S a an a mugs , dishes ome ﬁg ures were m de d m rked N A N D N E O S A N CO . Ma DIX , U TI , , SU D R LA ND . ny a ﬂat a S i O f w ar and a s pieces , not bly the dishes with h p ver e , ” a N S a P O CO . were m rked DIX , underl nd ottery . O UL T O N A N D WA TT S 1 81 a h — We a D , 5 , L mbet hope th t one day we may have an opportunity O f doin g full justice O THE R E NG LISH PO TTE R IE S 2 75

Co. a M s r . o to the great modern manuf cturers , e s s D ulton , who have very kindly sent the following in formation which concerns the early history O f their famous works . a a 1 81 a a a O rigin lly est blished in 5 , on very sm ll sc le , the works remained for many years devoted t o the m anufacture a and a a of ordinary stoneware for household , chemic l , s nit ry N O a had a n purposes . ttention been p id to the productio art a a - a as a a of w res ; an d s lt gl zing , pplied to decor tive had E a pottery, practically died out in ngl nd , until its revival ” a 1 86 P a E x t a by this ﬁrm . In f ct , in the 7 ris hibi ion a a O f few v ses nd jugs only were produced good form , well

w an d d a O f and a thro n turne , with b nds blue brown for decor ” ’ o tion . Which brings us to D ulton s marvellous modern We a an d . a and w re , we must stop give the present m rks , a an a few others , with import nt note which should be re A11 a E a d membered . m rks where ngland is d ed to the a a are a a 1 8 1 n me or the p ttern not e rlier th n 9 , when the place of origin had to be ﬁxed on all goods imported into the United States in order to comply with The McKinl ey ” Tariﬁ A ct ( A m erican Customs R eg ula tions) The marks impressed at the foot O f al l pieces are now as a shown bove . Among the stamps formerly used have been the following

— h o A E A Ca . DU N DE .( D L VI D c. 1 0 , D , 79 , stleford T is p tter 2 76 O L D POTTE R Y

f a mil made the ﬁn er kinds O pottery at his works , few es from a a a a a and a Leeds . He p id especi l ttention to cre m w re bl ck d a a a n basaltes , but he pro uced in ddition distinctive w re know

as C all and ab a astleford to collectors , distinguish le t a f l a n a . e e g nce whe once le rnt It is di ﬁcult to describe , but h r an a a l a is ttempt to te ch from the i lustr tion given . The paste is like P arian ware with a smear of glaze really it is

3 78 O L D P O TTE R Y

— F E R R B R I DG E 1 80 1 2 . a e Y , 4, Knottingley , 79 This l tt r pottery, a e a r F u e ft rw rds me ged into errybridg e fo nd d by Tomlinson , a 1 6 R a W a a is worth noting , bec use in 79 lph edg wood , rel tive a a a a t and a t O f J osi h , bec me p r ner in the ﬁrm , the r icles produced were poor imitations O f the real Wedg wood in a j asper and other wares . The m rk has O ften been confused E a a a f with the truri m rks , but there is di ference . This ﬁrm

WE DG WO O CO . N A a used D ( ote g in , this W a a a . S l st m rk must be distinguished from th t used by mith , “ ” -ou- a WE G W as of Stockton Tees , who st mped D E O O D ( spelt) upon his ware until he w as stopped by an inj unction C a a at F in 1 848. oloured earthenw re ﬁg ures were m de erry ”

as C t a a . A bridge , such Two upids s ruggling for he rt few " are a F examples m rked errybridge . — L A SS O SE PH c. 1 6 0 . A G , J , 7 , Hanley bout this period Thomas Toft and his school were producing those curious f- a a a coarse buf w re dishes decor ted with coloured Slip . G l ss ma a his a are y t ke pl ce in this school , for his dishes and tygs o a sa and his a a dec r ted in the me style , n me is p inted round the pieces in brown sl ip . WI L L I A M 1 — L DI NO 60 t . G O U , , 7 , Islewor h This was a factory and for both porcelain pottery . It was founded by Joseph a W S . hore , who c me from the orcester works William ’ n w as -in-l aw and G ou a G ouldi g his son , lding s f ther was ’ a a i O f Shore s chief p inter . Le v ng out consideration the n w as W porcelai , which just like orcester , we note that the earthenware was of a strong close texture an d streaked with S yellow and brow n glaze . ome few pieces have been found ’ a W a G oul din s a an m rked with illi m g n me d dated . The t was a 1 82 fac ory moved to Hounslow bout 5 , but it failed, a S a an d was closed hort time fter . A C WO O D A N D SO N S 1 8 2 New a S o — H K , 4 , H ll , kelt n . The O ld N ew Hall stock O f china w as sold when the manufacture

1 82 . a a a W ceased in 5 Then fter few ye rs . R atcliffe started a and S a pottery , which H ckwood ons took over at the date

a . a w as as an given bove The n me used impressed mark. a o in 1 8 and Then the elder H ckwo d died 49, Hackwood

t es . A a r a a C . became the m rk, s ill impr sed l te m rk , . 8: H , O THE R E NG LISH P O TTE R IE S 2 79 showed that Cockson and Harding were the proprietors - 1 862 . a a was a u in The e rly w re cre m colo red , some of i t a a t and being well p inted ; but the l ter produc s , in blue a a a l r a i brown gl zed e rthenw re with re ief o n ment in wh te , come into the modern period .

A R L E T . c. 1 80 a H Y, , 5 , L ne E nd — The usual transfer ’ a a u printed e rthenw re , Q een s a and a a a w re , bl ck b s ltes were made at this Longton pot O ld tery . But some curious a a jugs , p inted with caric tures N a e a of pol on , h ve been found l a T . Har e L ane m rked y, ” E nd and O f , some the pot ter A E y is stamped H R L Y .

E A T H . and C. 1 0 H , J , 75 , Pit — Cock Hill , Derby The a t a e rly pot ery , m ny pieces of are w as a which dated, of different character to that a m de by the Heaths . It re sembled the coarse earthen ware coated with a dark - chocolate coloured g l a z e which w as common from 1 600 1 e a a to 680 . Th e rliest d te on a specimen of this Derby pottery is 1 643 . The Heaths — J 0 hn and Christopher a a l a m de en mel ed cre m ware , a a tea-a a pl in cre m t ble w re , and white , stone , brown

a . 1 0 1 80 w re , etc , from 75 to 7 , - - when the whole stock in trade of the extensiv e factory w as So r ld without rese ve . E R CU P O — L A N E UM TT E R 1 0 . a fac H Y, 79 , Liverpool The e rly tory that merged into H crculaneum was founded by A bbey at 2 80 O L D PO TTE R Y

W Hurable 1 6 M . t the date given ; then , in 79 , essrs orthing on , , and Holland— Worthington and Com pany— took the works ” and a am over g ve them the n e of Herculaneum . They ’ u wa and - a and c n e made Q een s re blue printed chin , omme c d an a a a to m uf cture chin in 1 800 . The e rthenware services for dinner and dessert were often painted with roses and ro a a sebuds on m roon or other coloured border. Under v e a 1 8 arious propri tors the comp ny continued till 33 , when a the works were sold . They were let to Thom s Case in i M a a e o partnersh p with John ort , potter , who c rried th m n ll 1 8 6 and M and S a ti 3 , by ort impson for ﬁve ye rs longer . e The site is now occupied by the Hercul aneum Dock . Th

a was i . early m rk Herculaneum pr nted in blue , as given

A L iv e r

a was a . Sometimes , however , the n me st mped The bird e — a n w as Ca M th liver the rm s of the tow , used by se , ort a a 1 - and Comp ny bout 833 6 . O L L I N S R I CHA R D 1 0 a — a a H , , 75 , H nley The e rly w re was a a Ri a i 1 80 the ordin ry St ffordshire . ch rd Hollins , d ed 7 , was a a S and r the f ther of S muel , of helton , his othe sons , W an . a T . d j , who succeeded the f ther in the Hanley orks , a ﬁrm afterwards admitted their brother R ich rd into the ,

a T a l 1 82 0 . R . l which rem ined . j . nd H o ins till Their best ’ work is to be found in the careful imitation O f Wedgwood s w w as l c e jasper are , some of which high y ﬁnished in blue am o a a ad a m r s decor tion on white ground , and h the m rk i p e sed ” i a S f and . . a a T . J Hollins They lso m de the ord n ry ta ford i a has a a l in sh re w re , which never ny consider ble va ue , be g S an - imply tr sfer printed . O L L I N S SA M U E L 1 S n — A n a tn r H , , 774, helto mo gst the p r e s New al S i and P in the H l works at Shelton were . Holl ns eter

O THE R E NG LISH P O TTE RI E S 2 8x

Wa a rburton . Some of the finest bl ck busts of Shakespeare ' and M an d tea and cofiee ercury, services , were made by Wa r a w as rbu ton prob bly when he in partnership with Hollins . We find that the latter produced fine red ware in his own a at S u a f ctory helton d ring the s me time , as well as black a basaltes . A nd further he m de coloured grounds such as maroon and s age green . The general style of or nament w as embossed hunting scenes or flowers . The mark impressed w as N ” O S. S. H LLI 1 6 E E L I N O . K , J , 79 , Hanley — Here we have another instance of pot am ters who , under the n e

K eel in To t and Co. of g , / , m ade black basaltes and ordinary dinner services a with views . The st mped mark of the name of the foun d ﬁrm is sometimes ' ST A O R SH RE . SH E L TO N 1 FF D I , 797. F rom 1 806 to 1 82 4 ’ a as a Keeling s name ppears partner, but in the next years Toft and May were the proprietors . The works not now in existence . A I N A N D P O O L E 1 0 a — r t L K , 77 , H nley The chief p oduc s of a - and a this pottery were cre m coloured ware bl ck basaltes . Some of the l atter were decorated with ra ised groups and a a W other orn ment , in very good imit tion of edgwood ; but , a a w as a a a a as we h ve shown , the black w re m de by gre t m ny a and so- a a was o f ctories , the c lled cl ssical style for s me time a a wa diﬁi cul t in f shion , thoug h now bl ck re is most to sell a a a a was im t nything like good price . The m rk used the A N PO O E ” i pressed L KI L , whilst on the pr nted earthen w a a P ma re nother impressed mark , Lakin oole, y be

a S a ar i . C a a a d found, or imil r m k pr nted l ssic l ruins n E n d a a glish lan sc pes furnished the printed p tterns in blue . 2 82 O L D PO TTE R Y

Some pieces are well decorated with painted birds and a and are a a l ndscapes , these of more v lue . In f ct , all i a a a and are pa nted e rthenw re is incre sing in value , so , too , those specimens which have the printed E nglish landsc apes a named . The ﬁrm m de ﬁgures , of which the chief group is

he A a n a Ma a a a t ss ssi tion of r t , by Ch rlotte Cordé (Cord y) ,

given as an illustration . a Stafiordshire In de ling with figures , it will be useful to the reader to have some idea of the prices paid for g ood but e l a a not fin O d ex mples . Those given below are from sale of - O ld E nglish pottery which was the property of a well known

a a Ma 0 8. coll ector . The uction took pl ce in y 1 9

A R al h W ood T ob u re resentin an old man sea bed hol din p y j g , p g g

a. u on hi s knee w ith l e t hand wi h his i ht holdin a cu of al e j g f , t r g g p , r 6 sold fo £ 68.

3 84 O L D PO TTE R Y him self tha t until he sa w those tha t emana ted from his ow n han ds - he had nev er seen an y one of the processes of pot making carried on . " I ma us sa a re his ow n w ords ha I nev er saw a ot made y j t y , , t t p until I unde took the mana emen of this v enture and ha durin r g t , t t g ‘ w ha w e ma cal l the ex erim en al eriod I made bu rned and t y p t p , , ’ i w m l f We ha v e n ow abou ei ht hands ﬁn shed the are en tirel y yse . t g y em lo ed and ur ose settin on more w hen w e et our new b u il din s p y , p p g g g " om The roduc ions of th e L inthor e Po er so fa r as c pleted. p t p tt y . w e h v n o ortu nit of seein hem are remarkabl e for the ori in a e a pp y g t , g al it th e boldness in ma n instances of the desi ns the s ren th y , y , g ; t g and ual it of the bod and th e a ul tl ess b ea u t of the l a e. Some q y y. f y g z of the ex am les are eminentl bea uti ul an d al l ha v e a s a m of p y f . t p ori inal it a bout them ha t is v e strikin and at once l i ts them g y t ry g , f to a l ev el ecul ia rl th eir own . The bod w hich is sim l an ordinar p y y , p y y red b rick cla b ut of far m ore than a v era e neness is m uch cl oser y , g ﬁ , , ha rder a nd m ore com ac han the bodies u su al l used for ma ol ica , p t t y j , and is ca pa bl e of delica te and careful manipul ation ; and the g l aze m d an of m or b ril l T h e l ou is cl ea ir har d e than usual ianc . co s r, f , , y r used an d the st l es of decoration ado ted are horou hl ood and y p t g y g , the man ipul ativ e processes seem in al l cases to ha v e been ca refull y e do not on the resen on u to s e carried ou t. W p t occasi p rpose p ak of an one of the desi ns in articul ar or of an of the su ace col our y g p , y rf — in s for the v arie is so rea t h a it is unnecessar to do so. R ¢l i g . ty g t t y

u r ou rnal a nd R ev iew ul 1 880 . q e y j , J y

A nother account

The esta b lishment of a fresh industry in an y pla ce with a prob ab il ity of success is al w a s a sub ec for con ratul ation b ut w h en a distric y j t g , t l ike ha in th e im m edia te nei hbou rhood of Middl esb rou h in w hich t t g g , the colla pse of the iron trade has h ad such a disastrous and ruinous cflect has th e ros ect of a new a lica tion of its re mineral w eal th , p p pp g a t o ened u the m a ter becomes doubl in terestin as it ma l ater p p, t y g , y on becom e ro o iona tel v al uab l e. A cl a ound at L in thor e p p rt y y f p , near Middl esbrou h hi therto excl usiv el con ned to brick-ma kin g , y fi g , has recen tl y been u til ised for th e production of a new species of art o er decorated and undecora ted Th e b od is of a ch red p tt y , . y ri , thrown in to orms more or l ess el e an t an d sometim es ori inal f g , g he are al so decora ed wi h incised o namen ts all worked b hand t y t t r , y , then col oured w ith l a es an d in ted w ith ox ides roducin ich g z t , p g r - m ot l ed a nd semi transl ucent enamell ed e ects v er su esti v e t ff , y gg of some of the b es m ethods of the a anese I n ac occasionall t J p . f t, y there is an aflecta tion of the eccentricitics of a anese art w hich J p , , how ev er is not absol utel out of lace v s ec D r , y p in a decorati e a p t. . Dresser sugg ested the ex perim en t of founding a pottery at L inthorpe to Mr. ohn Harri son of Darlin ton he hin ted u on J , g . T t was ac p .

2 86 O L D POTTE R Y

he b ish m n in l n r the dire tion of M r. T ooth t esta l e t be g p aced u de c , w ho w hen h e commenced the or anisa ion of the new branch of , g t m an u actu re a ears to hav e ha d the sin ul ar ual i ica ion of knowin f , pp g q f t g ' nothin g ab ou t potter s art ; n ev erthel ess b e h as been successful r icl Th e idea i n th e production of a l a rg e v ariety of pl ea sing a t es. is to produce a w are w hich shal l be both highly artistic and w ithin rea ch of th e eneral ubl ic and the ob ec is cer ainl atta ined — A rt g p , j t t y ournal F eb ruar 1 880 J , y 7, .

The wares of Linthorpe will be valuable as time goes on . The collector shoul d now secure ﬁne specimens which present all the variety and mingled riches of hue which are a - a w an found in old Chinese v riegated and single gl ze are , s g ” a - - d de boeuf , pple green , turquoise blue , low toned re s , and a a mottled olives , browns , yellows , v rieties , in f ct , too a a n i numerous to mention . Then , g i , the L nthorpe incised and a a ar a a are perfor ted w res e re lly rtistic ; so , too , the a a ar a a are ac sh pes . M ny e quite qu int , nd others hig hly gr e and a i a a and n ful be utiful , be ng derived from cl ssic l foreig

s a . a a ources, or from origin l designs It seems pity th t these works should have been closed but the same fate has ov er a e a taken number of other potteries . Th outlook is r ther ' disquieting from the collector s point of View . The only encouragement is to be found in the fine products made a a a da and d by the le ding m nuf cturers of the present y, , indee , are a by some whose works not l rge . — has . 6 m R O C E TT c. 1 8 L K , J , 7 , Bursle eference previously ’ a a a a 1 86. been m de to the m nuf cturers list of potters , d ted 7 In that list Timot hy and John Lockett are mentioned as white a l stone potters . The white stonew re was salt g aze , ’ l a a e a then common y m de . Lockett s stonew res were d cor ted - in relief with the vine leaves and grapes so well known in W eldon d ﬁ u c c the hi productions . The if c lty with the olle tor m a a res is to ﬁnd the ke of unm rked pieces . When the imp sed a O C E - n m rk J . L K TT is found either on the white sto e a - u a ma a or chocol te colo red w re , it y properly be scribed to

. a 1 80 2 E nd a a h v e c Burslem L ter , in , Lane ppe rs to a be ome

. as e and G . the home of the pottery The ﬁrm w th n J . d an 1 82 . an d S . Lockett , in 9 J Lockett ons L ows sv P O E R F ke — s TT c 1 8 Sir F a w . Y , . 35, r ncis o The

2 88 O L D PO TTE R Y - marks given are to be found on red terra cotta ware made in imita tion of Wedgwood and decorated with relief ornament

a . s n a in bl ck The work stopped lo g go.

MA E R E L I A — H c. 1 0 S t a Y , J , 77 , Hanley everal pot ers n med Ma a f h E a S a . M yer ppear in the t fords ire records , but yer was a all a formid ble competitor to the potters in the district , his a output being gre ter than almost any other . The usual - cream coloured ware and black basaltes common to the con

temporaries of Wedgwood were only a part of his work . ro n a- a d w r B w line ware drab, terr cott , ung laze , ith colou ed festoons in relief and services that mig ht be termed Nelson ”

s c a E a . ervi es , were mostly m rked . M yer, impressed The naval eng agements of the N ile and Trafal gar furnished i a a a F a r a . N pat otic m terial for decor tion elson , Brit nni , me , P and a all a to the yramids , crocodiles , monument ppealed n a ri E Ma son r n the ation l spi t . . yer took his into pa t ership , ”

and a was E Ma Son . the m rk altered to . yer Joseph ’ Ma a a and yer took over the works t his father s de th , they w r c os in 1 a a ose h e e l ed 830 . Some pieces h ve the m rk j p 3 ” M aycr (6 Co. — MA E R A N D N E WB O L D c. 1 82 0 E nd Y , , Lane The early o t a a a wners of this pot ery, the Johnsons , made th t e rly s lt l as crouch ware s l e g aze ware which was known , but alt g az ow was seldom marked. N and then some cursive letters a a as a are found , or an en melled m rk such cross , evidently ' a a a a The on . workm n s m rk, purely caprice . J ohns s , T

. Ma and N os r and J , were succeeded by yer ewbold, wh e ma k “ ' " “ ” was M a (5 ewb he ro c d y N , or M . 6 N . T y p du e r e a a la g qu ntities of chin . — ME I G H O B 1 0 . A O ld l M i , J , 77 , Hanley t the Ha l , Job e g h r C a s M i his ro and his son , aided late by h rle e g h , grandson , p duced e e a -r i many varieti s of earth nw re, blue p inted, wh te, R O C E T E N G N E L E R P O O L Q U E E N CA R O L I N E M U G . K I JUG , IV M A N CH E ST E R R A I L W A Y .

’ F rom M iss E dith F ei lden s Col l ection . 8 9 . 2 8 ]

2 90 O L D P O TTE R Y

1 1 a ornament . In 8 7 Thomas and Herbert were dmitted into a a a M p rtnership with their f ther, the ﬁrm being Thom s inton ” 1 2 1 a C and and Sons , but , in 8 , Thom s studied for the hurch ,

a fi A became curate t Chester eld in 1 52 5 . bout this t

great improv ements in the body and glaze were notable . c a and in r The white was le rer, the glaze, lead was la gely O THE R E NG LISH P O TTE R IE S 2 9 1

i a 6 and is a . a M 1 8 h d spl ced by bor x Thom s inton died in 3 , ad a a son Herbert mitted John Boyle to p rtnership , but fter a a a ﬁve ye rs the l tter left to join Josi h Wedgwood and Sons . " a M and M The m rk used during this period was B , or inton ” ” ” and a a - a Boyle , with the d te , on stone chin , semi chin , “ ” a a a a felsp r chin , or op que chin . These intermediary a and ai at st ges between pottery porcel n were , this period , and 1 8 a a improved still more , in 45 r ther common , but a a a a a more or less puzzling m rk ppe rs , the expl n tion of ”

ma B . B . B . N ew . . which y be of service B . Stone The a d and a o indic tes Best Bo y, refers to the p ste or b dy used a a A a a a 1 82 in the m nuf cture . nother m rk d ting from bout 3

a a so a . ppe rs , our experience shows , to cre te much interest We give it here

The collector will note that before 1 798 the made a — - and were earthenw re white , cream coloured, blue printed . - In that year semi transparent china was manufactured until 1 81 1 w as and a a , when it given up , for ten ye rs e rthenware only was made . ’ P The copy by Mintons of the St . orchaire or Henri Deux candl estick in the Museum at South Kensington is far a n removed from the thick and clumsy imit tio s, which should M ’ not for a moment deceive the collector . intons is a v ery ﬁne i u renaissance reproduction , show ng the tr e style of

F a and . See 2 r ncois I . Henri II page 93. 2 92 O L D PO TTE R Y

P ar a r —I 2 1 a - a a i n Wa e. n 1 8 the m nufacture of semi tr nsp rent a w as and a a was chin resumed , shortly fter porcel in com menced a a da , which m int ins to the present y the highest l W a a exce lence . hether we consider the gl ze or p ste , we ﬁnd d a . a a an a and both f ultless The decor tion is rich , cle r , rtistic , Who the potting leaves nothing to be desired . introduced

M I N T O N R E S FIGU .

P a — M C a ? 1 8 1 ari n inton , or opel nd The j ury of the 5 E i xh bition could not decide , so settled it thus . Whichever

p a rt y may have actually been ﬁrst in publicly producing a a articles in this m teri l , both were contemporaneously a a P a was working with success tow rds the s me result . ari n at S - - 1 8 2 introduced to these works toke upon Trent in 4 ,

was a a a . C ha v and l rgely m nuf ctured uriously, it s ne er

quite receive d the pubic recog nition which it deserves .

2 94 O L D P O TTE R Y

a a the ﬁeld for his services , where he m int ined his high repu 1 8 tation till 48. John Simpson w as chief enameller from

1 8 1 8 . M . Am oux w as 37 to 47 , the expert from Toulouse , as a E eannest as a employed superintendent ; M . mile J u 1 8 a sc lptor, to whom in 54 succeeded nother F renchman , a as a M . C rrier de Belleuse , whose skill sculptor led to his

M N TO N A SE I V S.

M a at Se . . P otat appointment l ter vres r , the sculptor of

a at a O ﬁ him . some of the stone st tues the Indi f ce , succeeded ’ P - -P — r e a a M . So Salon s ate su dt . Th t eminent rtist lon M l e a ate-sur-dte n i s , the m ster in p p , belo ged to the modern — a im period is , in f ct , of our own t e , yet no notice of ’ Mintons would be complete that did not recognise his marvellous treatment of liquid clay instead of enamel colour —a a own method which he has m de entirely his , and in ’

a n v . u S which he st nds alo e, unri alled Cent ries before olon s OTHE R E NG LISH PO TTE R IE S 2 95

C o a on time the hinese used that dec r tion , chieﬂy on a celad ’ So ground . lon s specimens are very effective on a similar and ground , though he used others , such as green , grey, ”

c a . e cho ol te He signed his works Solon or Mil s , i L . e . . a S or in monogram M S. interl ced ; the L olon b ng

F or A . another form of his name . prices see ppendix M M — A c a a arks on inton . ttention is spe i lly c lled to the “ a a amark M N O N f ct th t as I T , stamped or impressed in the a body of the w re , was not t l 1 86 1 a used i l , so th t it is mod ern ; and here we must leave the interesting story of ' Mintons , not without hope of resuming it as opportunity “ a permits . The M m rk two examples given— is painted a u ua on the w re in blue , s lly a n M on ﬁne porcel i , though the occurs alone on some specimens .

The ermine spot , in gold or a a a colours , is also l te m rk in W R AN D TA N H NTO N . E E S D . I occasional use . In the other a M N O N and e m rks I T is printed on a globe or circle , und r

a crown . — MO O RE Co. 1 8 So n un nd R e , 7 9, uthwick , ear S derla

ference has been made prev iously to Sun derland lustre. The Southwick works were established by Brunton and C c d in 1 80 MO O R E CO ompany, who were su ceede 3 by “ ” i a SO W on u wh ch n me with UTH ICK is used j gs, mugs,

. n n . bowls , etc , having pi k metallic lustre decoratio s Miss ’ E dith F eilden s kin dness enables us to show some typical n r mu a specimens , i cluding the f og g , s id to be made to c and o t ommemorate the building opening of these p t eries. c a a a r n The transfer de or tion is on cre my white g ou d , like

oo a . a F P ill s Liverp l and Leeds w re D wson , Dixon , ell , h ip , n n ar m w Sew ell , and Do ki e names which appear on si ilar are — pink metal lic lustre made either at Sunderland or New

2 98 O L D PO TTE R Y

P E R — AL M . C 1 60 a . a , H 7 , H nley John P lmer , the father

. P a a and a of H lmer , was potter , too , ccording to Dr . S a e h w, the employment of D vonshire pipeclay supplied the - a a C a an chalk body w re m de by h tterly d P almer , of Hanley ; and u a , f rther, he is credited with h ving introduced salt and a a P lith rge in the gl ze . H . almer may be classiﬁed with Neale as an unblushing a a pir te . He seems to h ve a used his wife , or perh ps it would be better to say that

Mrs. P almer herself laid ed plans , for securing W g wood pieces as soon as they

were put on sale . H anley employed Voyez as his l 1 6 and mode ler in 7 9, it m ay have been through ’ Voyez s knowledge that ’ P almer s imitations were so e ﬁne . (Se previous chapter on I ni itators of Wedg

P HI L L I PS Co c. 1 81 0 , Sunderland — This ﬁrm used the mark P HILLI PS 81 CO ” S , with underland and

CO C HT N G . STA O R S H R E “ K FIG I FF D I , a da t e o r Su n der l an d C ' "9° P and ottery, produced the t usual cream ware and lustre so common to the distric . a G a i P and The works were c lled the rr son ottery , must be P a S distinguished from the Hylton ottery , ne r underland . w a 1 and This as est blished in 780 , a view is sometimes P ot W a found on jugs , etc . , of the Hylton orks , m rked “ " P P S P . P l J . HILLI , Hylton ottery ink lustre was a so a a P l m de here . There was nother hil ips , of Longport , who a a a a and was m nuf ctured cre m w re , one of those who used - the well known willow pattern . P R W — W I E CE 81 Co. c. 1 800 a . e a , , , Benth ll have s id some O THE R E NG LISH P O TTE R IE S 2 99

a thing bout John Thursfield and the Jackfield ware . He e a a ackfield him e went to B nth ll on le ving J , and with carri d s a a e W the ecret of the bl ck gl z . hen he died his secret and a died with him , though his son of the s me name , with “ a n W P Mu a his p rt er , . ierce , continued The g House f ctory ,

A P A O MA L L R O T E E E I G U R E S O F H E N . ST A O R SH R E I R F S G SQ U FF D I ,

E R M E R . E R NCO MMO N CO P I D F O D BY V Y U .

a W P ierce a o it was only till 1 81 3 . Some pieces h ve . nd C . a a as m rk . — A S PL A N T B . e. 1 80 E nd ff , , 7 , Lane mongst other ta ord a So are , g . shire , ware this potter m de ﬁ ures me of his lions E ” a i P a nd . P a inscribed Benj m n l nt , Lane , others B l nt , E nd. . o Lane J ugs in the form of lions , etc , were als 300 O L D PO TTE R Y

a - a l and a produced t his factory . Lustre w re ions jugs m rked c and l E l are quite un ommon , the co lector of old ng ish pottery will be fortunate if he ﬁnds one m arked by this maker . P — a i and O O L E R c. 1 0 m , 79 , Bursle The ﬁrm of L k n P oole carried on an extensive trade towards the end of the a n a was eig hteenth century . The m rk used o the billhe d a t an d a a a was an gar er st r surrounding v se , on which ”

Ma a S aff i a . inscription , nuf cturers of t ordsh re earthenw re O n the g arter another inscription stated Burnished gold ” ot as a a g up in London . Blue p inted t ble services , services a l a en me led with rms ,

crests , cyphers , etc were a r i dve t sed , but soon the word painted w as altered rinted a to p in the billhe ds , and the products of the factory were limited to - t r a ns fe r pri n t e d a n d a w a c olo u r e d e rthen re . 1 a In 795 , the ﬁrm ltered its title by the admission of another partner to hr l P oole L aki n andS i e . , , g y Next year another altera tion took place by the

E A R L H O W E CO L O R E E A R r H E N W A R E . . U D ra a O f i withd w l Lak n , the ST A O R S H R E 1 . FF D I , 794 a firm being Poole and S a a hrigley . T he goods m nufactured were in gre t variety of a a - n a - a and cre m w re , blue pri ted f wn colour , bl ck other a and a a a x w res , figures in gre t v riety nd of e cellent character in l and a mode ling , printing , decor tion . The mark of the “ ” w as A K N A ND PO O E ou firm L I L , impressed , th gh on some pieces the name LA K IN an d on others PO O LE only is found . — R E E D . 1 8 M o . R was e , J , 39, exb roug h This eed the succ ssor

M . R and a l F W of essrs eed T ylor , a so of the errybridge orks . r R P as w as a The ﬁrst p oducts of the ock ottery , it n med , owing to the w orkrooms ha ving been built close up to the

30 2 rom nv W W the Cauldon orks. ill iam was a man of considerable r u he enterp ise , and occ pied eventually ﬁve other potteries , t a i c G o and n mes of wh ch are worth re ording . e rge Thomas ’ a i a W R and Son . 50 T ylor s ch n works merged into . idgway a E l a Ma P an W so were the f ctories of ij h yer , almer d R . il n , ’ and and Ma B addele s w as a Toft y, whilst y t ken over , in 1 8 6 W . R a M W and . Th 3 , by idgw y, orley, ear Company e marks of the Bell Works are impressed or printed with

8: . a W. R . CO as an , with various designs , such nchor,

a a a . harp , etc . , often in very intric te pattern The Ca uldon Works — Job R idg way lived onl y for a year had s a a h after he built these works ; hi sons nd p rtners , Jo n and W a 1 8 0 o illi m , continued to work together till 3 , b th here

and at l W . a the Be l orks , as before noted The arr ngement that was then made left John in possession of the Cauldon

W a 1 8 8. A orks , from which he retired in 5 mongst the v ried productions of the R idgways were services pa inted with and - a ﬂowers , willow pattern other transfer printed earthenw re , and generally the varied per :ela in and earthenware of the well known Staffordshire type J ohn R idgway obtained several ” ro patents for improvements in the moulds , for imp vements in a a and a and m and pp ratus m chinery , i proving preparing a a and t bats of porcel in and e rt henware , shaping them in o articles for improvements in the manufacture of paste " and a a boxes simil r articles in chin , etc . for improvements a a a i in the method of orn menting chin , etc . , by pply ng the ” R a art . 1 8 8 of electrotype In 5 , when John idgw y retired , a P S - - ac the works t Cauldon lace , toke upon Trent , were quired - n W M C . C. n by T. Brow esthead , oore , and ompa y The mark R idg way and Sons represents the Job R idg way

W . R . and W ll and Sons period . The J . is the John i iam i a n n 1 R . p rt ership, then Joh alone uses . or J . dgway The OTHE R E NG LISH PO TTE R IE S 3 0 3 a a was 1 8 0 l st m rk , with the crown , used in 5 , when the potter a was p tronised by royalty . R A N D SO N 1 81 2 a — A a , , H nley mongst the m kers O f figures and groups this pottery takes a somewhat a N ot f prominent pl ce . alone were the ordinary Sta fordshire a a a figures m de , but SALT is occasionally found as m rk on t fi ures— MA E R lus re g not , however , as often as Y , to whom a E we h ve referred . The variety of nglish fig ures in pottery

. are a e a is immense There figures in decor t d slip w re , early a a - a Whield n Sa g te , salt gl ze , lustre , o , Leeds , Liverpool , lopian , Stafiordshire S a a N S an C , w nse , ottingham , underl d , hesterfield ,

A O R S H R E R ES. N OT W A L TO N B U T SA L T . ST FF D I FIGU ,

k e a a . N ow and R oc ing ham , b sides the e rly and l te Lambeth R alph Salt made ﬁg ures just as Walton did ; a pair— ram and — a a Wa sheep might quite e sily be mist ken for lton , but Sa w as an am and an they are marked SA LT. lt en eller m u a i a C f cturer of porcela n t blets . His son harles succeeded 1 8 6 a n to the business in 4 , h ving previously been a part er

a o a at a a . 1 of his f ther, wh se de th occurred th t d te In 864

C i and . c was harles d ed , the works ceased His spe ialty P a an d r a W ari n , in this ware he p oduced good bust of esley . 88 S — A RO T HE R S A N D Co. 1 l d Scorr B , 7 , under an ntony S e N o P cott carri d on the ewb ttle ottery, which was a 1 S est blished in 755, and moved to the outhwick Pottery 1 88 n and c in 7 . His family succeeded him in the busi ess , pie es 30 4 O L D PO TTE R Y of the usual Sunderland ware were marked Scott B rothers

G Co. u . 1 8 d ring their control of the works Later, in 37, a A and S the ﬁrm bec me ntony Scott ons . - - — SE WE LL A N D O N I N 1 80 N a . D K , 7 , ewc stle upon Tyne The products of the Newcastle factories cannot be disting he S a a a a uis d from underl nd w re in the bsence of m rks . ' Queen s ware and pink lustre and imitations of Wedg wood '

a at St . A a N a were m de ntony s , ne r ewc stle , by the ﬁrm , a SE WE O NK N SE WE ST whose m rks were LL 81 D I , LL .

L E R P O O L P NCH O O W IV U B L .

’ W C E W AN O N S SE E O . S E . So T Y , LL , LL me

a . s e b skets , etc , in the Leeds style , have been found with the a a a e s m rks , and others in the s me style only whiter th n L ed with N ewcastle as a m ark with stamped numbers un der a ne th . — SHA W A L DE RM A N HO MA S c. 1 1 0 L i v l E am T , 7 , erpoo n elled and a a painted earthenw re , usu lly called Liverpool delft , was made here early in the eighteenth century (see chapter M n - o on Liverpool delft) . ugs with dates and pu ch b wls , a w as an i a a n the such as th t sho n llustr tion , were mo gst s c n he - a be t produ tio s . T punch bowl was m de for presenta

OTHE R E NG LISH porrE RxE s 3 0 5 tion to Captain Metcalf by the owners of his vessel 1 in 753 . Sum mit HrL L PorrE E v N w t - — s , e cas le upon Tbi name is found as a mark upon pieces m ade by Lewins P a a and tterson , but the works seem only to h ve been in a a oper tion short time . — SHO RE . 1 60 . E a and o , J , 7 , Isleworth arthenw re p ttery were a a 1 8 a manuf ctured here on quite small scale . In 7 7 porcel in

was n a . a a a no lo ger m de Twelve ye rs l ter , red ware ” resembling Samian w as produced and marked S C.

Shore was succeeded by W . G oulding (see G oulding ) . 8 — SHO R THO SE . 1 a a , J , 7 3 , H nley This n me is found on a W a a al w a c imit tions of edgwood in bl ck b s tes re , on pier ed a - a a a an d a ar cre m w re b skets , dishes , and st nds , the l ter m ks - HO R HO SE E A H E CO . on S T H TH , S O R THO S 8: similar i ar e . a w e , as well as upon vas s , etc , decor ted w th transfer a 1 82 printing . The works bec me extinct in 3 or there abouts . - - — SMI TH W 1 81 0 S oh . I n a a , , tockton Tees the e rly p rt of ’ last century Queen s ware and imitations of Wedgwood were O N P R a . a a E m de here The w re was m rked STO CKT O TT Y, W O w — a S. C . S nd or . ome of it , ho ever here we venture to di I W the particul ar attention of our readers— w as stamped WE W O G E WO O a WE G O . A n D D, a colour ble copy of D D injunction applied for by the Wedgwoods of E truria was r g anted in 1 848 to stop this practice . STE E L 8 - a A N I E L 1 02 . , D , , Burslem There were sever l potters

S in . M S named teel the various lists of potters oses teel , 1 1 a a a as S in 7 5 , m de the cloudy w re then prev lent ; Thom teel , 1 0 a l 1 82 1 e in 75 . m de mou ded ware . In Daniel is d scribed as a a e an a a and his j sp r d ornamental earthenw re m ker , a — S E E S E — O u ar W n me occurs T L, BUR L M w e like edgwood , and on medallions having white cameo subjects on a blue a W a ground, ag in like edgwood . The f ctory was closed 1 82 in 4. STE VE N SO N A N D AL E c 1 80 0 Cobrid e — D , . . g The ﬁrm R 8 S 1 . i e e became alph tevenson in 1 5 The ord nary earth nwar , - a d cream coloured, with raised borders , or decor te with 20 306 O L D

- e a w as S transfer printing , was mad . The m rk tevenson , a a taﬁordshire a r e w rr nted S , in ci cl , h surrounding a crown or a s ip ,

with Stevenson impressed or printed .

A L O R R MI N TO N 1 8 F . T Y , . , 75 , enton - He w as a nephew of Herbert ' M and a a a inton , formerly m n ged the tile dep rtment of Mintons , as a a in which ﬁrm he w partner. His f ctory must be distin

uished a at S w as a Mr. g from th t toke , which purch sed by C 1 8 M ampbell in 75 . when he retired from inton , Hollins and C a a and a a and a omp ny . The enc ustic m jolic tiles sl bs

ST PO R H l R E T O “ A PO T A E R N S A L SPI Cl l I N . A Y DS BY . V Y U U U " L P R O P E R TY O F R . 8. H . E G l N G T O N .

MICRO CO P R Y ESO l UTIO N YEST CHA RT

(A NS! a nd ISO TEST CHA RT N o 2)

I . ZS L4

A P P L IE D I M A G E In c 1 6 5 3 E a st M m om Street Roch e t r s e , New Y ork 4 609 USA ( 7 1 6) 4 82 Ph on e ( 7 1 5 2 88 ) 5989 ro. 30 8 O L D PO TTE R Y

a R . M a and C a m de by the ﬁrm of inton , T ylor omp ny

are are . A t very ﬁne , but they modern mark frequen ly F E N O N S O NE WO S a found is T T R K . There were quite ’ a t a number of Taylors eng aged in the potter s r . Thom s T aylor appears in the list of Burslem potters in 1 750 . In 1 88 R o a t 7 , ing , of Bristol , to k one T ylor into par nership, “ ”

a a . a when the ﬁrm bec me R ing and T ylor John T ylor , and G a are of Burslem , eorge T ylor , of Hanley , mentioned

in 1 . a a and C a the list of 80 2 T ylor, H rrison omp ny were the owners of the Castleford Pottery prior to 1 854 ; Taylor and P ope appear amongst the Shelton potters in 1 786 ; a a a a a a o 1 1 Thom s T ylor , as m ker of moulded w re , b ut 7 5 ; and a W a n and a a , l stly , . T ylor, So Comp ny took the H nley a works of Joseph Mayer and Comp ny in 1 830 . WA G SI‘ ‘ A F F E a x and M a e — a a , V u hall ortl k The old V uxh ll P w as a a x a ottery by the side of the Th mes , close to V u h ll N a a Bridge . e r the end of the seventeenth century te pots ” a a O n were m de here as good as any came from abro d . a Wa af a 1 80 W his the de th of gst fe , bout 3 , John isker , him and 1 8 a nephew, succeeded , in 33 patented cert in improvements in apparatus for grinding covers and ” a 1 86 . 1 8 stoppers for j rs , bottles , etc Later, from 35 to 5, A f S a l red inger owned the works , which h ve since been l demo ished and built over . O ne wonders whether much of the Lambeth delft was made at F oxhall when w e read We Was viewed the pottery and various apartments . most pleased with tha t where they were painting divers a a diﬁerent colours , which yet ppe r more beautiful and of h colours when baked . T is was written by Thoresby in 1 a ? 71 4. Did the f ctory really begin in the reign of Charles IL M a The ortl ke Pottery is supposed to be much later . It w as not in existence until towards the middle of the and a a eighteenth century , though ne r the end of th t period Wa af the a W gst fe took over works , le ving them to John isker at a a w his de th , we only learn th t delft and stone are were M at S the chief products . There is in the useum outh Ken

a A S . sington ﬁne bowl , which was presented by lfred inger

M a a and . It is of ortl ke enamelled e rthenware , blue white

O L D PO TTE R Y d Ma a in a n h a Warl a d aughter rg ret p rt ership with T om s n , be a a a a as a 1 6 nticip ted such f ilure took pl ce in 74 , when ca a So they be me b nkrupt . he buried before his death all and a the models , tools , moulds connected with the orn ament l — a a Wh a branch of the business the cl ssic l figures . en , l ter , a w a W a W Marg ret D ight m rried illi m hite , the old pottery n a t W was once more put into worki g order . In f c , hite took out a patent in 1 762 for A new m anufacture of crucibles a a a a for melting met ls and s lts , etc c lled by the n me of s a a a white crucibles or melting potte , m de of British m teri ls , a E a and and never before m de in ngl nd or elsewhere , which ” a F h a 1 I have l tely set up in ulham . T oug h the d te 760 is given as the probable date when White reopened the F ulham a W . Wh ar a P . e . h ottery , pieces m rked J ite much l ter T is name and the date 1 80 0 have been found scratched on a and fli a a stonew re , beer pots , punch or p c ns with decor tions of raised borders and ra ised figures or scenes from the O . A hunting field ften the spout is a moulded head . nother ” a F a P a a m rk , ulh m ottery , is sometimes found st mped on j rs , S n a . m . pots , jugs , etc pecime s y be seen in the museums — W R E 1 2 . r a WI L N E CO TE A 86 M . G S u a , eorge key p rch sed a - at W ln a a and a co l mine i ecote , ne r T mworth , on sinking sh fts - he discovered fire clay and other clays suitable for pottery W a com purposes . orkrooms were fitted with m chinery , and 1 862 a petent workmen were employed , , in , the f ctory A s a a an and a . was opened . reg rds workm ship m teri l both and t a 1 86 a were good , the works grew so h t in 4 limited a W a liability comp ny, the ilnecote Comp ny, Limited , was formed with a capital of Later this was S " G and . i . altered to eorge key Co , L mited The goods are and a a — a as produced of fine dur ble qu lity fount ins , v es , a flow er-a and a- a tazz s , v ses , every kind of terr cott for

u a . A s a a architect r l design the colour is light cre m , and a are as the body is very ﬁne , the relief p tterns exceedingly sharp and beautiful . The m ark usually used is G E O R G E WO R S R H a v E w NE CO TE N R . TA M WO T n SK Y , K , , in o al ,

e . O f w a impr ssed course , this re is modern . P E — WrN CA N TO N O TT R c. 1 2 0 . O ur t Y , 7 , Ireson two illus ra

O LD PO TTE RY

W n n So s h w tions of the rare pottery of i ca ton , mer ets ire , sho

a e . to what excellence that old delft att in d Ireson , n w n n the potter, is little k o n , thoug h his ame is fou d “ So n W nc n n . occasiona lly as a mark . is the ame i a to a d and a i w r a M ny bowls , jugs , ishes , pl tes of th s are, p ob bly

' hidden awa y or put back in t he cabinet as being of no a a a r import nce , would h ve better tre tment if they we e w identiﬁed . The are itself resembles piecrust , the glaze is

. O ta good , the decoration is stencilled or painted rien l E n the views , nglish scenes , fruit and ﬂowers are amo gst a Cl ewil l a as subjects tre ted . If the name ppears a mark , Wi m at W it ll be noted that he was a work an incanton.

a . n s are Capt in H D . Terry, to whom t ha k due for the a G a Dur ard E a illustr tions , writing from re t y , xeter , s ys

I ha v e no doub t tha t specim ens hav e frequen tl y been a ttrib uted to Du tch and B ris ol Del th e bod is ink and his shows throu h t ft y p , t g the la e in l aces. I h av e a air of lates with initial s S . E . dated g z p p p , 1 6 also a bow l ichl decora ed b l ue b rown and reen inscribed 74 , , r y t , , , g , ’ ’ Drink air Don t Sw ar marked in bl ue on th e bottom W f ; . I ha v e no doub t tha t transfer prin ting w as ﬁrst used on Wmcanton " t er pot y . O n . A ar ther pieces are k own plate , m ked on the back ” Wincanto a - , also punch bowl , inscribed inside Win a F ma c nton , rom these specimens it y be possible as n to identify others , Ireson put the ames of his customers a on m ny articles ordered from him . The clay seems to be n a quite unusual shade of pi k . The glaze is of a bluish n a n t l So ti ge , mostly p i ted in blue or in blue wi h ye low. me c du pie es were g up on the site of the old pottery works . u ar The S. B . on the j g e the initials of Samuel (Ireson)

wes . Be y, who was related to Ireson

CHAPTE R XXXIV

O L D TO B ACCO P IP E S

HE pipe manufactories of Broseley existed about three

n re s a o n a u . hu d d year g , and were eve then f mo s W n u se et was he yo ask for a Broseley pipe , e that you g it o v n t necessary as an adv ertisement . Was smoking pre alent in E a We e ngland before the dvent of tobacco re h rbs , such as c r w - t e oltsfoot , yar o , mouse ear , and o hers , smoked b fore Sir Walter R aleig h introduced and ﬁrst used tobacco Did Sir i R an G n r he or John Hawk ns or alph L e , over or of Vi ginia, E n a 1 6 l c who returned to gl nd in 55 , or somebody e se , ommence the widespread use of the weed The last question has

o . not yet been s lved , I an e t a co in E a n n y cas , the use of ob c liz betha days must a and a a h v e been an expensive luxury, the ide that e rly pipes has o m n must be judged by their size much to rec m e d it . The form of the pipe cannot always be depen ded upon as

cr e n a e. N a a new a it rio of g turally, taste such as smoking o con n w r in l w uld be te t ith the form o ig al y used , until , as a n tobacco became cheaper , larger i dulgence was allowed a r to the smoker , which resulted in large pipe . The ﬁrst illustration shows the shape of pipes from the im of u E et the n W i t e Q een lizab h to reig of ill am III . from

the nwa . ud the top dow rd The T or rose , the date , C. R . , - r E n are sel f explanatory . Long pipes we e as glish as the an The others, thoug h some came from Holl d . Dutch were r w e ﬁnd in f om our own country . Thus that 1 694 only 1 1 0 gross of Dutch pipes were imported the very long ” e -h o s ones and also small . The barr l s aped b wl were types 3 1 3 3 1 4 O L D PO TTE R Y of the Commonwealth and Charles II though they were in a s use t a later period . In many ca es the heel of the pipe was ia — a a u f t m de to rest upon the t ble d ring use . are Though Broseley pipes spoken of, it must not be o a a a t u w as c ncluded th t the m nuf c re limited to Broseley. Winchester had a famous factory in the seventeenth cen u t ry . The pipes made there were noted by Ben Jonson as being the a his best m de in day. E a xeter, too , t the a s me period , produced a - A uri tob cco pipes . c ous story of a witch com mitted a 1 6 for tri l , in 54, s h o w s that E dward a a - Trible , tob cco pipe a m ker , deposed that the C witch Mrs. rosse came to his house for

ﬁre , and for a month afterwards his p i p e s were either over or

. A under burnt boy,

too , in his employ suf fered from the spell cast a upon him , so th t he grew into a distracted o and c ndition , was much c and onsumed , pyned a a w y in body .

Smoking was forbidden amongst schoohn asters. In the at C i 1 62 was c rules of the school h gwell , founded in 9, it de reed i a that the master must be of sound rel gion , of grave and c sa behaviour and sober honest onver tion , no tippler or ”

and no u er o tobacco. haunter of alehouses , p ﬂ f o In 1 62 1 , a c medy was performed by the students of W calle e . o Christ Church , O xford , before Jam s I at o dstock, d

3 1 6 O L D PO TTE R Y from the end of the sixteenth throug h the se v enteenth cen

turies. When were the pipes stamped on the stem The second il lustration shows the initials of the maker as a mark upon a a a a o was a the spur . More th n hundred ye rs g this l rgely altered by the name and address being stamped on the stem

“ O L D P I P E S R O M w m F u .

1 6 . 2 8 of the churchwardens , which were in to in . long , a at sometimes with bend, or twist , the point where the pipe

The chief pipemaker to the London clubs and coffee hou N a R e a 1 8 hi ses was o h oden , who di d bout 2 9, but s suc R cessors ti u os . So s ll prod ce eal Br eleys The uthrons , O L D TO E Acco P I P E S 3 1 7

a e and son R and a a us f th r , followed oden , m nuf ctured enormo ” " s of n o on t ws and quantitie churchwarde s , L nd s ra , he ov many ot r varieties . The output has been sometimes er ” a a a . million and half in a ye r The long Broseley straws , C ” 2 . l the n Lord rewes , were 7 in long , whi st lo g Dutch a a M to str ws added nother inch . edical testimony seems i a a e v ind cate th t these long clay pipes re the best . Th y ha e . ' however, lost much of their popularity since our childhood s days . The best pipeclay is that which is uniform in its a The porosity, bsorbing much of the harmful nicotine . value of individual specimens of these early pipes is but small , thoug h a collection illustrating the various shapes and sizes is most interesting CHAPTE R XXXV CO N CLUSIO N

E h ave seen how from the very earliest times pots a F and pans were made from cl y . rom the beginnings a a a a a of orn ment l design rudely pplied to the wet cl y , we h ve e a a a a followed the pott r through m ny ch nge , due to civilis a an x tion , educ tion , evolution , or y other force e pressing

a . E s as a the m rch of progress ngli h pottery, contr sted with E a has a a a nglish chin , l rgely been n tive product , free from has a a a foreign inﬂuence . I t cquired reput tion which modern a a are a a an d m nuf cturers striving to m int in , , though the keen ﬁght of modern com pet ition amongst the nations for cheapness instead of quality tends to lower the artistic aim a a are a in f vour of a monet ry one , worthy successors c rrying on W w and a the work of Dwight , edg ood , m ny others , whose Ma a f ! efforts have been noted . y success ttend their e forts There remains in the history of O ld Pottery much tha t

“ “ requires elucidation— much tl t i further comparison an d s a a a E re earch m ay reveal . The v st qu ntity of e rly nglish ware of similar type made at the Potteries an d elsewhere which never w as m arked will depend for its value upon its

a o a and a . re l worth , its p tting , its gl ze , its decor tion Indeed , it is to the decoration that much of the added value is due . a a a a - a a has a a To t ke type , white or dr b s lt gl ze w re cert in a e — a a a v lu not much , it is true , but cert in v lue ; but if the a - glaze be coloured the price adv nces ten or twenty fold . O ld W O ld S aff i l a edgwood , t ordsh re , old Delft , old s ipw re ,

all a a and . etc . , h ve their vot ries , who delight to seek to ﬁnd W n a as a o a ith them , indeed , putti g side proﬁt c nsider tion , a S a a l a nd a . the ple sure of co lecting is re l biding ubtle , ch rm in a an d a are ex eri g , inexplic ble , invigor ting the precious p

e s af . So a SO a nce it fords them bly, dexterously, with wh t 3 1 8

32 0 O LD POTTE R Y

. e i . men men o th ir lives into l ght Busy , to whom a h bby men a t no o t would be a godsend , idle who have pr c ically bjec ful men whose knowledge may contribute some — thin g to the home purse to them

this book may be useful . With increasing k n o w l e d g e c o m e s a n e a r n e s t desire to work a ﬁeld which yields so de i a an d all o l g htful harvest , to th se who enter upon the work of col leeting with the intention of g ather ing in this harvest we would suggest that eager emptiness is of little worth that knowledge felt in the “ blood and fel t along the heart overcomes the Shocks and stirs of a a ex e e rly errors , and th t with p ricuce comes the instinctive tension of the nerves and the tingling of the pulses given to seekers when

they ﬁnd . To lovers of old pottery

' we commend the following lines from an old bowl

' M lov e is ﬁx d I canno ran e y , t g I l ike m choice too w ell to chan e y g .

L on m a w liv H ma w e be g y e e. appy y B l est with conten an d rom m is o nes ree t f f rtu f .

32 2 A PPE NDIX

SA L T G L A ZE , W HI E L DO N A ND O THE R P O TT E R Y

- — A salt gla ze plate embossed decora tion ; tw o leaf trays ; and

a ﬁsh m u 1 5 . 6d. o ld , £5 5 P a r w h t u ia — m da li n re i F a i of i e corn cop e l o s present ng lor , 4 gns. - - A salt gl a ze basket and stand ; a basket w ork dish ; and an

m l at ns . e bossed p e , 5 g ” — Tw o shaped trays embossed orna ments ; and an octagonal

a d on h ee 3 . st n t ree f t . £4 4 - - ' . A h a h a e a k em s e w i h res fl e rt s p d fl s , bo s d t figu ; two co ee cups

and h e th m a cim 6 65 . t r e o er s ll spe ens , £ - w o al l a h us t a t 1 0 1 0 3 . T s t g ze o e e po s , £ A w hite teapot w ith raised ornament ; and a tea pot in form

a am l 1 3 . 6d. of c e , £7 7 A w hite tea pot w ith m ask spou t ; and a teapot w ith relief th i h 1 2 1 5 6d ornament ; bo sl g tly g ilt , £ . . sa -l a e a w th em s d and u e w A lt g z pl te , i bo se colo r d flo ers ; and a " a a s w h i u en Ca li e 1 1 1 p ir of pl te it pr nts Q e ro n , £ 3 . 64. T w o u ed sa - a am u — flow er ec a i 1 1 3 colo r lt g l ze cre j gs d or t on , £ 4 4 . A coflee m u w th a e am s s and g , i b nd d orn ent in colour a saucer

ai n w th w 1 1 0 3 . 64. p ted i ﬂo ers , £ A n nam l ed a -l a e h - w th r e e l s lt g z punc bo l , wi ﬁgu es and ships

an a mal e w i h u 1 1 0 3 . 64 d s l r bo l w t ﬁg res , £ . u h - w with n am e i s an A p nc bo l , e ell d b rd d ﬂowers ; and a sma ll

w w h w s 1 8 1 83 . bo l it ﬂo er , £ t e-sha d ase a m d th K i A bot l pe v , en elle wi ylin , b rds, and ﬂow ers

man e 2 8 3 . in th e Chinese n r, £ 7 - A coflee pot decora ted w ith fig ures (lid missi ng) and a small ate w i h w s 1 1 1 1 teapot decor d t flo er , £ 3 . m l d w h C ese r s 1 1 t a a 0 3 . 64. A e pot , en el e it hin figu e , £

a 1 6 3 . 6d. A similar te pot , £ 5 m l w h w mal tea na ed 1 3 . A s l pot , e el it flo ers , £9 9 64 . A a e am l le w h u r s E l sh costumes 1 s te pot , n e d it fig e in ng i , £7 7 . 6d. a w th u s res ua c st umes 1 A te pot , i gro p of fig u in q int o , £ 3 1 33 . tea w h m s and l u d - av es A pot it e bo sed co o re vine le by L ittler ,

£ 1 7 1 73 . a diﬂerentl u e 1 8 1 8 A similar te pot , y colo r d , £ 3 . sim a tea t di ﬂerentl c ured 2 0 1 0 3 6d A il r po , y olo , £ . . ’ — The three last mentioned are ill ustrated i n M B (N ola r . em u s

L ongton H al l work. ) A P PE NDIX 33 3

A a se-c u ed r it i -leav es in e ief ﬁne te pot , ro olo r g ound , w h v ne r l ,

£33 1 2 3 . - A c ee ot nam e l e w ith Ch s u es 2 1 . ﬁne off p , e l d ine e ﬁg r , £

A ua u h nam el d w i h ur s an d o s 2 6 3 . q rt j g , ric ly e le t fig e fl wer , £ 5 ’ A are a me s u h on i c and a decora ion r f r r j g , wit l g ns ription flor l t , 2 1 £ . A fine mi k u ec ated w h m ssed and d w rk l j g , d or it e bo coloure o , ma ai the Y u P in r i i i s ll portr t of o ng retender f ont , n t alled

P .C . 1 3 . , £43

A a ke w h re w e a l e 60 1 83 . ﬁne b s t , it colou d ﬂo rs , p rtly in re i f , £ A are Whiel don ea o ith e i f ra P c Charlie r t p y , w r l e port it of rin e , 1 £ 5 1 53 .

Tw o m a Whiel don a ts 3 . 6d. s ll te po , £7 7 A Whieldon k u — ou ee and a tea ith twisted ﬁne mil j g f t pot , w

h a d 1 2 1 3 . 6d. n le , £ Whiel don t a — em ss d nam n and a tea A large e pot bo e or e t ; poy ,

w ith em sse r 1 . bo d borde s , £ 3 — - A brow n Whieldon teapot gilt relief ornament ; a coﬂee pot

and a cu and sau to mat h 2 3 . 64. p cer c , £ 4 3

h P a r Whiel don cornuco ia femal e masks ns. i of p , 7 g A tea ot in form of a b asket of fruit a m ilk u and a cu p , ; j g ; p, 1 0 gn s. Tw o Whiel don dishes— embossed borders two plates an

l t a and a 1 ns. ob ong r y ; pipe , 5 g Three A u tea o s elie namen s an d a a 1 3 stb ry p t , r f or t ; s ucer , £ 6 5 . 64.

A n A a w are tea and a c eam u 1 ns. g te pot ; r j g , 5 g - A slip w are porringer William T um or and a brown glazed

e 1 1 0 3 . 6d. pig on , £ “ A L i t N o teapot inscribed Wilkes ber y . 45 tw o E l ers

t a ts and a h m u 8 1 83 . 6d. e po ; Dwig t g , £ Tw o mask m ugs ; a fox head cup ; a teapoy ; and a smal l T u 1 0 ns oby j g , g . A L ambeth w are barrel ﬂask ; a F ulham m ug ; and two pieces ackﬁeld ar m of J w e , 4 g .

w onx s BY L n n P ATE -S R -P ATE . sow (i U )

‘

E a l a e si ned Mru 6 . P ai ted in P a b M . S n rly p qu , g is, 9 n ris y olo , “ st e ea v i l a Su ect ju b fore l ng for E ng nd . bj : The P et ” l ex ed Mai as iv d n Cu i t een p d , represented d i i g p d b e w lov e and m ne k S n 2 o y ; note at bac by M . olo , £ 7 63 . 32 4 A PPE ND IX

a s— r r se t n F i and W a er in P air of pl que ep e n i g re t 4 .

S n e . 2 63 . square . ig d £ 7 - P laque two Cupids representing the B a ttle between F ire and ” W in e . 1 S 63 . ater ; 7 in . by 4 . ig n d £37 P la u — ma e u h a l an d a u i t in b q e fe l ﬁg re olding be l , c p d oll g it y

w th e l a . b 6 m . S ed . 2 1 0 3 s ing ing on c pper ; 7 in y ign £5 . ' P u L v 8 A r u ol a um w hi h C la q e o e do r co ed , col n on c upid is sea ted in the act of deliv ering a douche of cold w ater ov er a female ascending a ladder rear ed ag ainst th e colum n

8 . S e . 2 2 3 . in . by 4 in ign d £ 3 Ci a l a ue— ma e s a t d en n a b ox out rcul r p q fe le ﬁgur e e , op i g , of

w h h ri n C . E x hibi ted i n the Vienna E x hibi ic sp g s upid ( ti on . ) i S gn ed £42 . — Larg e plaque a nymph and her lov e are bound together ; a u u d are scoﬂi n at h m h gro p of c pi s g t e , two ot er cupids come steal thily endea v ouring to cut th e binding threa ds 8 an a th e a h u u e 1 in . . d n d p rt f it f l co pl 5 by in Signe . O e '

the e th e a w k 8 63 . of fin st of rtist s or s , £4 T hre Cu d h av a t a t d k u te P laque . e pi s e been t r c e li e b t rflies by th ame u n n the ca el a a— the m h w ho is e fl b r i g in nd br ny p , an m l has a u h h em an d u w h hamm r ento o ogist , c g t t , is b sy it e a afi x in h m m and n ils g t e to th e ste of th e candelabra .

i e . I n I talia ram n a d w th v sc ll S gn d n ebony f e , i l i i i ory ro s , the W s C lle tion 2 6 3 a imals . F rom as o c . n , etc , £ 5 - — G ra c ta em a wi h h 3 . roup in ter ot f le t c ild , £7 7 — Circul ar la h e u es i e m u a 1 2 1 3 . p que t r e ﬁg r l st ning to sici n , £

32 6 AP PE ND IX

air of e uestrian ﬁ res 6 l n . hi and a air of rou s A p q gu , gh ; p g p - ‘ a ree tru k an i u res ns . of t n d g , 3 g ai of u s ria ures a ad a nd ema im i i h A p r eq e t n ﬁg of l y gentl n , 7} p g ma hi and a u a a and e e . h ns. gro p of l dy g ntl n , 7 in g , 4} g

A ai a d u a a an d e l ma . hi h p r of se te ﬁg res of l dy g nt e n , 5 } in g

a u r P aul P r an d a u a n 8 ns. fig e of y fig re of clow , } g W m an ai u in sh u 6 . d in . hi h 6 ns A p r of fig res el cost e , } in 7 g , g .

Six h an d amb m . figures of s eep l s , 5} g fi ures of cows a fi ure of a l i orse and a oat ns Three g ; g ; g , 5 g . A figure of a bull ; a figure of a mil km aid and cow ; and two W an Ca w 8 l n b d d ns. figures of io s , y oo ld ell , } g

A a k 1 0 . h h a a r on h . h h ﬁgure of coc , in ig ; p r ot perc , 9 in ig

and a e an ea e ns. figur of gl , 5 g l w A a i n . hi h an e e ha i h h ah a figure of l o , 7 in g ; p nt , w t o d ; e and an k a d u m u t a 6 ns tig r ; in st n , s r o n ed by lion , } g . A n i k tan u m u t b an a l e a e a a k n s d , s r o n ed y e g figur of pe coc

hr sin s an d t w o n s. t ee g ; dogs , 5} g m w h h d w h a a in . hi h T o figures of a s ep er ess it l b , 5 } g and a w flow er- h u a a e e h a . h 2 ns. fig re of g rd n r it pot , 5} in ig , } g a hi w i h a a w F u r u s a e . o r g o p of pe s nt c ldren , t l mb , flo rs , etc ,

h h ns. in 6 . and . 5 } . , } in 7 in ig , 3} g A i Whieldon u es a ea a and ir em pa r of ﬁg r of p s nt boy g l , b le W a mati A u um and a n h in . c of t n inter, on oct gon l pli t , 7}

i h an a r a man w h a s 8 in . hi h h g ; d ﬁg u e of , it b gpipe , } g ,

1 3 g ns. u s a a a b o and r h m u a A pair of gro p of pe s nt y gi l , wit sic l instru

m in . hi h ns . ents , 7} g , 3} g ir ur a ea a b o an d r re i in b os A pa of ﬁg es of p s nt y gi l , clin ng quetx

th a l am and do in . hi h and a u a wi b g , 7 g ; gro p of lady

and e ema w i h a a ke w and ui 6 in . g ntl n , t b s t of flo ers fr t , } hi h 1 1 8 g . 7} 3 A a ur em ma T th and u ic in h h p ir of fig es , ble tic of ru J st e , 9 . ig - and a u a w d d d e 8 . h h n fig re of oo en legge fi dl r , in ig , 5} g s.

A a har e ui . h h and a u a ﬁgure of l q n , 5} in ig gro p of boy and ' - i w ith e in . hi h 1 2 ns. g rl bird s n st , 4} g , g

ai u a b o an d i 8 in . i h A p r of ﬁg res of y g rl crying , } h g ; and a

an a a w m a in . i h 6 n ﬁgure of old pe s nt o n , 7 h g , g s.

A r u the T h Pi in . i h and a r u a g o p of it e g , 7 h g g o p of travelling 8 in h h ma w th ea . h ns. s ow n i b r . } ig , 9} g A ﬁ ure of a outh and a l ad with b ow and arrow in g y ; y , 7 . and i h ns 7} in . h g . 5 g AP PE NDIX 33 7

A ai u es E li ah a nd Th e W d w 8 h p r of ﬁg r of j i o , } in . hig ; and a

ai and s i ks w i h u s d . i h p r of c le t c , t ﬁg re of chil ren , 7} in h g , 3 } sna A w h t m de a t m 1 i an ou i i e o l of o b , 3} in . h g h d f r wh te ﬁg ures, 3 81 1 8 A a r w h te ro s hi e ua r in h h p of i g up of c ldr n q r elling , 7} . ig

and a w hite r a a a b o and i in . hi h g oup of pe s nt y g rl , 7} g ,

3 gns. A ur of Cha t te at the m W h e i h an d ﬁg e rlo to b of ert r, 9} in . h g u h e res m u n N m h 6 ns fo r ot r ﬁgu of o rni g y p s , } g .

N a 8 in . i h a r u v e s in h h and fo poleon , h g ; g o p of lo r , 7 . ig ; ur

h u s n s. ot er ﬁg re , 4} g

A u e m ema i P a 8 . hi h P m a 8 . i h ﬁg r e bl t c of e ce , } in g o on , } in h g

and u h e ns. fo r ot r ﬁgures , 7 g

R mu u and R m : a u 8 in . i h and a u of o l s e us gro p , } h g ; gro p

a ma n an k w h a ni s . h h ns . d don ey , it p n er , 7 in ig , 7 g

A set u u m ema i The E l em e s 8 . hi h of fo r ﬁg res , e bl t c of nt , in g , n s 7 g .

A air u e ha ma ke s 8 in . hi h and a a u es p of ﬁg r s of y r , } g ; p ir of ﬁg r

a b o and i can in a ks 8 in . hi h n s. of y g rl y g p c , } g , 9 g

A E i ah an d The W w in . hi h an pair of ﬁgures of l j ido , 9} g ; d

W i h s. a h Th e d w in . n not er ﬁgure of i o , 9} h g , 5 g A a u s a b o a nd l h i a and b u -urd p ir of ﬁg re of y gir , wit gu t r rdy g y,

hi h an d tw o u s 8 . i h 6 ns. 9} in . g ; ﬁg res of boy , in h g , } g

A ai u s I hi e ia and C mon . i h T he p r of ﬁg re of p g n y , 9} in h g ; ” os Piec in . hi h and B ac h u . h h 8 ns. L t e , 9} g ; c s , 9 in ig , } g

A n ink ta w h u e Sha ke a . h h and hree s nd , it ﬁg r of spe re , 5} in ig t

r u s ea sa e ns. g o p of p nt childr n , 7 g

A u a m an in i k oa an n a des a 8 . ﬁg re of , p n c t , le i g on pe t l , } in

h i in . hi h an d u th e ns hi Cu . g p d , 7} g ; fo r o er ﬁgur s , 7 g

A r u m ema Cha . h h a recl n u e g o p , e bl tic of rity , 7} in ig ini g ﬁg r

Cu id 6 in . hi h tw o a se u o ted s of p , g ; v s s pp r by ﬁgure an d a a v a w h ri l ck u ted b d l h s p ir of ses , it t p e ne s , s ppor y o p in ,

in hi h ns. 7 . g , 5 g

A r Ce s 1 0 . i h N e u in . i h an d two ﬁg u e of re , in h g ; pt ne , 9 h g ;

h s 1 0 . hi h 8 n s. ot er ﬁgure , } in g , g

A u rs s ate a ree in . h and a rou gro p of love , e d by t , 7} hig ; g p

a cha dra n b i n . h h 1 0 ns . of riot , w y l o s , 7} in ig , g

l K Dav i 1 2 . hi h and N t u e A Whie don ﬁg ure of ing d , } in g ; ep n , l wi h me al io s in r i f 1 1 in . h s uar e e ta } hig , on q e p d s s , t d l n el e , W ns B oth of th s w R a h od. 1 3} g . ( e e ere lp o ) 32 8 A PPE NDIX

i in A u The C u i x n in. h h a m k 1 0 . h gro p of r c ﬁ o , 9 ig ; on , ig h ,

and on th u ns. e o er ﬁg re . 3 g W w A ai ﬁ u es E l ah a nd The . i and p r of g r of ij ido , 9} in h gh ;

a u Sa m ue a n ti Da 1 0 . i h n s gro p of l noi ng vid , in h g , 4} g .

A t a su r i th e G o 1 1 in . h h a o h e u the l s ppo t ng l be , ig n t r ﬁg re of

a m e in . h h a T it . h h and H otel in s , 9} ig r on , 9} in ig ; , 5} .

h h 1 0 n s. ig , g

A u Cha in . hi h a u r a man h b urd gro p of rity . 9 g ; ﬁg e of wit y

in . hi h a a a es k u te gurdy , 9 g ; p ir of c ndl tic s s ppor d by

cu and a em al u ns. pids ; f e b st , 4 g A u of R i a and A m a 1 0 in i h an d h e u r s gro p n ldo r id , . h g ; t r e ﬁg e ad 1 0 ns of re ing girls , } g .

E ur a 8 . h h a r u em lema i A m op , } in ig g o p , b t c of strono y , 9 in . - i h and tw o w a h a ds ns . h g tc st n , 9 } g

Whi ldo . n A e n u St G eo a d the D a 1 1 in . hi h ﬁg re of rge r gon , g

and a r u ea imila 1 0 ns . g o p , n rly s r , g a m a 1 A u r a u es in . and 0 . hi p ir of ilit ry eq est i n ﬁg r , 9 } in gh n a m n 1 s a d u an A a i . hi h 0 n b st of d ir l , 9 } g , g .

A a r e n n u e A t an d Cl e a a 8 . and p of r cli i g ﬁg r s of n ony op tr , in 8 in hi h 1 n } . g , 4 g s. ' A m a V u m de ed w h a b o and i an d i d s ll oyez j g , o ll it y g rl b r s

. h h an d tw o ma u m d as a ma k nest , 5 in ig ; s ll j gs , for e s and e 6 n s ﬁgur , } g .

u P . hi h a u A a I 1 0 in . h h A b st of rior , 9} in g b st of lex nder ig

and h 1 0 in . i h n s. one ot er , h g , 7} g 8 W hi u V a e . i h and a G a t A b st of olt ir , } in h g bust of eorge s ng on , 8 h . h 1 s. } in ig , 4 g n

A u Sha kes a 1 0 . hi h a u a v in b st of pe re , } in g ; b st of di ine , 9 . h h and a em al e u 1 0 h h 1 1 ns ig ; f b st , } in . ig , } g .

A u H a de 8 in . h h and a N w t 8 in b st of n l , } ig ; bust of e on , } . hi h 8 n s g , g . N A u e u n 1 2 . hi h and a u M F 1 1 in b st of pt e , in g b st of iss oote , . h h 1 1 ns ig , g . w o u W T s m de l e as a t hm . and 8 in i h and j g , o l d c en , 9 in . h g ; a ma T -F ll u and e m d d as a man s ll oby i pot j g cov r , o elle h d n a u h h ns ol i g j g , 7 in . ig , 7 g . - T w o T F u m del as m en h i u in . oby illpot j gs , o led old ng j gs , 9}

i h an d one m odel l as a w ma 1 1 in . h h 1 ns. h g ; , ed o n , } ig , 5 g Three T -F l u m d l d as s men seated oby il pot j gs , o e le ﬁgure of , , d d an u and a cu . hi h 1 ns. hol ing j gs p , 9} in g , 5} g

A w and c er m ed as a hen n d hi k 6 in . h h bo l ov . for a c c en s, } ig

A PPE NDIX 32 9

w u i 1 0 in . hi h and a la hed ur a hite ﬁg re of a b rd , } g sp s ﬁg e

a cat 6 ns. of , } g ’ A w an d v e rm as a a hea an d a ur bo l co r , fo ed bo r s d ; ﬁg e of

a do 1 . hi h ns. g , 5} in g , 9 } g

A r a an do 1 0 in . hi h and a u and v g oup of bear d g , } g j g co er ,

m e as a a an d do 1 2 in . hi h ns . for d be r g , g , 9 } g

A a u an l e h a and am el 8 . h and a p ir of ﬁg res of e p nt c , in hig

c i u a 1 6 ns. re l ning ﬁg re of lion , g

A u e a h e 1 . h h an d a u e a ul 1 1 in . ﬁg r of ors , 5} in ig ; ﬁg r of b l ,

h h 1 6 n s. ig , g - m 1 0 hi h A a u k c ck d e u e in . 1 ns. figure of t r ey o , r ssed in cost , } g , 3 g F u hi m ema T h a h h u es e e S n . o r fig r of c ldr n , e bl tic of e so s , 9 } in ig , 8 ns g . a M h h n a A u Th e A a t a a 1 in . a d gro p of ss ssin ion of r t , 3} ig ; f a a u o T he G n D u h 8 . h h 1 0 ns. gro p reci g ter , } in ig , g of l h w h n A u a av e l 1 1 . h a a u gro p tr ing s o , in ig ; d gro p of a i and in h h 1 6 ns Cu 1 0 . . g rl pid , } ig , g A e a m a h h a m an l w n a h figur of sports n , 9 in . ig ; b o i g orn , l hi h an a a ad 1 0 in . h h ns . d u . 9 in g fig re of y , ig , 7 g

A e Sir S Sm h 1 1 in . h h and t w o e ﬁgur of idney it , } ig ﬁgur s of W an w l l 1 0 hi 8 B i a a d Ca ld e . h n s r t nni , by ood , in g , g . ' A a rou T h e Sa l De a u e and R e u p ir of g ps of i or s p rt r t rn , 9 in . hi h ns g , 5 g . A a r h e T e an th h e a k 8 u s T d e S . h h p ir of g o p of oil t o bl c , } in ig , ns 7 g . A r u a h h an d h h s w h a a a g o p of s ep erd s ep erde s , it b gpipe , guit r

and a imal 1 0 . hi h and a u a m an and w m a n s , in g gro p of o n ,

h f m n d . h 8 n s. wit per or i g ogs , 9 in hig , } g A a in hi h u v and un 8 . 6 ns. p ir of ﬁg res of Jo e J o , } g , } g

v e 1 1 . h h Mi v a 1 2 . h h and D a a 1 1 in Jo , in ig ; ner , in ig ; i n , } . hi h 1 g . oi 8 1 8 A a Whiel don a ema and a a a p ir of ﬁgures of gentl n , l dy c rrying m h a a h ns. l b , 9 } in . ig , 9 } g A a r Whiel don r u v e s ith a i d-ca e am p i of g o ps of lo r , w b r g , l b an do 1 0 in 1 h h 2 1 s a W d . an d 1 . n . R h d g , in ig , g ( lp oo . )

A ur A 1 in . hi h and u F l a 1 in ﬁg e of pollo , 3 g two ﬁg res of or , 3 . h h ig . 9} gns.

A Sa ia R W . u T h e V a an M ses d in . hi h lop n [ . ) gro p of ic r o , 9 g r he P a s an d e k 8 in h h and a u T n C . g o p of r o l r , } ig , 7} gns. F u ur s P m a F a and Ven u 1 0 in . and in o r ﬁg e of o on , lor , s , } 9 } . h h ns ig , 7 g . 33 0 A P PE ND IX

' A r u of A ah am Sa ce 1 in h h and tw o u es g o p br s crifi , 4} . ig ; fig r Ch P ea h n 1 0 h h n s of rist r c i g , } in . ig , 3} g . A ai a a u Th e C and his W 1 2 p r of l rge se ted fig res of obbler ife , }

hi h 1 2 ns. in . g , } g A a r u of Cha e an N w w h k an h p i of ﬁg res uc r d e ton , it boo s d ot er

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str 1 2 1 2 v er 0 2 1 2 6 2 66 P ink l u e, 54, L ustre, sil , 2 9 , 3 . 4, P i es old tobacco 1 in k 1 2 1 2 p , , 3 3 p , 54, P itchers 8- 0 resist 2 1 0 , 3 4 ' 0 -1 0 -8 2 1 P lace s w are, 1 2 m a kers of 2 , 7 , 7 — a its 1 1 1 1 6 1 1 1 6 P ortr , 3 , 7, 5 4, 5 , 8 — 2 o oo 1 7 5 , 7, 3 P 2 0 6 6 1 0 1 - ots, 4 , 5 , 5 3 , , 5 ' M a ol ica 6 1 2 0 . 2 0 9 . 2 P otter s w heel E tian 1 j , , 7 93 , g yp , 4 - M a m m i orm bot tles, P ottin rocess of 1 1 0 0 1 0 f 44 g , p , 4, 5 0 M arbl ed or cl ouded w a re, , 1 , 1 66 1 2 2 2 2 5 7 3 P rices, , 74. 49 , 5 , 59 , an d A ppendix e — M edia v a l otter P w re -8 1 2 2 p y , 3 5 45 rinted a , 79 3 , 5 3 . 5

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0 8 Va u x hal l , 3 T his w ork 2 —6 Voyez and . 33 T ea ots 1 1 - 1 1 p , 3 4, 4 T essel ated a v emen ts 6— 0 p , 4 5 W T ickcuh al l 1 0 , 45 . 5 ' T i er w a re 8 W W arb u rton s m ark 0 g , 3 , 53 : , 3 9 l es old 6— 0 d w 1 2 -1 8 T i , , 4 5 W e g ood, 4 4 B i ton a nd B ristol 8 B ursl em 1 1 t , 4 , 43 . 54 B ristol 1 -Chel sea 1 0 , 7 , 5 Chertse E truria 1 y . 47 , 49 E l i abetha n a m il 1 8 z , 49 f y , 5 L iv er ool 8 8 1 ﬁ ures 1 —6 p , 7 , g , 43

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3 40 IND E X O F P O TTE R S A ND DE CO R ATO R S

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H ol l in s T . H a nl e 2 80 , J y , H orob in T u nsta ll 2 0 8 N eal e H a nl e 1 2 , , , J y , 95 , 9 7 8 H um b l e G reen a C0 L eeds 2 1 N ea le ck Co. H a nle 1 1 2 , , , , y , 45 , 95 , 9 7 INDE X O F P OTTE R S A ND DE CO R ATO R S 3 41

on — im on R . Shelt , 9 , 95 er H a nle 1 6 S ps , , 3 N ea l e P al m , y , 9 5 - 2 6 Sim son , . 9 4 W i lson H a nl e , 1 9 , p J N ea le , y 5 Wil necote 1 0 Ske G . , y , , 3 2 9 7 - - S ochton o n Tees, 0 Sm i th , W . , t 3 3 2 — Solon , L . 9 4 5 0 1 - odes T he Stoke 1 6 , 2 5 , Sp , , , 5 2 0 3 —6 2 -8 a l mer H H a nle , 1 9 , 97 B urslem 0 P , y 3 Steele, D , 3 5 ' 2 2 rdoe T . 1 1 l a , 7 Steel e, D . 5 T 1 ck eld 2 2 P a rker . 47 ha n P . a , , S tep , , j fi 3 ’ ool 8 - n n in ton S . L iver , 7 Cobr id e 0 l e g , , p 4 S tev en son , R . , g , 3 5 a nd 2 8 h il l i s Co . S underl , 9 mbeth 6 8 P p , Stifi Son , L a , l a nd 2 1 2 8 P hil l i s . S u nder , , 9 p , J , 7 a 2 8 P ierce Co B enth ll , 9 W Y ork 1 2 0 —1 P l a ce, . , , L a ne E nd 2 P l a n t , B . , , 9 9 0 8 -8 T a l ors T he 0 6 , P ol l a rd 2 2 7 y , , 3 3 0 — T h u rsfield a ch eld, 2 2 ur sl em 0 0 , J j fi 3 P ool e R . B , , , 3 ’ T o ts T he T i nker s Cl ou h , 9 2 f , , g E n d 1 1 86-8 rner . L a ne , , T u , J , , 45 2 46 u hle 2 T urn er, T Ca g y , 55 w ord Shelton 1 2 1 2 T yf , , 4, 7 mse D . 2 R a y. , 5 s S B ritton Son , R . B . . ( )

L eeds, 2 2 4 R eed M ex borou h 0 0 , J g , 3 W Co L i v er ool 3 R eid . , , , p 4 a mbeth 60 Va n l l a m me, L , 57, odes L eeds 1 8 R h , , 3 -6 Vo e Cob rid e 1 6 , 2 y z , J g , 4 33 id w a Son s Stoke 0 2 R g y , , 3 W S helton 0 1 R id w a . g y , J , 3 id w a M orl e W ea r ti: C0 R g y , y , on 2 0 0 2 S helt , 5 , 3 R i d w a y Son S helton 0 2 t fl e Va u x hall 0 8 g , , , 3 W a g s a , , 3 B stol 6 s 2 R i n . ri in w ri h t Co. L eed 2 g , J , , 9 W a g , , 4 W Co R id w a 0 M 8: . s R . . B ur lem 1 , ( g y , J . , , 45 , 3 9 H o L a ne 2 81 0 b u rton . t W ar , J , , , 3 9 R ob in son 8 W ed w ood B en tle 5 W . B . ( g y) , ob inson eeds 1 8 R , L , 3 — \Vcb b er 1 68 9 B s m 1 8 W d w ood A . ur le e g , , , 5 Works 1 8 w oo Co. H ill “l edg d , , 5 d w ood J osiah E truria 2 0 W e g , , , , 5 7, a dl er G reen L iver ool —8 1 —8 S , p , 79 3 , l 3 ! 45 5 — W e w oods T he 1 2 , 1 8 9 g , , 9 5

l t R H a nle 1 2 6 0 \V d ew ood \V. Sm i th 0 Sa . y , 45 , 4 , 3 3 e g ( ) , 3 5 B S B a rker 2 6 i l on T F enton L aw 1 0 S . . . h e d . , ( ) , 7 W , , , 7 G Shore G ou l din 2 8 S . . ( g) , 7 , 0 W ite W F ul ha m 0 3 5 h , . , , 3 9 o B ros S underl a n d 0 on D Sons H a nl e 2 0 Sc tt , 3 3 W i l s , , y , 7 w onkin S underl a nd 0 W son R H a nl e 1 2 0 2 e ell D . S , , 3 4 i l , , y , 95 , 7 , 9 7 l m 1 0 1 2 8 1 8 rs m 1 1 0 1 — h w R B urs e A . B u le S a , . , , 9 , , 3 W ood , , , , 33 5 ,

ha w T . L i v er ool 6 80 0 S , , p , 7 , , 3 4 h ore 8: G oul din I sl eworth 0 ! 1 n h B urslem 1 1 6 S g , , 3 5 W oo , E oc , , 45 , 9 , h or h H e th H a nle 0 8 S t ose a , y , 3 5 1 9 3 42 INDE X O F P OTTE R S A ND DE CO R ATO R S

l dw l l B urslem 1 L iv er ool 2 80 \Vood Ca e , , 45 , , p , W w 1 2 0 0 2 0 8 R . Co. R id a 0 1 5 7 , , ( g y) , 3 r B l m 1 0 \V S o m i h 0 fa the urs e . . C . S t R . ( ) , , 4 , , ( ) , 3 5 1 6 — 1 5 1 0 4 7 Y \Vood R so n B urslem 1 6 -8 , . ( ) , , 9 , W W -8 2 0 I Youn . . 2 2 4 g , 7

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