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HANDBOOK OF MARKS ON POTTERY AND PORCELAIN MACMILLAN AND CO., Limited
LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN COMPANY
NEW YORK • BOSTON • CHICAGO
ATLANTA • SAN FRANCISCO
THE MACMILLAN CO. OF CANADA, Ltd. TORONTO UK H2-I5" cfcefHANDBOOK
OF MARKS ON POTTERY & PORCELAIN
BY
W. BURTON, M.A.
AUTHOR OF ' A HISTORY AND DESCRIPTION OF ENGLISH PORCELAIN,' ' A HISTORY AND DESCRIPTION OF ENGLISH EARTHENWARE AND STONEWARE,' ' PORCELAIN, ITS MANUFACTURE,' ETC.
R. L. HOBSON, B.A.
AUTHOR OF THE GUIDE TO, AND CATALOGUES OF, THE POTTERY JtND PORCELAIN
IN THE BRITISH MUSEUM, ' PORCELAIN ORIENTAL, CONTINENTAL, AND BRITISH,' ETC,
MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1909 AY
8
Ref- "
INTRODUCTION
The ardent collector of Pottery or Porcelain, even when he has long passed his "novitiate," constantly feels the need of a reliable pocket volume containing the authentic and indisputable marks of the pottery and porcelain of the best " collectors' periods. It has been our aim to supply such a volume in a condensed and practical form. The only marks given in this book are those which are beyond dispute. The arrangement
is geographical, the different species of ware being separately
treated wherever practicable ; but, by elaborate indices, ready reference has been provided to each mark, as well as to each factory. In addition, a condensed account of the important productions of every country prefaces each section of the work. The aim, throughout, has been to render the work as complete and self-contained as such a pocket manual can be; though, in his study, the collector will naturally turn for fuller information to the important histories or monographs, such as those mentioned in the bibliography. It has been assumed that the collector is acquainted with the broad distinctions of Simple Pottery, Faience, Stoneware, and Porcelain. The terms are used here in a very definite way.
Simple Pottery includes all the forms of earthenware whether made from white or coloured clays, glazed with a transparent lead glaze. Faience includes all the forms of earthenware, coated with tin-enamel, such as Majolica, Delft, and their related types. ;
vi POTTERY MARKS
Stoneware includes the hard, vitrified and impermeable kinds of earthenware, whether Rhenish, English, or Oriental. Porcelains are the translucent and (generally) white forms of pottery.
The porcelains are classified in the customary way, as hard-paste or soft-paste. The hard-paste group includes such well-defined types as the Chinese, Japanese, German, and modern Continental porcelains. The soft-paste group includes all the porcelains in which the fired body is distinctly softer than in the former group. The soft-paste porcelains comprise two distinct varieties, which are of widely different value to the collector.
A. The soft-paste glassy porcelains (invaluable on account of their quality and rarity), such as those made at Florence (sixteenth century), Rouen (seventeenth century), and the early French and English porcelains (eighteenth century) B. The soft bone-paste porcelains, such as the English porcelains made in the later eighteenth and through- out the nineteenth century.
So much attention has been paid to marks that it may be necessary to state clearly the exact value of a mark. Other things being equal, a marked example of any period is more valuable than an unmarked one. But the mark alone must not be considered as the sole criterion of excellence or even market value. Unfortunately since factory or workmen's marks have become general, quite a large proportion of pieces have been sent out without any distinctive mark, especially in byegone centuries. This has been the opportunity of the forger and "faker," and the reader is earnestly warned to be on his guard against their abominable cleverness. The marks which are most difficult to imitate, and are in that respect most reliable, are those which occur under the glaze ; as was generally the case before the eighteenth century. During the eighteenth century there was a gradual introduction of marks painted, printed, or stencilled over the glaze, and this practice INTRODUCTION vii has been increasingly followed, with some exceptions, to the present day.
The under-glaze marks are of two kinds : (a) those stamped or incised in the body of the ware while it is still soft. These are perhaps the most reliable of all marks, for once made it is very difficult to remove or alter them. They may, however, be so imperfectly formed, or have been so obliterated by the glaze as to be deciphered with difficulty, (b) Marks painted under the glaze. This is the most important class of marks, being found on Oriental porcelain, Persian earthenware, European faience, and nearly every kind of European pottery and porcelain. Down to the end of the eighteenth century, practically all under-glaze marks were in blue (the most avail- able colour), and it is only in the nineteenth century, as a rule, that under-glaze marks in black, pink, or green are found. Many of these later marks are printed and not painted. In all the old wares, where not otherwise specified, it may be taken for granted that the mark is painted in blue. With the introduction of over-glaze, or enamel, colours and gilding in the eighteenth century we get an increasing use of marks in the same style. The fact that these marks are painted over the glaze detracts greatly from their value, for several reasons. Such marks are easily added to any piece of pottery or porcelain, as they can be fired at a temperature that will not seriously impair the previous decoration. Genuine over-glaze marks can be readily removed and a more valuable mark substituted, so that they cannot be regarded in themselves as being so safe and trustworthy as those which occur under the glaze. The marks themselves consist of factory names, or trade- marks as they are called nowadays, the signatures of potters, painters, or gilders, with or without dates and descriptive notes, placed in some inconspicuous place, occasionally in the design, but generally under the base of the piece. Some of them, especially the early ones, afford precise information as to the origin of the piece on which they occur, but others are mere workmen's signs or pattern marks, or numbers which are of little value unless supported by other evidence. The viii POTTERY MARKS tendency of many old factories (and some modern ones) to borrow each other's marks, or to adopt signs similar to those in use at some more famous works, is a source of endless confusion which can only be avoided by a knowledge of the wares themselves. The period covered extends roughly from the Middle Ages to 1850, though a selection of certain modern marks has been included, especially of such wares as are already finding favour with collectors. No attempt has been made to reproduce the exact size of the individual marks, because of the constant variations in size and form of the same painted mark on different pieces. Stamped and written names have been reproduced in Roman and Italic types respectively, except in those cases where striking individuality of script rendered a direct copy necessary. Each new factory, or group of factories, as it occurs is printed in conspicuous type. The dates given for the European wares require no explanation, but in the Oriental sections, with which especial pains have been taken, the dates are those of the actual specimen from which the mark was copied. These Oriental marks cannot be regarded as date- marks when they are mere symbols or benevolent expressions. Special acknowledgments are due to M. Papillon, the author of the Guide to the Ceramic Museum at Sevres, for permission to use his complete list of Sevres Marks ; to Professor E. S. Morse, for a similar courtesy with regard to his invaluable Catalogue of the Japanese Pottery in the Museum
of Fine Arts, Boston, U.S.A. ; and to Mrs. Hobson, for assisting in the compilation of the Indices. W. B.
R. L. H. CONTENTS
PAGES Italian Maiolica 1-22
Italian Porcelain 22-24
German Pottery 25-32
German Porcelain 33-39
Austria -Hungary 40-41
Holland 43-5o
Belgium 50-51
Scandinavia 52-53
Russia . 53-54
Switzerland 54-55
Alsace-Lorraine . 55-56
French Pottery . 57-7i
French Porcelain- 72-88
Spain and Portugal 89-92
British Porcelain 93-101
British Pottery . .- 102-114
America 114-115
Modern British Mar ECS 1 1 6-1 19 x POTTERY MARKS PAGES Persia and the Near East I2I-I25
Chinese Porcelain 127-151
Chinese Pottery 152
Japanese Pottery 153-179
Japanese Porcelain l8l-191
Index of Names . 193-199
Index of Initials 201-204 Index of Marks other than Names or Initials 205-206
Index of Oriental Marks and Names . . 207-210 ABBREVIATIONS USED IN THIS WORK.
h.p. = hard-paste porcelain,
s.p. — soft-paste porcelain,
p. = painted,
pr. = printed,
inc. = incised.
imp. = impressed or stamped.
St. = stencilled. WORKS OF REFERENCE CONSULTED
Auscher, E. S., A History and Description of French Porcelain. Barber, E. A., Marks of American Potters.
Berling, F. , Das Meissner Porzellan und seine Geschichte.
ftir Brinckmann, J., Fiihrer durch das hamburgisches Museum Kunst und Gewerbe. Burton, W., A History and Description of English Porcelain. A History and Description of English Earthenware and Stoneware. Bushell, S. W., Chinese Art. Vol. II. Victoria and Albert Museum Handbooks. Chaffers, W., Marks and Monograms on Pottery and Porcelain. Church, A. H., The Catalogue of the Schreiber Collection. English Earthenware. English Porcelain. In series of Victoria and Albert Museum Handbooks. Fortnum, C. D., Maiolica. Fouquet, D., Contribution a l'etude de la ceramique orientals Franks, Sir A. W., Catalogue of a Collection of Continental Porcelain at the Bethnal Green Museum. Catalogue of a Collection of Oriental Porcelain and Pottery. Japanese Pottery. Graesse-Jaennicke, Guide de l'amateur de porcelaines et de poteries.
Havard, H. , La Faience de Delft. Hobson, R. L., The Catalogue of English Tottery in the British Museum. The Catalogue of English Porcelain in the British Museum. Jaennicke, F. Grundriss der Keramik. Deutches Steinzeug, Mettlacher Museum. Jewitt, LI., The Ceramic Art of Great Britain.
Morse, Prof. E. S. , Catalogue of Japanese Pottery in the Museum of Fine Arts. Boston, U.S.A. Pazaurek, G., Mitteilungen des nordbohmischen Gewerbe-Museum.
Solon, L. M. , German Stoneware. A History and Description of the Old French Faience. ITALIAN MAIOLICA
The term Maiolica is applied in these pages to the decorated Italian pottery made from the fifteenth century onwards, though it is often used to embrace certain kinds of ware to which the name is not strictly applicable, viz. mezza-maiolica, graffiato wares, and the later lead-glazed, white earthenwares of the eighteenth and nineteenth centuries.
Mezza-maiolica is the name given to a common buff earthenware, coated with a wash of white clay (slip), and painted in simple, often crude tints of green, blue, and purplish brown, under a thin colourless glaze. It was the precursor of true maiolica.
Graffiato ware is a mezza-maiolica, with a substantial coating of white slip, which was decorated by scratching or cutting out a pattern through this slip-covering, so as to disclose the buff or red body beneath—colours, if used at all, were usually added in patches or washes—and in any case the ware was finished with a clear, straw-coloured, lead glaze. This, like the painted mezza- maiolica, was a very early type of product, which, however, has continued in use, in the north of Italy especially, to the present time.
Maiolica proper was fashioned in a buff ware, more carefully prepared and closer in texture than mezza-maiolica, and is coated with a white, opaque layer of tin-enamel (instead of slip), on which the painter laid his colours : the later and more delicately painted maiolica was finished with an additional thin coat of colourless glaze, applied over the fired colours, like the varnish over a picture. Up to the eighteenth century one firing sufficed for the colours and the tin-enamel, and only such pigments could be used as would stand the full heat of the maiolica kiln. The marks, on wares of this period, are almost always in blue. 5E b 2 POTTERY MARKS
Early in the eighteenth century a new process was introduced. The body and its tin -enamel coating were baked and finished first, then the decoration was applied to the fired surface in on- the-glaze colours, which were fixed at a comparatively low heat in the enamelling kiln. From this time marks in various colours on the glaze became common. The most famous period of true maiolica was from about 1500 to 1560 when the typical decoration consisted of pictorial subjects copied from engravings after the great Italian painters. The marks at the period are often very elaborate, and tell us not only the name of the painter of the piece, but the botega or factory in which he worked, the name of the master under whom he served, and the title of his subject. Hence the frequent occurrence of such words (sometimes in contracted form) as botega, maestro, vasaro (potter), pictor, fatto (made), fecit, pinxit, etc. On the lustred wares of Diruta and Gubbio the mark is usually in lustre. Maestro Giorgio Andreoli of Gubbio (q.v.) was famed for his skill in the production of lustres, especially ruby lustre, and the potters of other towns sometimes sent their pieces to Gubbio, after they had been painted and fired, to be embellished with lustre by Giorgio. Such pieces bear Giorgio's mark in lustre, in addition to the mark or signature of the original painter, which is in blue.
ITALIAN PORCELAIN
The earliest Italian porcelain, of which marked examples are known, was made at Florence under the patronage of Francesco Maria di Medici in the last half of the sixteenth century, and is called " Medici Porcelain." This " Medici " porcelain owed its translucence to the glass used in its preparation. It is among the rarest of ceramic treasures, and an authentic specimen is worth many times its weight in gold. Nothing more is heard of Italian porcelain until about the middle of the eighteenth century, when the rage for porcelain manufacture was at its height in Europe. Hard porcelain in imitation of the celebrated Meissen porcelain, as well as soft-paste porcelain, was then made at Venice successively ITALIAN PORCELAIN 3
by Vezzi, Hewelche, and the Cozzi family. The more famous porcelain made at Doccia (1737 onwards) was a soft paste during the early years of the factory, but a hard paste was made afterwards, and the same may be said of the royal factory, started at Capo di Monte in 1743, and subsequently transferred to Naples. At Treviso and Vinovo another kind of porcelain, containing silicate of magnesia, was produced for a few years at the end of the eighteenth century. This ware has a yellowish waxen appearance, and is peculiar to certain Italian and Spanish factories. 4 ITALIAN MAIOLICA—FLORENCE, CAFFAGGIOLO
Mark. Description. Mark. Description.
Graffiato Ware
Caffaggiolo or Citta di Castello Faenza or Perugia c. 1500 c. 1520
G.F.F. 1560 PI GIVLIE A SFORZZA
,, c. 1510
M. F. c. 1650
IOHANNES. ANTONIUS. 1676 BARNABAS. CUTIUS. and other members PAPI^ENSIS of the Cuzio family ,, c. 1510-20 at Pavia (Monogram of P.L.A.T.)
1734 la 26 marzo Pavia
Maiolica proper. 1515-20 Tuscany
Caffaggiolo or Florence 1500-20 1491
? Caffaggiolo Florence 15th cent.
Caffaggiolo Caffaggiolo c c. 1500 Caffaggiolo 6*
Faenza c. 1500 1500-20 ITALIAN MAIOLICA—CAFFAGGIOLO, SIENA
Mark. Description. Mark. Description.
Caffaggiolo Caffaggiolo
c 1550 PP c. 1520 <
1513 In Galiano, a hamlet neai" Caffaggiolo i t-S^S-^
The Rape of Helen, made in Monte (a hamlet near Caffaggiolo)
Siena Maestro _/#/# 1 Siena Benedetto da m° benedetto c. 1510-20 in a panel on GO*€L^ which is a cupid SlZjSZZ*
c. 1510 ^ c'. 1520 IP" ' ITALIAN MAIOLICA—SIENA, PESARO
Mark. Description. Mark. Description.
1 / Pesaro Q^\% ^CsD^ Siena 1 f XjL&r' c. 1510 VV Ferdinando Maria
Campori Senese C • H • O • N dipinse 1733 H f -A. v ¥ ? F. Campori 1 >
1500-10 Pisa Pisa 1 6th century (Pessaro or *f* Faenza) Rafaello Montelupo * GlROLAMO FECIT Mte. Lupo f-\ 1639 >£ ? Pesaro
M »
Dipinta Giovinale /Jfc>v Tereni da Montelupo vi£y '
F. P. Asciano Asciani 1600 G in la botega da mastro F. F. D. 1578 1542 Girolamo da le Gabice Made in the Lan- FORTUNATUS franchi workshop Philligellus by Mo. Girolamo P. Asciani (or Gironimo) In Pesaro
Fato in botega di I. P. =Jacomo Pesaro Mastro Gironimo pinxit, Early 16th cent. C son Vasaro I. P. Jacomo was 5 of Girolamo \ Terencio fecit in la i55o / bottega di Mastro 1520-30 Baldessar Vasaro da y Pesaro ITALIAN MAIOLICA—PESARO, GUBBIO
Mark. Description. Mark. Description.
Pesaro iS48 Gubbio di Maestro T. Terencio AD) Giorgio's mark is r v) sometimes accom- I. S. panied by a head, a V vase, a merchant's mark, etc. dA Casali and Caligari, painted by */*£, Pietro Lei
? Francesco de' m F. F. Fattori T 1 8th cent. T Gubbio 4
1490-1500 ? Gubbio (S 15-3,6
? Salimbene, / ? Gubbio c, kA A brother of Giorgio v£y tf A " c 153° j* *Wx
8 ITALIAN MAIOLICA—GUBBIO, CASTEL DURANTE
Mark. Description. Mark. Description.
Castel Durante
c. 1520 Pesaro or Gubbio c. 1480
$ it, cA&el
? G. A. for J£ Giorgio Andreoli (Si c. 1540 •SB*
IN TERR(A) ""jy Probably for DVRANTIS M° Giorgio
/« gUbio $. ma.no Prestino d viajtro prejtino A- *536-57 1532 o "
rr' 1
Carocci, \ / Fabbri c T> & Co. 19th cent.
P. Mastro Simono 1562 in Castelo D urate A# ^^^ S. 1580
Castel G. S. c 1530 Durante.
F. R. facta fu i Castel Giovanni durat 1 zona Maria, potter maria vro 1508 $*$
H. R. in scrolls
Ne la botega Hipollito Rombaldoni i5 r 9 Urbania d Sebasliano d Urbania pinse 1647 = Castel d Marforio Durante ITALIAN MAIOLICA—URBINO
Mark. Description. Mark. Description.
Urbino Urbino 5L I monograms /&&A Orazio Sforza. D. P. fra Xanto. A. daRovigo Francesco 1528 i Urbino pi Xanto & Avelli da Rovigo yiz#£ z*« Urbino in Fontana whose signed botega de M° Guido family fxrx.ro- a- works range fontanel vasaro Roui"y;7) from 1530-42 \jrhino • nella botega de M° Guido durantiuo in Urbino. 1535 The words, ?i historia, nota, L.V. on a dish orfabula, and attributed to a description Orazio Fontana of the subjects •ft* occur on Monograms pieces painted by a pupil of Orazio KXAKju'ttor of Xanto © Fontana fl. 1540-71 historia -V-rv< nota <8o^qp/x Francesco fracesco durantiuo Durantino c. 1544 ts JVJ> 10 ITALIAN MAIOLICA—URBINO Description. Mark. Description. Mark. Urbino Urbino Francesco Duratino i5S3 mote at Vasaro A Probably ? Caesari Bagnolo i Peroscia Bagnara, a village Cari 1536-51 near Perugia In Urbino nella i54i botteg di Francesco ? Simone di de Si Luano — Silvano Antonio Mariani fato in Botega de i55i 1630 uncertain Guido Merlino Gironimo Urbin 1654 fecie 1583 gironimo et tomaso 1575 Pompio FGC in scrolls O. F. V c. 1580 1590 by the same artist G. L. P 1667 ,, 1542 uncertain M Urbini Patana fecit 1584 The Patanazzi family GOBo i53i ALFONSO 1606 PATANAZZI FECIT URBIN R in a shield URBINI EX FIGLINA 1608 with initials FRANCISCI PATANATII and date EFB 1594 vincentio patanatai by Vincenzio de anni 12 at the age of 12 in 1619 c. 1540 E. B. School of the Patanazzi ) ITALIAN MAIOLICA—URBINO, DIRUTA Mark. Description. Mark. Description. Urbino Diruta Fabrica di Maiolica fina di Monsiur Rolet in Urbino . . . 1773 at Borgo San (Lh Citta Borgo S. Sepolcro Sepolcro \ Yj/^ Mart. Roletus fecit 1771 San Quirico D'Orcia nm1 Bar Terchi Romano *r\ in S. Quirico Bartolomeo Terchi Vv worked with the words also at in dervta Bassano 1544 {q.v. I c>£/»iit<* (Jc El Frate pinse painted it) *ifiKn*f*p*f*~ ( = Bar : Terc A Rf* Romano 4r Diruta S X? I.DERVTA 1505 G. Tnc(erut T ? Diruta CDL G. V. Probably Giorgio Vasaio co Antonio Lafreri 1554 fran . Urbini 1537 I deruta In Deruta ITALIAN MAIOLICA—DIRUTA, VITERBO Mark. Description. Mark. Description. Diruta 1771 ? in village FABRICA DI io silvestro MAIOLICA FINA d'agelo trinci of Bagnara (see DI da dervta p. 10) GREGORIO CAS FATT IN ELLI IN DI BAGNIOREA RUTA 1691 fabriano Fabriano 1527 with lustred scrolls c. 1560 ? Diruta e- IFR Viterbo VITERBIEN IN VITERBO on a ribbon b i544 ITALIAN MAIOLICA—ROME, FAENZA Mark. Description. Mark. Description. Rome Faenza 1579 fata in botega da Anto>iio da Casteldurate 15th century in Roma ^ X marks FATTO IN BOTEGA * DE M. DIOMEDE 1600 DURANTE IX ROMA n ¥ FATTO IN ROMA DA Faenza or GIO PAULO SAVlNO M Florence 1460 Faenza or ALMA ROMA tlU¥-7 Caffaggiolo 1623 Ft 1490 On pavement b Mark. Description. Mark. Description. Faenza Faenza Casa Pirota O c 1525 c - I52S c. 1520 I53i % The Casa Pirota this mark also factory occurs with the letter S (=Wn? IN FAENZA 1530 c. 1520 IN CAXA PI ROTA c 1525 c 153° c 1525 c. 1520 c. 1540 1527 ITALIAN MAIOLICA—FAENZA Mark. Description. Faenza Baldasara Manara. 1534 -f- ? Faenza c 1500 1527 Perhaps the mark of the Atanasio factory in Faenza 1508 1520-30 Ennius Ray- 'tvtii uzrayrvenu s t also inscribed Giovano Brama di Parlerma 1546 in faenza i6 ITALIAN MAIOLICA—FAENZA, VENICE Mark. Description. Mark. Description. Faenza Forli fato in. faienze in 1556 / la botega Botega di M° fran. da M° Iero da Forli Io Ant Romanino 1SS6 Cimatti de Favesc Cimatti or Cimani Faenza or Zacharia Valaressi Forli 1 65 1 in Faenza c. 1510 FB F Francesco Ballanti 1 8th cent. AF.I(»)FOR(Z)I Benini fabrique 1777-8 RAVENA Ravenna Forli Thomas Masselli Ferrara Ferrarienfec in Rimino 1535 Rimini II CKtimtn. 1535 i nonx- i Julio da Urbino in *535 botega de mastro alisandro in arimino 1485-90 In Venetia in Cotrada Venice di Sta Polo in botega ' di M° Ludovico i5 2 3 ITALIAN MAIOLICA—VENICE 17 Mark. Description. Mark. Description. Venice Venice ? Mark of M° Ludovico Marks of the Bertolini c. 1540 + factory + c 1753 Io Sfe/ano Barcella Veneziano Pihx M° Jacomo da In S to Barnaba Pesaro in Venice 1542 9t Guido Merlingo In San Polo Vasaro da Urbino in Venice J 54 2 AoUst>i»K 1543 ^T M° Francesco da In Sa Thoma c. 1750 Castel Durante in Venice S GIB I 545 Probably Venetian mo Marks in venezia in chastello 1546 1 8th cent. G 1571-1622 Zener domenigo da 1568 Venecia Baldantonio in Venecia ^o 1 Bariselio 1587 F.S.M Jacomo J'asellaro !593 vc P. da Madre J 596 Suor Zuana D. M. SEIMO f& &-^<^ G.L.P. 1667 1 8 ITALIAN MAIOLICA—VERONA, MILAN, TURIN Mark. Description. Mark. Description. Verona Turin 1737 Giovani Batista Fabbrica de Torino da faenza 1563 in Verona M Rosetti factory Milan % - # Pasquale Rubati - 1629 ?tl 1762 M % Jfa£ to few j ^ Uncertain v Turin marks &^r C&iCuhJ Felice Clerici T. S^ 1745 JLU° T.G. Borgano c. 1823 3% Eredi Imoda Pavia GA OF Luigi Richard e C. iyo« GRATA PAGLIA MAM FE : TAVR : Vinovo c. 7 10 1 Mark of Vittorio V- Amadeo Gioanetti f c. Turin DG 1776 & Arms of Mondovi Savoy under Benedetto Musso m a crown M. M. 19th cent. W\r BG Giuseppe Besio Fixtta cHlbnixo 1577 M A Annibale Musso ) ITALIAN MAIOLICA—TREVISO, LODI J 9 Mark. Description. Mark. Description. Treviso Nove D.O.N. P.A.R.I.S.T.O.E.D. A.T.R.A.V.I.S.I.O. 1538 S3 G. Baroni Bassano Early 19th cent. S. M. ? AWE 1595 Simone Marioni S./G 1750 ^3^A(V0 A star of six points alone is Antonio a Nove mark Terchi in Padua A/ICO LETl Bartolomeo B°T*rcU' Terchi (See p. 11 W+F- J 563 BaSSano mark used by Terchi + A. mark used by Manardi, c - 1555 late 17th cent. •f- X A * a.C/q) Candiana Candiana On imitations 1620 of Turkish Manardi faience m at Bassano S.E.C. Lodi A,n£aron *f?p incised Nove Giovanni Battista GBAB: Antonibon Fabbrica di Rosetti in Lodi Early 18th cent. Felix Crevani <2fc fecit 1767 ITALIAN MAIOLICA—SAVONA Mark. Description. Mark. Description. Savona Savona Mark of Siccardi c. 1700 also a star of S. Rubatto five points cf S«B, Mark of Chiodo i8th cent. c. 1667 ? Girolamo Mark of Salomini Rartolomeo GrWS Guidobono Luigi Levantino L-L- c. 1670 \T1\ Mark of G. »G, »G * Salomone Mark of Pescetto, Mark of h^> also three Levantino fishes. Falcon, mark of Folco also on piece Savona dated 1751 0, t?z.o Bdrtot*m * Boierv 1729 with signature Siccardi of A. Ratti [see above) 2$ , ITALIAN MAIOLICA—SAVON A, NAPLES, CASTELLI 21 Mark. Description. Mark. Description. Savona Castelli M. Bo relli Borelli factor)' A. S. 1735 = Bernardino Gentile fece (2^Ifidfe Jacques BoreHi 1779 * Bernardino Gentile 1670 C. G. P. Carmine Albissola Gentile pinxit Gentile p. Naples G. Rocco di Castelli 1732 Marks of Capelleti F. Brandi 1654 Fuina 0o\/o G>ccore 1784 Luc. Ant Cianico Math. Rossetti Del Vecchio Naples F DV Naples 1760 to present M 19th cent. day 5 Castelli Carl , C. A. G. /*. Antonio Grue 17th cent. Z>. Francisci Antonii ^7ib Xarerii Grue » ^ of L. G. P. Liborio Grue Mark Cantigalli (t 1776) mm of Florence ib-r^e Saverio Grue j> Modern (t 1799) One of the )e;^'74/ Grue family i 22 ITALIAN MAIOLICA AND PORCELAIN—FLORENCE Mark. Description. Mark. Description, Uncertain Marks on marks porcelain made at Florence ? Diruta under the or Viterbo patronage of 1600-20 Grand Duke Francesco Maria, who died 1587 ? Urbino The first repre- sents the cupola of the <* r Cathedral of Florence : T7E TyL the second the arms of the Medici *S' VA* Name of an artist of Citta Geo BATA .M15RCATI S. Sepolcro, whose design was copied on a plate ? Monograms of the same On a plate ? Castel which has also the first mark All are painted in blue under the glaze 3onfiencLer ITALIAN PORCELAIN—VENICE, DOCCIA 23 Mark. Description. Mark. Description. Venice Venice Marks of the Cozzi factory factory Ht-* Vezzi p. in red 1719-40 at the Hewelche Fortunato s factory ^ Tolerazzi Fecc (1758-63) ' Venesia 1763 jtJ/ ai inc. Ludovico Ortolan! p. in lake C*T Veneto dipinse nella 1^ ? Venice or Fabrica di Porcelana J^* ^%~I Le Nove in Venetia ? Vena A. G. 1726 p. in red Doccia Factory founded CA by the Marchese X Carlo Ginori in 1735 and con- t*Y N.S. tinued to the present day <0t* if° N.S. = Niccolo Sebastiano p. in blue Iacobus Helchis 1758-63 circle fecit h.p. In a P-F initials of The Cozzi Fanciullacci Venezia factory Fab' 1 Geminiano 1764-1812 s.p. at first Cozzi p. in red GINORI s.p. h.p. afterwards 24 ITALIAN PORCELAIN—LE NOVE, CAPO DI MONTE Mark. Description Mark. Description. Le Nove Capo di Monte 1762-1825 (Naples) The star mark The factory was sometimes removed to ascribed to Naples about Doccia N 1 1. These 77 marks are in red and blue after that s.p. date. s.p. till c. 1780. Marks p. in blue * and inc. Cf. marks on Le Nove pottery on p. M p. in gold Cypher of King Ferdinand Treviso p. in red s.p. GLOrda.no Fratelli Incised on figures Fontebasso names of JrevijQ Afi.ULlo modellers >v? p. in gold s.p. also with initials and other forms of G.A.F.F. the fleur-de-lys : supposed to be Vinovo early Capo di 1776-1815 Monte marks, but probably Madrid ' t ' hybrid " (seep. 91) porcelain Slid p. in blue p. in grey Giustiniani ]). in black factory (see p. 21) p. in grey and t inc. Vicenza Dr. Gioanetti (see p. 181 ? Fste 1. in irold s.p. GERMAN POTTERY A NUMBER of potters in Germany and Switzerland from the sixteenth century onwards were engaged in the manufacture of elaborate stove-tiles, usually ornamented with reliefs in sunk panels and coloured with slips, glazes, and tin enamel ; brown, yellow, green, blue, maganese purple, and white were the principal colours used. The manufacture of tin-glazed faience after the Italian and Dutch styles was common in most parts of Germany in the seventeenth and eighteenth centuries ; and a certain amount of slip-decorated and graffiato earthenware was made in South Germany, at Gennep in Luxembourg, and at Schaffhausen in Switzerland, in the eighteenth century. In the Rhenish provinces a large stoneware industry developed in the sixteenth century at Siegburg, Raeren, Cologne, Frechen, and elsewhere, and during the two following centuries at Grenz- hausen in Nassau. The typical Rhenish stoneware varies from white to freckled brown, and is ornamented with panels in low relief made in moulds and applied, as well as with stamped and incised decoration : the ware was glazed with salt, and sometimes coloured with patches of cobalt blue and maganese purple. The cutting of moulds for the reliefs was an important branch of this industry, and most of the marks are those of the mould-cutters, and appear in relief in the panels. Bottles with a bearded mark on the neck, known as Bellarmines or Greybeards, are the commonest specimens of Rhenish stoneware. The tall, tapering tankards of white Siegburg ware are among the best examples of this class. Another variety, made chiefly at Kreussen, is heavily painted in enamel colours. 25 26 GERMAN PORCELAIN GERMAN PORCELAIN The secret of true or hard-paste porcelain, after the manner of the Chinese, was discovered about 1707 at Dresden by J. F. Bottger, an alchemist, in the employ of Augustus II. of Poland, Elector of Saxony. He discovered about the same time the method of making a fine red stoneware, now known as Bottger ware, but called by him red porcelain. This ware was finished by polishing on the lathe, or covering with a black glaze and enriching with gold and silver ornament or engraving. Bottger and his secrets were transferred in 17 10 to Meissen, where he started the celebrated Meissen porcelain factory under strict surveillance. The process, however, could not be kept hidden, and escaped workmen carried the secret first to Vienna and afterwards to all parts of Germany. Factories sprung up in one principality after another under the protection of the ruling houses, who vied with each other during the eighteenth century in the production of true porcelain. All the German porcelain is hard paste, varying in fineness according to the sources of the porcelain clay. The finest material was obtained from Aue in Saxony, and a coarser earth mined near Passau produced the greyer and inferior wares made in the Thuringian factories at the end of the eighteenth century. Each factory had its distinctive mark usually painted in blue under the glaze, though among the minor factories, particularly those of the Thuringian district, there was a tendency to use marks suspiciously similar to the Meissen crossed swords. The latter mark is sometimes found with one or two cuts across it : this signifies that the ware was faulty and rejected by the Meissen factory as unfit for decoration, and any ornament on pieces so marked must have been added elsewhere. ' ' GERMAN POTTERY AND STONEWARE—SIEGBURG 27 Mark. Description. Mark. Description. R.A. 1589 Marks on L 1589 stove tiles P V 1605 Peter Vlack ADAM VOGT Augsburg 1626 Raeren HANS KRAUT Villingen B M 1577 Baldem Menneken 1578 H< " I M 1578 Jan Menneken cw isvi. I E 1576 Jan Emens E P E K 1584 m 155° E E 1586 Siegburg Marks of the G E 1590 Georg Emens potters and mould carvers B K 1557 Bertram Kmitgen V Jan Emens 1587 P ' M D 1551 and ' merchant's mark ' L W 1573 D P 1591 D. Pitz I M 1573 R Raeren CF " ENGEL KRAN 1584 I VS " H H 1595 Hans Higler H K 1600 A^3^\ Monograms of I K this kind are known as " merchant's I M 1601 marks ' yy I T 1623 Christian and H B Baldems C K, P K Peter family Kniitgen 17th cent. I B 28 GERMAN STONEWARE—RAEREN, GRENZHAUSEN Mark. Description. Mark. Description. Raeren Hohr-Grenz- I A Jean Allers M 1597 hausen in Nassau Mel si or M H Honckebour WF.S G B L W W.E. W.A. D.P. KBL Hohr 1 8th cent. Johannes Mennechen Hohr 1790 Willem Em ens Grenzhausen modern ? Willens Bouffioux ? Pierre Morfroy L W Jean Rifflet Jean Bertrand A. Ernst ? Raeren Jean Allers J. Ernst Cologne 17th cent. Kremer 1 8th cent. pottery Kreussen Vosrel 1628 AC On Saxon A M wares 603 GERMAN STONEWARE AND FAIENCE—KREUSSEN 29 Mark. Description. Mark. Description. Kreussen Nuremberg CASPAR VEST Stoneware G. F. Greener 1720 Gliier 1723 HANS CHRISTOPH VEST 1600 Joh ami Sebalt Franz ADAM SCHARF 1644 T MATTH^EUS On ware made 1771 SCHRONVOGEL at Passau Stebner ZU BASSA U 1638, in the Kreussen style 1665 a decorator ioh : schaper Nuremberg Schaper maiolica I J. X. $ 1583 £+1 » a follower of M. Schmid 1722 Schaper HERR CHRISTOPH 1712 MARX JLF 1688 JOHANN CONRADT ROMEDI " In the Marx factory 1730 ? Memmingen B W«tf in Swabia. N. Possinger 1725 IAS c. 1560 3XK ? Kordenbusch Kiinersberg ? Kunersberg G. Kordenbusch ? JtV/ in Wiirtemberg 17th and 1 8th J. G. K. cent. B. K. K. B Schreitzheim ,3SS»i near Ellwangen G. K. W founded by Wintergurst A0 AS AS f s early 18th cent. 30 GERMAN FAIENCE—ANSBACH, BAYREUTH, GENNEP Mark. Description. Mark. Description. Ansbach Gennep Matthias Rosa in ANTONIO late 17th cent. CARDINAL Anspath .(in Luxembourg) style of Rouen GERRIT LONNE 18th cent. and 1 8th cent. PETER MENTEN Graffiato ware and slip ware ? Arnstadt A or Ansbach is names and initials of potters Pinxit F. G. Fliegel Arnstadt J HA Arnstadt 1775 Pieter Heichens fecit in Berlot 1777 18th cent. J\» Hochst 1 8th cent. Goggingen R* (see also p. 35) near Augsburg V3y faience c. 1700, style HS of Savona Bayreuth %& fcjcitireuTfye 1728-35 Marks of ttdHci' Zeschinger, ® who sometimes signs his full name BH. Knotter (1728-40) BK ' XX c 9 pr Pfeiffer e -W (1728-40) ? Hochst or & / Dirmstein 17th cent. 9 Damm ANTONIUS BERNAKDUS Gennep near Aschaffen- VON VEHLEN berg, c. 1825 1770 x> Fldrsheim £M WM ? Gennep T 7i5 en 1781 J GERMAN FAIENCE—FRANKENTHAL, HANAU, KIEL 31 Mark. Description. Mark. Description. Frankenthal Hamburg Hannong c. 1680 1 8th cent. II Johann Otto Lessel sculpsit et Pinxit Hamfairg 1756 Mainz 18th cent. Kiel Kiel Buchwald Director 1769 Abr: Leihamerfecit Marburg J77±_ ft-.Skhedt: /bfec: Poppelsdorf 1 8th cent. <&Jhrt. AX 6 «, JL A. Z Bonn «- AC Hanau (1661-1805) #*. Ti.C H. Bally (1680-90) Schleswig Van Alphen A. 1 (1775-1819) 3- JL Rambusch ? Hanau 1753-1801 32 GERMAN FAIENCE—ECKERNFORDE, STRALSUND Mark. Description. Mark. Description. Eckernforde Lesum 1767 Vielstich OEB = Otto, (1755-94) Eckernforde, Buchwald Stockelsdorff Buchwald 1773 Minden 1 8th cent. ? Hadensee or Stralsund Kellinghusen 1 8th cent. Stralsund 1796 N.E. Prussia 1768 Fulda (1740-58) #-£ 5b Berlin 1771, Liidicke Potsdam 1770 (this mark p also assigned Frankfort to Marieberg, (on the Oder) Sweden) r 1770 GERMAN PORCELAIN—MEISSEN 33 Mark. Description. Mark. Description. Meissen Meissen Marks incised on " Caduceus " Bottger's mark, properly wares the rod of 1707-1719 iEsculapius. p. in blue and purple 1727-35 Cypher of Augustus II. of Poland, Elector of Saxony. p. in blue and purple 1725-40 " " Kosel mark : said to have been only placed on wares made for the Countess of Kosel, mistress of Augustus II. J jr Imitation Chinese and Japanese An early mark in marks on gold Meissen porcelain earl)- 18th cent. In an ornamental It p. in blue George Ernst Keil. * Meisseri Inv. 6 Jiili escutcheon if tff 1724 The cross swords from the Arms of Saxony used from 1725 onwards. p. in blue, rarely in gold, purple or red (Incised mark on porcelain Inc. zpo. in the royal collection w. at Dresden) 34 GERMAN PORCELAIN—MEISSEN Mark. Description. Mark. Description. Meissen Meissen K. H. C. W. = Konigliche Hof Conditorei, Warsaw (Royal Court Confectionery). JtJi.CW. p. in purple The dot used mostly from 1756-80 Konigliche Porzellan Manufactur. The star used p. in purple 1723-30 during the directorship of Count Camillo Marcolini and a few years after 1780-1816 /. /. Kaendler Sculptor and f>.?.t modeller Hvesderi* Workmen's signs impressed or painted, painters' Impressed and gilders' very rare marks ^ JV"o. A pheasant, in gold Loehnig pinxit. p. in purple C. F. Herold invt : etfecit a meisse La nche fecit painter's name 175° Dresden GERMAN PORCELAIN—MEISSEN, ANSBACH, HOCHST 35 Mark. Description. Mark. Description. Meissen Ansbach K Kretzschmar or Kohnberger p. in blue E Eggebrecht A L Lindner Mo Mobius A B Berger H Hammer or Hempel JAW Marks of decorators not attached to the Arms of factory Ansbach Busch, canon Bayreuth of Hildesheim, Metzsch who etched his 1748 p. in grey designs with a Bavr. diamond point Jucht, a painter, Bayreuth, Fee. Jncht I. A. Botten- p. in blue gruber of B»7^ Breslau (Wrattislau) ? Bayreuth p. in grey rB Hochst Ansbach 1746-96 c. 1760 p. in blue or The eagle of colours, or Brandenberg, impressed. to which family the Margraves 9 of Ansbach belonged Marks of Zeschinger (see also p. 30) van R ) 3 6 GERMAN PORCELAIN—HOCHST, FURSTENBERG Mark. Description. Mark. Description. Hochst Frankenthal Cypher of Carl p. in blue Theodor, Elector Palatine. p. in blue Joseph Schneider ? Frankenthal. imp. p. in lilac ? Von Recum c. 1800 Mark of a figure repairer [not F Melchior) Damm Mark used (see p. 30) at Pfalz- where the Hochst Zweibriicken moulds were 6 and i7 9-75 ( used from about at Gutenbrunn 1840 1767-69) Fiirstenberg Nymphenburg T750-C 1850 1754 to present J765f day- p. in blue JA«. Arms of Bavaria imp. Horse of Brunswick imp. Frankenthal 1755-c 1800 Lion of the p. in blue Palatinate and monogram of T. A. Hannong p. in blue Paul Hannong imp. = Churfiirstliche Hof Zehrgaden (Electoral Court Store-room p. in brown GERMAN PORCELAIN—NYMPHENBURG, BERLIN 37 Mark. Description. Mark. Description. Nymphenburg Berlin (1750 to C. H. Co?iditorey = Churfiirstliche present day) 17 Hof Conditorei Initial of Wegeli 1771 (Electoral Court (i75 -57) Confectionery). p. in brown Gotzkowski (1761-63). C. H. Silberkamer plate- p. in blue chamber Sceptre of Elector (ZZZI of Brandenburg Arms of Bavaria, 1763-1837: with dots Jan. p. in blue 1837. w p. in blue P. with sceptre and eagle from imp. 1832 Konigliche Por- KPH zellan Manufactur Amberg. 1774 Name of an artist, p. in lilac 1834-1844 Ludwigsburg I 1758-1824 KPM Arms of Wiirtemberg, In red and brown 3 stags' horns. (1823-32) p. in blue in blue KPM (1844-1847) jC 1847-49. And with sceptre Stag's horn from (1849-80) the arms of The eagle also Wiirtemberg. used by Schuman of Moabit with his X name from 1832 Cypher of Charles, Duke From 1870 of Wiirtemberg. p. in blue From 1882. Seger Porzellan F R, cypher of Frederick I. King Painter's mark of Wiirtemberg in blue 1803-10, (1805-16). in red 1821-23 p. in red. 38 GERMAN PORCELAIN—THURINGIA Mark. Description. Mark. Description. Kelsterbach Closter c. 1760-72 Veilsdorf H D = Hess Darmstadt. 1765-c. 1825 Arms of Saxony. to p. in blue p. in blue Limbach (Thuringia) 1762 onwards. Crossed Ls used c at Limbach and 1787 Grosbreitenbach X till 1788. p. in blue a c. 1783 Limbach Also the cross swords of LB Meissen Trefoil (seal of Gotha G. Greiner) used (1767 onwards) at Limbach and 1767-1790. Grosbreitenbach p. in blue from 1788 c. 1805. onwards and MarkofRotteberg at Ilmenau the director Factory of Grosbreitenbach St. in red dates from 1779 (? rebus for Gru.6«r *«* to present day. Henneberg) inc. Wallendorf 3'naaaf c. 1778 p. in blue ? Gotha or Gera Ilmenau x 1777-1788. p. in blue Volkstedt 1787 1762-87 used hayfork (from arms of Ruddstadt), and cross swords 1788-92 Mark of Nonne at Volkstedt Nonne and * 1787 onwards. NSLR Roesch p. in blue c. 1800 GERMAN PORCELAIN—THURINGI A, BOHEMIA 39 Mark. Description. Mark. Description. R Rauenstein Baden 1783-1860. Late 1 8th cent, R-w. p. in black 1 ' 4% p. in gold c. 1787. Schlaggenwald p. in blue S I (Bohemia) X 1792 onwards Modern TgHJ Lippe and Hesse, X mark p. or stamped R— n. Thun-Klosterle Gera 1793 onwards c. 1780 <# p. in blue 5" Cf. Gotha ri G ip ? Sitzerode Fulda 1768-c. 1790 Prague Fiirstlich imp. Fuldaisch. F p 1793 onwards p. in blue Teinitz Cross from arms Witby of prince-bishop 1793 onwards + of Fulda ^*4£jfc&c imp. (Pottery) Giesshiibel p. in black ? Fulda (by Karlsbad) 1793 onwards. t t BK imp. since Potschappel \t* O 3K 1815 (near Dresden) Dalwitz X T for Thieme. V 1804 onwards A 19th cent. imp. FF & fF Uncertain D marks F4tU \/ Eodau (Karlsbad) *kz>jYi *Jcw,K.cnr Mark. Description. Mark. Description. Altrohlau Vienna (Karlsbad) (1718 onwards) from 1813 Austrian shield onwards used from 1774 imp. in blue, and after 1827 impressed. Since 1784 last two numerals of A. Nowotny the date are often impressed as well Elbogen 1 8 15 onwards. Yienrce tejuty p. in blue till 1833, and then imp. A.nton ius,Anreiter, Haidinger J[rd?*J(nrei]ter painter brothers Budau I. A. B: 1825 onwards Bottengruber who also painted mostly p. in blue \Si(es:f Vienna '?$o in his own establishment in Breslau. (See p. 35 ) CJUottino ru.6er-r Schelten 1820 onwards Herend P for Palme in Hungary S imp. 19th cent. Celebrated for XI Pirkenhammer copies of Oriental, Carl Fischer Sevres, Capo di 4 c. 1840 Monte, and other imp. porcelains. Imp. Fischer and HoUitstk Reichenbeck Hollitsch faience and Klum % fjt.ee earthenware KLUM 1743-1827 imp. Neumark Neumark H Hi '222 Klentsch Klentsch JJb J£ and other Budweis initials W The combined with HARDMUTH last four H from about 1820 imp- AUSTRIA-HUNGARY-rMISCELLANEOUS 4i Mark. Description. Mark. Description. Salzburg Funfkirchen 1736-1815 £B (Pecs) +5 faience W. Zsolnay Moser 1855 onwards 1736-77 (lustred wares) J. Pisotti 1777-1814 p The Hague J? Modern porcelain works in the suburb of Rosen burg den li Haag Gmunden %l\N7HM 1 820 1 740- J. Reinthal 1%. E. Fotinger * Auspitz HK.16H Mettlach Villeroy and Boch. Mark on modern Frain pottery late 1 8th cent (See p. 51) (°M£TTLACM fo Znaim Limoges Klammerth Marks of Havi- 19th cent. I ^ Limoges land and Co. , an American firm of porcelain manu- !=! facturers HaC? Mark 011 modern c^ Italian majolica THE NETHERLANDS, SCANDINAVIA, RUSSIA, SWITZERLAND, AND ALSACE-LORRAINE The tin-glazed earthenware made at Delft in Holland is so celebrated that the word delft has come to be used as a generic term for the stanniferous wares of the North of Europe. Though the use of tin glaze was understood in the Netherlands at least a century earlier, it was about the year 1600 that the manufacture developed in Delft. The processes used at Delft were in most respects similar to those of the Italian maiolica potters (see p. 1 ), but the results were very different owing to the divergent styles of decoration affected in the two countries. The object of the potters of Delft was to make a ware resembling blue and white Oriental porcelain. Hence the predominance of Oriental forms and of blue painting after the style of the Chinese. Towards the " end of the seventeenth century coloured ornament in " Old Japan style came into fashion, and still later enamel painting on the glaze was adopted. The marks of the earlier wares, are usually in blue : the coloured specimens were often marked in colours or gold. The marks are as far as possible grouped in factories each of which had its sign, like an inn, e.g. The Three Bells, The Flower Pot, The Claw, etc. The remaining marks are arranged chronologically, the last being that of Jan Van Putten & Co., with whom the old Delft industry may be said to have ended in the first half of the nineteenth century, though imitations of the old wares are made at this day. The manufacture of tin- glazed wares showing the influence of Delft spread rapidly over the North of Europe ; England, Scandinavia, and the North of Germany numbered many factories, while in France the manufacture became national and developed a character of its own. The tin-enamelled wares died out gradually owing to the improvements in the making of porcelain and the cheaper and more serviceable 43 44 POTTERY MARKS English earthenwares invented in Staffordshire at the end of the eighteenth century. " A red ungiazed ware after the manner of the Chinese " buccaro was made in Holland by de Milde and de Calve early in the eighteenth oencury. A few hard-paste porcelain factories were established in Holland and Belgium towards the end of the eighteenth century, and an important manufacture of soft-paste porcelain, after the French fashion, flourished at Tournay from 1 750-1 799. The principal Scandinavian potteries were at Herreboe, Ror- strand (a district of Stockholm), and at Marieberg. Tin-enamelled faience after the fashion of Delft was the chief product, though porcelain also was made at Marieberg for some years. 1 The hard-paste porcelain of Copenhagen was first made in 1772, and the factory holds an important position for its artistic wares at the present time. It had been preceded by the manufacture of soft paste, examples of which are very rare. Russian porcelain was made principally at the Royal factory in St. Petersburg, and by Gardner and Popoff in Moscow : hard paste, after the manner of Meissen, was made at both places. Stove-tiles, slip-wares, and tin-enamelled faience were produced in considerable quantity in Switzerland in the seventeenth and eighteenth centuries^ chiefly at Winterthur, Zurich, Schaffhausen ; and porcelain works flourished at Zurich and Nyon, making chiefly hard-paste porcelain, though soft paste was tried for a time at Zurich. In Alsace-Lorraine the principal factories were those of Strass- burg, Hagenau, and Niderviller where good faience and hard- paste porcelain were made in the eighteenth century. The Strassburg faience is noted for its rococo forms and its enamelled decoration resembling the painting on porcelain. Fine earthen- ware and terra-cottas were made at Luneville and at Niderviller, the figures and groups modelled by Cyffle at the former place, and Lemire at the latter being justly celebrated. 1 The factory at Rorstrand has for many years produced many varieties of porcelain, earthenware, and stove-tiles. Its present-day porcelain is worthy of note. 1 1 HOLLAND—DELFT 45 Mark. Description. MARK: Description. The Alpha Gillis de Koning Samuel van ^K. 1 72 $E Eenhorn Hendrick de HDK. Koning van der JvOH J. Heul, 1 70 Thomas Spaan- "V VJK donck, 1764 Theunis Jan The Flowerpot Dextra, 1759 Pieter van der ITD TVS Stroom, 1693 = Blompot Icm/svC 7T Jacobus Haider L Andriaensz Paulus van der Mark. Description. Mark. Description. The Metal Pot The Porcelain CVt Cornelis van Bottle der Kloot, 1695 /WW Jan Sicktis van Pieter Paree den Houk, 1659 J 759 Pieter van The New ED Doorne, 1759 Saracen's Head IVH Johannes Ver- Johannes Harlees hagen, 1759 I-L 1770 The Old Saracen's Head I. W. Jacob o Wemmersz Hoppestein, 1661 iK Dirck Harlees Jacobus Kool DH. 1795 1676 Rochus Jacobs The Porcelain R$ Hoppestein, 1680 P Dish Johannes Pennis Anthoni Kruis- F *759 weg, 1759 9 GVS Geertruy Verstelle, 1764 CVS Johannes van Duyn, 1764 The Peacock 1651 The Roman = D. Pauw c. 1670 Imitations of Chinese marks Jacobus de Milck 1DM. 1759 The Pole = Inde Dessel Petrus van Marum, 1759 The Porcelain —Z* Axe Renier Hey, 1697 — ZJ 1679 Johannes van der Justus Brouwer J5 isc Kloot Jansz, 1764 © J 759 HOLLAND—DELFT 47 Mark. Description. Mark. Description. The Rose The Three Ash- barrels l6 75 R«63 f-l V'kuorn. Hendrick van * Hoorn, 1759 hivH D\Z>D Dirck van der Does, 1759 The Star 4 The Three Bells 1690 t * Damis Hofdick 1705 Willem van der (4 xxz> Does, 1764 Cornelis de <9 Berg, 1720 The Three W(. Bottles Willem Kool 1697 Aalmis, 1720 The Three (also at Rotter- dam) Porcelain Bottles 1 Aai^cs Jacobus Pynacker Justus de Berg 1672 XB 1759 Hugo Brouwer Albertus Kiell 1764 AK 1764 B The Ewer The Three Tuns LpKctrx. or {Lampet kan) £ E»EX. Zacharias Dextra founded by Gerrit 1720 Brouwer, 1759 The Two Savages W-VB Willem van Beck 1764 fl^f /<<:l?u ^ The Two Wherries Abraham van der Anthony Pennis a^ec^ Keel, 1780 i? 1759 48 HOLLAND—DELFT Mark. Description. Mark. Description. Miscellaneous Al Arij Jansz, 1658 TOKE Thomas Jansz 1590-1611 8WA Frederick van rvrRVToK Frytom, 1658 Gerrit Hermansz tf^H^M — Jan Groenlant 1614 /c, 1660 Cornelis Cornelisz, 1628 6 Jan Ariensz van Hammen, 1661 Pieter van U P Kessel Jan Jansz Culick (or Lambrecht ® Kulick), 1662 Ghisbrechts, 1640 k, Johannes Kruyck 1662 Isaack Junius 1640 re Jacob Cornelisz (van der Burgh) 1662 Aelbrecht de 2*2-^ /K Keiser, 1642 oK f Augustijn Reygens (or Ghisbrecht j8 Reygensberg) <£ Lambrechtse' 1663 Kruyk, 1645 (who worked nt v ? at The Alpha) M " Gr Vvf Willem Kleftijus 1663 " K. -t Jan Gerrits Jan de Weert IH- van der Hoeve \pw 1663 1649 Johannes Mesch S K 1667 Q. Aldersz Pieter Gerritsz Kleijnoven, *r 1655 R Kara, 1667 Cornelis Albrechtsz de Jeronimus Keizer, 1668 Pietersz van IVK The same com- Kessel, 1655 yP* bined with Adrien /x Pynacker HOLLAND—DELFT 49 Mark. Description. Mark. Description. Miscellaneous Jan Pietersz Sixtius van der P 1668 Sand, 1705 Flyt. M. Byclok r 1669 Johannes Gaal, 1707 Arij Jansz van AT der Meer, 1671 GAALt Lucas Pietersz van Kessel, 1675 (MVB = Math : Dirck Jansz van van der Bogaert Schie, 1679 1714) Leonard van VA Amsterdam, 1721 Johannes it Groen, 1683 Paulus van der 'A Stroom, 1725 Frederick van Adriaen Hesse, 1730 A Pynacker, 1690 Pieter Poulisse 1690 Johannes van iv>w der Wal, 1691 PUtfrouir Piet Vizeer, 1752 Lucas van Dale, 1692 1760 \£ Jan van der Buergen (or .. Jan van Putten Verburg), 1693 and Co. , 1830. Combined the Three Bells, Claw Cornells and Rose factories Witsenburg, 1696 Amsterdam J. Baan c. 1698. (Also c. 1780 AB in monogram H. van Laun I." Ba^^ for A. C. Brouwer 1699) 5° HOLLAND AND BELGIUM—PORCELAIN Mark. Description. Mark. Description. Holland OudeLoosdrecht c. 1772-1782 Early 18th cent, M.o£ on red ware Moll, the founder h.p. Inc. in blue , p. and red Weesp Amsterdam 1764-71 1810 h. P . ? Painted only p. in blue and at Rotterdam red flo&trdcvfn, ? Luxemburg ^ Late 18th cent. h.p. p. in lilac Tournay I 1750-99 The Hague Porcelain, s.p. A tower, arms of Arms of the 1 a town the town 1775-86 Earl}' mark h.p. It p. in red, gold, p. in blue and blue p. in red * x Arms of Peterinck Oude Amstel & *« (founder of the 1782-c 1800 factory) 1769-97 h.p. && p. in blue and gold I D ? initials of p. in blue the painter Duvivier A. Dareuber, *8>. Tournay faience A director 6% XJl - » BELGIUM—PORCELAIN AND EARTHENWARE 51 Mark. Description. Mark. Description. Brussels Tervueren 1767-81 Lctetti Late 1 8th cent. Rue d'Aremberg Manufactory of ccc Prince Charles of 1791 Lorraine in the Castle of Porcelain, h.p. CP Tervueren. £< L. Crette. Faience , p. in red Malines ? IM 18th cent. Ebenstein. $ p. in brown Bruges Briquet from the ? Brussels or Q arms of the town Thuringian. tSfe 1 8th cent. p. in blue B H> HC H. Pulinx /tfSxfis. Luxemburg Faience, 1705. (Septfontaines) Witsenburg •vs IXi / h IrHI Boch brothers and Mombaers. 1767 onwards ws,s£i Earthenware Ph. Mombaers 1724 » CB " Jk^mmf • » & ^S- Bx > Mark. Description. Mark. Description. Herreboe Eorstrand % (Norway) (Stockholm) 1750-63 1726-83 Faience Marieberg ale 1758-c. 1789 m 6s Faience /V25 Gudumlund Wolfsen and Sons 1805 Gustafsberg Godenius, Stockholm 1820-60 Rorstrand Eneret Hebrix T726-83 Faience Copenhagen Porcelain s. p. 1760-65 Cypher of Frederick V. in gold and blue. 1772 onwards woirftrcunb h.p. The mark represents the Three Belts. p. in blue U ? Copenhagen, p. in blue * Bing and Grondahl B.&G 19th cent. SWEDEN AND RUSSIA—PORCELAIN 53 Mark. Description. Mark. Description. Marieberg St. Petersburg 1758-89 porcelain, h.p. Porcelain, s. p. c. 1745 onwards. c. 1758. Inc. The double eagle occurs in a wreath H.p. The Three Royal cyphers. crowns from the p. in blue. arms of Sweden Catherine II. and initials of 1762-96 directors or artists F. S. etc., 1778-82 ? director's in blue. p. mark 1 on a hybrid Pridvornie = porcelain belonging to the f prince's court The three crowns and emblem of the house of Paul (1796-1801] Vasa. % p. in pink Alexander I. Russia (1801-25) Kieff pottery J* KIEBZ Nicolas I. (1825-55) Alexander II. 6 1855-81 crt Nicolas II. Stawsk 1894 // 1843-7 Pottery Moscow i 7 8o I.R h.p. Baranowka Gardner jbaranvffka in Volhynia Porcelain, h.p. p. in sepia pr. in red Korzec Kortfc Porcelain, h.p. Early 19th cent. 9 p. in red 54 RUSSIA & SWITZERLAND—PORCELAIN & POTTERY Mark. Description. Mark. Description. Moscow Winterthur H.p. porcelain Hans Heinrich nonoBM A. Popoff WG Graf, 1662 Early 19th cent. P. in blue ? Ehrhardt /n Gospodina M M factory : 4>r H. E. A. M. I. T. (Stove tile makers) Gulena, potter 1647 TyAMHA c. 1850 D M Steckborn Brothers Daniel Hafner BPATbEBfc 1790 Korniloff, Steckborn St. Petersburg' Bern KopHMOBhVCb 1827 E. I. F. Fruting, 1772 H. K. R. 1705 ' , ,* • Neuchatel ( 3o*^ \sfX&ejL*3 yn. " Winterthur Baitus Meyer 1602 L. P. 1620 (Switzerland) Ludwig Pfau Heinrich Stadler 1670 D. P. 1636 David Pfau D. S. David Sulzer A. P. 1686 Abraham Pfau Hans UIrich Hegner 1656 A. B. 1638 (Signatures, chiefly Hans Jacob DA. KER 1724 on stove tiles) Hoffmann pinxit I7S7 8. M. S. 1647 H. P. Z Zurich 2 Faience B. E As 1763-179 1 . SWITZERLAND, LORRAINE—POTTERY & PORCELAIN 55 Mark. Description. Mark. Description. ? Solothurn Strassburg and • Pottery Hagenau s .O. 1^1 H.C.W. 40 Joseph Hannong Porcelain, h.p. H 1760-80. (Poppelsdorf p. in blue near Bonn VC4-6 1 8th cent. fI ^ » K^S M. Wessel) Schaffhausen 1 H Schaphuyseti c I79S '£5*2 Gerrit Evers Slip ware ? Strassburg Paulus Hammekers c 1743 w vw Faience Zurich porcelain w Niderwiller (1763-1791) T faience s.p. at first Beyerle' ; porcelain Z ^* afterwards h.p. 1754 ; ## h.p. 1765- p. in blue JC Nyon 1781-1813 Comte de Custine ^^> Mark. Description. Mark. Description. Luneville —*— (1731 ) TCRRE DE Cyffles terracottas Saargemtind LORRAINE (Sarreguemines) 1775 Pot. and porcelain = Terre de TDL Lorraine Toul c. 1790 Earthenware T B Utzschneider Bayard at Toul & Co. a: «f g. Keller and B&gj LUNEVILLE Guerin late 1 8th cent. FRANCE It is not yet definitely settled where the celebrated "Henri II. ware" was made. Formerly it was supposed to have been made at the Castle of Oiron, near Thouars, but it is now more generally assigned to the neighbouring village of Saint -Porchaise. This ware is very rare and remarkable. It is a fine, glazed earthenware of ivory colour, with stamped patterns, like those on contemporary book-bindings, inlaid with darker clays, and occasionally touched with colour. The shapes are carefully and elaborately moulded ; and the occurrence of the royal arms, and the cyphers of Henri II. and Diane de Poitiers attest the royal appreciation of the ware. Commoner lead-glazed earthenwares were made from early times at Beauvais, and in the neighbourhood of Saintes, but they are rarely marked. Nor has any marked example of undisputed Palissy ware been found. Bernard Palissy, the most renowned of French potters, was born about 1510 near Saintes, and by extraordinary patience and all -sacrificing industry succeeded in making the peculiar type of pottery associated forever with his name. It is a fine dense pottery with rich lead-glaze mottled or splashed with blue, green, purple, and yellow : most of the pieces are enriched with relief designs, but perhaps the most characteristic are the rustic dishes with accurately moulded shells, lizards, eels, and aquatic creatures in relief and coloured after nature. Palissy is said to have died in the Bastille about 1 592. His sons continued the work, and among his other followers were several potters at Avon, near Fontainebleau, including Barthelemy de Blemont, to whom the mark B B (p. 59) is attributed. Palissy ware has been frequently copied, Pull of Paris, about 1850, being particularly successful in this work. In the seventeenth and eighteenth centuries the French potters devoted themselves to the manufacture of tin-enamelled faience, 57 POTTERY MARKS 5 8 afterwards of Dutch first in imitation of Italian maiolica, and essentially the same as delft. The processes employed were with the Italian ware. those described on page i in connection France by Italian Indeed the art was introduced into the south of the early wares of potters at the end of the sixteenth century, and Lyons and Nevers are purely Italian in style. Among the many schools forms of decoration adopted on French faience five distinct style adopted are observable :— (i) The Italian. (2) The Persian century it consisted at Nevers for a short period in the seventeenth ; The Rouen of white floral ornament on a deep blue ground. (3) borders and school, characterised first by the use of scalloped a embroidery patterns, recalling lace work, and afterwards by commoner decoration, in which a cornucopia is the central motive. with Chinese figures and interfacings, after (4) Delicate arabesques in the eighteenth the designs of Berain, adopted at Moustiers early of flowers and landscapes in century. (5) Enamelled bouquets painters, scroll-edged panels, after the manner of the porcelain Marseilles and introduced at Strassburg, and largely developed at " elsewhere in the eighteenth century. About 1780" cream-colour and other English forms of fine earthenware threatened to oust the the national faience, and attempts were made to produce English types of earthenware, notably at Douai and Creil. The marks on French faience are mostly painted in blue, sometimes in colours. FRENCH PORCELAIN FRANCE was the home of soft-paste porcelain. At the end of the seventeenth century this ware was successfully made, first at Rouen, then at St. Cloud, and a few years later it was made at Lille, Mennecy, and Chantilly. The perfection of soft paste was reached at Vincennes and Sevres between the years 1740-70. The true soft -paste largely consists of a glassy composition or frit mixed with sand and marl or pipe-clay and other ingredients, and is coated with a luscious lead-glaze of creamy tone. The body is tender enough to be easily scratched with a steel point, and the glaze is so soft that the enamels painted upon it sink in and become incorporated in the moderate heat of the " FRENCH PORCELAIN 59 enamelling kiln. The ware is very beautiful, but unsuited for household usage. About 1768 the manufacture of true or hard- paste porcelain from natural clays and rocks was introduced at Sevres, and very soon superseded the soft-paste there and elsewhere in France. It was made in large quantities in Paris from about 1770 to the end of the century, but since then the chief centre of production has been Limoges. Figures and groups in " biscuit or unglazed porcelain were made in both hard and soft paste. These are usually marked by incising in the raw body, whereas the glazed wares are marked by painting in under-glaze blue, over-glaze red, and other colours or gilding, and on the modern wares by printing chiefly in red. EARLY FRENCH EARTHENWARES Mark. Description. Mark. Description. Saint Porchaire Beauvais 1 6th century. Formerly attributed to Oiron. 16th cent. The ware is commonly called " Henri II. ware.' The crescents refer to Diane de Poictiers Saintes 16th cent. Cypher of ? Francois Briot, Henri II. and Paris Diane de Poictier; ? Barthelemy de Blemont at Avon c. 1580 Mark of a follower of mc Palissy 60 FRENCH FAIENCE—LYONS, NEVERS, ROUEN Mark. Description. Mark. Description. Lyons Nevers Combe's pottery J. Custode ^Cyorv c. 1740 frCuftodeff 17th cent. c$- H-B H. Borne € i68cf- Denis Lefebvre ? Patras 1636 I. P. S. ULF c. 1750 Fran9ois Patras Rodrique FR early 18th cent. J. B. Revol c 1753 . Jacques Seigne Pierre Marie Mongis 3? 1726 Rogd c. 1750 And others in Bondino L® 1 8th cent. ? Nicolas Viode c. 1700 \ fc—^. Nevers N® ^1^ late 1 6th cent. Dominique 3^ Conrade E Signoret ^to*r T. Ristori Jacques Bourdu ~K 1850 at the Conrade factory early 17th cent. Ja-tcta Rouen Rouen % ' 16+y ? Poulard ± B J. FRENCH FAIENCE—ROUEN 61 Mark. Description. Mark. Description. Rouen Rouen (1644-c. 1800) Guillebaud (\aYoin. 1782 1722 —— GdLo P. Omonz ¥ouS tj9° rttonj Anno 1M8 J[(/ u I PeKBV 1734 I75 6 Veuve Fosse" * * Fosse c- 1757 t/ii&iw 1759 ; c. 1756 f And other p- numbers i (see p. 62) SaS 1743-94 Le Vavasseur a Rouan 1743-1800 6 c//R 1 B VR. 6 2 FRENCH FAIENCE—ROUEN ^B N'B *L?DD 53G.V & VD <$ v _ 9 ,vlr M> VL BB PP #3 <-A pj^ VU '** GIB Single letters also occur on ware made in two pieces C >/ identify the parts. FRENCH FAIENCE—ST. CLOUD, SINCENY, LILLE 63 Mark. Description. Mark. Description. Rouy St. Cloud 1790-c. 1850 c. onwards ftouy <*T 1670 Lille + /tS* initial of Trou T J. Boussemart S-C c. 1710 (1729-1802) T Lfj <%${ Sinceny s sy 1734-1864 M J. F. Boussemart (Lille or St. Jg Amand) ri3 * 5-A C5- ?*£ ? Lille Pierre Jeannot B Lefebvre et Petit L. Mal^riat #£ &-/u Ghail \£$ 1 64 FRENCH FAIENCE—VALENCIENNES, MOUSTIERS Mark. Description. Mark. Description. Valenciennes Moustiers 1679-1852 F. L. Dorez G. viry a Moustiers f. Clenssy's factory Early 18th cent. chez CUrissy 171 1679-1748 Fran9ois Viry F. V. F. Picard's factory fecit c. c. 1756 1685 Gaspard Viry Saint-Amand- G. V. F. fecit les-Eaux 1 8th cent. ? Fouque marks of Pierre If/Fe successor of Fauquez Cleiissy ft. If Fouque and Pelloquin 1749- Jean Etienne S/L Baron, c. 1750 M..C MCA i}S6 J A O u r r ? Ferraud Painters at Painter 18 Mark. Description. Mark. Description. Moustiers Olerys, a painter at Clerissy's Guichard factory, started c. 1763 a pottery in v> 1738. G> H The monogram of O L indicates his work. v.^fc) J i> 3t£ His factory lasted till 1749, his partner being Langiers. Varages After 1749 ne c. 1750 worked as a + A painter again till 1783. Tavernes c. 1760 tJi f$ 6 s- &£ A£ #g* G. for Gaze /^tz^n. Marseilles •Oy A. Clenssy, 1697 \ J& ntgrfeille/ I W T-P ? Ferraud ? Savy, Late 1 8th cent. 1749- ? Achard The flenr-de-lys after 1777 P. Fournier J. G. Robert c. 1750-93 Veuve Perrin V> l/lt c. 1760 8 2; \ $ B- Antoine Bonnefoy * Fauchiez **m* F J. 1*"? Jacques Borelli 1778 Ynf? (see p. 21) «L 1781 66 FRENCH FAIENCE—MONTAUBAN, LA ROCHELLE Mark. Description. Mark. Description. Montauban Nimes (1720-1820) PBC Plautier Mouchard, 1792 Boncoirant & Co. 19th cent. La Rochelle FAZ last half of the nj* D. Lestrade 1 8th cent. DL-5 Lapierre Lapierre et Quinquiry % c. 1780 Clermont- CLennon©/ Ferrand 771 1734 ? Pouhet * C Colin or Chaux Samadet 1732 B. 1783 Ardus i73 6 Jean Roland Pichon, c. 1752 -J*R- 17C0 = Manufacture Rochelle Dupr£, c. 1740 La Montpellier Marans HSAN 1740-56 Le Voulant 1 8th cent. H At Sceaux Laurens Basso Toulouse 1736-1813 Toulouza A i75 6 S P = Sceaux Penthievre. The NISMES, 1581 Nimes anchor refers to the Due de P. ^ high admiral 4* of France FRENCH FAIENCE—APREY, RENNES, QUIMPER 67 Mark. Description. Mark. Description. Aprey Rennes 1744- Tortia A>J Jarry, painter, and others T Mv. Pierre Le Due 1834 A Morice {Jean) 1834 K c IRPAlVAdEAV Nantes Rennes hire/ de choisy pencil II. de Choisy Apt 1767 R 1 8 th cent. Bordeaux WG Vieillard & Co. M^ 19th cent. Lahens and Rateau CHOISY FT Poitiers AMO%R£LM: J 75 2 ^Otllp©«.tt> rattier*, '?7t FF Felix Faucon pinxit baron a rennes Baron Quimper 1772 TC C (1690-c. 1800) Michel Derennes 1771 Pierre Caussy 1749-82 fait a Rennes Rue Hue 1769 Z A A. de la Luc Bouchereau 1780 Hubeaudiere 1782- Raymond _^hK 68 FRENCH FAIENCE— ST. OMER, VRON, DESVRES, DOUAI Mark. Description. Mark. Description. Douai St. Omer DOUAI H 1751-90 1780-1820 Leigh k Co. Cream ware in English style 5 p win Aire Leigh. scC'f 1780 w p ? Prudhomme Vron Houz6, de l'Aul- late 1 8th cent. w noit & Co. Verlingue i£Js 1784 followed by Halsfort in 1788 D. C. BR A. R. ? Vron HALSFORT Desvres BLONDEL Fait a Desvres, 1778 Martin Damman 1799-1803 /. van der Plas Castillon Castilhon late 1 8th cent. Dupre-Poulaine *> P 1732 fipinal EPINAL 1760 Premieres J. Laval le G- xi 1783 — St. Paul S.PAUL ') 1 8th and ^ 19th cent. FRENCH FAIENCE—CREIL, ORLEANS 69 Mark. Description. Mark. Description. Creil Bourg la Reine 1794 1 CREOL Cream ware Q-- Veuve Laurier «7 ; et fils. Monogram of »-k v/ Rebus of Stone, Coquerel V Chapelet, painter. Legros, and 19th cent. Km.Krf M agents in Paris PARTS c. 1830 imp. Tours d'Aigues Angouleme fa$h<$[ " Angouleme V|»«l" n " |«|1/' 1 8th cent. anno, 1770 Amu Casamene c 1753 w Early cent. 19th /fXn jmEa \l §g» (near Bebancon) i. Beraerac Bergerac CAMBRAY Cambray 1 Epernay Renac EPERNAY 17th and 1 8 th cent. 1 8th cent. r Vauvert IV^ JEAN GAUTIER (near Nimes) c. 1736 Courcelles Martres Courcelles (Maine), c. 1783 fait a Martres 1775 Saint Longe Saint Longe Late 1 8th cent. Goult Ligron 1740 + M Lacouves Gallet 1787. Copy of de Ligroti Palissy ware Moulins a Moulins 18th cent. Gf^^s Orleans Chollet fecit £^ 1742 de Moulain 1753 BUK Bourg la Reine T3UH 18th cent. Forges les Eaux BR 18th cent, Op tom&^s imp. - yo FRENCH FAIENCE—CHANTILLY, ST. CLEMENT Mark. Description. Mark. Description. ? Mennecy Laugeais D V or Rouen Landais 1 8th cent. 19th cent. h Style of Palissy Claude Pelisie Val Sous 1726 Meudon near Beauvais L'italienne late 1 8th cent. M. Sansont 1738 Batignolles 19th cent. Lesorre d' Entoine § Englefontaine d'engle fon ta in e Chantilly CHANTILLY Rubelles 1 8th cent. (Seine et Marne) 1836-58 Baron de Tremble A. D. T. M. Aaron 1856 MA 1845 porcelain Mathaux Manufacture Saint Clement— M (Champagne) de Saint Clement 1757 1 75 1 -1 800 Ogues GALLE NANCY CH (Aisne), 1748-8; 19th cent. Gien Geoffroi A Limoges Limoges 19th cent. 1741 Fait a tours Tours Geoffroi 1782 pr. and imp. LOVIS LIAVT Bayeux T 8io Avisseau porcelain avtsseau a tour c 1855 Saint A mans Lamarque 1835-58 imitations of JC Palissy ware Meudon 3P 1 8th cent. FRENCH FAIENCE -PARIS 7* Mark. Description. Mark. Description. Sevres Paris SEVRES late 1 8th cent. Vve. Dumas Lambert, 1834-62 Levasseur, Clavareau Pull Pull, c. 1850 c. 1806- Style of Palissy t Paris Pajou, 1787 terracotta Vincennes 1767-71 H Hannong : faience Claude Remey C. Remey 18 17 qz OLLIVIER Rue Roquette <) A PARIS late 1 8th cent. oc* Masson formerly Olivier 19th cent. & * f\ J. Petit, at Belleville 1770 jR• Porcelain M. Gille 1845 Porcelain biscuit ® imp. PASCAL F. M. Pascal _ c. 1850 J. Devers &£> 19th cent. 72 FRENCH PORCELAIN—ST. CLOUD, LILLE, MENNECY Mark. Description. Mark. Description. * Paris Valenciennes ? Reverend VALENCIEN !785-97 1664 h.p. s.p. Saint Cloud Fauquez and late 17th cent. Vannier c T-773 — - s.p. p. in blue Trou Fauquet and 1712 Lamoninary. p. in blue and inc. T p. in blue p. in blue +. DP p. in red Chantilly 1725-89 lb s.p. Ft *«- p. in red or gold Lille i 7 n s.p. Dorez. p. in blue Leperre Durot CUanldCu 1784 Mennecy h.p. under patronage P-vf Due de Villeroy of the Dauphin 1735-73 DV s.p. p. in black p. in blue or inc. Judbrun a cCUte w — FRENCH PORCELAIN—BOURG-LA-REINE, ORLEANS 73 Mark. Description. Mark. Description. Bourg-la-Reine Orleans 1774-89 1 1 j[ 1753-70 R 11 Soft paste 13 It s.p. inc. *-*-» oB ? Bourg-la-Reine 1770 4. hard paste, ^ p. in blue AP Sceaux 1749 s.p. inc. s-X 7t Inc. Bourdon s c. 1788 p. in blue Sx c G = ? Gerault SStt Under patronage <•> of the High -T" Admiral, Due * 1 - ^J^ de Penthievre. 1790-1811 Hence the anchor ,'oFA { and S. P. = S.P (Sceaux , Marseilles x^"—*v J. G. Robert K R c. 1777 \ JUL J ? Alluaud h.p. V_ ^s I7 88 UMQ6E5 Ti p. in blue JA 74 FRENCH PORCELAIN—CAEN, BOULOGNE, PARIS Mark. Description. Mark. Description. Caen Paris CAEN 1798-1808. h.p. h.p. st. in red MA? Faubourg St. Antoine Le fra7icois *773 a Morel Caen X Boulogne Rue de la h ^ r Haffringue Roquette Souroux 19th cent. 0-5 h.p. i773- 8 4 Fabrique de la rHc\ St. Amand- Y \ J* Court i lie U\) les-Eaux A \f 1773 Locre\ ^jxTC 19th cent. qOQd h.p. and s. p. 4%n /\X Montreuil with letters ¥ /N R, X, W, H, etc. /\ 19th cent. yy/\ inc. h.p. A ^ Locre" and Russinger j&g?\ Choisy-le-Roy <£?L 1784-94 c. 1780 mB h.p. pr. A » Paris LetR h.p. Pouyat and Le Comte de P. R Russinger Brancas c. 1800 & Lauraguais c. 1758. Rue de Reuilly Faubourg St. i Lassia Lazare 4 1774-c. 1800 h 1769-1810. % Mark of P. A. Chanou Hannong OH <§>. 1772-75. cp. Cypher of Charles Philippe Comte Petit i dArtois, patron. Rue du Carousel in gold f p. p cp 1775 FRENCH PORCELAIN—PARIS 75 Mark. Description. Mark. Description. Paris Paris h.p. h.p. Clignancourt, Rue de Bondy. 1775-c. 1790 p. in blue * founded by P. Deruelle under Monogram of the patronage of G.A. Monsieur, the D King's eldest brother, p. in blue, gold, and red Rue de Popin- court, 1780 Bought by Nast in 1783 De Moitte who Moitte succeeded Deruelle ttaSt a pai/s In gold M NAST GROSSE L isle Saint Denis L'ISLE SAINT DENIS c. 1780 DARTE M. Darte fl. 1812 Fabrique de la Reine, M RoydL Rue Thiroux, A 1778 A 3. in blue and red : Pont- a ux- Choux founded by <£> 1784-c. 1806 Leboeuf. Cypher of Louis of Queen Cypher Philippe, the Antoinette. A. Marie patron, and Managed by Guy monogram MJ of and Housel after Housel the Director the Revolution Monogram of gR B. Outrequin J. de Montarcy Rue Thtrou M 1786 a Vsris. B MANUFRE Poiicr Rue de Crussol, er Rue de Bondy, 1789, de M le Due founded in 1780 founded by Potter d' Anoouleme by Guerhard and an Englishman Dihl under the PB MANUFRE patronage of the de MM Due d'Angouleme, p. in blue Guerhard et st. in red Eh Dihl a Paris 7 6 FRENCH PORCELAIN—PARIS, VINCENNES Mark. Description. Mark. Description. La Seinie Paris c. 1774-94 h.p. °^ u>*cry h.p. Feuillet (near Limoges) &\S^ ^ 19th cent. <&l Paris & h.p. FLEUKY St. Denis . n late 1 8th cent. I p Belleville. Jacob Petit Ponteinx t/n 1790 onwards. 1790-c. 1810 PONTEINX p. in blue (Landes) ' FRENCH PORCELAIN—VINCENNES, SEVRES 77 1 Mark. Description. Mark. Description. Sevres Sevres inc. marks on biscuit porcelain. cu*i* 1823 Fernex or yjytLcAjxic) F Falconet 1806 M'S- dD initials of Brachard repairer -6 father and son i.% Vincennes Z?^ ? Bourdus (1740-56) 7L soft paste, j^ Liance p. in blue ? Robert le *U Lorrain 0^, 1753 (1756 onwards) X i75 6 - /I soft paste made 'K exclusively till 1769, and as well 1771 oA>V 9 °52° as hard paste till c. 1804 ; after which hard paste ^^ almost entirely. ? Tristan, 1769 T 2£ 1777. 0^0 p. in blue ? Perrotin, ^>c^ P 1774 60 1772 3±£ on hard paste BD 7^ porcelain from c^uV, 1769 Alexandre ^^T* X.ptnf Brachard 1 78 FRENCH PORCELAIN -SEVRES Letters, marks, and numbers indicating the year in which Vincennes and Sevres porcelain was decorated. A denotes the year 1753 AA denotes the year 1777 T9 denotes the ix year 1801 B !754 BB ,, ,, 1778 X x 1802 C 1755 cc 1779 11 ,, xi ,, 1803 D 1756 DD 1780 4= ,, xii ,, 1804 E 1757 EE 1781 xiii ,", F *758 Hh ,, 1805 FF 1782 G 1759 d> -,, XIV ,, 1806 GG 1783 H 1760 7 denotes the year 1807 HH 1784 1 >, 1761 8 ,, ,, 1808 II 1785 K 1762 9 ,, ,, 1809 KK 1786 L 1763 10 ,, ,, 1810 M 1764 LL 1787 oz ,, ,, 1811 N 1765 MM 1788 dz ,, ,, 1812 o 1766 NN 1789 tz ,, ,, 1813 P ^67 OO 179° qz ,, ,, 1814 1768 Q .. qn ,, ,, 1815 PP I79 1 1 R ,, 1769 sz ,, ,, 1816 QQ I79 2 S 1770 ds ,, ,, 1817 RR „ ,, 1793 T I77 1 u !772 Letters denoting the year From 1818-1834 the year fell into disuse during the was indicated by the last V !773 time of the Revolution, two figures of the date, e.g. X 1774 and between 1793-1800 18 denotes 18 18 such marks were rare. 19 ,, 1819 and so Y 1775 From 1 80 1 the following on. After 1833 the date z 1776 signs w ire used. is given in full. 1 recall To the comet of 1769 some of the decorators substituted the mark Jf-«Si|=- for the date letter R. FRENCH PORCELAIN—SEVRES 79 Mark. Description. Mark. Description. Sevres Sevres Louis XVIII. 1792-1804 1814-24 p. in blue and the two last lilac numbers of the year added from 1814. pr. in blue The First Republic JSvred Charles X. 1824-28. R.F p. in blue pr. in blue 1800-2 p. in gold and Jevrtt- colours is M N 1803 to May 8th 1804. SevreS Consular period —//— 1829-30 M.Imp- First Empire 1804-9. de SevveS st. in red 1829-30 V 1810-14. /t \ pr. in red Louis- Philippe 1830 *^VR£9 Sfevres 3Q. So FRENCH PORCELAIN—SEVRES Mark. Description'. Mark. Description. Sevres Sevres Louis Philippe Second Republic 1831-34 1848-52 pr. in blue pr. in red cypher of Louis Philippe Second Empire j 1852-4. pr. in red T:=tendre, with reference to a pr. in green soft paste made temporarily marks on wares 1854-70 destined for the Royal Chateaux. pr. in red Third Republic j 1880-89. pr. in red 1890- FRENCH PORCELAIN—SEVRES Mark. Description. Mark. Description. 1871 Marks and monograms of in red. painters, decorators, and The cut indicates gilders at Sevres. a spoilt piece Aloxcle, birds, etc. 1758-81 1900 Andre, Jules, landscapes, in green 1843-69 Anteaume, landscapes, etc. 1754 Apoil, Alexis, 1900-2 figure subjects J?. 1845-64 in red to indicate the gilding Apoil, Mme. , figures, 1864- m 1894 Archelais, decorator, 1865-1902 Armand, birds, etc.. 1745- 1902-4 1746 in red ASSELIN, portraits, etc., !75o-94 Aubert aine, flowers, 1754- Auvillain, ground colours 1848 A 1877- on porcelain Avisse, decorator, 1850- made for Ministers PA 1884 pr. in red Bailly fils, flowers, 1750- Ballanger, decorator, £ 1902 B Barbin, decorator, 1824-39 Bardet, flowers, 1751-1800 1898-1904 BARRAT, bouquets, etc., on porcelain 1780-91 made for various f* Embassies Barre, detached bouquets, di 1780-91 & Barre\ flowers, 1846-81 Barriat, figures, 1852- 33 1883 ,, , , 32 FRENCH PORCELAIN—SEVRES Mark. Description. Mark. Description. Boulanger, flowers, Baudoin, ornaments, 1750- 1754- 0i 1800 Becquet, flowers, etc. Boulanger fils, subjects, Y 1748- 4 1770-81 Belet, 'E. , flowers, etc. 1878-1900 Brachard, sculptor .B Belet, L., decorator, 1879- #y Brecy, decorator, 1880- Ber anger, figures, 1807- Bulidon, bouquets, 1846 1745- 1792 Bertrand, bouquets, 1750- Bunel, , 1800 Mme. flowers, MB 1778-1817 Bieuville, decorator, 1877- Buteux pere, flowers, 1756- V 1786 Bienfait, gilding, 1756- * 9- Buteux fils aine\ flowers, 1773-1822 Binet, bouquets, 1750- t. 1800 Buteux fils jeune, sub- A jects, 1780-94 Binet, Mme. (nee Chanou) flowers, 1750- 1 800 fox Buteux, flowers, after 1800 Blanchard, decorator, JB 1811 Cabau, flowers, 1848-84 Blanchard, A. .decorator, 1878-1900 Bocquet, decorator, 1902- A Capelle, borders, 1745- BoiTEL, gilding, 1797- 1822 Capronnier, gilding, 1800 Bonnuit, decorator, 1858- Cardin, bouquets, 1749- 1894 ? Boucher, flowers, 1754- k Carrier, flowers, 1752- Bouchet, landscapes, etc. Castel, landscapes, etc., 1757-93 c. 1750-1800 Boucot, flowers, etc. Catteau, decorator, 1902- 1785-91 1904 Bouillat, flowers, etc., Caton, subjects, 1800-11 *• etc. V- *753 Boullemier, gilding, 1822- Catrice, flowers, etc. .before • 1841 1800 Boullemier aine\ gilding, C£los, decorator, 1822-41 1865- I.G 1894 Boullemier fils, gilding, A/ 1802-12 Chabry, subjects, etc., 1749 FRENCH PORCELAIN—SEVRES 83 Mark. Description. Mark. Description. Chanou, Mme. (nee Durosey), flowers, before Develly, landscapes, etc., 1800 CD 1813-48 Chapuis aine\ flowers, c.p etc. Devicq, decorator, 1880- before, 1800 5> Chapuis fils, bouquets, Deutsch, decorator, before 1800 18015- 1817 Charpentier, decorator, LQ after 1800 B.i. Didier, decorator, 1819- 1845 Charrin, Mme., subjects, etc., after 1800 Dieu, Chinese subjects A gilding, before 1800 Chavaux pere, gilding, 1752- *r Doat, sculptor, 1878- Chavaux fils, gilding, etc., Dodin, figures, 1770-83 etc., 1754- K. 1803 Chevallier, flowers, 1 755 Draud, Chinese figures and Choisy, de, flowers, etc., gilding, before 1800 t 1800-1817 %> Drouet, decorator, 1879- Chulot, flowers, etc., 1755 Drouet, flowers, 1828 Commelin, bouquets, be- 9)% CM. fore 1800 *** Dubois, flowers, etc., 1756- cc. Constant, gilding, 1804- 1815 Ducluzeau, Mme., figures, Constantin, figures, 1823- etc., 1818-48 c.z. 1845 Durosey, gilding, 1802-27 Cornaille, flowers, 1755- 1793 Dusolle, bouquets, before Courcy, de, figures, 1866- 2). 1800 c. 1886 LT Dutanda, bouquets, be c. Couturier, gilding, 1783- fore 1800 Eaubonxe, d', decorator Coursajet, decorator, 1904 JZ fi886 Escallier, Mme., decor Dammouse, figures, etc., ator, 1874-88 1862-80 Evans, birds, insects, etc. David, decorator, 1852- 1752- A) 1882 Falot, birds, insects, etc. DAvignon, landscapes, r before 1800 2>.3* 1814 Faraguet, Mme., figures Delafosse, figures, 1805- HF 1856-70 1815 Ficquenet, flowers, 1864 Desperais, decorator, 1794- r 1881 2>.p. 1822 Fontaine, miniatures, etc. DERICHSWEILER, G. , de- 1752 corator, 1858-84 , 34 FRENCH PORCELAIN—SEVRES Mark. Description. Mark. Description. Fontaine, flowers, 1827- Gomery, flowers, 1756 sr 1857 9 Fontelliau, gilding, 1753- F.9 Goupil, figures, 1863-79 Four£, flowers, before Gremont, bouquets, 1770- Y 1800 1781 Fournerie, decorator, 1903 X Grison, gilding, 1749 Fournier, decorator, 1878- A.F Guillemain, decorator, after 1800 Fragonard, figures, etc., Hallion, E. , landscapes, 1847-69 m 1884 Fritsch, figures, etc., 1763- Hallion, Fr. gilder, 1866- , 1765 1895 RF Froment, figures Henrion, bouquets, before 1784 Fumez, bouquets, 1777- H^RICOURT, JC A-c. bouquets be- u 1801 fore 1800 Ganeau fils, gilding, after Hilken, figures, etc., be- 1800 fore 1800 Gauthier, landscapes, Houry, flowers, 1747-55 etc., 1787-91 H G£bleux, decorator, 1883- HuARD, decorator, 181 1- ft.t. 1846 J.G. Gely, decorator, 185 1- Humbert, figures, 1862- 1888 1870 Genest, figures, Huny, flowers, 1752 k> 1791-99 JARDEL, decorator, 1886- t Genin, flowers, etc., 1756 <£ Georget, figures, etc. JOYAU, bouquets, before 1802-23 1800 Gerard, subjects, before Jubin, gilding, before 1800 1800 / 1 GERARD, Mme. (n£e Vau- Julienne, renaissance or- v. trin), flowers, before 1800 naments, after 1800 GlRARD, Chinese figures, 4 before 1800 Lambert, flowers, 1864-96 GOBERT, figures, 1852-91 Langlaciv, landscapes, 1813-44 Gobled, decorator, 1902- La Roche, flowers, before 1800 2).g. GODIN, gilding, 1808-28 Lasserre, decorator, 1896^ , ,, FRENCH PORCELAIN—SEVRES 35 Mark. Description. Mark. Description. Latache, gilding, after Maugendre, (Vg sculptor, 3L 1800 1881-86 Le Bel ain6, figures, etc. MAUSSiON.Mme. de, figures JJ before 1800 1860-70 Merault aind, Le Bel jeune, bouquets, decorator, Ji(3. S i754-9i 1780-93 Mkrault jeune, Le Bel, landscapes, 1804- bouquets, S 1786-89 JLA 1844 Merigot, decorator, 1848- L^ANDRE, subjects, left in 1884 ¥ 1785 Meyer, A., figures, Lecat, ground colours, 1863- L 1872- 1871 Lecot, Chinese subjects, X Micaud, flowers, 1759 tfJLL before 1800 Micaud, gilding, 1792- Ledoux, landscapes, etc. JLC 1812 1758 Michel, bouquets, before Leger, decorator, 1902- iL /SUM 1800 Milet, O. , decorator, 1862- Le Guay, gilding, 1748 m 1877 Mimard, decorator, 1884- Le Guay, figures, etc. LM 1778-81 Moiron, bouquets, 1790- Le Gay, decorator, 1866- M 1791 1884 Leguay, miniatures, etc. Mougexot, flowers, 1754 1772-1817 LEGRAND, gilding, after MOREAU, gilding, 1809-15 <5 1800 Morin, naval and military EL. Leroy, gilding, 1864-88 subjects, 1754 Leye pere, flowers, etc. JW Morin, gilding, 1888- 1754 Moriot, figures, Leve, F. , flowers, etc., be- AM 1830-48 / fore 1800 Mutel, landscapes, 1754 decorator, 1883- AC Ligxe, | A NlQUET, bouquets, left in Lucas, decorator, 1878- J ncj CL 1792 Maqueret, Mnie. (nee j Bouillat), flowers, before Noel, flowers, etc., 1755 1800 Nouailhier, Mme. (ne'e Martinet, flowers, 1861- Durosey), flowers, before 1878 1800 OUINT, Ch. , decorator, Massy, flowers, 1779-1806 M ad, 1879-82 86 FRENCH PORCELAIN—SEVRES Mark. Description. Mark. Description. Ouint, E. , coloured <& Quennoy, decorator, 1902 e grounds, 1888-93 Ouint, Em. , coloured Raux, bouquets, before o grounds, 1877-89 **~ 1800 Regnier, F. , figures, 1820- •p Paillet, figures, 1882-88 "ft 1866 Parpette, flowers, etc., Regnier, H., figures, 1825- y 1755 1870 Parpette, Mme. , flowers, Rejoux, gilding, 1862-90 PJi etc., 1794 2R Parpetti, Mme. , L. .flowers, Renard, E. , decorator, JCJ? 1789-1825 to 00 after 1800 Renard, H., decorator, Pajou, sculptor, 1750 1881 Peluche, decorator, 1880- Richard, Em. , flowers, 1869-1900 Petit, flowers, 1756 Richard, E. , flowers, 1838- P.T. ER 1872 Pfeiffer, bouquets, before Richard, F., decorator, / 1800 1848-78 Philippine aine\ subjects Richard, S. , decorator, EH. 1780-91 1832 Philippine, flowers, 1787- LK Richard, L. , decorator, 1791 1902 Richard, P., gilding, 1849- Pierre alne\ flowers, be- 1881 r fore 1800 Riocreux, I., landscapes, Pierre jeune, bouquets, be- Be. 1824-49 fore 1800 Riocreux, D. , flowers, Pihan, decorator, 1888- 1807-72 Pithou aine, subjects, Robert, P. , landscapes, before 1800 PR 1806-43 Pithou jeune, figures, Robert, Mme. , flowers, after *t etc. , before 1800 CR 1800 Robert, J. F. , landscapes, 1806-12 P Pline, gilding, 1831 % Rocher, figures, etc., 1758 2> Porchon, gilding POUILLOT, bouquets, be- Rosset, landscapes, 1753 /J fore 1778 Roussel, bouquets, before Poupart, landscapes, 1800 R i8iS-45 Roussel, figures, 1842-72 HP. Prevost, gilding, 1754 FRENCH PORCELAIN—SEVRES Mark. Description. Mark. Description. Sandoz, decorator, 1890- %. Troyon, decorator, 1802- § 1817 Ulrich, decorator, 1889- Schilt, L. , flowers, 1822-55 EJS. JU 1904 Schadre, birds, etc., before Vaud£, gilding, etc., 1753 J.h. 1800 TZ> Vavasseur, arabesques, Sieffert, figures, 1883-88 * w 1753 Simard, decorator, 1883- Vieillard, decorator, U w# 1752-90 M Sinsson, flowers, 1780-95 tf Vignol, decorator, 1883- S.Sj) Sinsson, flowers, 1820-25 2000 Vincent, gilding, 1752-91 •* *• Sioux ain£, bouquets, 1752- W Walter, flowers, 1832-82 1792 Weydinger, gilding, c. Sioux jeune, flowers, 1752- 1814 o 1792 W Solon, M., figures, etc., Xrowet, flowers, etc., 1750 $1 1862-71 Yvernel, landscapes, etc., 1806- Swebach, landscapes, 1750 J.W 1814 f Tabary, birds, 1754 Decorators who signed in full Taillandier, bouquets, Andr£, landscapes, I753-90 J., * 1843-1869 Baldisseroni, figures, • • • Tandart, flowers, 1755 1865-1879 Barriat, decorator, 1852- ^> Tardi, bouquets, 1757-95 1883 Beranger, J. , figures, 1807- Theodore, gilding, before 1846 • ••• 1800 Bois, Th. du. , sea subjects, 1842-1848 Thevenet pere, flowers, Boquet, landscapes, 1804- i etc., 1745 1814. Thevenet fils, decorator, Boquet (Mile. Virginie), i75 2 landscapes, 1835-1863 landscapes, Trager, flowers, etc. BuCQ(Le), 1843 J., 1862-1883 3X. 1841-73 Bulot, flowers, Brunel, figures, 1863-1883 Trager, H., decorator, IT Cabau, C, flowers, 1848- 1887- 1884 Trager, L., decorator, Celos, J., decorator, 1865- .X 1888- 1894 CooL(Mme.de), figures, 1870 Tristan, decorator, 1879- Courcy (de), figures, 1866- ft> 1882 1884 88 FRENCH PORCELAIN—SEVRES Degault, figures, 1808-1817 Langlace, landscapes, 1807-1844 Demarne, subjects, 1808- 1814 Langlois (Polycles), landscapes, 1847- Demarxe (Mile. Caroline), landscapes, 1872 1822-1825 Lebel, portraits, etc., 1804- 1844 DENOIS (Mile. Jenny), portraits, 1820 Leguay, subjects, figures, 1778- 1840 Desbois, sculptor, 1886-1887 LESSORRE, figures, 1834 Develly, C. , landscapes, 1813-1848 Lynybye, landscapes, 1841-1842 Didier, decorator, 1819-1845 Merigot, F. , flowers, etc., 1848-1888 Ducluzeau (Mme. Adelaide), portraits, Meyer-Heine, figures, 1 862-1 868 1809-1848 Moriot, figures, portraits, 1830-1848 Dufresne, Henry, figures, 1862 Parent, L.-B. , figures, 18 16 Fontaine, flowers, etc., 1850 Philip, enamels, 1847-1877 Fragonard, Th., subjects, 1847-1869 Philippine, still life, 1785- 1840 Froment Delormel, Eug. , figures, Poupart, A., landscapes, 1815-1845 1853-1884 Regnier, landscapes, 1836-1870 Gallois (Mme.), figures, 1871 Richard, E. , decorator, 1858 Garneray, L. , sea subjects, 1838-1842 Robert, landscapes, 1806- 1843 Gely, J., figures, 1851-1888 Rodin, sculptor, 1881-1883 Georget, figures, 1803-1806 Roussel (P.-M.), figures, 1848-1872 Godde, enamels and reliefs, 1 861- 1863 Schilt (L.-P. ), flowers, 1822-1855 Hamon, figures, 1849-1854 Schilt (Abel), figures, 1847-1880 Jaccober, flowers and fruit, 1818-1848 Solon (Mile. L.), figures, 1862-1871 jADELOT(Mme. S. ), subjects, 1864-1871 Swebach, landscapes, etc., 1806-1814 Jaquotot (Mme. Victoire), portraits, Trager, J., birds, etc., 1841-1873 1801-1842 Treverret (de), figures, 1819 Labbe, flowers, 1847-1853 Tristan, figures, 1863 Lamarre, landscapes TuRGAN (Mme. Constance), portraits, Lambert, landscapes, 1858 1834 Lasserre, decorator, 1896- Van Os, flowers and fruits, 1811-1814 Laurent (Mme. Pauline), figures, etc., Van Marck, subjects, 1825-1862 1850 Verdier, J., designer, vers, 1890 SPAIN AND PORTUGAL The manufactory of a tin-enamelled earthenware decorated in blue, manganese and green, or in blue and lustre pigment, or in lustre alone, flourished in Spain from an early date, and was most probably introduced by the Moors. Manises and Valencia were centres of the industry, which was at its best in the fifteenth and sixteenth centuries. In the seventeenth century several Italian potters settled in Spain, and introduced the manufacture of their, then decadent, maiolica there. Later, when French faience was at its height, some French potters removed to Spain, so that during the seventeenth and eighteenth centuries tin -enamelled wares were made at Alcora, Talavera, and elsewhere, some of which recall the later styles of Italian maiolica, while others resemble French faience. Wall -tiles with elaborate geometrical patterns of Moorish origin, known as azulejos, were largely made in Spain from early times, and formed a special industry. Porcelain was manufactured in due course in the eighteenth century, the most important factory being that of Buen Retiro, near Madrid, founded in 1760 by the help of workmen and moulds removed from Capo-di-Monte, Naples. The ware was at first a soft paste, but after 1780 a harder magnesian porcelain was made. Clever copies of Palissy ware and the mottled earthenwares of Staffordshire are made by Mafra, at Caldas, in Portugal. S9 9 o SPAIN—VALENCIA, MANISES, ALCORA, SEVILLE Mark. Description. Mark. Description. Alcora Pottery and Hispano- Moresque A At porcelain 1 8th cent. pottery 15th cent. Valencia Co* CR°S Pc ALCORA ESPANA Soliva FABRICA REAL DE ALCORA ANO 1735 15th cent. CHRIS- OVALEROS MOX po Painters' marks Talavera 1610 (and a hand 17th and in a circle) 1 8th cent. Seville Puente de S 19th cent. Arzobispo it 1 6th and 17th cent. De la Real Fabrica Alcora de Azulejos de Valencia 18th cent. Soc de Juan a Zamore ? Valencia, 1786 Real Fabrica de Disdier D° Maria Salvador 1808 SPAIN AND PORTUGAL—SEVILLE, PORTO 9i Mark. Description. Mark. Description. Seville VWMWA Viana de Castello Early 19th cent. V 1 8th cent. Coimbra Caldas c. 1870 Valladolid Imitations of Palissy ware V£G/l ? 1 8 th cent. J'CALDAS *!***, a> Sargadelos *••'# Lisbon 19th cent. HAGJ O c 1833 V& "**CaD£ Buen Retiro (Madrid) 1760-1804. Segovia Soft paste till about 1780, and 19th cent. afterwards a hard hybrid porcelain p. in blue and imp. Portugal Porto Pottery of Massarellos 1738-1833 Miragaia c 1755 Rato 1 8th cent. 92 SPAIN AND PORTUGAL, PORCELAIN—BUEN RETIRO Mark. Description. Mark. Description. (jiusej>be dkmo Buen Retiro Buen Retiro Porcelain Jx 1 1804-8 g gj V-/t JOSEPH GRICC* c. 1763 >A??a 9 * 7 1803 tTAJMHAGRAN' Portugal Lisbon Ferreira XM PGRCtRA J. (Ml 19th cent. USBOA Lisbon 0£ Vista Alegre VA 1790- R F E PORCELANA S SMC VA 1804-8 A Malta c 1844 Stoneware THE BRITISH ISLES Various attempts to make porcelain in the neighbourhood of London culminated in factories of Bow and Chelsea, both of which were active as early as 1745. The ware was a soft-paste porcelain, the secret of which had been learnt, no doubt, from French potters. Shortly after 1750 other factories sprung up at Derby, Worcester, Lowestoft, Longton Hall, Bristol, and Liverpool. All the early English porcelains were varieties of soft-paste, some distinguished by the admixture of bone-ash, and others by that of steatite. The only true hard-paste porcelain was made of Cornish materials at Plymouth from 1768-70 and at Bristol from 1770-81. The English porcelains continued to vary under fresh experiments till the end of the eighteenth century, when a more permanent mixture was arrived at by Josiah Spode in Staffordshire. This was the modern English porcelain, made chiefly of China clay and China stone from Cornwall, and bone-ash ; it combines the strength of hard-paste with some of the soft mellowness of the old soft-paste porcelain. The decoration passed through regular phases, first copying the Chinese white wares, then the blue and white, then the enamelled Japanese porcelain exported from Imari ; next came imitations of the Meissen and Sevres styles, from the rococo to the pseudo-classical ; and at the beginning of the nine- teenth century the Japan patterns were revived in a very free rendering of the more elaborate " Imari " designs. After this the potters fell back on imitations of the earlier styles until new life was infused into their work at the end of the last century. Marked specimens of English earthenware are practically unknown before the seventeenth century. It was then that delft or tin-enamelled ware in the Dutch fashion began to be made, chiefly at Lambeth : this industry spread over the country in the eighteenth century, and considerable factories sprung up at Bristol 93 94 POTTERY MARKS and Liverpool. In Staffordshire and at Wrotham in Kent, in Derbyshire and other places the more English method of decorating earthenware with coloured slips was largely practised, and many of the pieces bear the names or initials of potters as well as those of the destined possessors of the pots. At the end of the seventeenth century salt-glazed stoneware was made by Dwight of Fulham, and at Nottingham, and a fine red stoneware after the Chinese buccaro was made by Dwight and by Elers in Staffordshire. Early in the eighteenth century the Staffordshire potters became celebrated for a fine, white, salt-glazed stoneware of remarkable thinness and sharpness which is called "salt-glaze" par excellence. This was followed by a lead-glazed earthenware of creamy-yellow tone perfected by Wedgwood in his Queen's ware about 1760. It was decorated, first with splashes and mottlings of green and brown or brownish-purples, and afterwards by painting in enamel colours. Towards the end of the century numerous earthenwares and stonewares were invented or perfected by Josiah Wedgwood and his contemporaries, e.g. jasper wares, black basalt or Egyptian black, cane-coloured stoneware, pearl- ware, etc. ; and in the early nineteenth century a host of iron-stone chinas, improved stone chinas, etc., mostly hard white earthen- wares, were invented as cheap substitutes for porcelain. Marks on English pottery are mostly impressed and are often difficult to decipher because the glaze has filled up the hollows of the stamp. BRITISH PORCELAIN—BOW, BRISTOL, CAUGHLEY 95 Mark. • Description. Mark. Description. ? Bow or Chelsea vtf c. 1750 ? John Bacon on p. in red By 28£ H A s Plymouth and it Bristol marks w^ *-X combined A leaf painted p. in blue «^^^ over the word r O^^is*/ ' t Bristoll ' in raised letters K. cH T® Tebo, modeller (see above) inc. ? Monogram r of Th. Frye Tebo A- J. '"po modeller inc. In low reliefs. Brisfoll Mark of an early B factory, c. 1750 Caughley ? Bow c 1772-1814 s. p. p. in blue 53 These works 5 were absorbed 7? by Coalport. S = Salopian. * Disguised numeral resembling an Oriental mark 96 BRITISH PORCELAIN—COALPORT, CHELSEA Mark. Description. Mark. Description. Chelsea /+ Caughley Ghe&ta-, c. 1745-84 s.p. 3> 1772-1814 Period I. s.p. c. 1745-5° p. in blue triangle mark inc. II. urn. . Period 1750-c. 1753. Anchor in relief c on an oval pad m Same mark out- lined in red I- ? Caughley X Anchor in blue Caughley and A* Coalport SAtOPIAN Period III. onwards 1780 c. 1753-8. CBD = Anchor in red Colebrookdale Period IV, 1759-70. s Anchor in sold Vie CBD Roubiliac, Monogram of sculptor, inc. 1 C. S. with letters C = Caughley, S = Swansea, N = Nantgarw, Early mark copy JOHN KOSE & CO. factories absorbed ing a Chinese seal COLEBROOK DALE Coalport by ; p. in red used since c. i860 ENGLAND Period V. Modern mark 1770-84 pr. Chelsea- Derby COALPORT period, during A.D. 175Q which Duesbury of Derby owned the works Imitation of Sevres p. in gold and on blue printed colours 3^ ware i) BRITISH PORCELAIN—DERBY 97 Mark. Description. Mark. Description. Donovan of Pool- Derby £ beg St. , Dublin, pr. in red decorated Minton Bloor period Z) Ojvo vajt and other 1811-44 48/ porcelains c. 1800 DoKOircink Trisk. p. in red M a-rLufxtctltre pr. in red Derby s.p. p. blue 1770-84 G> red Crown Derby pr. in mark painted in colours 1 c. 1782 onwards, y Early marks in if* ): (* blue, puce, or gold, later in red on imitations of Sevres Incised on figures and vases, pattern numbers and workmen's mark Derby porcelain added with Meissen °3 6 3 mark Rare mark in blue, on porcelain printed by Hold- ship at Derby c. 1764 Copy of Chinese tripod mark Cocker, figure maker at Derby early 19th cent, and in London c. 1840- inc. Monogram of King Street and Duesbury c. 1850 Kean, 1795-7 after the closing p. in colour of the old factory pr. BRITISH PORCELAIN—DERBY, LOWESTOFT Mark. Description. Mark. Description. Lowestoft Derby King St. copies of 7- .* "k Worcester marks. \ \ L?V c. 1870 J w tess? Initials of w Stevenson .and S H Liverpool X S. Hancock Sadler and Green pr. in red /. Sadler, Liverpool printers, • 1756-99 (see p. 103) Sadler, Lip 1 Mark of the Royal :p?W Crown Derby \^/ Factory in 1 1 Sadler, Lip , enam Osmaston Rd. 1876- pr. <^4 Evans, sculpsit c. 1770 w Gilbody, maker Isleworth Herculaneum Shore & Goulding works 49 HERCULANEUM 1760-c. 1800 c. 1800-41 s.p. (see p. 103) p. in colour Sftore C* C ° NANT-GARW Nantgarw c.w. China works. Lowestoft Co. Glamorgan JtLUsrt. 1757-1802 G 1811-14 and s.p. 1817-19 cCount^ojt Allen, painter s.p. mark imp. late 1 8th cent. Pinxton jr (Derbyshire) s.p. 1796-1812. in colour Numbers p. r (7 to 25) and p v^ workmen's mark tt_ on Lowestoft ? initial of Vl porcelain, Billingsley p. in blue p X, ,c ±6 -s < Billingsley decorated various JfLeLnsflelcL wares at Mansfield \ in 1801 Plymouth H $ Imitation % h.p. 1768-70. Chinese marks. works removed to *t K p. blue Bristol in 1770 * and converted * into the Bristol China manufactory 9 in 1773. *v#? "*• p. in blue and colours S BRITISH PORCELAIN—ROCKINGHAM 99 Mark. Description. Mark. Description. Rockingham Staffordshire Porcelain Stoke-upon- Trent made by W. Copeland Brameld COPELANDX bought Spode's 1820-42 business in 1833 Pr- *•& Garrett a partner yiocktAmhcum IVonJi § SPODE 1835-47 3 ivumeZd pr. BRAMELD in a wreath #0 Staffordshire Longton Hall Littler & Co. Minton i7S 2 -5 8 s.p. 1796 onwards s>h p. in blue early marks, *Jm\_, p. in colour M. B. Minton and Boyle I f MINTON 1836-42 imp. & BOYLE M. & Co. New Hall c. 1781-1825 s.p. Modern mark pr. pr. in red Lo?igport Stoke-upon- Davenport Trent 1794-1887 Spode pr. in red 1797-1833 DAVENPORT SPODf p. in colours LONGPORT and gold P. Warburton Spote in a wreath New Hall patent for print- ing in gold, 1 8 10 pr. t/orneta.cft £8? W. & J. Turner of Lane End Lane End, july Copeland was 1787 with or without Spode's Prince of Wales' London feathers. Patent agent and Turner s Patent for improvements afterwards in porcelain, 1809 COPELAND partner ioo BRITISH PORCELAIN—STAFFORDSHIRE, SWANSEA Mark. Description. Mark. Description. Staffordshire Swansea MILES Decorated by M. Mason at Morris continued SWANSEA to paint porcelain Lane Delph i^3 H. Morris of various kinds c. 1804 pr. at Swansea after MASON imp. 1824 1809-20 M. MASON Pardoe, Bristol (cf. p. 104) Han ley Worcester 1820 Shorlbose __s alone from Burslem c 1751-1793 EILEY 1814-26 p. and pr. in blue imp. on painted and Stencilled in red 14^ W blue printed wares WEDGWOOD or blue, 1805-15 (cf. p. 113) m c 1751-1783- Imitations of ? Ridgway Oriental marks. (see p. no) p. in blue W. T. Ridgway ENGLISH PORCELAIN 1814-55 R. & Co. pr. J. % n 4 Early 19th cent. Swansea fvn 1814-24 Copy of the s.p. Chinese jade JjUrto-nMCX. p. in red mark SWANSEA Copies of Meissen 1815-1 Chelsea, Sevres, imp. and Tournay 3 marks SWANSEA BRITISH PORCELAIN—WORCESTER Mark. Description. Mark. Description. Worcester Worcester s.p. Chamberlains Chamberlain's Workmen's marks factory, 1789- k r r I I ~o reester i75i- 8 3 1840 With other Similar marks marks giving occur on Lowestoft CHAMBERLAIN the address of and the London Bow porcelains house p. in blue T pr. Flight period I783-93- The mark FLIGHTS incised occurs Grainger's rarely. factory B incised for Barr 1**^ 1801-1888 (1793-1803). ftftf* Flight & Barr &L 1793-1807 Barr, Flight, and Barr, 1807-13 Flight, Barr, and FBB Barr, -1813-40 B.F.B £ pr. 1851-62. This mark under a crown 1862 onwards, pr. Marks of R. Hancock # Jiancockfeat Worcester (i75 6 -74). Modern engraver. pr. The anchor for ? R. Holdship ENCLANO. On printed ware Painter of animals. Olftale (Monogram of ID for John Donald- pr. 'HP son, also occurs on vases, c. 1768) io2 BRITISH POTTERY—NEWCASTLE, SUNDERLAND Mark. Description. Mark. Description. Yarmouth North Hylton Jibsolon Yatfy^ a decorator 1762—moved late 1 8th cent. to Newcastle in 1817 Hull Stockton-on- 1826-41 • fees . pr. W. Smith & Co. 1820- pr. Hylton DAWSON & CO. 1800- O imp. Ferrybridge FERRYBRIDGE. 1792-early 19 th cent. F. WEDGWOOD. W. S. & Co. QUEENS WARE WEDGWOOD I. W. & Co. PHILLIPS & CO. Rockingham ROCKINGHAM 1765-1843 J. PHILLIPS 1817- (cf. HYLTON POTTERY See above p. 99) (the same in a Southwick wreath) SCOTT Brothers 6* Co. 1789- MORTLOCK'S CADOGAN Early 19th cent. Moore df Co. Wear Pottery Stoneware Swinton 1803- Southwick DON POTTERY 1790 onwards BRITISH POTTERY—CASTLEFORD, LEEDS 10; Mark. Description. Mark. Description. Swinton Liverpool Don Pottery Pennington 1790 onwards 1 8th cent, p. in blue Castleford late 1 8th cent. /. Sadler, Liverp 1 Sadler and D. D. & Co. onwards. Green, printers David CASTLEFORD and potters Dunderdale & Co. Sadler, sculp* 1756-99. (1803-21) Sadler retired Green, Liverpl. about 1774 fcRL tvx interlaced Ds ? David Engraver J. Johnson Dunderdale c. 1790 HERCULANEUM Herculaneum pottery POTTERY 1794-1841 HARTLEY, GREENS Leeds & CO. c. 1760-18 LEEDS * POTTERY pr. <«** < pattern mark L. P. Leeds Pottery on Liverpool ware pr. R. Britton R. B. & S. and Sons 1863-78 L for Leeds Belper 1800-34. (in a quatrefoil bourne's Denby 9 within a circle) potteries 1812 onwards Nottingham Nottn. 1703 stoneware Codnor Park BOURNE & SON J. Pottery taken by Bourne in Made at Nottingham BOURNE'S POTTERIES 1833 and closed ye ijth day of August DENBY & CODNOR PARK 1861 A.D. 1771 DERBYSHIRE : BRISTOL, SWANSEA io 4 BRITISH POTTERY—DERBY, Mark. Description. Mark. Description. Chesterfield Bristol OLDFIELD & CO. said to be the J. ^-5\ A-*^ Derby monogram of Richard Frank slip ware. AM? at Brislington S. M. 1726 Meir ? Samuel in lustre mx late 1 8th cent. R S Richard Meir on earthenware Eaves, Bristol J. early 19th cent. John Meir, 1708 J. Doe, 1797 painter SS W. Fi field, Stephen By Shaw incised W. F., 1848 painter 1725 (b. 1777, d. 1857) Heath Joseph POUNTNEY & ALLIES 1816-35 I H c. 1770 cream ware POWELL, BRISTOL Mid. 19th cent. Pot Works in Derby pr. c. 1770 Marthar Wilkinson painter Radford Sculpsit Bristol Pottery, 1808 mark incised Lowesby Pardoe, fecit, Bristol 1809-20 J Donyat SF ? Flower T. M. 1790 (Somerset) graffiato ware ijCl Bouren Petit p. in blue Welsh G. Mkr. 1669 -*, .^^ J. graffiato ware ' /BristolN cream ware 1786-c. 1840 Pencoyd I Pottery James Daves Glamorganshire J Pencoyd 1822 + ? Bristol Swansea Cambrian Pottery earthenware 1769-1870 BRITISH POTTERY—SWANSEA, RYE, LAMBETH 105 Mark. Description. Mark. Description. Swansea Chailey Cambrian (near Rye) RICHARD NORMAN CAMBRIAN Works 1842 1769-1870. OPAQUE PORCELAIN invented c. 1790 "Wrotham I. L. 1638 (Kent) slip ware SWANSEA probably initials G. R. 1651 of the potters 1801-17 DILLWYN & CO. and 1824-50 I. W. 1656 Swansea H. I. 1669 ? Jull dillwyn's N. H. 1678 ETRUSCAN WARE 1845-6 I. E. 1697 BEVINGTON & CO. 1817-24 SWANSEA IE WE 1699 WROTHAM Mortlake Kishere, Mortlake early 19th cent. pr. Isleworth »itfcwrN*c? S&G Shore and Golding 1760-1830 Glamorgan ^J-TVg^ Works Fulham Fulham Pottery early 19th cent. \&M&!ar Baker, Bevans Vv^w and Irwin mark 1816-39 T. Wetherill Lambeth OPAQUE CHINA pr. Modeler No. 1 stoneware B&B Cleaver St. , Lambeth, 19th cent. 4 London Rye Rye {Sussex) Pottery c. 1790 onwards Cadborough Works J^^^^s S%t Mark. Description. Mark. Description. Lambeth Staffordshire Doulton & Watts 1820-58 CARTWRIGHT c. 1650 Lambeth Potteiy stoneware JOSEPH GLASS 1703 Glasgow Thomas Heath, 1677 ? Derby Bell and Co. & M. P. B. & Co. J. 1842- Job Heath, 1702 Portobello SCOTT Joshua Heath, 177 1 PB late 1 8th cent, onwards 6 Richard Meir c. 1708 Joh?i Meir, 1708 gSL Dublin Richard Mare, 1696 cream ware c. 1770 Richard Meer, 1680 ^Jr W. RICH, 1702 ^{JLU-LLK TH. SANS, 1650 ? Wrotham ? Staffordshire WOODNORTH & CO. 1818 R. SHAW, 1692 JOHN SIMPSON, 1735 Engraved by James Staffordshire Brindley RALPH SIMPSON c. 1700 Belfast WILLIAM SIMPSON 1685 B«&aSt,7z+M M»R on delft ware THOMAS TOFT, 1 67 •7i* RALPH TOFT, 1 67 Fremington (N. Devon) JAMES TOFT, 1705 John Pidler his hand Fishley's factory c. i860 CHARLES TOFT Modern Bideford RALPH TURNOR, 1680 John Hovle c. i860 WILLIAM TALOR GEORGE TAYLOR, 1690 TAYLOR, 1852 JOHN 1700 WRIGHT, All in this column John Phillip Hoyle graffiato and JOHN 1707 are makers of slip wares JOHN WEDGWOOD 1691 slip- ware 1 BRITISH POTTERY—STAFFORDSHIRE . 107 Mark. Description. Mark. Description. Staffordshire Stoke-upon- minton On red stoneware Trent jsjaj Elers at onwards made by M. & C. 1793 [c3pjj f* Bradwell (1690- Minton and Co. and after- 1710) B. B. New Stone wards by many 1 8th cent, potters M. &. B. Minton and Boyle imp. jF5 +H4LU** c. 1824 w pr. » On a black teapot mz&P* supposed to have ~ f been made by Twyford Burslem 36 early 18th cent. Ra Wood Ralph Wood * , Burstem b. 1716, d. 1772 ^y and his son of R. Wood same name 1q b. 1748, d. 1797. D ENOCH WOOD b. 1759-d. 1840 JZ-J ? Twyford's mark inc. ENOCH WOOD & CO. <=& WOOD & CALDWELL py BURSLEM 1790-1818 Th*ill <&3u** ** f V til %J$$L^" £j Saltglaze T^^iJK BURSLEM V c 1745 «\f fV marks on \a/u saltglaze are LAKIN 1770-1795 W V very rare LAKIN & POOLE ? William Taylor Co. W. T. & & Co. c. 1760 R. POOLE 1795- Stoke-upon- Drab Porcelain ? made by SPODE Trent Lakin c LOCKETT 1770-1833 J. c. 1786-1829 Spode W. S. KENNEDY c. 1838 pr. J. MACINTYRE cf. p. 99 MOSELEY c. 1811-1857 S&otiQ-Chdna BRITISH POTTERY—STAFFORDSHIRE Mark. Description. Mark. Description. Burslem Burslem OPERATIVE UNION 19th cent. RILEY S SEMI-CHINA Early 19th cent. POTTERY ALCOCK AND CO. 1826 at Cobridge HILL POTTERY c. 1850 at MACHIN & POTTS BURSLEM Burslem 1834 Burslent, Staffordshire S. -A. & Co. Hanley and P. B. & Co. With crown Shelton and wreath. ASTBURY Astbury; jun. Pinder, Bourne (c. 1760-80) and Co. VOYEZ Voyez, sculptor- A4iddle 19th cent. J. and potter, also Voyez , worked for I?6>9 Sculp* Wedgwood and Palmer I. DALE. VOYEZ & c. 1780 BURSLEM HALES, Fecit Boote T. & R. B. 1850- J Late 1 8 th cent. 1760-76 1842 ROGERS imp. STONE CHINA 1842 onwards JAMES EDWARDS & CO. DALE HALL 1776-78 J. E. & S. idob-39 ? Burslem Edge &> Grocott 19th cent. imp. ANTHONY SHAW 850- BURSLEM STEEL 1766-1824 NEALE & WILSON BURSLEM NEALE & CO. 1778-87 : BRITISH POTTERY—STAFFORDSHIRE 109 Mark. Description. Mark. Description. Hanley Hanley WILSON £3£3&X$? Meigh, Old Hall ]N°l$ Hanley lUtftttL [ @r~s- 1770-1860 @ ^i7 —X5? c WI L.SON ^tf D 1 4jv John Daniel, 1775 STONE 6". Daniel, Stoke Engraver OPAQUE PORCELAIN Wolfe 6° Hamilton Stoke c. 1790 ENAMEL PORCELAIN ,, E, Mayer 1770-1813 SALT c. 1820 W. Baddeley of E. Mayer &r Son 1813-1830 EASTWOOD Eastwood 1 8th cent. Joseph Mayer 6° Co. Early 19th cent. ' T. SNEYD HANLEY Early 19th cent. T. J. & J. MAYER c. 1830 onwards MANN & CO. HANLEY 1857-8 MAYER BROS. " KEELING, TOFT & CO. Early 19th cent. Mayer & Elliot ,, . JOHN RICKHUSS AND Published by CHARLES TOFT c. 1854 C. R. BOOTH & CO. 1839 Hanley, Staffordshire S? HOLLINS 1774-1816 Birch E I B late 1 8th cent. Successors of T. & J. HOLLINS BIRCH S. Hollins WARBURTON c. 1780-1826 SHORTHOSE & HEATH c. 1800 HACKWOOD 1842-56 SHORTHOSE & CO. c. 1821 • C. & H. , Late Cookson and HEATH HACKWOOD Harding BRITISH POTTERY—STAFFORDSHIRE Mark. Description. Mark. Description. Hanley Hanley Middle igth cent. ^|°% Mason's iron- stone china was FLETCHER & CO. 1786-1810 patented in 18 SHELTON block printers 13 pr. •*// W. STEVENSON V^^^HTniaSiP HANLEY 1828 Ridgway, Mosley 3T R. M. W. & Co. <& *s Wear, and Co. Ridgway 1794 onwards Ridgway &> Sons 1802-14 &<* Ashworths bought up Mason's works and rights, 1859 pr. afterwards Brown, Westhead, Moore, and Co. ENOCH BOOTH Tunstall 1855- 1757 pr. A. & E. KEELING Early 19th cent. G. BAGULEY, HANLEY MASON S CAMBRIAN Lane Delph c. 1763 ARGIL late 1 8th cent. 19th cent. C. J. Mason and Co. FENTON 1825-51. STONE WORKS The words C. M. & Co. Granite China" J. pr. and a view of the works also occur with this mark. , BRITISH POTTERY—STAFFORDSHIRE Mark. DESCRIPTION. Mark. Description. Tunstall Lane End ADAMS 1787 onwards IV. Greatbach 1778 Lane Delf W. ADAMS & SON Radford Engraver W. A. & S. (cf. p. 104) A feather in a W. A. & Co. crown and word CAMBRIA C. HEATHCOTE & CO. on a ribbon MARSHALL & CO. Early 19th cent. accompany 6 this mark early 19th cent. MYATT c. 1800 (S? Hilditch and Son early 19th cent. (E3? T. Harley, La/ie End c. 1800 HARLEY A. STEVENSON WARRANTED 19th cent. STAFFORDSHIRE Aynsley, Lane End c. 1790 HALL Early 19th cent. Fenton Lane End T. GREEN c 1835 B. Plant, J^ane End Late 1 8th cent. S. GREENWOOD 1770-80 PRATT c. 1800 onwards BAILEY & BATKIN c. 1815 F. and R. PRATT & CO. FENTON M. & N. 264 Early 19th cent. r 3 Lane End May fr iVewfid TURNER 1762-1803 Prince of Wales' W. & J. TURNER feathers also CYPLES c. 1786 added to this TURNER & CO. mark CHEATHAM & MIST, 82 FLEET ST. Early 19th cent. J. WOOLLEY LONDON- London agent BRITISH POTTERY—STAFFORDSHIRE Mark. Description. Mark. Description. Lane End Cobridge Thomas Wooley inc. JONES & WALLEY 1835-60 John and Robert R. G. Godwin G. ^ 1811 J. & ,c. 1843 Lane Delph Longport Elkin, Knight & Co. n 19th cent. <#* Po+ 1794-1887 imp. Etruria and Burslem. Wedgwood, on red stoneware c. 1760 W imp. pr. On cream ware c. 1760 Wedgwood (The letters irregular) WEDGWOOD In varying sizes WEDGWOOD from 1760 onwards Wedgwood pr. cf. p. 99 I STONE CHTnaI 1768-80 1819-29 CLEWS 1 760- 1 9th PHILLIPS, LONGPORT cent. Cobridge £r° 1 8 cent. R. DANIEL th WEDGWOOD In varying sizes 1802-1840 & BENTLEY imp. m> Wedgwood & Bentley BRITISH POTTERY—STAFFORDSHIRE "3 Mark. Description. Mark. Description. Etruria Staffordshire Rare mark (miscellaneous) WEDGWOOD & SONS (St c. 1790 Registration z\ mark used on Minton, JOSIAH WEDGWOOD m?\ Copeland, and Very rare Feb. 2, 1805 other wares from V c. 1850 Tunstall F. MEIR Various commas, c. 1842 dashes, numbers 19th cent. and single letters Crystal Ware occur on the ? Davenport earlier wares Three letters ^^£^^Tej\^y\ OS X combined at 19th cent. random occur ^^^^^ after 1868 \iP*fi?*5o<^ WEDGWOOD ETRURIA In varying sizes BATTY CO. 19th cent. Wedgwood c. 1840 & Etruria Stencilled on Mohr and Smith " porcelain Patentees WEDGWOOD 1805-15 and again after CLEMENTSON 1879 J. With a phoenix. Ironstone, Tillenberg Hanley, c. 1845 /""^ /? » Painter, 1859-75 r*@p*K~ / , v- «/ / hunt p -4 DUCROZ & MILLIDGE c. 1850 In a garter ^^ From 1 891. enclosing the /^v% England added ROYAL TERRACOTTA Royal crown X^ffPhA on porcelain PORCELAIN r^SsrV exported V^llSitf// to United States Early 19th cent. \fi~Sy pr. BOTT & CO. WEOGWOOO Holland and The Wedgwood REGINA ENGLAND Green, Longton marks are nearly H. & G. after 1853 all stamped. A single letter Sampson indicates the year Lownds ? Tunstall on modern wares 1786 ii4 BRITISH POTTERY—AMERICA Mark. Description. Mark. Description. Staffordshire U.S.A. America /. Hollingshead c. 1750 Mr. Clarkson Crolhis Potter's Hill 1798 . New York Fenton 1 8th cent. (also on Newcastle PAUL CUSHMAN c. 1809 ware 19th cent. Albany, N.Y. late 1 8th cent. NORTON & FENTON (in a circle) BENNINGTON VT Vermont 1839- S. Smith c. 1770 LYMAN FENTON CO. ? Boot or Booth & c. 1848 on lustre ware c. 1 8 15 ROOKWOOD POTTERY RookwoodPottery Cincinnati, Ohio RAINFORTH & CO. 19th cent. CIN. O. established, 1877 PROUDMAN RookwoodPottery, R. P. CO. M.L.N. Cincinnati, Ohio, Maria Longworth Nicholas # E. & W. BENNETT CANTON AVENUE c. 1846 BALTIMORE, M. D. (and a buffalo) STONE CHINA Knowles, Taylor, and Co., East K.T. & K. Liverpool, Ohio, 1870- HARKER, TAYLOR, & CO. Harker Pottery Co. , East Liver- H.P. Co. pool, 1840- AMERICA "5 Mark. Description. Mark. Description. Philadelphia Philadelphia William Ellis Tucker Bonnin & Morris China Manufacturer Southwark h. p. porcelain Philadelphia P c. 1770 1828 p. in blue : cream ware Tucker & Hulme 1828 Bucks Co. , Pa. JJy~.UA Joseph Smith £ pottery fos Hemphill 1832-36 t \<^f 1767-1800 workman's marks Henry Rondebush inc. 3C31 1811-16 yrw Walker Montgomery Co. Morgan Pa. m Frederick tltruiu R Samuel Troxel V Vivian Stf !823-33 graffiato pottery c/» C. Boulter ^ J. Georg Hiibener Smith, Fife, & Co. ®$ graffiato pottery Manufacturers, Phila Pore. c. 1830 1785-98 RALPH B. BEECH PATENTED I. Taney Kensington, Pa. JUNE 3, 1851 Bucks Co. KENSINGTON, PA. IT c. 1794 AM. POTTERY MANUFG Jersey City, N.J. CO. (on a flag) pr. JERSEY CITY 1833- J ohan Drey In a circle D. & J. Henderson, Jersey City c. 1829 AH Initials of potters in Pennsylvania American pm Porcelain Manu- A. P. M. & Co. facturing, Co. Gloucester, N.J. 1854-57 H.T.IS.T Montgomery Co. J. Scholl, of Tyler's Port Trenton, N.J. , MERCER POTTERY "\tffa. c. 1830 semi-porcelain TRENTON, N.J. 9 a fuchsia imp. 1868- n6 MODERN BRITISH Mark. Description. Mark. Description. Hants Marks of decorators of on terra cotta BISHOPS WALTHAM 1862-66 Lancastrian pottery. Lewis F. Day (designer) Yorks CROSSLEY on terra cotta COMMONDALE 1880-83 John Chambers R. W. MARTIN On artistic Ftilha?n stoneware Richard Joyce Louis Marc Solon on porcelain decorated in Walter Crane pdte-sur-pdte : at (designer) Sevres, and after 1870 at Minton's, * Stoke-upon- Trent C. E. Cundall Marks on Lancas- trian lustred and flambd pottery made by Pilkington and Co Dorothy Dacre at Clifton Junction Manchester. Viii VIII = 1908 Jessie Jones Mark of G. M. Forsyth Gwladys Rodgers Mark of W. S. Mycock Annie Burton MODERN BRITISH POTTERS' MARKS 117 Mark. Description. Mark. Description. f OLEY C// Bernard Moore. Wileman and Co. Stoke-upon-Trent Foley Potteries Staffs. Longton, Staffs. ENGLAND on Flambe *AfCLM*° glazed ware V?MARD Ridgway. E. D. Bodley. Shelton, Staffs. e$i> J. Burslem, Staffs. Aller Vale and Watcombe Art Potteries, <*&*. S. Devon. Brownfields Mark also ALLER VALE Pottery Cobridge, Staffs. Royal Essex Pottery, Castle Hedingham Essex Dimmock W. Howson J. and Taylor. Co. Hanley, Ruskin Pottery, Staffs. Birmingham Old Hall Porcelain Works Hanley, Staffs. Torquay Tooth and Co. Bretby Pottery near BRETBY . Burton-on-Trent n8 MODERN BRITISH POTTERS' MARKS Mark. Description. Mark. Description. ,«K<*#% W. Adams T. and R. Boote. and Co. Burslem Tunstall Staffs. Staffs. T. B. & S. Booths, Ltd. Tunstall Staffs. Brannam. .?0Re, O. H. BRANNAM. Barnstaple H. Alcock and Co. Devon Cobridge Staffs. ESTABLISHED Foley China I8 @P§50 Works Fenton, Staffs. .FOLEY CHINA. John Aynsle)^ and Sons Taynsley] £NGLANO Longton, Staffs. Burgess and Leigh. Burslem Staffs. W. Ault. Swadlincote .B & Is near Burton-on-Trent Burslem Pottery Co. Staffs. Bishop andStonier. T. C. Brown- Hanley, Staffs. Westhead, Moore and Co. MODERN BRITISH POTTERS' MARKS 119 Mark. Description. Mark. Description. Cochran and W. H. Grindley Fleming. and Co. Glasgow Tunstall G. Jones and Sons. Stoke-upon-Trent Staffs. Doulton and Co. Lambeth Locke and Co. Worcester Elton, Sunflower fan Pottery Lovatt and Lovatt Clevedon, Som. near Nottingham CNGL^«> Charles Ford. ENGLAND Burslem, Staffs. J. Macintyre and Th. Forester Co. , Burslem and Sons. Staffs. Longton, Staffs. A. Meakin, Ltd. Tunstall, Staffs. Furnivals, Ltd. Cobridge, Staffs. J. and G. Meakin, W. H. Goss. Hanley, Staffs. Stoke-upon-Trent Staffs. — PERSIA, SYRIA, ASIA MINOR AND EGYPT The pottery of the Near East, while embracing many kinds of earthenware, is usually characterised by a friable body of sandy texture : this is occasionally coated with tin-enamel, oftener with white " slip," though it is sometimes decorated directly on the body. Painting in blue and brown, turquoise and green, or in lustre pigments was practised from very early times, and the ware, except when tin-enamelled, has a translucent glaze of remarkable depth and quality. It appears probable that Egypt was the nursery of the art after the fall of the Roman Empire and in the early Middle Ages, and that its practice spread thence into Syria, Persia, and Asia Minor, where brilliant and attractive types of pottery were made from the eleventh to the seventeenth century. The rubbish mounds which cover the site of Fostat (Old Cairo) have proved rich mines of fragments and waste pieces of pottery kilns of marks evidently thrown away from —many which bear ; some of the marks show that Persian and Syrian potters, or their descendants, were working in Egypt alongside the native Egyptians. Indeed the most common name Ghaiby signifies " stranger," and is qualified on one piece with the further description El Chamy, " the Syrian." The dates of these marked fragments range from the ninth to the seventeenth century. Lustre pigments were used with great skill in Persia from the thirteenth to the seventeenth century, and perhaps also in Egypt at an earlier date. Under Turkish rule, from the sixteenth century onwards, a particularly beautiful pottery of the same type was made in Asia Minor and at Damascus. This ware, formerly known as Rhodian and Damascus ware, is noted for its brilliant colours and its decorative schemes of semi-naturalistic flowers pinks, hyacinths, marigolds, roses, fritillaries, etc. A large propor- 121 i22 POTTERY MARKS tion of this ware, exclusive of that made at Damascus, is dis- tinguished by the use of a fine red pigment, always in palpable relief. This pigment, generally known as " Rhodian red," was obtained from Armenian bole. Marked examples of Persian, Syrian and Turkish wares are uncommon. A translucent pottery, which is generally known as Persian porcelain, was made at a very early date, and then again about 1600 and even as late as 1800. This ware frequently bears delicately incised patterns or is ornamented with pierced patterns the openings of which are filled with glaze. It was formerly known in England as " Gombroon Ware." The marks found on Persian pottery occur most frequently on the wares of the sixteenth to the nineteenth century, particularly on the pieces in which Chinese influence is apparent in the decoration. Marks also occur on Anatolian wares of Minor importance. PERSIAN, SYRIAN, AND EGYPTIAN FAIENCE 123 Mark. Description. Mark. Description. Gha'iby (= stranger) 16th cent. El Hermizi one of his (=from Hormuz pieces also in Persia) bears the 16th cent. *.# words El Chamy, meaning the Syrian Cl± El Masry. Egyptian '£> 13th or 14th cent, El Chamy, Syrian Son of Ghaiby * Aagami ( = Persian) El Taurizi(=from 1 6th cent. Tauris) 1 6th cent. # * Mark on 14th cent, ware Ghazal Aioub 1 6th cent. 13th or 14th cent. Syrian style JKM Egyptian Bism 1 6th and 17th JUJf cent. (U~4 Syrian style 124 PERSIAN, SYRIAN, AND EGYPTIAN FAIENCE Mark. Description. Mark. Description. El Chaer 15th cent. Charaf Egyptian Abou-1-iizz OJJM 17th cent. Egyptian El Siouaz Abolo 1 6th cent. 17th cent. Syrian Egyptian El Istaz, 13th Aahmad. or 14th cent. Egyptian Persian Rikk. (r Style of El Maallem Damascus 15th or 1 6th cent. Egyptian Fathh : style of Damascus MM 1 6th cent. El Mouslem on ? 9th cent. lustred ware Egyptian Kallass. Nakkach Syrian style 15th or 1 6th cent. Syrian style Tal : 1 6th or 17th cent. .JL Egyptian El Barrany 13th cent. Egyptian El Fakid 16th cent. Syrian style PERSIAN, TURKISH, AND ANATOLIAN FAIENCE 125 Mark. Description. Mark. Description. Persian = ' blue and white ' Belonging jew to Ahmed. faience, 16th or 17th cent., imita- Made by tion of a Chinese Muhammed Ali 1232" seal A.H. (=A.D. 1817) Persian " " porcelain = ? " p. in lustre Made by 16th or 17th cent Muhammed Harbaty " Blue and white Signature of Hatim Persian, 19th cent. = ' The decorator Oh of it the poor " Zari A.H. 1025 ( =A.D. 1616) on blue and white faience ' = ' The work of Mahmud Mi'mar ofYezd" 17th Persian resembling a Chinese mark Turkish faience 1 6th cent. 19th cent. Persian Anatolian faience 17th cent. ' = ' Made by Muhammed Ali " A.H. 1234 Mark of Youaz ( = A.D. 1819) " 1 On " Gombroon 8th cent. . ware CHINESE PORCELAIN It seems probable from literary evidence that porcelain was made in China at least as early as the T'ang dynasty (618-907 A.D.), but no examples of this period have reached Europe. The various makes of the Sung (960-1279) and Yuan (1 280-1367) dynasties are known to us chiefly through a few of the coarser specimens of the creamy white ware of Ting-chou and the grey green celadon of Lung-ch'iian-hsien, and through the comparatively modern copies which abound. Marks on these wares appear to have been unusual, though we read that the Chim-chou porcelain was sometimes marked with an engraved numeral, and a palace mark of the Yuan dynasty (Shttfu) is given on p. 1 49. Under the Ming dynasty (1368-1644 A.D.), the Yung-lo period (1403-24) was celebrated for its fine white porcelain with engraved orna- ment ; the Hsiian-te period (1426-35) for blue and white (i.e. white porcelain painted in underglaze blue) and a brilliant under- glaze red decoration ; the Ch'eng-hua period (1465-87) for coloured decoration, painted in enamels and in glazes ; the Hung-chih period (1488-1505) for a pale transparent yellow; the Chia-ching period (1522-66) for blue and white; the Lung-ch'ing (1567-72) and Wan-li (1 573-1619) periods for enamelled decoration com- bined with underglaze blue, principally in five colours, including, green, yellow, manganese purple and red. Genuine specimens of Ming porcelain made before the sixteenth century are practically unprocurable, though the marks of Hsiian-te and Ch'eng-hua occur very commonly on comparatively modern wares. The reigns of K'ang-hsi (1662-1722), Yung-cheng (1723-35) and Ch'ien-lung (1736-95) have supplied practically all the finest Chinese porcelain in European collections. The K ; ang-hsi period is noted for the perfection of blue and white porcelain ; enamelled 127 i 2 8 POTTERY MARKS porcelains in three and five colours, 1 with a predominance of verte green in various shades, whence the French name fa,7nille ; porcelain with coloured grounds, e.g. greenish-black, powder- blue, coral-red, coffee-brown, leaf-green, etc., and reserved decora- with glazes of tion in other colours ; single-coloured wares sang de bceuf red, peach-bloom, apple-green, and other tints. The reign of Yung-cheng (1723-35) was noted for the clever imitations of the ancient wares of the Sung dynasty with single-coloured, splashed, and crackled glazes. Indeed most of the archaic-looking specimens in our collections, with glazes of this description, were made about this time. Among enamels the various rose tints which came into use at the end of the preceding reign, were fully developed ; and this period marks the transition of the famzlle verte into the famille rose, the old translucent enamels of limited range being replaced by an extended palette of opaque colours. The elaborately and minutely painted " egg-shell" plates and services (often with ruby-red ground underneath) were decorated at Canton mainly for export ; and from this time onward large consignments of porcelain decorated to order with crests and coats of arms were shipped to Europe. The porcelain itself was made, like nearly all the Chinese porcelain known to us, at'Ching- te-chen, 2 in the province of Kiangsi, but the enamelled decoration in Western taste was added in Canton. During the long reign of Ch'ien-lung (1736-95) mechanical perfection was reached in the manufacture of porcelain. There was little, old or new, that the potters could not achieve. Their glazes imitated jade, bronze, carved wood, lacquer, natural stones, and all kinds of ornamental materials ; and many new glaze colours were adopted, e.g. souffle red of coral tint, deep sapphire blue (known as the "Temple of Heaven" blue), "iron-rust" and " tea-dust " glazes. The painted wares are wonders of manipu- lative skill, though their delicate and elaborate finish may not be so pleasing as the bolder style and broader effects of the K'ang- hsi porcelains. A gradual but sure decline set in after the reign of Ch'ien-lung, and the nineteenth-century porcelain can usually be distinguished from the old wares by its inferior potting, weaker 1 The enamels are always translucent, and at this time an overglaze enamel blue largely replaced the underglaze blue in the five-colour decoration. 2 The principal exception to this statement is the ivory-white porcelain known in France as blanc de Chine, which has been made in the province of Fu-chien from the early part of the Ming dynasty. — CHINESE PORCELAIN 129 colours, and comparative poverty of design. Marks on Chinese porcelain group themselves as follows : — (A) Date marks. (B) Hall marks. (C) Marks of commendation, description, etc. (D) Signatures. (E) Symbols. The inscriptions are either in ordinary script or in ancient seal characters (see p. 136), the ideographs being arranged in parallel columns, read from the top, and the columns taken from right to left. The mark is nearly ahvays under the base and sometimes enclosed in a double ring, but on some of the older specimens it occurs on the side or neck of the vessel in a single vertical or horizontal line. It is usually painted in blue under the glaze ; though it also appears in red, black or gold the glaze, particularly on wares of the present on dynasty ; and it is sometimes stamped like a seal in the body of the ware. (A) Date Marks. —Chinese dates are reckoned by two systems of chronology (1) Cycles of sixty years the nien-hao, i.e. — ; (2) arbitrary names given by the Emperors to the periods during which they reigned. 1. Cyclical dates are not common and are, as a rule, incon- clusive, because they mention only the year of the cycle without specifying the cycle itself. The Chinese cycles are reckoned from B.C. 2637 ; but the table on p. 133, which begins at the 45th cycle and ends with the 76th {i.e. A.D. 4 to 1923), will suffice for ceramic purposes. Each year of the sixty is known by a name composed of one of the " Ten Stems " combined with one of the " twelve Branches," which are also the names of the signs of the Zodiac. Two examples will explain their use : 12 3 6 456 _ 45 Wu-ch'en nien Liang-chi shu = painting of Liang-chi in the 1 2 3 A Wu-ch'en year. The first two characters will be found to 1 represent the fifth year in the table, but no indication is given of the cycle to which it belongs. The second instance is exceptional K i 3 o POTTERY MARKS i 2 3 4 5 and the date can be guessed. It reads Yu hsin-ch'ou nien chih = i 5 made in the hsin-ch'ou year recurring. The hsin-ch'ou year, the 38th of the cycle, recurred in the reign of Kang-hsi who completed a full cycle of his reign in A.D. 1721. 2. The commonest system of dating porcelain is by the Nien-hao, or reign-name adopted by the Emperor on the New Year succeeding the death of his predecessor. These dates are usually written in six characters in two columns ; the name of the dynasty coming first, followed by the reign-name of the Emperor ; the usual ending is nien (year or period) chih (made), but the latter word is occasionally replaced by tsao which also 1 2 >K L, means "made" (see p. 150) e.g. Ta Ming 4 tG J\j 3456 e 3 Cfteng hua nien chih = made in the Ch'eng- 5-£p* n/j2 hua period (of the) great Ming (dynasty). ' ' The mark is sometimes shortened into four ifclj JLS characters by the omission of the name of 'pR^ r>*^ the dynasty, (see p. 136). The individual year of the reign is very rarely specified. Occasion- ally the wordjj/zk', Imperial, is used instead of nie?i : (see p. 150). The reader is cautioned that these reign-marks cannot be accepted as true dates, without other evidence. The Chinese, who venerate antiquity, make a practice of putting ancient dates on modern wares. Hsiian-te and Ctteng-hua in the Ming dynasty, K'ang-hsi, Yung-cheng and ChHen-lung of the ChHng dynasty are commonly used in this way, because of the ceramic greatness of the reigns indicated. The exception to this caution is the Imperial porcelain, on which the mark is accurately and skilfully inscribed. The following tables include the principal reign-names of the Ming and ChHng dynasties, marks previous to these being virtually unknown, although they are reputed to have been first placed on Imperial wares by order of the Emperor Chen-tsung in the period Ching-te (1004-7 A.D.). From the reign of Yung Cheng onwards seal characters were commonly used in the reign- marks, as shown below. A list of Chinese numerals is appended. (B) Hall Mark. —The term "hall" here used is vague but comprehensive. It may refer to the shed of the potter, the studio of the painter, the shop of a dealer, the hall of a noble CHINESE PORCELAIN 131 or the palace or pavilion of an Emperor. It may equally signify the place where, or the place for which the ware was made ; and in the absence of any preposition the meaning of the hall-mark must often remain obscure. The word used in those marks is usually fang, a hall (see p. 142) ; but fing, a summer-house also occurs, as well as chat, a studio (p. 144), hsuan, a terrace (p. 151), and/dTZ^-, a retreat (p. 143). (C) Marks of Commendation, etc., include (1) laudatory terms such as Pao sheng (of unique value) on p. 147, "a gem among precious vessels of rare jade " (p. 146), etc., referring to the beauty of the ware ; (2) words of good omen such as Shou (longevity), Fu (happiness), etc., implying a wish for the welfare of the owner of the vessel ; and (3) inscriptions which refer to the subject of the decoration, e.g. Tsai cJinan chih lo — u Feeling pleasure in the water," the subject being fishes in a pool (p. 147). (D) SIGNATURES are rare on Chinese porcelain, chiefly because of the minute division of labour in the factories, where one piece sometimes passed through seventy hands. Some of the " hall marks," however, must be regarded as containing " studio names " of potters or decorators, and therefore as a kind of signature. (E) Symbols, devices, etc., so dear to the Chinese mind, are often found in place of a written mark, the commonest being the Eight Buddhist symbols, the attributes of the Taoist Immortals, the Hundred Antiques, and Emblems of Happiness or Long-life such as the bat and the fungus. More rarely a group of objects can be translated rebus-fashion into a good wish ; e.g. a pencil- brush {pi) with a cake of ink {ting) and a (fu'i) sceptre or magic wand, together connote the phrase Pi tingjui, " May (things) be fixed as you wish" (p. 141). In the year 1667 the Emperor K'ang-hsi forbade the use of the Imperial title or any sacred phrase on china, lest it should be broken and desecrated. It is unlikely that the prohibition remained in force for more than a few years, but during that time the double ring intended to enclose the mark either remained blank or was filled with a device or symbol or some other permissible substitute. i 3 2 POTTERY MARKS CHINESE POTTERY The manufacture of pottery in China is of immemorial antiquity, but its history prior to the Han dynasty (B.C. 206- A.D. 220) is only of antiquarian interest. At this time it appears from literary evidence that stoneware, a very hard and partially vitrified pottery, was made ; and from actual existing specimens that a red earthenware with green or yellow glaze was fashioned in vases of more or less artistic form, borrowed from the still more ancient bronzes. The spread of tea-drinking during the T'ang dynasty (a.d. 618-907) proved, no doubt, a great stimulus to the potters, but we know little about the results of their efforts before the Ming dynasty (A.D. 1 368-1 644). It was in the reign of Cheng-te (1 506-1 521) that the potteries of Yi-hsing-hsien, in the province of Kiangsu, were started. The Yi-hsing ware is an unglazed pottery of varying hardness, and usually of red, buff, or fawn colours. It was called by the Portuguese "buccaro," and is best known in tea-pots of fantastic shapes, such as Bottger of Dresden, certain Dutch potters, and Dwight and Elers in England copied at the end of the seventeenth and the beginning of the eighteenth centuries. The later examples are often enamelled and the manufacture continues to this day. Important stoneware factories exist in the province of Kuang-tung, dating perhaps from the Sung dynasty (a.d. 960-1279), but best known to us by their later products, e.g. jars, vases, and figures with splashed and mottled glazes with a prevailing blue or bluish grey tone streaked and flecked with scarlet, green, and olive brown. There are potteries near Peking producing good copies of the porcelain with turquoise and aubergine glazes, and there are many obscure factories local which supply needs ; but the Chinese pottery in European hands can, as a rule, be safely assigned to either a Yi-hsing or Canton origin. Marks on Chinese pottery usually consist of impressed seals giving the name (or art-name) of the potter or place of manufacture ; and date-marks are uncommon. CHINESE CYCLES 45 TO 76, or A.D. 4 TO 1923 133 Cycle Beginning Cycle Beginning A.D. A.D. A.D. A.D. A.D. A.D. A.D. A.D. A.D. A.D. C/j 4 64 4 64 w 3°4 364 124 184 244 3°4 6 124 184 244 J 3 4 < < 604 664 424 484 544 u 604 664 424 484 544 904 964 724 784 844 !3 904 964 724 784 844 u 1204 1264 1024 1084 1144 u 1204 1264 1024 1084 1144 1504 1564 1324 1384 1444 i5°4 1564 i3 24 1384 1444 1804 1864 1624 1684 1744 1804 1864 1624 1684 1744 ¥ ¥ 04 64 24 84 44 f?if. 34 94 54 14 74 z.a °5 65 25 85 45 z,%. 35 95 55 15 75 06 66 26 86 46 36 96 56 16 76 1 m 07 67 27 87 47 TS5 37 97 57 17 77 fZR 08 68 28 88 48 AA 38 98 58 18 78 ee 09 69 29 89 49 ZM 39 99 59 *9 79 40 100 60 20 . 80 *^ 10 70 3° 90 5° m* 11 1 101 61 21 81 ** 7i 3i 9 1 5i *a 4 ? 102 s * I2 72 32 92 52 515 42 62 22 82 43 103 63 23 83 *'S 13 73 33 93 53 §SW 44 104 64 24 84 *j* 14 74 34 94 54 9f 16 76 36 96 56 m* 107 Tl 17 77 37 97 57 Tpfc 47 67 27 87 68 88 J** 18 78 38 98 58 jdt * 48 108 28 ajjR 19 79 39 99 59 49 109 69 29 89 no us 20 80 40 100 60 mm 5° 70 30 90 *e 21 81 4i 101 61 ¥M 5i in 71 3 1 9i i* 22 82 42 102 62 if 52 112 72 32 92 1?* 23 83 43 103 63 ^5 53 113 73 33 93 f * 24 84 44 104 64 ¥ IS 54 114 74 34 94 J Z.® 25 85 45 i°5 65 Z.01 55 i S 75 35 95 P5J& 26 86 46 106 66 P^Jl 56 116 76 36 96 T3? 27 87 47 107 67 T& 57 117 77 37 97 118 78 38 98 /** 28 88 48 108 68 &¥ 58 119 79 39 99 as 29 89 49 109 69 Bi£ 59 !£:£ 30 90 5° no 70 & * 60 120 80 40 100 1 4i 101 *« 3 1 9i 5 III 7i ^ffi 61 121 81 is 32 92 52 112 72 i J$ 62 122 82 42 102 3*e, 33 93 53 113 73 *5K 63 123 83 43 103 134 CHINESE DATE MARKS CHINESE DATE MARKS The Nienhao of the Emperors which commonly occur on Porcelain and Pottery. Mark. Description. Mark. Description. Sung dynasty Ming dynasty Ching Te. Yung Lo in mVJU l 1 (1004-7) archaic script mmmBS) Lp t A Yuan Feng (1078-86) Hsiian Te (1426-35) Ming dynasty Hung Wu 11 ft* (1368-98) Hsiian Te I (1426-35) Yung Lo (1403-24) MM ft* n-nQjSj CHINESE DATE MARKS i35 Mark. Description. Mark. Description. Ming dynasty Ming dynasty 4t A * A Ch'eng Hua (1465-87) Wan Li (1573-1619) %* fy *.*. The same T'ien Ch'i £ it * $ (1621-27) fi5l\£ The same in seal H* sshy characters 4 § Chung Chen (1628-43) tt A Jt* Hung Chih Ch'ing dynasty ¥ n (1488-1505) fe A H & Shun Chih 4 * (1644-61) $ A ft »s Cheng Te 4 m (1506-21) The same in seal characters * a E A Chia Ching K'ang Hsi 9i (1522-66) 4 4 f (1662-1722) » II The same in seal Lung Ch'ing characters (1567-72) Mill H ft 136 CHINESE DATE MARKS Mark. Description. Mark. Description. Ch'ing dynasty Ch'ing dynasty Yung Cheng HI Tao Kuang (1723-35) (1821-50) intelf) The same in seal Hsien Feng m characters (1851-61) ftriM The Ch'ien Lung ill same in seal characters J ( 736-95) f it T'ung Chih The same in seal (1862-74) characters si KnBSIIlin lifi The same in seal El characters Si Chia Ch'ing (1796-1820) Kuang Hsu * * 1 875-1909 mi The same in seal characters n-n m The same in seal BR. characters Tao Kuang iSI (1821-50) « at 1 CHINESE NUMERALS 137 CHINESE NUMERALS '1 Yi l 1 ^ Erh ~ San (rare) III -g£ 4 X m 5 £, s 1Z -L. fffi Liu JL. 15 Ch'i A ± M Pa Chiu Shih These Chinese numerals will assist in calculating those rare Chinese and Japanese dates in which a particular year, month, or day is specified. in Three forms are given : the common form on the left, the short form numerals of the the middle ; and the long form on the right. Chinese common form were used as marks on the Chun-chou porcelain of the Sung dynasty (960-1279 A.D. ). The numerals in Japanese read : — r. Ichi. 2. Futatsu or Ni. 3. San. 4. Yotsu or Shi. 5. Itsutsu. 6. Mutsu or Roku. 7. Nanatsu or Shichi. 8. Yatsu or Hachi. 9. Kokohotsu or Ku. 10. Ju or To. 138 CHINESE PORCELAIN—SYMBOLIC MARKS Mark. Description. Mark. Description. The Eight The Eight Precious Things Buddhist Em- (Pa Pao) blems (Pa Chi- Chu (a jewel) hsiang) Cheng (a bell] Sometimes the wheel (lun) is substituted for the bell Ch'ien (" a cash ") Lo (a conch shell) Fang-sheng (a lozenge, symbol of San victory) (State umbrella) Hua (a painting) Kai (canopy) Ch'ing (a hanging musical stone of jade) Lien Hua (lotus flower) Shu (a pair of books) P'ing (vase) Chiieh (a pair of rhinoceros horn cups) Yti (a pair of fishes) Ai-yeh (an arte- Chang misia leaf) (entrails) an endless knot CHINESE PORCELAIN—HARE, LEAF, LOTUS, ETC. 139 Mark. Description. Mark. Description. Lotus flower A hare looking at the moon. K'ang-hsi period (1662-1722) A hare (T'u). Late Ming and K'ang-hsi periods Flowers The hare which lives in the moon making the elixir of life, is venerated by the Taoists Prunus spray (Mei hua) Artemisia leaf : a good omen ^&^ Fungus (Lingchih) Emblem of Longevity A bat and two peaches (Fu Lotus flower shou Shuang ch'uan) a rebus = "Happiness n^> and longevity both com- " plete : 1 4 o CHINESE PORCELAIN—FLOWER, TRIPOD, ETC. Mark. Description. Description. Flower Va» G63 Head of a ju'i sceptre (of Long- evity) A tripod vase Endless knot tailless stork. Insect Marks engraved on specimens in the Dresden col- lection : —zigag, on blue and white : cross on Japanese Four-legged in- wares : cense burner H, on Chinese (Ting) See p. 97 famille verte : triangle, on white Chinese : arrow, on red Chinese parallelogram on " " Old Indian porcelain CHINESE PORCELAIN—SYMBOLIC MARKS 141 Mark. Description. Mark. Description. Fu (one of the 12 ancient embroidery Lozenge symbol ornaments) Pearl symbol Pair of books Cash symbol Shell svmbol Two fishes, emblem of felicity Pearl symbol ? Musical instru- ments Lozenge symbol Perhaps rhinoceros horn cups Swastika symbol brush (pi) or fylfot, in a A 1 of ink (ting) lozenge cake and a sceptre of longevity (ju'i), making the rebus Pi ting ju'i = Lozenge symbol ' May (things) be fixed as you " wish ! 142 CHINESE PORCELAIN— " HALL " MARKS Mark. Description. Mark. Description. Yii fang chia ch'i Chih yuan t ang = beautiful vessel chih = made at for the jade hall. the hall of wide Late Ming and extension. early Ch'ing i73 6 dynasties -9S Ch'ing wei fang Yung lo fang chih chih = made for the = made at the * hall of respectful Yung lo (perpetual awe. enjoyment hall) A palace mark c. 1730 1736-95 Ts'ai hua t'ang chih = made at the hall of brilliant painting. T6 hsing t'ang 1820-50 chih = made for the hall of fragrant virtue. 1573-1620 Chih hao fang Lu yi fang = ch'ing shang = Hall of waving pure gift from the bamboos : hall of good on K'ang-hsi and endeavour. Tao-kuansr wares !73 6 -95 Ts'ai hsiu t'ang Yii hai t'ang chih = made at the chih = made in the hall of brilliant hall of ocean jade. decorations. 1662-1722 .1796-1820 Shun te fang chih = made for the Yu tzu. t'ang chih hall of cultivation = made for the of virtue. ft- hall of friends and Palace mark scholars. 1662-1722 1820-50 CHINESE PORCELAIN, "HALL" MARKS 43 Mark. Description. Mark. Description. Lin yii t'ang chih = made at the hall Shun te fang po of abundant jade. ku chih = antique 1662-1722 made at the Shun- te hall, 1820-50 f ir Ching lien t'ang fang ku chih = imitations of * JR. Ch'ii shun mei yii antiques made at t'ang chih = made the Chinglien hall at the Ch'ii shun late 1 8th cent. hall of beautiful jade, late 17th cent Yang ho t'ang chih = made at the hall for the cultivation of Ts'ai jun t'ang harmony. chih = made at the 1723-3S hall of brilliant colours, early 19th cent. Jui lu shan fang chien chih = made in the mountain dwelling under the I yu t'ang chih = superintendence * A made at the hall of Jui-lu. of ? prosperity 1662-1722 and profit. ? 17th cent. Chih Ian chai chih = made in « A Ta shu t'ang chih the epidendrum = made at the studio. big tree hall. 17th cent. 1820-50 '^1 Tan ning chai Ch'i yii t'ang chih chih = made in the at the made hall pavilion of peace of rare jade. and tranquillity. 1662-1722 1736-95 " , ) i 4 4 CHINESE PORCELAIN—HALL MARKS, ETC. Mark. Description. Mark. Description. Ssu pu chai chih Yung ch'ing = made for the ch'ang ch'un pavilion of medita- = Eternal pros tion for the correc- perity and tion of faults. enduring spring ! ? early 18th cent. T'ien ti yi chia ch'un = Springtime Kuei yueh shan in heaven and chuang = work- earth—one family. of the Cassia hop (Motto of the Mountain. Moon late Empress 1820-50 Dowager) and Ta Ya Chai Jo shen ch'£n = Pavilion of tsang = to be grand culture : treasured like a (one of her gem from the palaces) deep. late 19th cent. 1 8th and 19th cent. 3 .*. Ssu yu mei yii ya chih = thoughts Huo ch'i jo shen elegantly expressed •ch'en tsang = to in beautiful jade. be treasured like 1662-1722 a deep jem from the boiling stream, early 18th cent. Ya su kung shang = For the learned and common A chi = Great Ta alike to take sood-luck ! pleasure in. early 18 th cent. Hsi ch'en ku wan = antique of the " mat jewel Chi hsiang ju i = fortune (i.e. scholar) Good 1662-1722 and fulfilment of wishes ! T6 hua ch'ang ch'un = Virtue Shuang hsi = culture and endur Double( or wedded ing spring ! joy ! weddin surrounded by the On date mark of gifts Wan-li -H- (1573-16x9) . CHINESE PORCELAIN—FORMS OF SHOU 145 Mark. Description. «4» 151 Various forms of Shou = /it 3*6 fl A longevity, the common form V±/ of which is si .-Jr. ~* oi St * C \±/ 'D3\ flfa /03\ PHI AIA \±s /I m Ik m *2* * AT i Jfc. 130 W o ® W HP =E -1?- PFl PH «rf ! ! COMMENDATION MARKS i 4 6 CHINESE PORCELAIN— Mark. Description. Mark. Description. Shou (longevity) Fukuei chia ch'i curious form A = fine vase for the known in Holland rich and honour- as the spider mark able. 1 6th cent. Fu = happiness Ch'ang ming fu kuei = Long life, in various forms riches , and honour in a circle like a ' 'cash." 1 6th cent. Ch'ing = Con- 1 M gratulations ! ft * Ch'i yu pao ting chih chein = A gem among precious vessels ofrarejade 1662-1722 Lu = emolument ft Ch'i shih pao ting chih chen = A gem An unusual form = among precious of Fu Shou vessels of rare Happiness and stone ! long life Wan fu yu t'ung = May infinite Ch'i chen ju yii happiness embrace i* -t- = A gem rare as all your affairs ! jade ! 1 6th cent. S. if 1662-1722 CHINESE PORCELAIN—COMMENDATION MARKS 147 Mark. Description. Mark. Description. Ai lien chen shan Hsi yii = Western ih 4 jade = Precious reward early 18 th cent. of the lover of A. the lotus ! t 1820-50 Yu lai = Arrival of friends if Po ku chen wan Tf = a jewelled trinket of antique art Pao sheng = In- expressibly precious T'ien kuan tz'u fu early 18th cent. = May the heavenly powers confer IS B happiness ! -ft Tan kuei = red olive : emblem of literary honours 16th cent. 'Bh -is Wan shou wu chiang = A myriad ffi ages never ending ! Tsai ch'uan chih lo = Rejoicing in c Shuai fu kung yung = for public Wan shou wu use in the general's chiang = A myriad hall. 17th cent. ages never ending fl M Usually written in an horizontal line Sheng yu ya chi = Elegant collec- tion of holy friends 1662-1722 % k 48 CHINESE PORCELAIN—COMMENDATION MARKS Mark. Description. Mark. Description. T'ien = heaven Wen chang shan early 18 th cent. a ± ton = Scholarship X lofty as the hills and the Great -4- •L Bear! a Ya wan = elegant 1662-1722 trinket early 18th cent. 3. Yu = jade * -Ft Chen yu = verit- = antique Ku able jade 1662-1722 * 3L Chen = a pearl * 1662-1722 VL Wan yii = trinket jade Ya = elegant * 17th cent. wan Ch'iian = complete Chen = precious trinket ^ 17th cent. Sheng = holy lj\2 1662-1722 ? Pao (precious) _^^1 m or Shan wang 18th cent. Shun = elegant 1662-1722 ' ? A shop mark * i fn afl undeciphered Hsing = exalted J* 1662-1722 /\ Shih fu = manifest yV\y happiness Kuo = national enclosed in a 1662-1722 ground, engraved m (§) 1662-1722 CHINESE PORCELAIN—NAMES OF POTTERS, ETC. 149 Mark. Description. Mark. Description, Shang su Fu fan chih tsao = (name) manufactured on 1736-95 la the boundaries of (the province of) Fuchien. eq;ii Early 16th cent. Yuan Sin-hsing tsao = made by Yuan Sin-hsing 19th cent. ? Lai (a name) 1662-1722 Chang Ming kao tsao = made by Chang Ming-kao. on biscuit ? Chao-chin 1 662- 722 (a name) 1 Early 18th cent. stamped Cheng ku shih = Chih = made to CMng-ku family order {i.e. 1 8th cent. imperial) engraved -chih (a name) Fa = emitted stamped {i.e. for sale) 1 8th cent. 1622-1722 SHi/ 3E UJ IU Shu fu = imperial Lin c'hang fa tsao palace. On Yuan Sfimm = made by Lin- dynasty ware 3tt ch'ang fa ft (1280-1367) ouri^ i73 6-95 Baragon Turned = Western Turned 1820-50 Ch'en mu chih (Mongolian script) tsao = made by Made for the $ Ch'en-mu-chih. princess of the it on biscuit west wing of the 1662-1722 Turned Mongolian banners ' 150 CHINESE PORCELAIN—DESCRIPTIVE MARKS Mark. Description. Mark. Description. Ch'a=:tea Shan jen ch'£n wei = The Hermit Ch'en-wei Chiu = wine ? 17th cent. inc. on white Fuchien porcelain Tsao t'ang = decoction of dates (chow-chow) Chiang t'ang = decoction of ginger Hsieh chu tsao = made for the Hsieh bamboos early 19th cent. Kuan lien fang chih = made for the look-lily boat (i.e. excursion Hsieh chu chu jen boat for viewing tsao = made for the the lotus flowers) Lord of the Hsieh i73 6 -95 Bamboos early 19th cent. Ts'ang lang Kuan yao nei tsao lii shiu = green = made at the Ufa water of the government factory boundless ocean 1820-50 1 6th cent. Yung cMng yii chih = made by Chung eh'eing fu = ' the ' order of father ' governor Emperor Yung (i.e. governor of a cheng province) (1723-35) Chung ch'eng Lien ch'eng = governor of ch'i hou a province. Probably Lien- On copies of old ch'eng is a potter's crackle ware name made 1723-35 CHINESE PORCELAIN—POTTERS' NAMES, ETC. 151 Mark. Description. Mark. Description. lIP i = Made by Wang Yii feng yang lin tja Sheng-kao at the = Yang-lin of Yii nn end of the 4th feng (a place not month of the far from Ching-te- 3rd year of Chia- chen). on an " ch'ing" (z>. 1798). egg-shell" plate \r3j " on " rice-grain Ml porcelain Yu chai = quiet Probably a copy Pavilion (studio of the letter G name of painter) (1662-1722) G c. 1724. on an ' egg-shell" plate Kung ming fu Chu shih chii = kuei Hung fu ch'i The red rocks t'ien = " A famous retreat ni§3? name, riches and honour : abound- ing happiness reaching to " heaven ! on an "Wan shih chii = " egg-shell "plate The myriad rocks c. 1724 BM retreat Tsui Yueh hsiian li Uncertain seal chih = made on the » —, marks terrace of the drunken moon ~ -J Mm c. 1800 Ling nan hui chi Square seal = a Lingnan [i.e. (1662-1722) Canton) painting copied at ; #rl and the seal Worcester Pai shih = White Rock (a studio Mark (unde- name of a painter) ciphered) on c. 1724 porcelain made " for the Siamese on an " egg-shell market. 1 8th cent. porcelain plate a 152 CHINESE POTTERY AND STONEWARE—CANTON Mark. Description. Mark. Description. Canton stoneware Wu chen hsien Li-ta-lai (name 0/ = pottery of yao it a potter) Wu chen-hsien Canton stoneware 18th or 19th cent, T'ai yuan (potter Canton stoneware 1 8 th or 19th cent. I sh£ng = Harmonious prosperity. ft Yiieh ch'ang on Canton stone- (potter) Yi-hsing pottery Yi-hsing (on red stoneware of Yi- Ko Ming hsiang hsing-hsien, in chih = made by Chang-chou-fu) Ko Ming-hsiang 19th cent. 1 8 th cent. Hui Meng-ch'en chih = made by Hui Meng-ch'en. An old name on modern wares Ko yuan hsiang chih = made by Ko Yiian-hsiang Meng-ch'en and 1 8th cent. Hui Yu-lan-pi chih = made by Yu-lan- chi Huang-yiin Pi = registered by "£W Huang-yiin "XT 19th cent. re Chin-Yiian-yu chi Chien yuan kai ti = registered by = The respect of Chin-yuan-yu Chen-ytian -19th cent. 1 8th cent. JAPANESE POTTERY THOUGH a primitive pottery was made in Japan before our era, it was not till the practice of tea-drinking necessitated a better class of ware that anything of artistic pretensions was made. In the thirteenth century Kato Shirozaemon, better known as Toshiro, journeyed to China to learn the secrets of the Chinese potters. On his return he made the first glazed wares, which consisted chiefly of tea-jars and tea-bowls of fine stoneware with rich streaky glazes, amber brown, chocolate, and purplish black, sometimes superposed. A yellow glaze was added in the next generation. These glazes, known as Seto gusuri, or Seto glazes, were for long the only covering for Japanese pottery. Towards the end of the sixteenth century, after the invasion of Corea, a number of Corean potters were transplanted to Japan by the victorious Hideyoshi and proved a powerful influence in Japanese ceramics. Tea- drinking became an organised cult, and the tea societies (Chanoyu) acquired a semi-political significance. In their ceremonies the tea-drinkers studied an almost rude simplicity, and the wares affected by them were of an archaic character, so that the potters had to devote themselves to copying the old Seto and Corean wares. The latter included wares with greyish-white glaze, or grey stoneware inlaid with white or black clays in what was called Mishima style. Another important class of tea-ware was a soft pottery with smooth waxen glaze in brown, black, salmon red, or yellow colours, known as Raku ware and introduced by a Corean named Ameya early in the sixteenth century. A seal engraved with the word Raku (Happiness) was given to Chojiro, the second generation of the family in 1588, and has been used by his descendants ever since. Raku ware was easily made and required only a low temperature in the baking ; it has been manufactured 153 1 54 POTTERY MARKS by a large number of potters, professional and amateur, in various parts of Japan. Among the old factories Takatori was noted for rich, variegated and mahogany glazes of the Seto style ; Karatsu and Hagi for wares of Corean type ; and Shigaraki for rough archaic pottery with blistered and corrugated glaze. A rich brown or slatey grey stoneware, with no glaze at all or only an accidental covering, was made in Bizen from early times : admirably modelled figures and groups have for long been made at Imbe, in this province. A grey stoneware with translucent glaze specked with brown was made at Iwaki in the province of Soma, and was generally decorated with a tethered horse, the princely badge of the province. Grey ware with fine inlaid white ornament, a develop- ment of the Corean Mishima style, is peculiar to Yatsushiro ; and the province of Ise is distinguished by the work of a clever amateur of the eighteenth century whose art name is Banko. He also worked at Yedo copying Raku, Corean, and Kioto wares. His seal was used by Mori Yusetsu, who revived his work in 1830, and who was further noted for the use of interior moulds for his fine stoneware teapots which show outside the finger-prints of the potter. The Kioto potters worked in every style, but the district of Awata is specially noted for a beautiful pottery with hard greyish white body and translucent glazes varying from grey to cream colour and finely crackled. In the early part of the seventeenth century this ware was painted in blue or brown under the glaze ; but in the latter part of that period the celebrated potter, whose art name is Ninsei, learnt the secret of enamelling on the glaze from the porcelain makers in Hizen. He was followed by the Kenzan, Kinkozan, Hozan, Taizan and other families whose descendants in many cases still produce the finely enamelled Awata faience. But the most beautiful pottery of this type is the ivory white ware of the province of Satsuma, with its lustrous velvety surface and scarcely perceptible crackle. This ware, which probably dates from the seventeenth century, was at first under- rated ; enamelled ornaments were sparingly applied in the eigh- teenth century, but in modern times the quality of the ware has degenerated and the mass of decoration increased. Indeed a large proportion of the ware is now sent to Tokio, where it is entirely covered with rich enamels and gilding. There were other and older wares made in the province of Satsuma with JAPANESE POTTERY 55 glazes of Seto type, shrivelled glazes resembling shark-skin in texture, mottled tortoiseshell glazes, and brown painted designs, but these are little known or appreciated in Europe. Another kind of pottery, in close imitation of a Chinese ware called by the Japanese Kochi-yaki, was successfully made by Zengoro Hozen, whose art name is Eiraku. This is a stoneware or semi-porcelain with turquoise, green, and purple glazes usually kept apart by the raised outlines of the ornament, but sometimes laid on singly over the entire piece. Eiraku flourished in the first half of the nineteenth century and his family still uses his seal. He worked at Kioto and in the province of Kishiu or Kii. Marks on Japanese pottery are incised, stamped, or painted. The stamps or seals are by far the most numerous. They usually give the name of the potter or place of manufacture or, more rarely, the name of the Temple or place where the ware was sold. Japanese craftsmen almost always adopt an " art-name," sometimes more than one, and these are the names that chiefly occur in the potter's marks. Thus Zengoro Hozen signed with the name Eiraku and also with the seal Kahin Shiriu given to him by a princely patron, while Ogata Shinsho, best known by his art name Kenzan, is credited with at least ten pseudonyms. number of signa- J»VX Japanese potters worked singly, and the 5"* tures of professional and amateur potters is immense. *^" I 2 Marks containing the words tei (house) and yen (garden) " |3|1 correspond to the Chinese hall marks." The following 2n •* list is a selection of the most important marks arranged geographically. Japanese marks are usually written in Chinese "j5J = tsukuru, sei, seisu, or zo = made ) ^uT saku = made yCr tsukuru this ~&** =Koreo = made . t hitsu = drawn = sei =made (synonym of tsukuru) = ga or yegaku = &, painted 156 POTTERY MARKS script or seal characters, more rarely in the cursive Japanese writing. They commonly end in the word sei or tsukuru (Ch. chih) = made, varied by such words as saku = made : hitsu (pencil) = drawn : ga or yegaku = painted. Tsukuru followed by the word JCore( = this) is read Kore o tsukuru = made this. Some- times the mark ends in, or solely consists of a Kakikan, i.e. written seal (see p. 179), a flourish or sign without literary meaning. Date marks are given in two ways as on Chinese wares : (1) the cyclical is identical with the Chinese 1 system which (p. 29) ; (2) the nengo which corresponds with the Chinese nien hao, being a period, the name and length of which are determined by the Emperor. The list of nengo began in 645 A.D. ; but the following section beginning in 1370 is sufficient for identifying pottery marks. The table of numerals on page 137 will be useful in this connection. In the columns of Japanese marks the headings in heavy type are the names of provinces. Place-names have been printed in italics, where they might be otherwise confused with the names of potters, which are printed in ordinary type. . . . JAPANESE POTTERY 157 JAPANESE DATES (nengo). Ken-toku 1370 XtJk Ko-ji • I55S Ei-roku . • 1558 Bun-chu 1372 Gen-ki . • i57o Ten-ju . 1375 IE 7c Ten-sho • 1573 Ko-\va . 1381 Bun-roku • 1592 Gen-chu 1384 Kei-cho . • i59 6 Mei-toku 1393 Jk% Gen-na . • 1615 O-ei . . 1394 Kwan-ei . 1624 it IE Sho-cho 1428 Sho-ho . • 1644 Ei-kio . 1429 Kei-an . . 1648 Ka-kitsu 1441 Jo-o . • 1652 Bun- an . 1444 Mei-reki • 1655 Ho-toku 1449 mm Man-ji . • 1658 IS"? Ko-toku I45 2 Kwam-bun . 1661 lEHf Ko-sh5 . 1455 Ch5-roku 1457 Em-po . • 1673 Kwan-sho 1460 Ten-na . , 1681 IE Iff JEX Bun-sho 1466 Jo-kio . . 1684 t§ O-nin 1467 Gen-roku . 1688 Bun-mei 1469 WW H6-ei . • i7°4 Cho-ko . 1487 use Sho-toku . 1711 En-toku 1489 Kio-ho . . 1716 6 Mei-6 1492 Gem-bun • i73 Bun-ki . 1501 Kwam-po • 174* iE7K Ei-sho . 1504 En-kio . • 1744 tKA Dai-ei . 1521 Kwan-en • 1748 K6-roku 1528 H6-reki . • i7Si Tern -bun 1532 Mei-wa . • 1764 An-ei • 1772 i58 POTTERY MARKS JAPANESE DATES (] On p. 189 is a complete ex- TO Tem-mei . 1781 ample of a Japanese mark, in- Kwan-sei • 1789 cluding a date, i.e. "MadeatOto- Kio-wa . . 1801 koyama, in Southern Kii, in the ft-*: Bun-kwa . 1804 first year of Ka-ei" (a.d. 1848). Below are five other examples of Bun-sei . . 1818 date-marks. Tem-po . • 1830 Ko-kwa . . 1844 Ka-ei . 1848 jBc^ An-sei . • 1854 Man -en . . i860 Bun-kiu . . 1861 S*&7G Gen-ji . 1864 Kei-o . 1865 s^ Mei-ji . . 1868 Em-po nen sei <4£ Gen-ki nen sei % = made in the = made in the Em-po period Gen-ki period (a.d. 1673-81). (A.D. 1570-73). I^HI \3rj Mei-ji nen To-yen *, sei — made by To-yen in the Mei-ji period (a.d. 1868- ). Bun-kwa nen sei Tai min nen sei = made in the = made in the $1 4fc Bun-kwa period Tai min dynasty (a.d. 1804-1818). i.e. The Great Ming dynasty of the Chinese (a.d. 1368-1644). JAPANESE POTTERY—HIZEN, BIZEN *59 Mark. Description. Mark. Description. Hizen Prov. of Bizen tr Various marks used by potters to Shichi ju ni sai identify wares Niraku saku = fired in the public made by kilns Niraku at the age 17th cent. of 72 years c. 1800 Cho Gorohachi. Ka ichi Mark on a copy c. 1680 of old Corean ware, c. 1800. % The original Gorohachi worked Kimura Uji in the 16th cent. 1780-1830 Kameyama o»4 19th cent. Riku 1780-1830 Bogasaki, in Nagasaki 1830-43 Totei 19th cent. Bo (for Bogasaki) Dai Nippon Imbe to = Imbe ware of great Japan 19th cent. Mikawa for Mikawaji Terami c. 1820 ^ c. 1850 Shoto ^ c. 1800 K'wa-bo .* 1 8th cent. i6o JAPANESE POTTERY—BIZEN, SETTSU Mark. Description. Mark. Description. Bizen Tsushima Kiyo-chika Shiga 19th cent. Dai Nippon Tosa ** Spa Imbe to (seep.159) Odo and Kimura [9th cent. Kiyochika Naoyoshi Sokan tsukuru = 1 8th cent. made by Sokan c. 1680 5* Yoshida tsukuru Settsu = made by Naniwa (old Yoshida name of Osaka) c. 1840 c. 1680 Mori Kosobe and Shichi ju rojin Tai-nen sho = painted by Tain en Okayama at the age of 70 19th cent. years 19th cent. Kikko ( + 1861) Mushiage at Jusan, Osaka 1819- (see p. 179) Sakurai Mushiage and no Sato = Makuzu Sakurai (a village) c. 1830 in Sato c. 1830 JAPANESE POTTERY—SETTSU, OMI, HIGO 161 Mark. Description. Mark. Description. Settsu Omi Shosai at Osaka Yuko c. i860 c. 1850 Omi Baizan \/ c. 1850 Seta Shigaraki Uichu. 17th cent. Uichu, potter of © onwards Shigaraki 1 7th cent. Mompei and Mompeizan % c. 1830 ft Bairin at Beppo c. 1800 Takuzan ; made pottery at Yedo (1815-40) with Shigaraki Omi clay Koto = east of the lake (Biwa). Mark on wares Higo made at Sawayama Higo 1815-50 tiJti Yatsushiro Hira k c. 1830 Sogen r Zeze Tora. Gen Tora Kichi To potter, at Zeze Kiln marks (see c. 1850 note on Bizen ware, p. 159) on Yatsushiro ware 19th cent. M 1 62 JAPANESE POTTERY—HIGO, KAGA, ISE Mark. Description. Mark. Description. Higo Ya= Yatsushiro Kaga late 19th cent. Ohi 1780 onwards Higo Amidayama Ohi c. 1797 t±\ Yamamoto K c. 1810 Shodai Kinju (Mark of c. 1840 Mokubei in Kaga) c. 1807 Shofu Ise Anto 1740-J850 Kaga Rinzan c. 1800 Banko early 18th cent. Ju (for Okura onwards Juraku) c. 1872 Akoji c. 1850 Toko at Rendaiji c. 1806 Sahei c. 1640 JAPANESE POTTERY—ISE, YAMATO 163 Mark. Description. Mark. Description. Ise Ise Yurin, maker Banko of Banko ware 19th cent. Ko-tei = lake house: Banko mark on Banko ware 19th cent. Nippon Banko and Date tsukuru Isazva = made by Date c. 1810 19th cent. Yamato Banko Akahada 1 8th cent. Nippon Yusetsu. Yusetsu was a potter who revived Akahadayama the Banko ware (19th cent.) $JK c 1835 I ill Bokuhaku Banko Fueki. (1850-70) i^7 Fueki was brother of Yusetsu Issai (Akahada or Hagi) 19th cent. Banko Seto-suke, mark on ware made at Yokka-ichi, in Ise c. i860 Bokusai (also 19th cent. on an older ware made in the province of Echizen c. 1665) 1 64 JAPANESE POTTERY—SUO, SADO, AWAJI Mark. Description. Mark. Description. Echizen Awaji Alikuni Mimpei c. 1830 Fukui It Nippon Awaji c. 1840 Sampei c. 1880 Chikugo Yanagawa c. 1840 Rissai (Awaji Suo or Tosa) 19th cent. Iwakuni {Tada) c. 1770 ft Iwakuni Nu-no Gun-jiro 1850 Kikko (at Tada) c 1835 if Buzen Ho and a spiral mark of the potter Hosho at Agano c. 1800 Jusan-ken ; mark of Kikko Denko (name of a ware made \ at Kataril) c. 1856 Sado Izumi Sa-kin saku Min at'0 : made by Sakin. c. 1800, Kintaro " ware and Minato yaki 1800 = Minato ware 19th cent. JAPANESE POTTERY—IZUMI, KII, IGA 165 Mark. Description. Mark. Description. Izumi Kii Sen-shiu Sakai moto Minato yaki Kichi-ye-mon Otokoyama near Nishiyama = Original 1847-66 Minato ware of Kichiyemon at Sakai in Senshiu (i.e. Izumi) 19 th cent. Nan-ki Kwan-kei Nan-ki. Otokoyama = southern Otokoyama Iwami Seinei. Nag-ami A mark said to have been used c. 1840 by Raku Tanniu in Kii c. 1840 Zuishi Iwao (another c. 1790. mark of the A ware made same potter) m at Meppotani Kii Kairakuyen sei Iga = made by Iga Kairakuyen. c. 1800 A name given to (Two forms «. Eiraku Hozen by of the mark) Prince Harunori. Kairakuyen sei Kairakuyen Iga yaki (in a gourd). = Iga ware The factory c. 1840 was in the Kairakuyen park at Nishiyama and was active from 1828-68 Totei (at Mar-ubashiro] c. 1850 1 66 JAPANESE POTTERY—NAGATO, HARIMA, IZUMO Mark. Description. Mark. Description. Nagato Harima Toyo-ura-yama Suma ' 1800-50 c. 1846 forms (The factory Two of the existed from mark 1716 onwards) Tozan the hill from which the clay was taken for the factory at Hi?neji Totomi 1826- Shidoro Izumo 1 8th and 19th cent. Zen and Zenshiro. A family working at Fujijia Harima 1750-1860 Akashi 1700-1860) Rakuzan at Matsuye 1780-1840 Akashi-ura Ui Unyei at Asagiri Fujina Sohei c. 1830 19th cent. The Asagiri factory dates Izumo from 1700-1830 Wakayama : late 19th cent. Wafuken Chikuzen and Maiko Takatori yo (1750-1800) = Takatori pottery c. 1770 Hoyen : a mark used Ka by Maisen c. 1780 who followed Wafuken Yamaka c. 1800 c. 1800 (oven marks see p. 159) JAPANESE POTTERY—CHIKUZEN, SANUKI 167 Description. Mark. Description. Chikuzen Shido Shun-min (Takatori) c. 1780 Ki. c. 1820 Taka (for Takatori) 19th cent. Shun-min Teiten c. 1850 Min Soshichi at Hakata 1827 Minzan at Shido 1780-1830 Soshichi ft Shinzan c. 1830 Shun (for Taka (for Taka- Shunzan) in Suo matsu) on " Inari- c. 1780 yama " ware 1740-60 -4 Sanuki Shun-min Hiraga c. 1780 Yashima (Hiraga Gennai at Shido took the name c. 1800 Shun-min) Yashima c. 1820 1 68 JAPANESE POTTERY—SANUKI, TAMBA, OWARI Mark. Description. Mark. Description. Sanuki Owari Yashima Bizan Rinso c. 1800. ' " tsakuru = On ' Ofuke ware Yashima (ware) made by Rinso. 1817 Fuke. Mark on ' ' ' Ofuke ' ware made at Akazu Sobokai 1800 Yashima Shunu c. 1790 Yohachi 1810-30 Shunzan c. 1770 San yo = Sanuki Pottery c. 1840 Shuntai c. 1830 Tamba Naosaku Shunyetsu 1835-60 19th cent. Owari Owari Shuntan 19th cent. c. 1800 JAPANESE POTTERY—OWARI i6< Mark. Description. Mark. Description. Owari Owari Makusa Inuyama c. 1780 1730 onwards Inuyama (which has the Gen (for Gempin) same ideographs c. 1640 as Kenzan) r c. 1800 Gempin on a copy of Gempin ware $r made c. 1730 Yoshitoyo (at Seto) c. 1780 Chozo % (at Tokoname) c. 1830 Toyohachi (at Nagoya) Ikko (at Tokoname) c. 1850 t&\ Toyosuke Sobaitei (at Akazu or Kioto) ^a 1 8th cent. Toyoraku Masaki (at (or Horaku) dU Nagoya and Tokio). c. 1820 Bokuko Toyoraku. (style of Masaki) Four marks on 19th cent. ware made by i Toyosuke at the Horaku factory at Nagoya. c. 1820 17© JAPANESE POTTERY—OWARI AND KIOTO Mark. Description. Mark. Description. Owari Yamashiro Bairaku Ninsei : in a seal (on Toyosuke the top of which ware) . is like a looped c. 1820 curtain (Maku-in) Sasashima Akashi (near Nagoya) Mark of Seisuke 1750-1870 working with Ninsei c. 1680 Fuji Seikanji (marks of the (Ninsei worked Fujimi family) there c. 1670) 1800 onwards Yamashiro Kuchu : on Onike : on ware ' " ' Takagamine made at Mizoro ware made by early 19J.I1 cent. Kuchu or Koho c. 1630 : and Ko in a circle (for Koho) Harima : mark of Sei (for Ninsei) . Tsuji Harima 17th cent. 1720-30 Kiyo (mark used by ss Ninsei) Tsuji Harima Ninsei * Fuji (at Kiyomizii) c. 1700 II Awata (Kioto) 17th cent, © m onwards ) JAPANESE POTTERY—KIOTO 171 Mark. Description. Mark. Description. Yamashiro Yamashiro ' " Iwakura Kinkozan (at The Kinkozan Iwakura and family worked at Kioto). 17th Iwakura, moving cent, onwards to Kioto in 1750, where they used the same marks Bizan (at Awata) 19th cent. Iwakurayama Tanzan (at Awata) 1846 Hozan (family) CD 17th cent, onwards Kozan at Awata c. 1820 Kiyomizu Hozan (17th cent. onwards) a district of Kioto Taihei (used by Kiyo Hozan c. 1800) (for Kiyomizu) Kiyomizu Bu (=?Bunzo) Gusai 1 8 th cent. 19th cent. Kanzan Gobosatsu (at Kiyomizu) 17th cent, 1805 onwards onwards Eisen (at Taizan (at Kiyomizu Awata) c. 1760. 1760 onwards ' An amateur potter, who made the first Kioto porcelain Giozan 1820-50 72 JAPANESE POTTERY—KIOTO Mark. Description. Mark. Description. Yamashiro Yamashiro Dohachi II. Roku. Mark of (in a shell) Rokubei I., at Kiyomizu (1737-99) Sei in a hexagon. Nina and Mark of Ninarai : marks Rokubei I. of Dohachi II. and III. Kachutei Dohachi sei = made by Rokubei I., and v\ rp Dohachi in the Rokubei III. Kachu house (1820-85) Shuhei : at Sei in a double Kiyomizu hexagon. Mark c. 1810 of Rokubei II. 1797-c. 1850 Yosobei I. (at Kiyomizu) c. 1800 Shichibei Yosobei II. (1840-60), and c. Sei in a heptagon 1830 at Kiyomizu Yosobei III. c. 1850 Dohachi (The first Dohachi dates 1737-93 : Tosetsu : at Dohachi II. , Kiyomizzi died 18 s6 : IIP Dohachi Id I. c. 1840-75 Dohachi IV. 1875- at Kiyomizu Kitei (at Kiyomizu). Dohachi Four generations dating from 1790 JAPANESE POTTERY—KIOTO 173 Mark. Description. Mark. Description. Yamashiro Yamashiro : Kitei : at Tsuyen at Kiyomizu (Kitei Kiyomizu = tortoise house) c. 1800 Ippodo c. 1850 on Suminokura's Ki for Kitei Tei on a tortoise Arashiyama mark of Wake c. 1830 Kitei, c. 1850 « A tortoise Asahitei c. 1840 Zoroku Shonsui Gorosuke at Gojosaka 1840-60 Zoroku (mark of Genyemon at fk & Kiyomizu) +\ ** 1841- Otani : mark used by Zoroku Kinsei c. 1800 Seifu (at Kiyomizu) : three Kosai generations dating 1840-50 from c. 1844 174 JAPANESE POTTERY—KIOTO Mark. Description. Mark. Description. Yamashiro Yamashiro Raku. This seal was given to Ichi-raku Chojiro, son of the {Kioto) &m Corean Ameya, by 19th cent. Hideyoshi in 1588. The family have used it since, and the 13th generation is still at work in Rakuwo Kioto (Kioto) Raku 1 8th cent. (= enjoyment) Kagura = mark on Okazaki ware of Raku type, Raku made by Bunzaburo 1850-70 Kyuraku : mark used by Yasuke Seinei : mark of Raku Tanniu (Kioto), c 1855 :. 1840 (seep. 165) Saburo: an early mark used by Kenzan, the celebrated Other makers of Kioto potter Raku wai-e at (t 1743) Kioto Jizan saku — made by Jizan. 19th cent. Kenzan Sei-ji, 19th cent. Ko-sa-o 1 8th cent. •nfO JAPANESE POTTERY—KIOTO 175 Mark. Description. Mark. Description. Yamashiro Yamashiro Omuro: mark used by Wagen (12th Sandai Kenzan generation of the = of the Kenzan Zengoro family) 3rd generation, c 1853 early 19th cent. x> Ouchi-yama Sei en : mark used by Zengoro Wagen Mokubei : at Kiyomizu (1767-1833) Tenkaichi Koki kwan Soshiro : mark of Mokubei tsukuru Soshiro, of the = made by Mokubei 4th generation of the Zengoro family connoisseur of c. 1640 antique pots Asahi : mark on pottery Marks used by made at Uji in Zenshiro (brother 17th cent, and of Wagen) revived in 1852 c. i860 Ryozen The first reads Omuro and the c. 1810 other Toho (10th generation of the Zengoro family) at Kioto Eiraku : mark of Hozen, nth Otcwa generation of the 17th cent. Zengoro family \^g? 1825-53 (see p. 165) Kahin Shirin : mark used by Hozen Otowa and Ken (for Kentei) c. 1850 Hozen 176 JAPANESE POTTERY—KIOTO Mark. Description. Mark. Description. Yamashiro Yamashiro Giyoku-tei Kiunken (Kioto) (Kioto) 19th cent. 1 8th cent. •i- Makuzu family : 1840 onwards at Makuzu-ga-hara, a district of Kioto Sei -** Shigen Rengetsu : a woman potter late 1 8th cent. h 1830-60, and a 2nd generation d 1860-80 Musashi Kenzan sho = Kenzan wrote Riokozan : mark it. Kenzan (see used by Rengetsu p. 174) worked at Iriya, Tokio early 19th -cent. Rantei c. 1865 Kenya : mark of K'wan-riyo Miura Kenya in Kioto) (? Asakusa late 1 8th cent. 1830-c. i860 Shuzan c. 1870 Sei shi c. 1872 JAPANESE POTTERY—TOKIO 77 Mark. Description. Mark. Description. Musashi Musashi Shisei : at Kaseizan Matsuyama worked near 19th cent. Yotsuya, Yedo c. 1780 Rakurakuyen : the garden of the Shoson Daimio of Owari 19th cent. in Tokio, where pottery was made 1804-30. Masaki was in charge for a time Gosaburo : at Imado c. 1840 Korakuyen : mark of the private kiln of the Prince of Mho, at Tokio 1832 Sumidagawa : mark used by Sanrakuyen Kikkutei at Yedo mark of private kiln of the Duke ft it of Tosa, Tokio 1848 Kikko, who came to Yedo in 1855 (see p. 160) Tamagawa : probably Tokio c. 1850 Koren saku Hashimoto — made by Koren: Sanjiro : at Imado a woman potter of 19th cent. Tokio c. 1878 1k 178 JAPANESE POTTERY—TOKIO, SOMA, SATSUMA Mark. Description. Mark. Description. Musashi Makuzu Kozan Satsuma (in tsukuru a Satsuma : in gourd) = made by ordinary and Makuzu Kozan (see contracted p. 176) who moved forms from Kioto to Yokohama in 1870 Makuzu Kozan Hoju (in a gourd) 1780-1800 Iwaki Soma. Soma ware was Hohei made at Naka-- 1820 mura, 1631 onwards. It is usually decorated with a prancing horse tethered, the device of the Prince of Soma Hoyei 1820-40 Shoda : mark on Nakamura ware c. 1850 Tatsumonji Hoyu Kanashige c. 1840 1850-70 Yenzan Hoko ? 1 8th cent. i860 on Soma ware Komaru 1816- Seikozan at Ohorimura 1830 Hayashi (with a Rakuzan leaf usually added). m 1830 ? Satsuma or mark used by Kioto Komaru c. 1840 JAPANESE POTTERY—SATSUMA, ETC. 179 Mark. Description. Mark. Description. Satsuma Miscellaneous Satsu sei : on Toshiro : Tachino ware supposed to be the c. 1830 signature of Kato Shirozaemon or Toshiro, the originator of glazed pottery Tei-ji on netsuke in Japan in the made at ? Kioto 13th century 19th cent. Mikawa Sen-ki : mark on Kakitsubata (an Ohi-machi ware ris) and Okunisan (see p. 162) (honourable pro- 19th cent. vince): marks used on Kusumura ware c. 1840 Jusan-Ken : mark of Kikko at at Osaka and Yedo (see p. 160) Soyen : mark on Five examples of Raku ware Kakihan (hand {Kioto) 19th cent. seals) occasional!) used by potters in place of, or accompanying, the ordinary Bunki on. Raku signature. ware [Kioto) They are mere ? 19th cent. nourishes made with the brush Sensuke seizor and do not repre made carefully by sent actual Sensuke : on Ota characters. ware c. 1874 made in the prov. Kii Ni-Ko on ware made for sale at the temple I of Niko near Tokio JAPANESE PORCELAIN The pioneer of Japanese porcelain was Gorodayu Go-Shonsui, who spent five years in China learning the art at Ching-te-chen. Returning to Japan in 1 5 1 5 he made blue and white porcelain with imported Chinese materials ; but as he was unable to find the necessary clay in Japan, his success was only temporary and left nothing behind but the knowledge of painting in blue under a glaze. The requisite materials, however, were discovered in the province of Hizen by a Corean named Risampei, about the year 1605, and forty years later two potters named Tokuemon and Kakiemon, with some help from a Chinese, developed the art of painting in enamel colours. A flourishing industry now sprang up in the village of Arita and its neighbourhood, and much of the ware found its way to Europe on Dutch ships trading with Imari, the sea-port of the Arita district. This "Old Japan" porcelain falls roughly into two classes : (1) a fine white ware with delicate and sparse decoration of floral sprays, birds, and animals in brilliant enamels, blue, manganese-purple, green, and red—commonly called Kakiemon ware; and (2) a heavier, greyer porcelain with crowded ornaments chiefly in dark impure blue, soft Indian red, and gold, obviously made for export, and commonly called Old Imari ware. Two other factories in the province of Hizen were celebrated in the eighteenth and the first half of the nineteenth centuries ; the one at Okawaji, under the patronage of the feudal chief of Nabeshima, and the other at Mikawaji, taken under the protection of the chief of Hirado in 175 1. The Hirado porcelain was the finest made in Japan ; and the best specimens were painted in a pale but pure blue of great delicacy, a favourite subject being boys playing under an ancient pine, the number of boys, seven, five, or three, indicating the quality of the piece. — 182 POTTERY MARKS In 1660 Goto Sajiro, a native of the province of Kaga, set out to discover the secrets of the Arita potters, and from his return in 1664 dates the growth of a nourishing industry at Kutani-mura and its neighbouring villages. Kaga porcelain was chiefly noted for its rich enamels—blue, green, purple, and red either painted in the Arita style or laid on in broad washes over formal designs pencilled in black. In the nineteenth century a specialty was made of decoration in red and gold, which has come to be regarded as typical of Kaga ware. The Kioto potters did not turn their attention to porcelain till the end of the eighteenth century. Eisen was the first and he was followed by Mokubei, Rokubei, Eiraku, Dohachi, and a number of other clever potters. The Seto factories, destined to be the most productive in Japan, owe their knowledge of porcelain-making to Kato Tamikichi, who penetrated the secrets of the Arita potters in the first decade of the nineteenth century. -Chinese influence is almost always apparent in Japanese porcelain, and the early wares, if marked at all, usually display a Chinese date, 1 symbol, or mark of commendation. Moreover, the better factories were directly under the patronage of a feudal chief who did not permit the workmen's names to appear on the wares. Thus it is not till the nineteenth century that true potters' marks are common on Japanese porcelain ; and much of the older wares have no mark at all. Marks beginning with the words ''•Dai Nippon'''' (see p. 186) may be safely regarded as of nineteenth-century date. 1 Such as the nienhao of the Ch'eing Hua (Jap. Seika), Chia Ching (Jap. Ka-sei), Wan Li (Jap. Man-reki), Ch'ien Lung (Jap. Ken-riu) for which see P- 135- JAPANESE PORCELAIN—COMMENDATION MARKS 183 Mark. Description. Mark. Description. Bun-mei On Arita porcelain Kai-k'wa = enlightenment and civilisation on Seto ware c. i860 Fuku = happiness (common on Kaga porcelain) Ho = precious : on Arita porcelain c. 1700 Ho tei no takara = a gem among precious vessels. on Arita ware 18th cent. Tiu = long life Kin (gold) : on Okawaji ware 18th cent. c^eL Ka = happiness Doubtful seal mark on Kaga porcelain, Roku = early 18th cent. emolument : on Hirado ware a 1 8th cent. ? Fu wan chih = Doubtful seal. made by Fu-wan. mark on on Arita ware Kaga ware c. 1800 Fu wan = 17th cent. ten thousand blessings 1 84 JAPANESE PORCELAIN—COMMENDATION MARKS Mark. Description. Mark. Description. Doubtful seal Flower in red, mark : Arita and mark of porcelain the Dresden ? 1 8th cent. collection incised. Wtf* Arita porcelain 17th cent. Sei = made (to Leaf mark copied order) : on Kaga from the Chinese porcelain 1 8th cent. Ornamental seal fungus mark : mark on Arita copied from the porcelain Chinese 1 8th cent. Gwan = a trinket. Kameyama ' ware early 19th cent. Fungus mark Seigen = pure it trinket. Seto ware 19th cent. fts Hizen shun = Fuki cho Arita Riches, honour and eternal ft spring ! Swastika or fylfot symbol : the Chinese wan = Nishina ten thousand Arita ware 19th cent. Five-leaved flower in red on Arita porcelain 17th cent. 1 JAPANESE PORCELAIN—HIZEN 185 Mark. Description. Mark. Description. Hizen Hizen Hizen Kuwan Yo m Xembokuan Kizo m BE Hizen Sa rayam a. sei = made by late 19th cent. it Xembokuan Kizo I in the Hizen I 111 ffijf government kiln. Mb % Arita 'XJ 19th cent. A& m Mikawaji Mori Chikara tsukuru Xembokuan Kizo = made by U )W Mori tsukuru = made by Chikara Xembokuan Kizo at Mikawaji. late 19th cent. «S ft */yv. * &]-¥- Hirato sei = made $ 9 at Hirato Xichi Hizen (on Mikawaji Fukagawa ware) tsukuru = made ill BE by Fukagawa Masa-ichi : a in Hizen. /tS (ii) netsuke maker : Mikawaji late 19th cent. ft Ui 19th cent. — -3fe it BE Hizen Kuwan — Mi'/r7\l Tsuji tsukuru = Zoshun tei made by Tsuji in Sampo sei = made frf* £? the Hizen govern- vf* HL by Sampo at the » ft ment (kiln). J*T* ^p* Zoshun hall late 19th cent. Mikawaji c. 1830 11 nc ** Hichozan Shimpo tsukuru = made by Kushide (comb Hichozan Shimpo. - ' pattern) on the Arita foot rim of 19th cent. Xabeshima ware made at Okawaji 1 1 11 1 1 1 8th and 19th cent. Kozan sho = written by Kozan. s* ? Okawaji 1 8th cent. Hako sei = made at Hakodate m 3JU c. 1850 > k/W : 1 86 JAPANESE PORCELAIN—HIZEN, HARIMA, ETC. Mark. Description. Mark. Description. Hizen Settsu Gorodayu Go Sakurai no Sato Shonsui tsukuru = -Sakurai in made by Gorodayu Sato Go Shonsui. m & 19th cent, This potter was see p. 160) the originator of Japanese porcelain in the i6th cent. it IT imitations of his ware are common at m Narau waga zo- sen Shonsui Goro- Kaga m dayu tqkoro sei = Kutani. * made in imitation Dai Nippon of my ancestor Kutani sei = m ft Shonsui made at Kutani Gorodayu in Great Japan.. if *$ 19th cent. Tozan no in = seal of Tozan. Kameyama sei Kutani = made at 19th cent. Kameyama 1 1803-46 Ktrfani Shiozo. Harima late 19th cent. Himeji sei = made at Hi?neji (see p. 166) c. 1826 Banjo Tozan. Dosuke chin Tozan is the ;wan = precious mountain where P m trinket of the material was Dosuke. mined for Himeji Kaga ware ware 4 i% *• cent. #L 1 8th JAPANESE PORCELAIN—KIOTO .87 Mark. Description. Mark. Description. Yamashiro Yamashiro Kioto Heian toko Rantei seizo = -*- carefully made by Rantei the Kioto potter. Dai Nippon $£ y early 19th cent. Eiraku tsukuru = v made by Eiraku in Great Japan. Id b Mark of Eiraku I. early 19th cent. and Eiraku III. late 19th cent. (see p. 175) % m Rantei sei gwan = pure trinket of Rantei Kachu tei Dohachi = made by Dohachi in the Kachu house. Kioto c. 1840 f Rantei Heian toko Rokubei sei — made by Rokubei the Heian potter. Heian is an old name for Kioto. early 19th cent. Kisui seizo = made (see p. 172) by Kisui. Kioto c late 19th cent. Yaki nushi Sosendo = the potter Sosendo. Shimbei tsukuro = Seto made by Shimbei c. 1840 ? Seto • I' 19th cent. JAPANESE PORCELAIN—KIOTO Mark. Description. Mark. Description. Yamashiro Yamashiro Kiyen tsukuru Kanzan sei sei = - = made by Kiyen. m # carefully made by ® (incised). Kioto Kanzan. Kioto 19th cent. m ui 19th cent. m * Dai Nippon Kosai tsukuru = made &> &L Kanzan kin sei by Kosai in. Great '$£ *r** *7 I m h &T . = respectfully Japan. Kioto c. 1850 made by Kanzan m # Jt^ ] Kosai Makuzu Kozan Hi tsukuru = made my ay Makuzu Kozan. Kioto & m 1851- ffi * Fuji yo Makuzu 1 Dai Nippon Seifu tsukuru = made tsukuru = made at the Fuji kiln by Seifu in Great m. of Makuzti. Japan. Kioto Makuzu is here 19th cent. the district & m of Kioto. early 19th cent. Fuku shun ken Giyokusei tsukuru \ s -m = made by Seifu tsukuru Giyokosei in the m m Fukushun garden ] "ii Kioto m m late 19th cent. Ogata Shuhei. 'St L Kioto. 5-5C c, 1810 Jfc jf-j& = Roki, maker. Kioto Sahei seizo 19th cent. £ = made by Sahei. f mark of Zoroku FV [Kioto] 2?v ^ f, 19th cent. JAPANESE PORCELAIN—KII, OMI, OWARI 189 Mark. Description. Mark. Description. Eii Owari Kayei g'wan ^ M nen Nanki **. Otokoyama sei Dai Nippon Seto = at IE M made sei = made at Seto Otokoyama, in £ A in Great Japan & 7C southern (Kii) 19th cent. in the first year of Kayei "*• 111 # (i.e. 1848) * m (see p. 158) Omi Ms Owari Koto = east of the lake (i.e. m lake Biwa). early 19th cent. h * (see p. 161) -4 Meiho : a A& signature on m Koto ware m-$L \h Kato Kanshiro. Seto n & late 19th cent. Koto Jinenan ji = vessel of & Jinenan of Koto i Seal mark on Seto ware Owari SJ 19th cent. & Nagoya * 19th cent. "' Kawamoto # Seto Masukichi. 5 late 19th cent. * * i 9 o JAPANESE PORCELAIN—OWARI, MINO, AWAJI Mark. Description. Mark. Description. Owari Mino San-han. Seto 3l Togiyokuyen late 19th cent. m Gosuke sei = made by m 5 Gosuke in the Kito ken Hoku- Togiyoku garden. han tsukuru 19th cent. = made by m m Hokuhan at the Kito (curious pottery) house. Seto late 19th cent. Nippon Mino Seikan yen Goho kuni Kato sei = made by Gosuke sei Goho in the = made by Kato Seikan garden. 3l m Gosuke in the Seto province of late 19th cent. Mino, Japan Mark on ? Korakuyen, or Mito, ware made at Tokio with Seto materials 1832 (see p. 177) K Yamato sei = made at Yamato on eggshell A tortoise : on Seto ware porcelain 19th cent. 19th cent. c- Awaji Dai Nippon m & Hansuke tsukuru = made by Hansuke in Great Nippon Awaji Japan. Seto Kashiu Sampei. late 19th cent. h m late 19th cent. Mino Togiyoku yen sei = made in the Togiyoku (jade pottery) garden Mi?io. 19th cent. JAPANESE PORCELAIN—COMPANIES, ETC. 191 Mark. Description. Mark. Description. «4m» m u Nippon Tokio Hyochiyen gua s7 = painted at the 2~? m # Hyochi garden Tokio. ^%V On Arita r m ware painted ^ m at Tokio. Nippon Tokio 19th cent. Kinshosha tt tsukuru = made M % m * N by the Kinsho ' ~*zz* Company at Tokio in Japan. late 19th cent. M \7 Oite Koransha Seizan sei = made by Seizan of the Koransha ft (company). *AJ Mikawaji late 19th cent. ^gT"* Ul it /f< m Shippo Kuwaisha. mark of the If* Shippo Company X Owari ^ late 19th cent. E| ^i. INDEX OF NAMES Aalmes, 47 Austin, 102 Bentley, 112 Aaron, 70 Avisseau, 70 Berg, de, 47 Absolon, 102 Avon, 57, 59 Berger, 35 Achard, 65 Aynsley, in, 118 Bergerac, 69 Adams, m, 118 Azulejos, 89, 90 Berlin, 32, 37 Aire, 68 Berlot, 30 Albany, 114 Baan, 49 Bern, 54 Albarez, 90 Bacon, 95 Bertolini, 17 Albissola, 21 Baddeley, 109 Bertrand, 28, 63 Alcock, 108, 118 Baden, 39 Besio, G., 18 Alcora, 64, 89, 90 — Bagnara, 12 Betini, 13 Alisandro, Maestro, 16 Bagnolo. to Bevans, 105 Allen, 98 Baguley, no Bevington, 105 Aliens, 28 Bailey, 111 Bideford, 106 Allies, 104 Baker, 105 Billingsley, 98 Alluaud, 73 Baldantonio, 17 Bing, 52 Alphen, van, 31 Baldems, 27 Bingham, 117 Altrohlau, 40 Baldessar, Maestro, 6 Birch, 109 Amberg, 37 Baranowka, 53 Bishop, 118 Amstel, 50 Barbizet, 71 Bishop's Waltham, 116 Amsterdam, 49, 50 Barcella, I. S., 17 Blemont, de, 57, 59 Andrea, Petrus, 13 Bariselio, 17 Blondel, 68 Andreoli, Maestro G., 2, 7 Barker, 114 Bloor, 97 Andriaensz, 45 Barnstaple, 118 Boch, 41, 51 Angaron, 19 Baron, 64, 67 Bodley, 117 Angouleme, 69, 75 Baroni, G., 19 Boender, 45 Anreiter, 40 Barr, 101 Bogaert, van der, 49 Ansbach, 30, 35 Bassano, 19 Boisette, 73 Antonibon, G. B., 19 Basso, 66 Bologna, 13 Antonio, 13 Batignolles, 70 Bondino, 60 Aolasdinr, 17 Batista, G., 18 Bone, 95 Apiello, 24 Batkin, in Bonn, 31 Aprey, 67 Batty, 113 Bonnefoy, 65 Apt, 67 Bayeux, 70 Bonnin, 115 Aranda, 90 Baylon, 114 Bonpencier, 22 Ardennes, 51 Eayreuth, 30, 35 Boote, 108, 114, 11S Ardus, 66 Beauvais, 57, 59, 70 Booth, 109, 114, 118 Arnstadt, 30 Beck, van, 47 Bordeaux, 73 Arras, 72 Bedeau, 63 Porelli, 21, 65 Arzobispo, 90 Beech, 115 Borgano, 18 Asciano, 6 Belfast, 106 Borgo San Sepolcro, Ashworth, no Bell, 106 22 Astbury, 108 Belle Vue, 102, 105 Borne, 60, 61 Atanasio, 15 Belleek, 95 Botero, B., 20 Augsburg, 27, 35 Belleville, 71, 76 Bott, 113 Augustus II., 26, 33 Belper, 103 Bottengruber, 35, 40 Ault, 118 Benedetto, Maestro, 5 Bottger, 26, 33, 132 Auspitz, 41 Bennett, 114 Bouchereau 67 193 194 POTTERY MARKS Bouffioux, 28 Capelleti, 21 Cozzi, G., 3, 23 Boulard, 60 Capo di Monte, 3, 24, 81 Crane, 116 Boulevard de St. Antoine, Carassus, 24 Creil, 69 Cardinal, 30 Crette, 51 Boulevard des Itahens, 76 Cari, Caesari, 10 Crevani, F., 19 Boulevard Poissoniere, 76 Carocci, Fabbri & Co., Crolius, 114 Boulogne, 74 Cartwright, 106 Cros, 64/90 Boulter, 115 Casa Pirota, 14 Crossley, 116 Bourdon, 73 Casamene, 69 Cushmann, 114 Bourdu, 60 Caselli, G., 12 Custine, 55 Bourdus, 77 Castel Durante, 8 Custode, 60 Bourg la Reine, 69, 73 Castelli. 21, 22 Cutius, 4 Bourgouin, 67 Castillon, 68 Cuzio, 4 Bourne, 103, 108 Castleford, 103 Cyffle, 44, 55, 56 Boussemart, 63 Caughley, 95, 96 Cyples, in Bow, 93, 95, 101 Cauldon, 118 Bowen, 104 Caussy, 67 Dacre, 116 Bowers, no Chailey, 105 Dagoty, 76 Boyle, 99, 107 Chamberlain, 101 Dale, 96, 108 Brachard, 77 Chambers, 116 Dale Hall, 108 Brama, G., 15 Chanou, 74 Dale, van, 49 Brameld, 99, 102 Chantilly, 58, 70, 72 Dalwitz, 39 Brandi, F., 21 Charles X., 79 Damm, 30, 36 Brannam, 118 Chaux, 66 Damman, 68 Breitenbach, 38 Cheatham, in Daniel, 54, 109, 112 Breslau, 40 Chelsea, 93, 95, 96, 100 Dareuber, 50 Bretby, 117 Child, no Darte, 75 Breteuil, 80 Chiodo, 20 Davenport, 99, 112, 113 Briel, van den, 45 Choisy, H. de, 67 Daves, 104 Brindley, 106 Choisy-le-Roy, 74 Dawson, 102 Briot, 59 Chollet, 69 Day, 116 Brislington, 104 Cianico, L. A.,. 21 Deck, 71 Bristol, 98, ioo, 104 Cimani, 16 Delft, 43-49 93, 95, 1 Britton, 103 Cimatti, A. R., 16 Denby, 103 Broillet, 76 Cincinnati, 114 Derby, 93, 96-8, 104 Brouwer, 46, 47 Citta di Castello, 4 Derennes, 67 Brown, no, 118 Clavareau, 71 Deruelle, 75 Brownfields, 117 Cleffius, 45 Desvres, 68 Bruges, 51 Clementson, 113 Devers, 71 Brussels, 51 Clerici, Felice, 18 Dextra, 45, 47 Buccaro, 44, 94, 132 Clerissy, 64, 65 Dieul, 61 Buchwald, 31, 32 Clermond-Ferrand, 66 Dihl, 75 Budau, 40 Clevedon, 119 Dijon, 64 Budweis, 40 Clews, 112 Dillwyn, 105 Buen Retiro, 89, 91, 92 Clifton Junction, 116 Dimmock, 117 Buergen, van der, 49 Clignancourt, 75 Diomede, 13 Burgess, 118 Closter Veilsdorf, 38 Dirmstein, 30 Burgh, van der, 45 Coalport, 95, 96 Diruta, 2, n, 12, 22 Burslem, 100, 107, 108, 117-9 Cobridge, 108, 112 Disdier, 90 Burton, 116 Coccorese, C, 21 Dixon, 102 Burton-on-Trent, 117 Cocker, 97 Doccia, 3, 23 Busch, 35 Cochran, 119 Doe, 104 Byclok, 49 Codnor Park, 103 Does, van der, 47 Coimbra, 91 Domenigo, Z. , 17 Cadborough, 105 Colebrookdale, 96 Don pottery, 102, 103 Cadogan, 102 Colin, 66 Donaldson, 101 Caen, 74 Cologne, 25, 28 Donkin, 102 Caffaggiolo, 4, 5 Commondale, 116 Donovan, 97 Caldas, 89, 91 Conditorey, 37 Donyat, 104 Caldwell, 107 Conrade, 60. Doorne, 46 Caluwe, de, 44, 50 Cookson, 109 Dorez, 63, 72 Cambray, 69 Copeland, 99, 113 Dortu, 55 Cambrian, 104, 105 Copenhagen, 44, 52 Douai, 68 Campori, F. Maria, 6 Cornelisz, 48 Doulton, 106, 116 Candiana, 19 Courcelles, 69 Dresden, 26, 33, 34 Cantigalli, 21 Courtille, de la, 74 Dreux, 80 INDEX OF NAMES 195 Drey, 115 Fishley, 106 Gien, 70 Dublin, 97, 106 Fleming, 119 Giesshiibel, 39 Ducroz, 113 Fletcher, no Gilbody, 98 Duesbury, 96, 97 Fleury, 76 Gille, 61, 71 Dumas, 71 Fliegel, 30 Ginori, 23 Dunderdale, 103 Flight, 101 Gioanetti, A., 18, 24 Dupre, 66 Florence, 2, 4, 13, 21, 22 Giordano, 24 Dupre-Poulaine, 68 Florsheim, 30 Giorgio, Maestro, 2, 7, 8 Durot, 72 Flower, 104 Girolamo, Maestro, 6 Duvivier, 50 Foescy, 76 Girolamo, R., 6 Duyn, van, 46 Fontebasso, 24 Gironimo, 6, 10 D wight, 94, 132 Folco, 20 Giustiniani, 21, 24 Dyck, K. van, 45 Foley, 117, n8_ Glasgow, 106, 119 Fontana, Flaminio, 9 Glass, 106 East Liverpool, 114 Fontana, Guido, 9 Gloucester, 115 Eastwood, 109 Fontana, Orazio, 9 Gliier, 29 Eaves, 104 Ford, 119 Gmunden, 41 Ebenstein, 51 Forester, 119 Gobo, 10 Eckernforde, 32 Forges les Eaux, 69 Godenius, 52 Edge, 108 Fcrli, 16 Godwin, 112 Edwards, 108 Forsyth, 116 Goggingen, 30 Eenhorn, 45 Fosse, 61 Gonela, 5 Eggebrecht, 35 Fotinger, 41 Goss, 119 Ehrhardt, 54 Fouque, 64 Gotha, 38, 39 Elbogen, 40 Fournier, 65 Gotzkowski, 37 Elers, 94, 107 Frain, 41 Goulding, 98, 105 Elkin, 112 Fran., Maestro, 16 Goult, 69 Elliot, 109 Francesco (Urbini), n Graf, 54 Ellvvangen, 29 Francesco Durantino, 9, 17 Grafnato ware, 1, 4, 25, Elton, 119 Frank, 104 104, 106, 115 Emens, 27, 28 Frankenthal, 31, 36 Grainger, 101 Englefontaine, 70 Frankfort, 32 Grangel, 64 Entoine, d', 70 Franz, 29 Greatbach, in Epernay, 69 Frate, El, 11 Grebner, 29 Epinal, 68 Frechen, 25 Green, 98, 103, 105, n 1 Ernst, 28 Frederick, 115 Greenwood, in Esione, 22 Fremington, 106 Grellet, 73 Este, 24 Friiting, 54 Grenzhausen, 25, 28 Etiolles, 73 Frye, 95 Gricci, 92 Etruria, 112, 113 Frytom, 48 Grindley, 119 Evans, 98 Furnival, 119 Grocott, 108 Evers, 55 Furstenberg, 36 Groen, 49 Fuina, 21 Groenlant, 48 Fabriano, 12 Fulda, 32, 39 Grondahl, 52 Faenza, 4, 6, 13, 14, 15, 16 Fulham, 105, n6 Gros Caillou, 76 Falconet, 77 Fumo, 92 Grosbreitenbach, 38 Fanciullacci, 23 Fiinfkirchen, 41 Grosse, 75 Fattori, F. de, 7 Grue, 21 Faubourg St. Antoine, 74 Gaalj 49 Gruber, 38 Faubourg St. Lazare, 74, 76 Gabice, 6 Gubbio, 2, 7, 8 Fauchiez, 65 Galiano, 5 Gudumland, 52 Faucon, 67 Gallet, 69 Guerin, 56 Fauquez, 64, 72 Gardin, 61 Guerhard, 75 Fell, 102 Gardner, 44 S3 G uichard, 65 Fenton, no, in, 114 Garrett, 99 Guidobono, B., 20 Ferdinand, King, 24 Gaudry, 64 Guillaume, 61 Fernex, 77 Gautier, 69 Guillebaud, 61 Ferrara, 16 Gaze, 65 Gulena, 54 Ferraud, 64, 65 Gennep, 25, 30 Gustafsberg, 52 Ferreira, 92 Gentile, 21 Gutenbrunn, 36 Ferrybridge, 102 Gera, 38, 39 Feuillet, 76 Geoffroi, 70 Haag, 38 Fictoor, 45 Gerault, 73 Hackwood, 109 Fife, 115 Ghail, 63 Hadensee, 32 Fifield, 104 Ghisbrecht P Hadley, 101 Fischer, 40 Gide, 55 Haffringue, 74 1 196 POTTERY MARKS Kretzschmar, Hagenau, 44, 55 Hoyle, 106 35 Hales, 108 Hubeaudiere, de la, 67 Kreussen, 25, 28, 29 Hall, in Hiibener, 115 Kruisweg, 46 Halley, 76 Huet, 69 Kruyk, 48 Halsfort, 68 Hull, 102 Kulick, 48 Hamburg, 31 Hulme, 115 Kiinersberg, 29 Hamilton, 109 Hunt, 113 Rochelle, Hammekers, 55 Hylton, 102 La 66 Hammen, van, 48 La Seinie, 76 Lafonde, Hammer, 35 Ilmenau, 38 50 Hanau, 31 Imoda, Eredi, 18 Lafreri, A., 11 Hancock, 98, 101 Ireson, 104 Lahens, 6j Hand, 115 Irwin, 105 L'isle Saint Denis, 75 Hanley, 100, 108-110 Isleworth, 98, 105 Lakin, 107 Lamarque, Hannong, 31, 36, 55, 71, 74, 70 Lamarre, 7 6 Jacomo, 6, 17 76 Harding, 109, no Jansz, 46, 48 Lambert, 71 Hardmuth, 40 Jeannot, 63 Lambeth, 93, 105, 106 Harker, 114 Jersey City, 115 Lammens, 51 Harlees, 46 Johnson, 103 Lamoninary, 72 Harley, in Jones, 112, 116, 119 Landais, 70 Hartley, 103 Joseph, 63 Lane Delph, 100, no, 111 Haviland, 41 Joyce, 116 Lane End, 99, in, 112 Heath, 104, 106, 109 Jucht, 35 Lanfrey, 55 Heathcote, 11 Julio da Urbino, 16 Langeais, 70 Hebrix, 52 Junius, 48 Langiers, 65 Lapierre, Hegner, 54 66 Heichens, 30 Kaendler, 34 Large, 52 Helchis, I., 23 Kam, 47, 48 Lassia, 74 Hempel, 35 Kean, 97 Lauche, 34 Hemphill, 115 Keel, van der, 47 Laun, van, 49 Henderson, 115 Keeling, 109, no Lauraguais, Comte de, 74 Henneberg, 38 Keil, 33 Laurier, 69 Lavalle, Henri II., 57, 59 Keiser, de, 48 68 Herculaneum, 98, 103 Keller, 56 Le Brun, 73 Herend, 40 Kellinghusen, 32 Le Due, 67 Hermansz, 48 Kelsterbach, 38 Le francois, 74 Herold, 34 Kennedy, 107 L'italienne, 70 Herreboe, 44, 52 Kensington, 115 Le Nove, 23, z\ Hess, 49 Ker, 54 Le Riche, 77 Hesse Darmstadt, 38 Kessel, van, 45, 48 Le Voulant, 66 Heul, van der, 45 Kest, van der, 45 Lee, 101 Hewelche, 3, 23 Kieff, 53 Leeds, 103 Hey, 46 Kiel, 31 Lefebvre, 60, 63 Higler, 27 Kiell, 47 Lei, Pietro, 7 Hilaire, 61 Kishere, 105 Leigh, 68, 118 Hilditch, in Kleftijus, 48 Leihamer, 31 Hill pottery, 118 Kleijnoven, 48 Lemaire, 76 Hispano-moresque, 90 Klentsch, 40 Lemire, 44, 54 Hochst, 30, 35, 36 Kloot, van der, 46 Leonardus, 49 Hoeve, van der, 48 Klum, 40 Leopold, 56 Hofdick, 47 Knight, 112 Lessel, 31 Hoffmann,- 54 Knotter, 30 Lessore, 113 Hohr-Grenzhausen, 28 Knowles, 114 Lestrade, 66 Holdship, 97, 101 Kniitgen, 27 Lesum, 32 Holland, 113 Kodau, 39 Levantino, L., 20 Hollingshead, 114 Kohnberger, 35 Levasseur, 71 Hollins, 109 Koning, de, 45 Liance, 77 Hollitsch, 40 Kool, 46, 47 Liaute, 70 Honckebour, 28 Kordenbusch, 29 Liege, 51 Honore, 76 Korniloff, 54 Ligron, 69 Hoorn, van, 47 Korzec, 53 Lille, 58, 63, 72 " Hoppestein, 46 Kosel" mark, 33 Limbach, 38 Houk, van den, 46 Kran, E., 27 Limoges, 41, 59, 70, 73, 76 Housel, 75 Kraut, H., 27 Lindner, 35 Houze& Co., 68 Kremer, 28 Lisbon, 91, 92 INDEX OF NAMES 197 Littler, 99 Masselli, Th., 16 Mycock, 116 Liverpool, 93, 94, 98, 103 Masson, 71 Locke, 119 Mathaux, 70 Nancy, 70 Locker, 97 j, Mayer, 109, in Nantes, 67 Lockett, 107 i^Meakin, 119 Nantgarw, 96, 98 Locr6, 74 Medici, 2, 22 Naples, 3, 21, 24 Lodi, 19 Meer, 106 Nast, 75 Loehnig, 34 Meer, van der, 49 Neale, 108 London, 102 Meigh, 109 Neuchatel, 54 Longport, 99, 112 Meir, 104, 106, 113 Neumark, 40 Longton Hall, 93, 99 Meissen, 2, 26, 33, 34, 35, Nevers, 58, 60 Lonne, 30 93, i?o Newbold, in Loosdrecht, 50 Memmingen, 29 Newcastle, 102, 114 Lorrain, R. le, 77 Mennecy, 58, 70, 72 New Hall, 99 Lorraine, 56 Menneken, 27, 28 New York, 114 Louis XVIIL, 79 Menten, 30 Nicholas, 114 Louis Philippe, 75, 76, 79, Mercati, 22 Nicola da Urbino, 9 80 Mercer, 115 Nicoleti, 19 Lovatt, 119 Merlino, G., 10, 17 Niderviller, 44, 55 Lowesby, 104 Mesch, 48 Nimes, 66 Lowestoft, 93, 98, 101 Mettlach, 41 Noex, 16 Lownds, 113 Metzsch, 35 Nonne, 38 Ludicke, 32 Meudon, 70 Norman, 105 Ludovico, Maestro, 16, 17 Meyer, 54 Norton, 114 Ludwigsburg, 37 Mezer, 54 Nottingham, 103 Luneville, 44, 55, 56 Middeldijk, 45 Nove, 19 Lutri, 54 Milan, 18 Nowotny, 40 Luxemburg, 50, 51 Milde, de, 44, 46, 50 Nuremberg, 29 Lyman, 114 Millidge, 113 Nymphenburg, 36, 37 Lyons, 58, 60 Minden, 32 Nyon, 44, 55 Minton, 99, 107, 113, 116 Machin, 108 Miragaia, 91 Oiron, 57, 59 I Macintyre, 107, 119 Mist, in I Ognes, 70 Madrid, 91, 92 Moabit, 37 Oldfield, 104 Mafra, 89, 91 Mobius, 35 Old Hall, 109, 117 Mainz, 31 Mohr, 113 Olerys, 65 Maleriat, 63 Moitte, 75 Olivier, 71 Malines, 51 Mombaers, 51 Omonz, 61 Maling, 102 Mondovi, 18 O'Neale, 101 Mallet, 61 Monginot, 76 Orleans, 69, 73 Malta, 92 Mongis, 60 Ortolani, L., 23 Manara, Baldasara, 15 Monnier, 73 Ovaleros, 90 Manardi, 19 Montarcy, O. de, 75 Manises, 89, 90 Montauban, 66 Padua, 19 Mann, 109 Monte, 5 Pahl, 32 Mansfield, 98 Montelupo, 6 Pajou, 71, 77 Marans, 66 Montpellier, 66 Palissy, 57, 59, 69, 70, 71, Marburg, 31 Montreuil, 74 89 Marcolini, 34 Moore, 102, no, 117, 118 Palme, 40 Marconi, G., 19 Morel, 74 Palmer, 108 Mare, 106 Morfroy, 28 Palvadeau, 67 Marforio, Sebastiano di, 8 Morgan, 115 Pardoe, 100, 104 Maria Salvador, 90 Morice, 67 Paree, 46 Maria, Zona, 8 Morreine, 67 Paris, 69, 71, 72, 74-76 Mariana, Simone di A., 10 Morris, 100, 115 Paristoe, Don, 19 Marie Antoinette, 75 Mortlake, 105 Pascal, 71 Marieberg, 32, 44, 52, 53 Mortlock, 102 Passau, 26, 29 Marseilles, 58, 65, 73 Moscow, 44, 53, 54 Patana, 10 Marshall, in Moseley, 107 Patanazzi, 10 Martin, 116 Moser, 41 Patras, 60 Martres, 69 Mosley, no Pavia, 4, 18 Marum, van, 46 Mouchard, 66 Pearl ware, 94 Marx, 29 Moulins, 69 Pelisie, 70 Mason, 100, no Moustiers, 58, 64, 65 Pellevd, 73 Masse, 56 Musso, B., 18 Pellipario, Nicola, 9' Massarellos, 91 Myatt, in Pelloquin, 64 Pencoyd, 104 Quinquiry, 66 Rye, 105 Pennington, 103 Pennis, 46, 47 Radford, 104, 111 Saargemiind, 56 Perdu, 61 Raeren, 25, 27, 28 Sadler, 98, 103 Pereira, 92 Rainforth, 114 St. Amand-les-Eaux, 63, 64, Perrin, 65 Rambusch, 31 74 Perrotin, 77 Rateau, 67 Saint Amans, 70 Perugia, 4, 10 Rato, 91 St. Antony's, 102 Pesaro, 6, 7, 8 Ratti, A., 20 Saint Clemont, 70 Pescetto, 20 Rauenstein, 39 Saint Cloud, 58, 63, 72, 80 Peterinck, 50 Ravenna, 16 Saint Denis, 76 Petit, 63, 71, 76 Raymond, 67 Saint Longe, 69 Pfalz-Zweibriicken, 36 Raynerius, E., 15 St. Omer, 68 Pfau, 54 Recum, von, 36 St. Paul, 68 Pfeiffer, 30 Reinthal, 41 St._ Petersburg, 44, 53, 54 Pfluger & Co., 55 Remey, 71 Saint Porchaire, 57, 59 Philadelphia, n s Renac, 69 Saintes, 57, 59 Philligellus, F., 6 Renaud, 54. Salimbene, 7 Phillips, 102, 112 Rennes, 67 Salomini, G. , 20 Pichon, 66 Reverend, 72 Salomone, G., 20 Pickman, 91 Revol, 60 Salopian, 95, 96 Pidler, 106 Reygens, 48 Salt, 109 Pietersz, 49 Rich, 106 Saltglaze, 107 Pilkington, 116 Richard, L., & Co., 18 Salzburg, 41 Pillivuyt, 76 Rickhuss, 109 Samadet, 66 Pinder, 108 Ridgway, 100, no, 117 Sand, van der, 49 Pinxton, 98 Riffiet, 28 San Quirico, n Pirkenhammer, 40 Riley, 100, 108 Sans, 106 Pisa, 6 Rimini, 16 Sansont, 70 Pisotti, Ristori, 60 Sargadelos 41 ; 91 Pitz, 27 Robert, 65, 73 Sarreguimines, 56 Plant, in Rocco, G., 21 Savino, G. P., 13 Plas, van der, 68 Rockingham, 99, 102 Savona, 20, 21 Plautier, Boncoirant, &Co., Rodgers, 116 Savy, 65 66 Rodrique, 60 Sceaux, 66, 73 Plymouth, 93, 95, 98, 104 Roesch, 38 Schaffhausen, 25, 44, 55 P5ssinger, 29 Roge, 60 Schaper, 29 Poitiers, 67 Rogers, 108 Scharf, 29 Portobello, 106 Roland, 66 Schelten, 40 . Pompio, 10 Rolet, n Schie, 49 Pont-aux-Choux, 75 Rombaldoni, H., 8 Schlaggenwald, 39 Ponteinx, 76 Rome, 13 Schleswig, 31 Poole, 107 Romedi, 29 Schmid, 29 Popoff, 44, 54 Rondebush, 115 Schneider, 36 Poppelsdorf, 31, 55 Rookwood, 114 Schoelcher, 76 Potschappel, 39 Rorstrand, 44, 52 Scholl, n 5 Potsdam, 32 Rosa, 30 Schoonhoven, 45 Potter, 75 Rose, 96 Schreitzheim, 29 Potts, 108 Rosetti, 18, 19, 21 Schronvogel, 29 Pouhet, 66 Rossi, 91 Schuman, 37 Poulisse, 49 Rotteberg, 38 Scott, 102, 106 Pountney, 104 Rotterdam, 47, 50 Sebastiano, N., 23 Pouyat, 74 Roubiliac, Seger 96 (> 37 Prague, 39 Rouen, 58, 60-62 Segovia, 91 Pratt, in Rouy, 63 Seigne, 60 Premieres, 68 Rovigo, Xanto A. da, 9 Seimo, D. M., 17 Prestino, Maestro, 8 Rozenburg den Haag, 41 Seville, 90, 91 Proudman, 114 Rue de Bondy, 75 Sevres, 58, 59, 71, 77-88, 93, Prudhomme, 6S Rue de Crussol, 75 96, 100 Puente de Arzobispo, 90 Rue de Popincourt, 75 Sewells, 102 Puertas, 10 Rue de Reuilly, 74 Sforzza, 49 Pull, 71 Rue de la Roquette, 71, 74 Shaw, 104, 106, 108 Putten, van, & Co., 43, 49 Rue du Petit Carousel, 74 Shelton, 108, no Pynacker, 47, 48, 49 Rue Thiroux, 75 Shore, 98, 105 Ruskin, 117 Shortbose, 100, 109 Quimper, 67 Russinger, 74 Siccardi, 20 1 INDEX OF NAMES 199 Siegburg, 25, 27 Tomaszoff, 54 Viode, 60 Siena, 5, 6 Tomlinson, 102 Viry, 64 Signoret, 60 Tooth, 117 Vista Alegre, 92 Silberkamer, 37 Torquay, 117 Viterbo, 12 Tortia, Vivian, Silvano, Franc. de,.io I 67 115 Simono, Maestro, 8 I Toul, 56 Vizeer, 49 Simpson, 106 Toulouse, 66 Vlack, P., 27 Sinceny, 63 Tournay, 44, 50, 100 Voisinlieu, 71 Sitzerode, 39 Tours, 70 Volkstedt, 38 Smith, 102, 113-15 Tours d'Aigues, 69 Volpato, 13 Sneyd, 109 Tremble, de, 70 Vogel, 28 Soliva, 64, 90 Trenton, 115 Vogt, A., 27 Solon, 116 Treviso, 3, 19, 24 Voyez, 108 Solothurn, 55 Trinci, d'Angelo, 12 Vron, 68 Souroux, 74 Tristan, 77 Southwick, 102 Trou, 63, 72 Waert, van der, 51 Spaandonck, 45 Troxel, 115 Wal, de, 49 Spode, 93, 99, 107 Tucker, 115 Walker, 115 Stadler, 54 Tunstall, no, in Wallendorf, 38 Staffordshire, 99, 100, 106- Turin, 18 Walley, 112 114 Turner, 99, 11 Walton, 108 Stawsk, 53 Turnor, 106 Warburton, 99, 109 Stebner, 29 Tuscany, 4 Watcombe, 117 Steckborn, 54 Twyford, 107 Wear, 102, no Steel, 108 Wedgewood, 94, 102 Stephens, 95 Ugubio, 7 Wedgwood, 100, 102, 106, Stevenson, 98, no, in, 112 Urbania, 8 112, 113 Stockelsdorff, 32 Urbino, 9-11, 22 Weert, de, 48 Stockholm, 52 Utzschneider, 56 Weesp, 50 Stockton, 102 Wegeli, 37 Stoke-upon-Trent, 99, 107 Valaressi, Z., 16 Westhead, no, 118 Stonier, 118 Valencia, 89, yo Wetherill, 105 Strassburg, 44, 55 Valenciennes, 64, 72 Wileman, 117 Stroom, van der, 45, 49 Valladolid, 91 Wilkinson, 104 Stralsund, 32 Val sous Meudon, 70 Willens, 28 Strobel, 29 Vannier, 72 Wilson, 108, 109 Sulzer, 54 Varages, 65 Wincanton, 104 Sunderland, 102 Vaud, 54 Wlntergurst, 29 Swadlincote, 118 Vauvert, 69 Winterthur, 44, 54 Swansea, 96, 100, 104, 105 Vavasseur, 61 Witby, 39 Swinton, 102, 103 Vecchio, del, 21 Witsenburg, 49, 51 Vega, 91 Wolfe, 109 Talavera, 89, 90 Vehlen, B., von, 30 Wolfsen, 52 Talor, 106 Velasquez, 92 Wood, 107 Tamart, 68 Venice, 2, 16, 17, 23 Woodnorth, 106 Taney, 115 Verhagen, 46 Wooley, in, 112 Tannowa, 39 Verhuast, 49 Worcester, 93, 98, 100, 101. Taunay, 76 Verlingue, 68 119 T Tavernes, 65 Vermont, 114 W right, 106 Taylor, 106, 107, 114, 117 Verona, 18 Wrotham, 94, 105 Tebo, 95 Verstelle, 46 Teinitz, 39 Vest, 28, 29 Xanto, 9 Terchi, Bartolomeo, n, 19 Vezzi, 3, 23 Terencio, 6, 7 Viana, 91 Yarmouth, 102 Tereni, G., 6 Vicenza, 24 Tervueren, 51 Vieillard& Co., 67 Zamore, 90 The Hague, 41, 50 Vienna, 26, 40 Zehrgaden, 36 Thieme, 39 Vilax, 64 Zeschinger, 30, 35 Thun-Klosterle, 39 Villeroy, 41, 72 Ziegler, 71 Thuringia, 26, 38, 51 Villingen, 27 Znaim, 41 Tolerazzi, 23 Vincencio, 7 Zsolnay, 41 Toft, 106, 109 Vincennes, 58. 71, 76-78 Zuana, S., 17 Tomaso, 10 Vinovo, 3, 18, 24 Zurich, 44, 54, 55 INDEX OF INITIALS A., 4, 15, 21, 22, 30, 31, 32, B. &L., 118 C. D. in monogram, 06 35, 50, 53, 62, 74, 75, 90, B. A., 20 C. D. L., n 95 B. A. S., 14 C. F., 22, 27, 40, 60 A. A., 73 B. B., 59, 62, 72, 107 C. F. L. in monogram, 55 A. B., 54, 62, 77 B. C, 62 C. G, 7 A. B. m monogram, 27, 35, B. D., 62, 77 C. G. in monogram, 10 36, 49 B. D. in monogram, 62 C. G. P., 21 A. B. C, 59 B. E., 54 C H., 55, 70, 74 A. C.,28 B. E. in monogram, 51 C. H. in monogram, 74 A. D. in monogram, 50 72, B. F. in monogram, 62 C. H. O. N., 6 76 B. F. B., 101 C. J. M. & Co., no A. D. T., 70 B. G., 18, 21, 24 C. K., 27 A. D. W., 51 B. H., 62 C. K. in monogram, 48 A. E. W., 23 B. K., 27, 29, 30, 39 C. L. in monogram, 10, 29, A. F. in monogram, 15, 17 B. L. 62 45 A. G., 23 B. L. in monogram, 32, 50, C. M., 30, 62, 117 ' A. G. in monogram, 62 5i, 74 C. O., 62, 90 A. G. G., 20 B. L. C, 51 C P., 23 A. H., us B. la R , 69 C. P. in monogram, 51, 74 A. H. in monogram, 29 B. M., 15, 27 C. P. S., 46 A. I., 48 B. M. F., 15 C. S.,62, 63 A. K. in monogram, 46, 48 B. 0., 77 C. S. in monogram, 96 A. L., 31, 40, 90 B. P., 30, 117 C- T. in monogram, 36 A. L. in monogram, 64 B. R., 69, 73, 77 C V.,38 A. M., 28 B. R. A., 68 C. V. in monogram, 38 A. M. R. in monogram, 15 B. S., 17, 32 C. V. K. in monogram, 46 A. N., 40 B. T., 63 C. V. S., 45, 46 A. P.,.54 B. V., 71 C. W., 27, 49, 98 A. P. in monogram, 10, 47, B. V. S., 45 54, 67 B. W. M. & Co., 118 D., 7, 11, 30, 36, 39, 55, 63, A. P. K. in monogram, 49 B. W., 31 64, 66, 67, 68, 72, 75, 9& A. P. M. &Co., 115 97,.9 8 A. R.,.33, 73 C, 4, 5, 12, 32, 48, 63, 66, D. with paraph, n A. R. in monogram, 48 62, 67, 79, 95, 96 D. & J., 115 64 C. & H., 109 D. A., 62 A. S., 90 C. A., 23, 64 D. C.,68 A. S. in monogram, 7 C. A. G.,21 D. C. 0., 72 A. T., 49 C. B., 11, 31, 47, 51, 62, 115 D. D., 62 A. V. in monogram, 70 C. B. in monogram, 61, 66 D. D. & Co., 103 A. V. K. in monogram, 45 C. B. D., 96 D.E.X., 45, 47 C. B. D. in monogram, 96 D. G. , 24, 62 B., 12, 14, 29, 31, 32, 35, C. B. M., 63 D. K. in monogram, 97 40, 51, 60, 63, 65, 66, 68, C. C, 60 D. L., 99 8 IOO JOI, C. in monogram, D. L. in 61 73. 77. 95, 9 > > C. 21, 37, monogram, 114 55 D. L. F., 60 B. with paraph, 16 C. C. B., 62 D. L. S., 66 B. & B., 105 C. C. C, 51 L>. M., 13, 54, 62 B. & G., 52 C. D., 73 D. P., 27, 54,62, 68 202 POTTERY MARKS D. P. A. V. W. in mono- G. A. O. F., 18 H. V., 62 gram, 46 G. A. R. in monogram, 62 H. V. H., 47 D. S., 54 G. B., 19, 28 H. V. M. D., 45 D. S. K., 45 G. B. A. B., 19 H. Z., 36 D. V., 70, 72 G, B. E. in monogram, 21 D. V. D.,47 G. B. F., 10 I-, 7, 29, 38 D. V. K. in monogram, 45 G. D. K., 45 I. A., 28 G. E., 27 I. A. G., 91 E., 32, 35, 53, 62, 66 G. F. A., 19 I. A. H., 36 E. B., 10, 75 G. F. B., no I. A. W., 35 F. F., E. E., 27 G. 4 I. B.,-_2 7 , 62 E. F., 41 G. H., 63, 75, us I. B. in monogram, 46 E. F. B., 10 G. H. in monogram, 48 I. B. S., 100 E. I. B., 109 G. H. A., 62 I. C, 48 E. I. F.,54 G. I., 16 I. D., 46 E. J. D. B. in monogram, G. I. in monogram, 19 I. D. A., 45 117 G. I. B., 62 I. D. B. in monogram, 47 E. K., 27 G. J. in monogram, 119 I. D. M., 46 E. M., 39 G. K., 29 I. D. W., 48 E. M. S. in monogram, 48 G. K. in monogram, 47, 48 I. E., 27, 105 E. P., 27 G. L., 62 I. E. W. E., 105 E. Z. P., 23 G. L. in monogram, 71 I. F. P. (reversed), 101 G. L. M. E. L., 28 I. F. R., 12 F., 6, 12, 15, 22, 32, 36, 39, G. L. P., 10, 17 I. G., 23, 48, 49 49, 52, 62, 65, 76, 77, 91, G. M., 23, 62 I. H., 45, 48, 104 99, 102, 104, 115 G. P. in monogram, 6 I. H. in monogram, 48 F. & B., 40 G. R., 18, 105, 112 I. H. K. in monogram, 48 F. & R., 40 G. R. D., 62 I- I-, 3i F. & U., 39 G. S., 8, 20, 62 I. K.,27, 36, 46 F. A. Z., 66 G. V., ir I. K. in monogram, 48 F. B., 59, 62 G. V. F., 64 I. L., 105 F. B. in monogram, 63 I. M., 27, 41, 51 F. B. B., 101 H-, 12, 31, 35, 36, 40, 47, I. P., 5, 6 F. B. F., 16 52, 55, 68, 71, 76, 115 I. P. in monogram, 46 F. C, 18 H. &G., 113 I. P. K. in monogram, 47 F. C. in monogram, 18 H. &S., in I. P. S., 60 Fd., 64 H. B., 27, 60, 62, 77 I. R-, 15, 41 F. D., 9, 32 H. B. in monogram, 31, 47, I. S.,_7, 36, 68 F. D. V., 21 I. S. in monogram, 29 F. E. V., 90 H. C, 67 I. T., 27, 115 F. F., 4, 7, 9, 24, 39, 62, 64, H. &Co.,_ 4 i I. V., 28 6 7 H. C. D. in monogram, 27 I. V. D. H., 46 F. F. in monogram. 39 H. C. E. in monogram, 54 I. V. D. W., 49 F. F. O., 9 H. D. in monogram, 59 I. V. H., 46 F. G., 91 H. D. K., 4s I. V. K., 48 F. L. in monogram, 72 H. E. A. M. I. T., 54 I. V. L. R., 62 F. M. P. in monogram, 71 H. G. in monogram, 69 I. V. P. &Co., 49 F. O., 90 H. H., 27, 40 I. V. S., 27 F. O. I. in monogram, 5 H. H. G., 54 I. W., 23, 105 F. P., 6, 65 H. H. K., 55 I. W. in monogram, 46 F. P. in monogram, 64 H. I., 105 I. W. & Co., 102 F. P. R., 18 H. K., 27, 31 F. R., 7, 8, 14, 15, 60, 91 H. K. in monogram, 27, 51 J-, 38, 98, 99 F. R. in monogram, 16, 37, H. K. R., 54 J. & M. P. B. & Co., 106 62, 73 H. L. in monogram, 46 J. & R, G., 112 F. S. N., 17 H. L. L., 76 J. A., 28, 64, 73 F. V. in monogram, 72 H. M., 28 T. A. H. in monogram, 36 F. V. F., 64 H. M. in monogram, 36 J. B.,28 114^ F. X., 9 H. P., 108, J. B. in monogram, 62, 63 H. P. in monogram, 51 J. D. in monogram, 71, 101, G., 7, 17, 21, 30, 32, 37, 38, H. P. Z.,54 117 8 62, 62, 39. 4 , 53, 64, 65, 68, H. R, 8, 115 J. E. B. in monogram, 64 2 8 H. S., 73) 9 , 9 30, 49 J. E. & S., 108 G. & Co., 101 H. S. R., 60 J. G.,.104 G. A., 62 H. T., 62 J. G. in monogram, 29 G. A. in monogram, 8, 75 H. T. I. S. T., 115 J. G. K., 29 INDEX OF INITIALS 203 P. 62 J- H.,'31, 45 M. & C, 107 A.. P. A. in J. H. A., 30 M. & Co., 99 monogram, 65 P. in 62 J. L., 68, 77 M. & M. G., 28 A. R. monogram, J. L. F., 29 M. & N., in P. B., 62, 75, 106, 108 J. M. & Co. m monogram, M. A., 70 P. B. C, 66 M. A. in monogram, 6, 18, P. C, 67 J. P., 41, 71, 76 31,62 p. c. a, 74 P. D., 62 J. R., 28, 53, 66, no M. A. B., 19 46, |. R. in monogram, 65, 73 M. A. M., 35 P. F., 23, 64, 74 100' P. F. in J. R. & Co., M. A. P., 74 monogram, 64 Pfr. J. S., 30 M. B. in monogram, 32, 45, & C, 55 ]. S. in monogram, 60 51, 52, 53, 66, 99 P. F. Z., in monogram, 36 J. U. D. H., 45 M. C, 21, 64 P. G., 4 P. J. W. R., no M. C. A., 64 G. in monogram, 21, 22 P. J. Z., 30, 35, 71 M. D., 62. H., 36 M. D. K., 45 P. H. in monogram, 36, 55, K-, 29, 31, 33, 35, 39, 48, M. F., 4 7i, 74 95 M. F. F., 15 P. J., 41 K. B. L., 28 M. G., 77 P- K., 27, 53 ' K. et G., 56 Rio. G°., 7 P. K. in monogram, 29, 48 K. H., 8, 32 M. H., 28 P. L. in monogram, 49, 60, K. H. C. W., 34 M. I. A., 24 72, 75 K. P. M., 34, 37 M. J. in monogram, 75 P. L. A. T. in monogram, 4 2~8 K. T. &K., 114 M. J. W. C, P. M., 3o K. V. D. in monogram, 45 M. K., 41 P. N., 62 M. M.. 18 P. N. M. in monogram, 115 L., 22, 27, 31,35, 37, 6°> 63, M. M. C, 28 P. O. in monogram, 61 P. 66, 70, 72, 74, 76, 103 M°, 7, 90 P., 5, io,- 13, 104 L. et R., 74 Mo, 35 P. R., 74 L. A., 62 M. O. L., 50 P. R. in monogram, 66 L. B., 38, 76 M. O. X., 90 P. V., 27 L. B. in monogram, 38, 73 M. P. ,28, 91 P. V. B., 45 L. C, 51, 62 M. P. in monogram, 46, 62, P. V. B. in monogram, 45 L. C. in monogram, 15 73 P. V. C, 91 L. D., 62 M. P. D., 27 P. V. D. S., 49 L. F., 62 M. R., (6 P. V. M. in monogram, 46 L. G., 48 M. R. in monogram, 62 P. V. S., 45 L. G. P., 21 M. V. B., 49 P. W-, 55 L. & H., 39 L. I., 62 N., 4, 7, 11, 24, 53, 55, 60, Q , 55, 67. L. K., 49 68, 80, 97, 98, 99 Q. A. K. in monogram, 48 L. L., 20, 63, 72 N. in monogram, 7, 9 L. L. in monogram, 72 N. & R., 38 R -, 27,31, 35,38,39>49,52, L. M., 62,63 N. B., 62 62, 65, 67, 68, 69, 73, 91, L. M. S. in monogram, 116 N. B. in monogram, 29 95, 96, 100 L. P., 54, 75, 103 N. D., 92 R. & S., 118 L. P. in monogram, 76, 80 N. F., 19 R. A., 27 1. p. k., 47 N. H., 62, 104 R. B. & S., 103 L. Q. in monogram, 66 N. S., 23 R. B. F., 16 L. R. C, 31 R.,67 , 74, 77 L. R. in monogram, 66 O., 9, 14, 69 R. D., 62 L. S., 76 O. in monogram, 9 R. F., 79, 80, 81 L. S. in monogram, 76 O. B., 73 R. F. in monogram, 79, 80 L. V., 9 O. F., 9 R. H., 68, 77 L. V. D. in monogram, 49 O. H. E. C, 117 R. H. in monogram, 101 L. V. G., 36 O. L. in monogram, 65 R- g-, 38 L. V. S., 45 O. M. in monogram, 75 R. G. in monogram, 17 L. \V., 27, 28 O. P., 69 R. M. W. &Co., no L. W. in monogram, 29, 50 O. S. X., 113 R. P. in monogram, 114 O. Y., 65 R. P. C. O. M. L. N., 114 M., 6, 7, 12, 15, 22, 28, 31, R. S., 104 32, 54, 62, 66, 70, 75, 97, P., 5, 6, 11, 15, 32, 39, 41, R. S. R., 117 99, "5, "7 45, 48, 49, 53, 62, 63, 66, JY1. in monogram, 10 67, 68, 70, 77, 90, 98, 103, S., 4, 6, 7, 8, 20, 29, 31, 39, M. with paraph, 5, 8, 13, 15 ris, 116 41, 49, 62, 63, 74, 81, 95, M. & B., 107 P. with paraph, 13 96 204 POTTERY MARKS S. with paraph, n T. JE., 22 V. L. in monogram, 62, 63, S. & G., 98, 105 T. B., 62 72 S. & W., 102 T. B. in monogram, 13, 14 V. M., 92 S. A., 22, 108 T. B. S., 118 V. P. .i 63, 64, & ; 7 S. A. in monogram, 74 T. D. L., 56 V. P. in monogram, 65 S. A. M., 10 T. F. in monogram, 95, 101 V. R., 61 S. A. S., 61 T. F. & S., 119 V. R. in monogram, 15, 29, S. B., 8, 41 T. G., 18 36 S. C. E., 4 T. G. B., 118 V. Z., 30, 35 S. C. L. in monogram, 69 T. H. D. in monogram, 71 S. C. T., 63, 72 T. K.,39 W., 24, 29, 32, 33, 35, 36, S. C. Y., 63 T. K. in monogram, 39 37, 38, 50, 54> 6i> 68, 72, S. G., 62 T. M., 104 98, 100, 104, 112, 115 S. H., 98 T«., 95 W. A., in Sgr. P., 37 T. P.,62 W. B., 117 S. I. G., 19 T. P. in monogram, 91 W. B. in monogram, 51 S. L., 115 T. R., 24 W. D., 32 S. M., 15, 18, 104 T. R. in monogram, 11, 18, W. D. in monogram, 47 S. M. S., 54 60 W. E., 28 S. N., 92 T. R. F. in monogram, 24 W. F., 104 S. O., 55 T. Z., 71 W. F. S., 28 S. P., 66, 73 W. H. T. in monogram, 117 S. P. in monogram, 40 W. K. in monogram, 48 U. & Cie., 56 47, S. P. in monogram, with W. M., 30, 50 paraph, 5 W. R., 31 S. P. E., 72 V., 6, 12, 16, 24, 32, I, 64, W. S. & Co., 102 S. n 1 T., Q., 90, 9 * "5 W. 39, 100, 107 S. R., 20, V. A. V. B., 92 . 31, 92 W. 47 S. S., 104 V. A. B., 28 W. V. D. B., 45 S.T., V. C. 73. * 17, 90 S. V. E. in monogram, V. 45 D. , 62 X., 9 S. X., 73 V, D. G.,18 X. Z., 30, 35 V. D. K. in monogram, 46 T., 7, 18, 29, 39, 56, 62, 67, V. E. in monogram, 15, 45 Y.,68 68, 77, 104 V. F. ,64 T. R. & B., 108 V. I., 32 54. 55, 91 INDEX OF MARKS OTHER THAN NAMES AND INITIALS Amherst Japan, 107 Circle with cross, 14, 63, 90, Fleur de lys, 24, 29, 61, 63, Anchor, 17, 23, 28, 31, 52, 91 65, 67, 73, 79, 91, 92, 104 55, 66, 73, 74, 91, 95, 97, Claw, 43, 45 Flower, 98, 138-140, 183 99, 100, 101, 102, 112, 119 Cliff, 117 Fork, 9 Antlers, 36, 37, 39 Cock, 21, 49 Fortuyn, 45 Arm holding knife, 7, 40 Comet, 78 Fuchsia, 115 Arrow, 29, 39, 77, 92, 95, Comma, 113 108 Crane, 116 Garter, 113, 118 Arrows crossed, 74 Crescent, 5, 10, 24, 59, 96, Globe, 99, 119 Arrowhead, 32 98, 100, 101, 119 Globe and cross, 20 Astonne, 47 Cross, 4, 13, 17, 18, 19, 23, Goose, 59 Axe, 2 39, 46, 141 24, 3 > 33, 39, 52, 61, 62, 63, 65, 69, 72, 91, 95, 96, Hand, 90 Basket, 102 104 Hare, 125, 139 Beacon, 32, 52 Crown, 10, 12, 17, 19, 20, Hart, 45 Bee-hive, no, 118 21, 24, 32, 36, 37, 38, 39, Harp, 106 Bell, 43, 47, 102, 138 41, 5i, 52, 53, 55, 56, 69, Hayfork, 38 Belts, 52 74, 75, 76, 77, 79, So, 91, Head, 7, 46 Bird, 8 Heart, 34, 38, 103, 117, 119 92, 95, 96, 97, 9 , 99, 103, 33 Bisto, 118 109, no, 112, 113, 117, Historia, 9 Blompot, 45 118, 119 Horn, 70, 72 Boot, 45 Crystal Ware, 113 Horse, 36 Bottle, 46 Cuba, 105 Hound, 118 Bow and Arrow, 95 Briquet, 51 D's crossed, 98, 103 India Temple, no Britannia, 119 Deer, 118 Insect, 52, 140 Brush and palette, 16 Dolphin, 72 Ironstone, no, 113 Buffalo, 114 Dome of Cathedral, 22 Buildings, no Dog and Harp, 95 J's crossed, 38 Drab porcelain, 107 Jade mark, 100 C's crossed, 21, 37, 55, 79, Dragon, 56, 99 Jupiter, sign for, 95, 98 9h 99 Caduceus, 33, 95, 118 Eagle, 20, 35, 37, 53, 79, 80, Key, 30, 31 Cambria, in 81, 107 Knot, no, 117, 118, 138, 140 Cambrian Argil, no Elephant head, 35 Cambridge, 103 Enamel Porcelain, 109 L's crossed, 38, 71, 75, 76, Ermine, 6 100 Cards, 34 99 77, 79, 9 > 97, 99, Cartouche, 32, 105, 109 Eye, 53 Label, 73 Castle, 41, 69, 70, 117 Leaf, 95, 139, 183 Chinese imitation mark, 9, Fabula, 9 Lighthouse, 20 33, 46, 95, 9-> 98, 100, 106, Falcon, 20 Lion, 23, 36, 50, 103, 119 112, 125 Feather, in Liver, 103 Circle, 28, 37, 40, 46, 48,60, Felspar Porcelain, 99 Lovique, 119 1 1 2 Fish, 20, 138, 141 Lozenge, crossed, 5, T 3^ 65, 7 , 9°, 9 , 9 , 95, 55, 14,33, 101 Flag, 115 L Pkan, 47 20S 206 POTTERY MARKS Merchant's Mark, 7, 8, 18, Roos, 47 Swan, 119 27, 28 Rose, 47 Sword, 15, 95 Mountain, 20 Royal Terra cotta porce- Swords, crossed, 33, 34, 35, lain, 113 38, 39, 5o, 74, 95, 96, -97. Necklace, 69 Rubella, no 98, 100 New Stone, 107 Ruin, 91 Nider, 54 Terre de Lorraine, 56 Nota, 9 St. A., 64 Thart, 45 No. 5, 50 Sceptre, 37 Tillenberg, 113 Numeral, 33, 61, 95, 97, 98, Scythes, 119 Tower, 41, 50 109, 113, 140 Semi-china, 108 Torches crossed, 74 Sevres groups, 117 Tree, 28, 92 Obelisk, 51 Shears, 90 Trefoil, 38 Opaque china, 105 Shell (conch), 6, 138 Triangle, 20, 34, 53, 54, 67, Opaque porcelain, 105, 109 Shield, 4, 10, 20, 31, 33, 35, 92, 96, 97, 108, 140 8 1 Triangles crossed, Orb, 37 36, 37, 3 , 4°, 4 , 49, 59, 24, 36 68, 90, 118, 119 Trident, 5, 8, 14, 95, 100 Pearl ware, 103 Shield with cross, 16, 18 Tripod, 97 Pentagram, 20 Ship, 112, 119 Trumpet, 20 Phcenix, 113 Sign board, 34 Pipes, 30, 76 Snake, 28, 53 V's crossed, 71, 73 Prince of Wales's feathers, Spiral, 14 Vase, 7, 8, in, 113, 118, 138, 99- "I Spires, 41 140 Stag, 50 Quatrefoil, 68, 69, 71, 103 Star, 4, 19, 24, 47, 90 Warranted Staffordshire; Staves, crossed, 38, 39, 50, 54 in, 113 R.52 Stone China, 107, 108, 109, Wheel, 30, 35, 36 R's crossed, 117 112, 114, 117 Windmill, 75 Regina, 113 Stone Ware, no Workman's Signs, 34, 101 Registration mark, 113 Stork, 41, 50, 140 Wreath, 39, 99, 100, 102, R—n, 39 Sun, 20, 72, 97, 100 105, 118 INDEX OF ORIENTAL MARKS AND NAMES Aagami, 123 Buccaro, 132 Denko, 164 Aahmad, 124 Bunki, 179 Dohachi, 172, 182, 187 Abolo, 124 Bun-mei Kai-k'wa, 183 Dosuke, 186 Abou-1-iizz, 124 Bunzaburo, 174 Dresden Collection, 14c Agano, 164 Bunzo, 171 184 Ahmed, 125 Buzen, 164 Al lien chen shang, 147 Echizen, 163, 164 Aioub, 123 Cairo, 121-125 Egypt, 121-125 Akahada, 163 Canton, 128, 132, 152 Eiraku, 155, 165, 175, 187 Akashi, 166, 170 " Cash," 138, 141 Eisen, 171, 182 Akazu, 168, 169 Ch'a, 150 El ESarrany, 124 Akoji, 162 Chang ming fu kuei, 146 El Chaer, 124 Ameya, 153, 174 Chang Ming-kao, 149 El Chamy, 121, 123 Amidayama, 162 Chao-chin, 149 El Fakid, 124 Anatolian, 125 Charaf, 124 El Hermizi, 123 Arashiyama, 173 Chen, 148 El Istaz. 124 Arita, 181-185, 191 Chen mu chih, 149 El Masry, 123 Asahi, 175 Chen yti, 148 El Mousiein, 124 Asahitei, 173 Cheng ku shih, 149 El Siouaz, 124 Asagiri, 166 Chi chen ju yu, 146 El Taurizi, 123 Asakusa, 176 Chi hsiang ju i, 144 Empress Dowager, 144 Awaji, 164, 190 Ch'i shih pao ting, 146 Awata, 154, 170, 171 Chiang fang, 150 Axe, 141 Ch'ien yuan, 152 Fa, 149 Chih, 149 Fathh, 124 Bairaku, 170 Chikugo, 164 Fish, 138, 141 Bairin, 161 Chikuzen, 166, 167 Flower, 139, 140, 184 Baizan, 161 Chin-yiian-yu, 152 Fostat, 121-125 Banko, 154, 162, 163 Chinese marks, imitation of, Fu, 146 Banjo, 186 125 Fu fan chih tsao, 1-49 Baragon Turned. 149 Ch'ing, 146 Fu ki cho shun, 184 Bell, 138 Ching-te-chen, 128 Fu kuei chia ch'i, 146 Beppo, 161 Chiu, 150 Fu shou, 146 Bism. 123 Cho, 159 Fu wan, 1S3 Bivva, 161, 189 Chojiro, 153, 174 Fuchien, 128 Bizan, 168, 171 Chozo, 169 Fueki. 163 Bizen, 154, 159, 160 Chu shih chii, 151 Fuku, 183 Bo, 159 Ch'uan, 148 Fuku shun ken, 188 Bogasaki, 159 Chiin-choii, 127 Fuji, 170 Bokuhaku, 163 Chung ch eng, 50 Fujimi, 170 Bokuko, 169 Companies, 191 Fujina, 166 Bokusai, 163 Cyclical dates, 129, 133 Fukagawa, 185 Books, 141 Fukui, 164 Brush, 141 Damascus, 121 Fungus, 139, 184 Bu, 171 Date, 163 Fylfot, 141, 184 207 208 POTTERY MARKS G., 151 Hoko, 178 Karatsu, 154 Gempin, 169 Hokuhan, 190 Kaseizan, 177 Gen, 161, 169 Horaku, 169 Kashiu Sampei, 190 Genyemon, 173 Hosho, 164 Kataru, 164 Gha'iby, 121, 123 Hoyei, 178 Kato, 182, 189 Ghazal, 123 Hoyen, 166 Kawamoto, 189 Giozan, 171 Hoyu, 178 Ken, 175 Giyokusei, 188 Hozan, 154, 171 Kentei, 175 Giyokutei, 176 Hozen, 155, 165, 175 Kenzan, 154, 155, 169, 174- Gobosatsu, 171 Hsi ch'en ku wan, 144 176 Goho, 190 Hsi yii, 147 Kenya, 176 Gojosaka, 173 Hsieh chu, 150 Kichiyemon, 165 Gombroon, 122, 125 Hsing, 148 Kii, 155, 158, 165, 179, Gorodayu, 181, 186 Huang-yiin, 152 189 Gorohachi, 159 Hui Meng-ch'en, 152 Kikko, 160, 164, 177, 179 Gorosuke, 173 Hyochiyen, 191 Kikkutei, 177 Gosabaro, 177 Kimura, 159, 160 Gosuke, 190 Ichiraku, 174 Kin, 183 Goto, 182 Iga, 165 Kinju, 162 Gwan, 184 Ikko, 169 Kinkozan, 154, 171 Imado, 177 Kinsei, 173 Hagi, 154, 163 Imari, 93 Kinshosha, 191 Hakata, 167 Imbe, 159, 160 Kintaro, 164 Hako, 185 Inariyama, 167 Kioto, 154, 169, 170-176, Hakodate, 185 Inuyama, 169 178, 179, 182, 187, 188 Hall marks, 129, 142, 143, Ink, 141 Kishiu, 155 i44. i55 Insect, 140 Kisui, 187 Ch'i yii t'ang, 143 Ippodo, 173 Kitei, 172, 173 Chih hao t'ang, 142 Iriya, 176 Kitoken, 190 Chih Ian chai, 143 Isawa, 163 Kiunken, 176 Chih yuan t'ang, 142 Ise, 163 Kiyen, 188 Ching lien t'ang, 143 Issai, 163 Kiyo, 170, 171 Ch'ing wei t'ang, 142 Iwaki, 154, 178 Kiyo-chika, 160 Ch'ii shun t'ang, 143 Iwakuni, 164 Kiyomizu, 170-173 I yu t'ang, 143 Iwakura, 171 Knot, 138, 140 Lin yii t'ang, 143 Iwami, 165 Ko, 170 Lu yi t'ang, 142 Iwao, 165 Ko Ming-hsiang, 152 Shun te t'ang, 142, 143 Izumi, 164, 165 Ko Yiian-hsiang, 152 Ssu pu chai, 144 Izumo, 166 Kochi-yaki, 155 Ta ya chai, 144 Koho, 170 Tan ning chai, 143 Jewel, 138 Komaru, 178 Te hsing t'ang, 142 Jinenan, 189 Korakuyen, 177, igo Ts'ai hsiu t'ang, 142 Jiu, 183 Koransha, 191 Ts'ai hua t'ang, 142 Jizan, 174 Koren, 177 Ts'ai jun t'ang, 143 Jo shen ch'en tsang, 144 Kosai, 173, 188 Yang ho t'ang, 143 Ju, 162 Kosao, 174 Yii hai t'ang, 142 Ju'i, 140, 141 Kosobe, 160 Yii t'ang, 142 Jui lu shan fang, 143 Kotei, 163 Yu tzii t'ang, 142 Juraku, 162 Koto, 161, 189 Yung lo t'ang, 142 Jusan, 160, 179 Kozan, 171, 178, 185, 188 Hansuke, 190 Jus an-ken, 164 Ku, 148 Hare, 125, 139 Kuan lien fang, 150 Harima, 166, 170, 186 Ka,i66, 183 Kuan yao, 150 Hatim, 125 Ka ichi, 159 Kuang-tung, 132 Hayashi, 178 Kachutei, 172, 187 Kuei yueh shan chuang, Heian, 187 Kaga, 162, 182, 183, 186 144 Hichozan Shimpo, 185 Kagura, 174 Kuchu, 170 Higo, 161, 162 Kahin Shiriu, 155, 175 Kung ming fu kuei, etc., Himeji, 186 Kairakuyen, 165 151 Hira, 161 Kakiemon, 181 Kuo, t 48 Hirado, 181, 185 Kakihan, 156, 179 Kushide, 185 Hiraga, 167 Kakitsubata, 179 Kusumura, 179 Hizen, 154, 159, 181, 184-6 Kallass, 124 Kutani, 182, 186 Ho, 164, 183 Kameyama, 159, 184, i8f K'wa-bo, 159 Hohei, 178 Kanashige, 178 Kwan-kei, 165 Hoju, 178 Kanzan, 171, 188 K'wanriyo, 176 INDEX OF ORIENTAL MARKS AND NAMES 209 Kyuraku, 174 Ninsei, 154, 170 Sakurai, 160, 186 Niraku, 159 Sampei, 190 Lai, 149 Nishina, 184 Sampo, 185 Leaf, 138, 139, 178, 184 Numerals, 137, 140 San yo, 168 Li-chih, 149 Nuno Gunjiro, 164 San han, 190 Li-ta-lai, 152 Sanjiro, 177 Liang-chi, 129 Odo, 160 Sanrakuyen, 177 Lien ch'eng, 150 Ofuke, 168 Sanuki, 167, 168 Lin ch'ang fa, 149 Ogata Shinsho, 155 Sarayama, 185 Ling nan hui chi, 151 Ogata Shuhei, 188 Sasashima, 170 Lotus, 138, 139 Ohi, 162 Sato, 160, 186 Lozenge, 138, 141 Ohimachi, 179 Satsu, 179 Lu, 146 Ohorimura, 178 Satsuma, 154, 178, 179 Lung-ch'iian, 127 Okawaji, 181, 183, 185 Sawayama, 161 Okayama, 160 Seal marks, uncertain, 151, Maiko, 166 Okazaki, 174 183, 184, 189 Maisen, 166 Okunisan, 179 Sei, 170, 172, 176 Maku-in, 170 Omi, 161, 189 Seifu, 173, 188 Makusa, 169 Omuro, 175 Seigen, 184 Makuzu, 160, 176, 178, 188 Onike, 170 Seiji, 174 Marubashiro, 165 Osaka, 160, 161, 179 Seikanji, 170 Masa-ichi, 185 Ota, 179 Seikanyen, 190 Masaki, 169, 177 Otani, 173 Seikozan, 178 Matsuyama, 177 Otokoyama, 158, 165, 189 Seinei, 165, 174 Matsuye, 166 Otovva, 175 Seishi, 176 Meiho, 189 Ouchi-yama, 175 Seisuke, 170 Meppotani, 165 Owari, 168-170, 189, 190, Seizan, 191 Mikawa, 159, 179 191 Senki, 179 Mikawaji, 159, 181, 185, Sensuke, 179 191 Pai shih, 151 Seta, 161 Mikuni, 164 Pao, 148 Seto, 153, 154, 155, 182. Mimpei, 164 Pao sheng, 131, 147 184, 187, 189, 190 Min, 167 Peach, 139 Seto-suke, 163 Minato, 164 Pearl, 141 Settsu, 161, 186 Mino, 190 Peking, 132 Shan jen ch en wei, 150 Minzan, 167 Persia, 121- 125 Shang su, 149 Mishima, 153, 154 Pi ting ju'i, 131, 141 Shell 138, 141 Mito, 177 Po ku chen wan, 147 Sheng, 148 Miura Kenya, 176 Sheng yu ya chi, 147 Mizoro, 170 Raku, 153, 154, 165, 174, Shichibei, 172 Mokubei, 162, 175, 182 179 Shido, 167 Mompei, 161 Rakurakuyen, 177 Shidoro, 166 Mompeizan, 161 Rakuwo, 174 Shiga, 160 Mori, 160 Rakuzan, 166, 178 Shigaraki, 154, 161 Mori Chikara, 185 Rantei, 176, 1S7 Shigen, 176 Muhammed Ali, 125 Rendaiji, 162 Shih fu, 148 Muhammed Harbaty, 125 Rengetsu, 176 Shimbei, 187 Musashi, 176-178 Rhinoceros horn, 138, 141 Shinzan, 167 Mushiage, 160 Rhodian, 121, 122 Shiozo, 186 Musical instrument, 141 Rikk, 124 Shippo, 191 Riku, 159 Shisei, 177 Nabeshima, 181, 185 Rinso, 168 Shoda, 178 Nagami, 165 Rinzan, 162 Shodai, 162 Nagato, 166 Riokozan, 176 Shofu, 162 Nagoya, 169, 170, 189 Risampei, 181 Shonsui, 173 Nakamura, 178 Rissai, 164 Shop mark, 148 Naniwa, 160 Roki, 188 Shosai, 161 Nanki, 165, 189 Roku, 172, 183 Shoson, 177 Naosaku, 168 Rokubei, 172, 182, 187 Shoto, 159 Naoyoshi, 160 Ryozen, 175 Shou, 145, 146 Nembokuan, 185 Shuai fu kung yung, -147 Nengo, 156-8 Saburo, T74 Shuang hsi, 144 Nien-hao, 129, 134-6, 156 Sado, 164 Shu-fu, 127, 149 Niko, 179 Sahei, 162, 188 Shukei, 172, 188 Nina, 172 Sakai, 165 Shun, 148, 167 Ninami, 172 Sakin, 164 Shun-min, 167 2IO POTTERY MARKS Shuntai, 168 Terami, 159 Wen chang shan tou, 148 Shuntan, 168 T'.ien, 148 Wheel,^i 9 3 _ Shunu, 168 T'ien kuan tz'u fu, 147 Wu chen hsien, 152 Shunyetsu, 168 T'ien ti yi chia ch'un, 144 Shunzan, 167 Ting-chou, 127 Ya, 148, 162 Shuzan, 176 To, 161 Yang-lin, 151 Sobaitei, 169 Tobo, 175 Ya su kung shang, 144 Sobokai, 168 Togiyokuyen, 190 Ya wan, 148 Sogen, 161 Tokio, 154, 176, 179, 191 Yamaka, 166 Sokan, 160 Toko, 162 Yamamoto, 162 Soma, 154, 178 Tokoname, 169 Yamashiro, 170-176, 187, 188 Sosendo, 187 Tokuemon, 181 Yamato, 163, 190 Soshichi, 167 Tora Kichi, 161 Yanagawa, 164 Soshiro, 175 Tortoise, 173, 190 Yashima, 167, 168 Soyen, 179 Tosa, 160, 164, 177 Yasuke, 174 Stone, 138 Tosetsu, 172 Yatsushiro, 154, 161, 162 Stork, 140 Toshiro, 153, 179 Yedo, 154, 161, 177, 179 Suma, 166 Totei, 159, 165 Yenzan, 178 Sumidagawa, 1t 77 Totomi, 166 Yi-hsing, 132, 152 Suminokura, 1 73 To-yen, 158 Yohachi, 168 Suo, 164, 167 Toyohachi, 169 Yokka-ichi, 163 Swastika, 141, 184 Toyoraku, 169 Yoshida, 160 Syria, 121-125 Toyosuke, 169, 170 Yoshitoyo, 169 Toyo-ura-yama, 166 Yosobei, 172 Ta chi, 144 Tozan, 166, 186 Yotsuya, 177 Tachin.0, 179 Triangle, 140 Youaz, 125 Tad a, 164 Tsai ch'uan chihlo, 131, 147 Yu, 148 T'ai yuan, 152 Ts'ang lang lii shiu, 150 Yu chai, 151 Taihei, 171 Tsao t'ang, 150 Yii feng, 151 Tainen, 160 Tsui yueh hsiian, 151 Yu lai, 147 Taizan, 154, 171 Tsuji, 170, 185 Yuan sin-hsing, 149 Taka, 167 Tsushima, 160 Yiieh ch'ang, 152 Takagamine, 170 Tsuyen, 173 Yuko, 161 Takatori, 154, 166, 167 Turkish, 125 Yu-lan-pi, 152 Takuzan, 161 Yung-cheng yii chih, 150 Tal, 124 Uichu, 161 Yung ch'ing ch'ang ch'un, Tamagawa, 177 Umbrella, 138 144 Tamba, 168 Unyei, 166 Yurin, 163 Tan kuei, 147 Yusetsu, 163 Tanniu, 165, 174 Vase, 138, 139, 140 Tanzan, 171 Zari, 125 Tatsumonji, 178 Wafuken, 166 Zengoro, 155 Te hua ch'ang ch'un, 1. Wagen, 175 Zenshiro, 175 Tei, 173 Wan fu yu t'ung, 146 Zeze, 161 Teiji, 179 Wan shih chii, 151 Zoshuntei, 185 Teiten, 167 Wan shou \vu chiang, 147 Zoroku, 173, 188 Tenkaichi, 175 Wang Sheng-kao, 151 Zuishi, 165 Printed by R. & R. Clark, Limited, Edinburgh. WORKS ON ART A Popular Handbook to the National Gallery. Including Notes collected from the Works of Mr. Ruskin. By Edward T. COOK. In Two Vols, crown 8vo. Thin paper. Leather binding. Vol. I. Foreign Schools, ios. net. Vol. II. British Schools (including the Tate Gallery). i os. net. French Prints of the Eighteenth Century. By Ralph Nevill. Illustrated. 8vo. 15s. net. Eighteenth Century Colour Prints. By Julia Frankau. Second Edition. 8vo. 7s. 6d. net. The Book of the Pearl. The History, Art, Science and Industry of the Queen of Gems. By G. Kunz, Ph.D., and C. H. Stevenson, D.C.L. Illustrated. Royal 8vo. £2 : 2s. net. English Goldsmiths and their Marks. With over Eleven Thousand Marks reproduced in facsimile. 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