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An English Pottery Heritage

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An English Pottery Heritage The Troy Dawson Chappell Collection of Earthenware & Stoneware 1630 – 1800 July 2016 Welcome, I hope that you find enjoyment from my approach to early English pottery as set forth in this catalog. The volume is a vale- dictory after forty-seven years wherein I collected varied wares as a hobby in order to interpret and display objects that would have been suitable for both British and American mid-level homes; pieces were brought together to enlighten a range of settings instead of focusing on earliest or rarest possible examples. The selected time frame co- incides with that spanning the starting phases for English ceramics industrialization. Life circumstances made it prudent for me to discontinue this project and disperse my Collection; therefore, less several gifts, the whole has been returned to auction markets for the pleasure and edi- fication of future hunters. I will continue to enjoy a library and many wonderful memories of people, places, events, and pottery in addi- tion to this published record to safely peruse in hand. My adventure reached a stage of faint expectation to become fully realized because of scarcities for particular pieces or now their unreachable selling prices. Therefore, the thumbnail picture space- holders, which are sequenced throughout this writing, indicate those ‘sorts of items’ that would be necessary to achieve my ever matur- ing, yet compact, goal. As a collector, I allowed wandering eyes to seek exciting replacements! I stress that this is a personal summary that was truly cob- bled together over decades as a persistently engrossing activity. It incorporates normally withheld information regarding costs, sources, etc. My study preference is having comfort and utility from leafed books in place of online presentations. And so, I thought that a lim- ited, printed quantity would be suitable for donations to particular in- dividuals as well as libraries of museums that support a significant related collection. Time and opportunity have affirmed this issue. I have tried to be objective with foundations in most recent and emerging information pertaining to this early English pottery, but there can certainly be disagreements with some of my obser- vations. With due regard for then prevailing extents of discovery, I am now among those skeptical about the absolute claims by sev- eral bygone ‘authorities’ whenever addressing dates and decorator- or potter-specific characteristics. Future investigators will probably revisit the inclinations of today. With kind regards, AN ENGLISH POTTERY HERITAGE Queen Anne dish, Tin-glazed earthenware, London, c. 1702 - 1714, No. 38 ****** A Survey of Earthenware and Stoneware 1630 – 1800 Part One as Collected and Described by TROY DAWSON CHAPPELL 2016 © Troy D. Chappell 2016 All rights reserved. No part of this publication may be reproduced, recorded in any storage or retrieval system, or transmitted in any form or by means electronic, mechanical, photocopy, or otherwise without the prior written permission of the copyright holder. ISBN 978-0-615-98666-1 in two volumes Library of Congress Cataloging-in-Publication-Data (at end of Part Two) Designed and published by the Author Williamsburg, VA 23185 Printed and bound by T J Metzgers, Inc Toledo, OH 43607 Cased by Bridgeport National Bindery, Inc Agawam, MA 01001 This edition is limited to fifty copies of which this is number ____ In memory of my Mother Virginia Brown Chappell ** 1909 – 2002 ** who gave me love and encouragement Contents Part One Foreword by Harry A. Root page ix Acknowledgments xi List of Illustrations xiii Selected Personal Appreciations xxiv About the Author xxv A Simulated Public Notice for the 18th Century xxvi Introductory Note 1 THE PROGRESSION OF STYLES 7 Awakened Spirits 11 Transitions and Commerce 13 Political and Social Forces 19 Slip Ware—The Rustic Tapestries 21 Tin-glazed Earthenware—The Dawn of Colors 22 Agate and Colored-body Ware—Natural Beauties 23 Salt-glazed Stoneware—Revolutionary Enterprises 24 Buff and Cream Earthenware—Bountiful Harvests 26 Early Figures—Modest Appraisals 27 Legacies of the English Potters 28 The Continuum of Competition 28 ILLUSTRATED CATALOG WITH NOTES 33 Preface 35 Cavalcade of Styles 37 Slip Ware 43 Tin-glazed Earthenware 77 Part Two Contents v Agate and Colored-body Ware 473 vii Salt-glazed Stoneware 531 Buff and Cream Earthenware 685 Early Figures 853 Appendixes 885 A. Principal Potworks, Proprietors, and Craftsmen Active within the Span of this Collection 887 B. Early Technological Events Promoting English Pottery Production 903 C. Shapes of Tin-glazed Earthenware Plates and Dishes 905 D. Marks and Inscriptions 937 E. Dates for Selected Chinese Dynasties and Reigns 945 F. Former Collectors of Cataloged Items 947 • Collector Label Directory 949 • Exhibition Label Directory 949 G. Acquisition Sources for Cataloged Items 951 • Dealer Label Directory 953 • Summary of Sources for Items 954 Bibliography 957 Select Bibliography 959 Short Title List 961 Functional Glossary 975 Index 983 Reminiscences 997 Design Comparisons 1005 viii Contents Foreword In the elder days of art builders wrought with great care each minute and unseen part; for Gods see everywhere. —“The Builders” Henry Wadsworth Longfellow What Troy Chappell has built is a collection; a col- lection of great stature and beauty. This monument to the many efforts and outputs of early British potters and ce- ramics craftsmen is the result of sincere admiration and appreciation for those artisans. He has amassed, with a meticulous care, those works into a singular volume hav- ing great readability. I have had the distinct privilege of befriending Troy for something over twenty-five years; we are fellow col- lectors of this pottery. I have looked to our friendship and mutual interests as one truly rewarding association. I have indeed recognized where there are facets to our knowing each other that transcend simple friendship. I took to Troy as my mentor for collecting, the scholar to whom I look for and receive knowledge that I would be sore pressed to find elsewhere, and he is a very patient teacher. At the very beginning Troy knew that the task he was about to undertake was larger than simply collect- ing pots for their beauty—he intended to accumulate all there was to know about them; namely, dates of manu- facture, locations of the potteries that made the pots, the clays from which they were potted, the glazes used, the origins for the decorations found on these objects, and even the names of collectors who may have owned the pots before his acquiring them! Troy capsulized much ix of the available information for each entry into his book. This volume is destined, I believe, to be among the most valuable sources for the collectors, students and other in- terested scholars of ceramics. Harry A. Root July 2011 x Foreword Acknowledgments HE EFFORT TO COMPLETE THIS CATALOG was T assisted through the years by steadily accumulating gen- erous advice and counsel from numerous friends and helpful institutional staff members. Clearly from strong recollection, heartfelt gratitude is now accorded to the late Miss Emily M. Manheim who first spurred my inquisitive encounters with varieties of early English pottery; and her associate, Henry Mathis, surely bridged lingering breaks in my knowledge.1 Following initial arousing exposures and impressions, per- sonal programs for researching, handling, and comparing an- tique wares expanded into enjoyable experiences that included travel and participation in ceramics study organizations. Also, revelatory and congenial exchanges with the late Benjamin Ginsburg and Lewis Rockwell remain as partic- ularly special and treasured. Their anecdotal insights related to past enthusiasts became notably stimulating when measur- ing suitable goals for this collection. In my pursuits, I received recurring information from the late Jonathan Horne, who as a distinguished London dealer, inveterate researcher, writer, and publisher of materials defining early British pottery, reliably shared his reasoned thoughts about these sorts of wares. With gracious accommodations from collectors, cura- tors, researchers, archivists, and specialists my adventure has been greatly enriched. I heartily thank: Mark Allen, Michael Archer, Gavin Ashworth, Garry Atkins, John C. Austin, Christopher Banks, David Barker, Barbara Blenkinship, Frank Britton, Rebecca Davis, Aileen Dawson, Martyn Edgell, Amy Fernandez, Anne Forschler-Tarrasch, Peter Francis, Anton Gabszewicz, Brian Gallagher, Price Glover, Harriet Goldweitz, Leslie Grigsby, Patricia Halfpenny, Wynne Hamilton Foyn, 1 Sotheby’s sale catalog, 15 October 1996, for a brief biography of Miss Man- heim along with an introductory tribute that includes notice of my first encounter and later experiences at her gallery. Vide, p. 999, for notable engagements with her and other persons during my early collecting period. xi Suzanne Harrison, Vivian Hawes, Suzanne Hood, John Howard, Robert Hunter, Tristram Jellinek, Alan Kaplan, Angelika Kuettner, Amanda Lange, Gregg Levethan, Errol Manners, Jessie McNab, David B. Newbon, Michael Parkinson, Julia Poole, Robert and Christina Prescott-Walker, Jonathan Prown, Letitia Roberts, Lois Roberts, Harry Root, Alistair Sampson, Wynn Sayman, Susan Shames, Janine Skerry, Stuart Slavid, Peter Stinely, Diana Stradling, Ross Taggart, Hugh Tait, Paul Vandekar, Tom Walford, Karin Walton, AJ Warren, Peter Warren, Henry and June (Jimmy) Weldon, Simon Westman, Jody Wilkie, Peter Williams, and numerous supporters who ex- pedited
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