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Leeds Art Collections Fund

This is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places ot Cover Design interest, by writing for an application form to the Detail of a salt-glaze mug Hon Treasurer, E. M. Arnold Butterley Street, Leeds 10 with "Scratch Blue" decoration of a cattle auction Esq., scene; inscribed "John Cope 1749 Hear goes". From the Hollings Collection, Leeds. LEEDS ARTS CALENDAR No. 67 1970 THE AMENITIES COMMITTEE

The Lord Mayor Alderman J. T. V. Watson, t.t..s (Chairman) Alderman T. W. Kirkby Contents Alderman A. S. Pedley, D.p.c. Alderman S. Symmonds Councillor P. N. H. Clokie Councillor R. I. Ellis, A.R.A.M. Councillor H. Farrell Editorial 2 J. Councillor Mrs. E. Haughton Councillor Mrs. Collector's Notebook D. E. Jenkins A Leeds 4 Councillor Mrs. A. Malcolm Councillor Miss C. A. Mathers Some Trifles from Leeds 12 Councillor D. Pedder, J.p., Ms.c. Mrs. M. Tomlinson Mr. Greg's 'Leeds Ware'8 Councillor S. C. Co-opted Members W. T. Oliver, M.A. Eric Taylor, R.E., A.R.G.A.

THE LEEDS ART COLLECTIONS FUND

President The Rt. Hon. the Earl of Halifax

V'tce-President The Rt. Hon. the Earl of Harewood

Trustees STAFF C. S. Reddihough George Black, F.R.c.s. W. Oliver, M.A. Director T. M.A., F.M.A. Robert Rowe, c.s.E., Committee Mrs. S. Gilchrist Keeper,? emple JVewsam House Professor L. Gowing, c.s.E., M.A. Christopher Gilbert, M.A., F.M.A. Mrs. R. P. Kellett Dr. Derek Linstrum, pH.D., A.R.I.B.A. Keeper, Art Gallery Mrs. G. B. Ratclifl'e Miss M. Strickland-Constable, B.A. A.M.A. T. B. Simpson Alderman T. V. Watson, LL.B. Keeper, Decorative Art Studies J. B.A. Terry F. Friedman, Hon. Treasurer Martin Arnold, B.A. Curator, Print Room and Art Library Alex Robertson, M.A. W. Hon. Secretary Robert Rowe, c.s.E.,M.A., F.M.A. Assistant Keeper, Lotherton Hall Peter Walton, B.A. Hon. Membership Secretary W. B. Blackburn Assistant Keeper, ? emple Xewsam House Wells-Cole, B.A. Anthony Hon. Social Secretary Mrs. M. A. Goldie Trainee Assistant Keeper: Richard Fawcett, B.A.

Secretary: Miss B. Thompson All communications to be addressed to the Administrator Hon. Secretary at Temple Newsam House, Leeds Miss D. J. English Subscriptions for the Arts Calendar should be sent to Assistant, Print Room and Art Library The Hon. Treasurer, c/o E.J. Arnold 8c Son Ltd., Mrs. J. E. Brooks Butterley Street, Leeds 10 Technical Supervisors: 8/- per annum, including postage (2 issues) Ron Turner Single copies from the Art Gallery and Temple Michael Tasker Newsam House, 3/6 each Editorial

In September the Yorkshire Arts Associa- it in terms of the existing collections as tion agreed to make a grant of $ 100 well as on its own individual qualities. towards the cost ol'xpanding the C:alendar Indeed adding to a public collection is during the current financial year. All the not so very different in its terms of money has in fact been spent in improving reference to building up a private one. one issue —this one as the next is not due The committee did feel, however, that the to be published until well after April 1st Fund should concentrate mainly on ac- 1971. Support from the Yorkshire Arts quiring contemporary art. Not only is this Association is good news indeed and we field the most appropriate to its independ- hope that those who decided to disburse ence and small budget, but it is here that the money will consider themselves as its greatest contribution to the art amenities enlightened as we think they are. This of Leeds has been made through the years. generous subsidy has allowed us to in- The actual purchasing, it was decided, crease the number of pages and indeed the should remain primarily in the hands of space available to the contributors is the secretary who must, in line with tradi- further improved by leaving out the tion, obtain first the approval of the calendar of events. This feature has be- treasurer and one trustee. This does not come less and less worthwhile since other preclude, any more than it has in the past, bodies began to publish similar informa- members of'ommittee from making sug- tion more frequently and in more accessible gestions for purchases. ways. Not least the Yorkshire Arts Asso- As far as the L.A.C.F. is concerned, the ciation itself in its monthly diary. first purchase of 1970 was an abstract At a recent meeting of your committee painting called : G. F. Bodley, by the purchasing methods and policy of the Mark Lancaster. This was made from the Fund were discussed in the light of the new artist's highly successful exhibition Trust Deed. This followed a meeting of in October. Members will remember that the trustees whose views were on the table he was represented by two impressive so to say. The question of how definite a works in the Festival exhibition at the Art policy one should have in acquiring pic- Gallery this year. Bought very recently tures and objects for a large and compre- with city money was the attractive late hensive collection is a difficult one. Works sixteenth-century jug (Fig. I ) of art, certainly those of a quality worthy probably made in Faenza. Its English of Leeds, cannot be bought like cars from silver-gilt mounts are unmarked, but of a showroom. To be sure that something about the same date putting them among important is not missed —which through the earliest examples of the goldsmiths'raft its own merits might suggest a niche for in the collection. This embellishment itself at Temple Newsam, the Art Gallery of a jug, itself a great rarity and an excel- or Lotherton —a policy would have to be lent example of its kind, represents a so broad as to lose its identity as such. In particularly happy marriage of metalwork fact any easily recognisable policy might and ceramic. There is no space to discuss be more restricting than useful. Funda- them here but other silver objects will be mental requirements for good buying are shown in next year's acquisitions exhibi- to know where to look for things and, when tion at Temple Newsam —not in the house, something is found, to be able to evaluate we hope, but in the new stable block galleries discussed in the last Calendar. The but it is obvious that more space must be Temple Newsam history room on the given to it as soon as possible. ground floor was opened in November at What better news with which to end this the same time as the first temporary exhi- short editorial than to announce that a new bition in the galleries upstairs was closed. Social Secretary has been appointed. The other important 'opening'as of the Your commit tee has persuaded Mrs. first-floor rooms at Lotherton. The August Goldie, one of the Fund's most regular target was not met but one Saturday early and long-standing supporters, to take on in September visitors found themselves the job. We wish her well, offer our sup- able to explore the upper regions. At last port and look forward with relish to her some of the costume collection is on show, proposals for a fuller social life.

1. Majolica jug zvith English silver-gilt mounts. c. 1590-1600 A Leeds Collector's Notebook

1 Pre-

The first purchase recorded by T. E. bound notebook. Pages 1 —33 list under Hollings was a 'Large Cream Ware 667 numbered entries his purchases of Dish'hich he bought at Riley R. Son, the . The other main list (pp. Leeds auctioneers, in 1910 for QL 5s. This 71—89, nos. 01—0343) records his purchases purchase can be identified as a large of Staffordshire pot tery and Engl ~sh circular dish with a beaded and pierced . There are other lists headed border. The design is a familiar Leeds "Black Basalt" (pp. 69—70), "Old English Pottery design and he later acquired Delftware" (pp. 99—100) and "Old Leeds marked examples. By 1945, Mr. Hollings Figures. Marked" as well as notes of loans had assembled a large and important to Temple Newsam and various household collection of Leeds pottery, part of which accounts. Fortunately many of Mr. Hol- he gave to Temple Newsam in 1946 and ling's numbered labels which relate to the remainder of'which came in the form entries in the notebook and some other of a bequest in 1947. In giving his collec- collectors'abels have survived on the tion, Mr. Hollings was following a long pots. Other information about the collec- succession of collectors. Gifts by H. C. tion can be gleaned from the annotated Embleton in 1928, Mrs. C. Holland Child catalogues and books which belonged to (1929), Mrs. Gladys Tetley (1934), Mr. Mr. Hollings and which came to Temple and Mrs. Arthur Smith (1938), Mrs. Clive Newsam in 1947. Behrens (1941), Charles Roberts (1941) The era of collecting English ceramics and Lord Airedale (1942) and the be- began at about the middle of the nine- quests of R. T. Walker in 1901 and Mrs. teenth century. The first major history of Katherine Gott in 1941, had all contained pottery and was published in important pieces of Leeds pottery. The 1850.'n 1862 a loan exhibition ol'orks addition of the Hollings Collection gave of art which included English pottery and Temple Newsam one of the largest and porcelain was held at the South Kensing- most comprehensive collections of Leeds ton Museum, and there can be little doubt pottery in the country. But we owe it to that it either created or encouraged an T. E. Hollings also that this collection is interest which has continued without a balanced by a significant group of Stafford- break until the present day. Montague shire pottery and English delftware. Guest in his introduction to Lady Charlotte Thomas Hollings lived all his life at Schreiber's Journals, says that his mother Calverley, between Leeds and Bradford, "never seemed to show any sign of the where he managed the old-established China Mania until ten years after her family business of Isaac Hollings and Son, marriage to Charles Schreiber", which the Woollen Manufacturers at the Holly would mean that she began collecting in Park Mills. Apparently he began his about 1865. Thomas Hollings was born collection of English pottery with a small before the publication of Llewyellen group of pieces bought by a member of Jewitt's monumental survey of English his family for a visit by John Wesley to Ceramics in 1878, a first edition of which Bradford. Unfortunately these pieces can- came to Temple Newsam with his library, not be identified, but the more recent but he did not begin to collect until middle ancestry of most of the pots in the Hollings age. His collection of pre-Wedgwood Collection can be traced because Mr. pottery was formed between about 1913 Hollings kept a careful record of all his and 1939 and he was therefore one of the acquisitions. This record is in the form of a second generation of collectors of early pottery. He was able to acquire pots from period: A. E. Clarke (1919), Francis many of the great early collections— Bennett Goldney (1920), Bryan T. Har- William Edkins, Lady Charlotte Schreiber, land (1923), Cyril Andrade (1925), Mrs. Dr. Diamond, J. E. and E. Hodgkin, Brooke (1929),John Henry Taylor (1930), R. Soden-Smith, L. M. Solon, the Freeths Lord Revelstoke (1934), Charles J. Lomax and A. E. Clarke. His own collection of (1937) and Wallace Elliot (1938). mainly useful wares is not comprehensive. was in less plentiful supply in Delftware is rather badly represented and the 1920's and 30's than it had been the brown of the type made at earlier in the century, but it was receiving Fulham and Nottingham are not repre- less at tention from collectors and Mr. sented at all, but it is very rich in the Hollings was able to collect a number of Staffordshire salt-glazed and lead-glazed important and some spectacular pieces, wares and contains some important and mainly North Staffordshire in origin. His spectacular slipware. At a time when fakes first two examples, from the Boynton Sale and reproductions abounded, it says much of 1920, were not made in North Stafford- for Thomas Hollings'iscernment that shire. One, a posset pot from Wrotham in there are very few doubtful pieces in his Kent, is dated 1710. The pot from the collection. collection of William Edkins is illustrated It seems that Hollings received help in by the Hodgkins4 and is a typical Wrotham

the early part of his collecting career type with 'patches'f white 'stitched'ith from the Leeds antiquarian and ceramic white , probably suggested by the historian, J. R. Kidson. Joseph Kidson stumpwork embroidery of the period. It is and his brother Frank wrote the early a later production of the pottery signed monograph on the Leeds Pottery2 and by an unidentified potter 'I.E.'nd is they assembled a large collection. The decidedly less accomplished than the work Kidsons had a shop in Albion Street, of his predecessors George Richardson and Leeds, which specialized in ceramics, and Nicholas Hubble.5 The other pot from the particularly Leeds pottery. Hollings was a Boynton collection is a puzzle jug attribu- regular customer and a number of pots ted to Donyatt in Somerset, and is similar from the Kidson collection are now at to one in the Glaisher collection at the Temple Newsam including the candela- Fitzwilliam Museum, Cambridge. The brum which is illustrated on plate 15 of jug is inscribed round the neck "Fill me the Kidson's book. But Hollings'ealings full drink of me while you woul Mary with Joseph Kidson were not confined to Rodge 1740". purchases of I.eeds pottery. It appears Of the North Staffordshire slipware from the notebook that he began his three pieces bear the initials 'I.B.'nd collection of pre-Wedgwood pottery with were possibly made by the potter Isaac three salt-glazed pots which he acquired Ball of . Two of these are cylin- from Kidson in 1913.s Mr. Hollings was drical posset pots with double loop collecting at a time when it was still pos- handles and form a pair, although they sible to acquire good English pottery in the were bought at different times. Both are provinces and when some of the major decorated with tulips and Tudor roses and sales were held outside London. He is still are inscribed with the popular Stafford- remembered by some of the old-estab- shire sentiment THE BEsT Is NDT Too lished dealers in Bradford and Harrogate, ooon FoR voII", the date 1697 and the and he bought regularly from dealers in initials 'I.B.'. One of these is listed by the , Liverpool, Stoke-on- Trent, Hodgkins'nd was acquired in 1925. It and Rotherham. He attended the sales of bears the initials 'R.F.'n addition to Thomas Boynton in 1920 and Micah Salt 'I.B.'. The other pot was bought at the in 1927. both ofwhich were held at Hanley. Harland Sale of 1931.They are a familiar Unfortunately for Temple Newsam he did Staffordshire type and a rather similar not buy at the earlier Hanley Sale of the posset pot in the collection is dated 1710. L. M. Solon collection in 1912. He bought The third pot which can be attributed to at many of the major London sales of the Isaac Ball is a jug, also dated 1697, and which is inscribed with the initials 'R.F.', One is decorated with a portrait of Queen 'I.P.S.'nd 'I.B.'. Perhaps the most Anne and the other with tulips, but both attractive of all the posset pots in the are rather uninspired examples. Perhaps collection is one of the inverted-bell- the most interesting pieces in the collection shaped type with a lid. It is dated 1710 are a rare series of six 'meryman'lates and bears the initials 'E.C.'nd a pious made at Lambeth in about 1680. They inscription. It is the only example of are from three different sets but form the slipware in the collection to be decorated complete rhyme (1. What is a meryman with green slip and was the last piece to 2. Let him doe what hee kan 3. too en- be acquired. tertaine his geist 4. with wyne and mery At the Salt sale in 1927, Mr. Hollings gests 5. but if is wyfe dothe frowne 6. all acquired one of the two slipware dishes in meryment goes Downe), and were sold the collection. This is decorated with a as one lot in the Francis Bennett-Goldney spirited and rather elongated version of sale. The plates are octagonal and num- Charles in the Boscobel Oak and is signed bers 1, '2, 3 and 5 (Fig. 2) have octagonal 'William Talor'Fig. 1). The other dish wells decorated with the earlier form of is the now well-known one by Thomas decoration found on 'meryman'ets, a Toft, decorated with The Fall and dated crowned cartouche. These are particularly 1674. It is one of only two extant dishes unusual in that they are decorated in dated and signed by Thomas Toft; the yellow and manganese. Numbers 4 and other, in Museum, is dated 1671. 6 are decorated with similar ornament in There is another Thomas Toft dish blue within circular wells surrounded by a decorated with the Adam and Eve subject. double ring. Another set of 'meryman'lates This is the particularly attractive press- in the Hollings Collection is deco- moulded version in the Glaisher Collec- rated with the later and more familiar tion.s The design of the central section is wreath in blue. These plates are circular similar to that of the Temple Newsam dish and are dated 1721. except that it incorporates olive green in The brown stonewares of the type made the decoration and the figures are labelled at Fulham and Nottingham are not repre- ADAM and EVE . The provenance of the sented in the Hollings collection, although Temple Newsam dish is only partly known. there is an entry in the notebook that It was formerly in the possession of the records the purchase of a "Nottingham well-known dealer and collector, Cyril Two-handled Jug" dated 1720 from a Andrade. Mr. Hollings bought it in Lon- dealer in Harrogate in 1927.9 Sadly this don in 1931, possibly from Mr. Andrade, pot did not come to Temple Newsam. The but for once the notebook does not help. unglazed red stoneware is attributed to W. B. Honey referred to the dish in the the Brothers Elers in the notebook. It first edition of English Pottery and Porcelain would seem, however, that Mr. Hollings in 1933 as being in the Andrade collection. used the term 'Elers ware'or red wares This implies that he knew of its existence in general, and there are no pots in his before 1931. collection that can be considered to be their Mr. Hollings seems to have had less work. This deficit was made good this feeling for English delftware which is year when two pots of a type now usually rather poorly represented in his collection. accepted as being by the Elers brothers He attended two important sales of - were acquired for Temple Newsam from ware, those of Francis Bennett-Goldney in the collection of the late Mr. Aubrey 1920 and Bryan T. Harland in 1931, but Toppin (Fig. 3)' The unglazed red bought very little. The most attractive stoneware bought by Mr. Hollings is of piece he acquired at the Harland sale a later eighteenth-century date and in- was a small Bristol teapot decorated in cludes a teapot of about 1761 decorated blue with Chinese landscapes. There are with stamped ornament representing two chargers, attributed to Bristol, of the George III and Queen Charlotte and type known amongst collectors in Mr. possibly made to celebrate the King' Hollings'ay as 'Blue Dash Chargers'. wedding. This was acquired from Joseph Kidson. A large punch pot from the Red Cross sale of 1916 is decorated with flower sprigs in the Elers style. Neither salt-glazed stoneware, nor one of its chief methods of manufacture, slip casting, were English inventions, but L. M. Solon, describing his collection of 'pre-Wedgwood pottery', said that its "foremost quality is that it is eminently English in character."" The source of the decoration on the cast stoneware has never been satisfactorily explained. It has been suggested that many motifs bear a resemblance to illustrations in Medieval Bestiaries. The antilopes, hyenas, pheo- nixes, unicorns, and particularly the exactly paired, stylized birds heads on a sauceboat in Mr. Hollings's collectjon, are very reminiscent of Bestiary illustrations. The iconography of salt-glaze decoration could prove to be interesting. An octagonal teapot with panels of decoration of this type is very similar to a mould formerly belonging to L. M. Solon and now in the Greg Collection at Manchester." Many of the cast stoneware teapots were designed with little regard for function and the houses, camels and other exotic beasts are all represented. A delightful small cream jug with shell decoration touched with blue could be attributed to the Woods of Burslem on the grounds of its similarity to a block for a mould in the Victoria and Albert Museum bearing the initials of Ralph Wood and dated 1749.'s A teapot from Lord Revelstoke's Sale of 1934 commemorates the taking of Portobello by Admiral Vernon in 1739 and is also very important for purposes of dating. The subject is a very popular one on English pottery and a tall, thin-walled, cylindrical mug decorated with stamped ornaments commemorates the same event. Almost identical stamped ornaments were used to decorate a lead-glazed mug of hard red in the collection. The Hollings collection is very rich in salt-glazed stoneware and all the main types of decoration are represented. A Top illustration teapot with a drab coloured body decorated 1. Dish, Slipware, Diam. 17 in. About 1700. T. E. Hollings Collection, Temple JVewsam House. with very delicate scrollwork in white was once owned by John Hodgkin, E. T. Side- Bottom illustration 2. Plate, Delftware. Diam. 8 in. From a 'rneryman'eries. About 1680. botham, the author of the early catalogue T. E. Hollings Collection, Temple JVewsam House. of the Thomas Greg collection, and Wallace Elliot. Another, ofa rather unusual flattened globular shape on three feet, is from the sale of Constance Freeth '5 '; vs, (Fig. 4). It appears to have been the one illustrated by Mr. and Mrs. Frank Freeth in the catalogue of their collection,'4 and has a Yorkshire provenance. A variation of this theme is provided by a white teapot with drab coloured spout, handle and decora- tion from Mrs. Brooke's sale of 1929. Mr. Hollings paid very high prices for some of his examples ol the 'scratch-blue'ecorated stoneware. Three pieces are dated. One of these is a mug with a portrait of a man and is inscribed "John Cope 1749" and "Hear goes" (cover il- lustration). It was formerly in the collection of William Edkins and J. E. and E. Hodg- kin who illustrated it in Examples of Farly I 115I English Pottety.'s Another mug inscribed "R. M. 1755" (Fig. 5) within a wreath came 1'rom Lord Revelstoke's collection which contained a number of dated mugs ranging from 1755 to 1764. The 1755 mug has an incised inscription on the base which is almost indecipherable, but which is obviously a drinking song, and is signed 'W. T.'r 'W. F.'. The other dated piece, from the collection of Micah Salt, is a jug bearing the date 1760, the name James Wakefield, and a drinking song. There are two teapots of the type covered with a deep blue slip which are usually ascribed on the rather doubtful evidence of'Simeon Shaw, to William Littler of Longton Hall. One, from the Boynton Collection, is dec- orated with applied vines, the other is a particularly beautiful example, though damaged, painted in red and gold with birds, fruit, leaves and scrollwork. Mr. Hol- lings did not collect Staffordshire figures, al- numerous marked Leeds r though there are 1 examples in his collection. There . is, s however, a salt-glazed figure of a cat in W A brown and white agate splashed with blue. The lead-glazed earthenware was made contemporaneously with the salt-glazed Top illustration stoneware, often by the same potters. 3. Mug (Ht. 4n'n.) and Beaker l2'ss in.). L"nglazed red ware un'th stampeed Sometimes the two types of ware were decoration. Made by the Brothers Elers. Late seventeenth century. From the made in the same or similar moulds. . A Collection of the late Mr. Aubrey Toppin. Bought 1970. teapot in the Hollings collection is of a Bottom illustration shape more usually associated with the 'drab-coloured'ody decorate wit 4. Teapot. Sall-glazed stoneware with earthenware. This teapot, vvhite applied reliefs touched with blue. Ht. 5 in. About 1740. T. E. Hollings lead-glazed Collection, Temple Xewsam House. from the Trapnell collection, is moulde d 5. hfug. White salt- glared stonecoare toith

T. E. Collection, ?emple .Vetosam House.

in the form of a cauliflower the leaves of is one of the most attractive in the Hollings which are painted in enamel colour in two Collection, and is an especially good shades of blue. Mr. Hollings acquired the example of its type. The landscape is pot from the Andrade Sale. In the cata- decorated with browns and greens which logue of the sale it is attributed to William have clouded in the soft glaze giving it Littler, and certainly it is very reminiscent the look of an English water-colour. of the vegetable forms made at Longton Another teapot that could be attributed Hall. A lead-glazed teapot decorated with to Wedgwood was bought from Joseph a pastoral scene enclosed by rococo scroll- Kidson. This is decorated with a roulette work and a salt-glazed teapot in the and has vertical bands of yellow and green collection are cast from very similar glaze and a single applied leaf. It is moulds. A mould with the same subject similar to one in the Wedgwood Institute in the Wedgwood Museum at Barlaston, at Burslem.'s A wall with a rich is attributed to William Greatbach. There green glaze and moulded with a domed is a similar plain white salt-glazed teapot pavilion in a landscape has parallels not in the Glaisher Collection, but the version only in salt-glaze but in Worcester porce-

at Temple Newsam has been 'clobbered'ith lain as well. enamel colour. The lead-glazed pot The 'pineapple'nd 'cauliflower'ares In Soden-Smiths'ime the pot was attrib- associated with Wheilden and Wedgwood uted to Staffordshire, but it is now thought to are well represented in the Hollings Col- have been made in one of the other pottery lection. A tall coffee pot moulded in the manufacturing centres, possibly in Derby. form of a cauliflower with robustly There is a most attractive group of the modelled leaves bears the familiar "On earlier lead-glazed ware with sprig deco- loan from R. Soden-Smith" label. Mr. ration. Mr. Hollings bought some teapots Soden-Smith was a keeper at the South and cream-jugs of this type from the sale Kensington Museum and one of a number of Charles Lomax in 1937. One beauti- of late nineteenth-century museum cura- fully proportioned teapot has an ochre tors with private collections of English body decorated with vines splashed with ceramics. Another notable one was Sir brown, green and slate grey, a bamboo Augustus Franks of the British Museum. spout and a knob in the form of a bird Soden-Smith lent many pots to the Alex- (Fig. 6). Examples of the so-called black andra Palace Exhibition of 1873, which 'Jackfield'are include a pair of teabowls was never opened because of a disastrous and saucers from the Harland collection fire which destroyed nearly all the exhibits. which are decorated, rather unusually, Nevertheless, his collection was still large with white ornament. One of the few enough for him to be able to lend a coffee cups in the collection makes use of significant group of English pottery to the the decorative effects of mingled clays to Museum of Science and Art at Edin- imitate agate. This was bought at the borough in 1889. Mr. Hollings'offee Abbott sale in Manchester in 1918. There pot seems to have been number 298 in are over thirty examples of this type of Soden-Smiths'atalogue, and was prob- ware. Many, like two lozenge-shaped ably one of a number of pieces bought teapots and a double-handled sauceboat by Mr. Soden-Smith in ." in brown and white agate, have parallels in salt-glaze. When the variegated mark- ings are superficial the ware is called 'marbled'. Mr. Hollings bought his only

6. TeaPot, lead-glazed earthenware with 'ochre-coloured'ody decorated with white applied ornament splashed 'marbled'ot at the Boynton sale. This is with coloured glazes. Ht. 3g in. About 1740—50. a globular teapot, moulded with scallop 7. E. Hollings Collection, Temple Aewsam House. shells and decorated with deep blue and light red slip. The Staffordshire potters developed a cream-coloured body quite early in the eighteenth century. A number of early cream-coloured pots in the collection, with a yellowish glaze, are either left plain or touched with gold. A cream-coloured teapot with a decoration of Tudor roses on winding stems coloured with brown and green could be attributed to Thomas Wheilden. Yet, in spite of this quite highly developed cream-coloured ware, there is an almost total lack of painting on early Staff'ordshire earthenware. With their applied ornaments and coloured glazes the Staffordshire potters remained faithful to the slipware tradition. The salt-glazed stoneware painted in enamel colours stands, therefore, quite apart from the early Staffordshire tradi- tion. One piece of painted salt-glaze in the Hollings Collection is dated. This is a

10 7. jug (Ht. 10 in.) aml Basin (Diam. 11 in.). White salt-glazed stoneware, painted in enamel colours. Aborrt 1760. T. E. Hollings Collection, Temple Aeuscam House.

coffee pot painted in ''olours be mentioned in the Journals. Lady with a Chinese subject and inscribed on the Schreiber gave them to her friend Blanche, base "E.R. 1760'n red. Less aesthetically the Countess of Bessborough, and they pleasing are the pots decorated all over in came via Christies to Mr. Hollings. The colour like the teapot from the William jug is decorated with a portrait of a Edkins Collection with large pink roses drunken man with his servant within a on a deep blue ground. An unusual small landscape and the basin with another teapot, decorated with a grid of vertical drinking scene and pastoral landscapes. and horizontal bands of colour against a Both pieces have elaborate borders of textured green ground, was formerly in the scrollwork in a rich palette of green, tur- L. M. Solon Collection. A large jug and quoise, pink and blue. The salt-glaze basin with a very impressive provenance painters were imitating porcelain, but e posstbly iiic it tost sitilfully painted nothing could bc morc English and ttnlil e pieces in the Collection (Fig. 7). They porcelain than these pieces. werc originally owned by Lady Charlotte Schreiber, although they do not appear to PETER WALTON

1. Marryat, J., Collections towards a history ofpottery 9. Hollings Notebook, p. 82, 0266. and porcelain in the 15th, 16th, 17th and 18th centuries, 1850. 10. Sotheby Sale, 26th May 1970, Lots 1 and 2.

2. J. R. and F. Kidson, Historical Notices of the 11. Connoisseur, Vol. II, 1902, p. 81. Leeds Old Pottery, 1892. 12. Solon Sale, Hanley, 1912, Lot 308; Michael R. 3. Hollings notebook, p. 71, 01, 02 and 03. Parkinson, The Incomparable Art (Catalogue of of the Greg Collection), 1969, no. 127. 4. J. E. and E. Hodgkin, Examples of Early English Pottery, 1891, no. 108. 13. V. and A. M., 3097-1852.

5. Mr. Kidell conjectured that the initials 'I.E. 14. Frank Freeth, Old English Pottery, 1896, p. 21, may stand for John Eaglestone; see no. 16. Trans'.C.C. 3, ii, p. 111—112. 15. Examples, 1891, no. 570. 6. Rackham, B., Catalogue of the Glaisher Collection, 1934, no. 164. 16. Illustrated by W. B. Honey, Wedgwood Ware, 1948, pl. l. 7. Examples of Early English Pottery, 1891, no. 80. 17. Smith, R. H. S., Catalogue of English Pottery, 8. Glaisher Catalogue, 1934, no. 206. 1889, p. 24.

11 Some Trifles From Leeds

l Recent publications on article on Leeds black basalt portrait medallions (Connoisseur, vol. 35, 1912, Leeds ware pp. 264—66; vol. 37, 1913, p. 34) the second citation is a letter from the author stating that these medallions were not The following notes deal with the more early Leeds as he had supposed, but of a important material published, or located, much later date. since the compiling of The Leeds Pottcry A group of books and articles which all and its Wares: a bibliography (Leeds Arts mention Leeds ware are of interest in that Calendar, No. 56 1965). It is not intended they discuss particular objects or particu- as a complete listing, and bibliographical lar types of ware. Some give fuller details details have been kept to the minimum of the relevant Leeds products than are necessary for location of the items. available elsewhere and all are useful in The two most important publications setting Leeds in context with its contem- are probably the sale catalogues of the poraries and competitors. Alistair Sampson collection (Christie's, Harold Newman's Veilleuses, 1750—1860 6th and 7th March, 1967) and of the (New and London 1967) discusses Donald Towner collection (Sotheby's English and continental food-warmers 13th February, 1968). Whilst it is sad to and illustrates several Leeds examples, the see such collections dispersed, the cata- same author's Argylls: silver and ceramic logues serve as a permanent record and (Apollo February 1969); Ceramic kettles the price lists are useful as an indication vvith stands (Antiques February 1966); and of current collecting interest in Leeds ware. Veilleuses: some problems of provenance (Anti- Donald Towner's paper on Leeds que Collector April 1968), include useful Pottery records (English Ceramic Circle information about this group of Leeds 7 ransactions, vol. 5, pt. 5, 1964) deals products. with the Wilson —De La Beche letters and Banded cream ware is discussed by other early writings on the Pottery. The Susan Van Rensselaer (Antiques September connections between the Leeds and Swin- 1966) and there is a follow-up on York- ton factories are discussed at length in shire banded by Geoffrey Arthur A. Eaglestone and Terence A. Godden (Antiques July 1968). The origins Lockett: The Rockingham Pottcry (Rother- and development of pearlware are dealt ham, 1964. Especially Pt. 1 Ch. 3 The with by Ivor Noel-Hume (Antiques March Leeds gentlemen). A. F. Dygnas writes on and December 1969); Griselda Lewis the Leeds Pottery and the Continent includes Leeds and Yorkshire examples in (Apollo, October, 1970). her article on Pratt ware (Antiques June An interesting Leeds teapot with trans- 1967); and the Leon collection of yellow- fer prints of 'Repentance'nd Cradock glazed English earthenware is described Glascott was published by Horace Hird by J.Jefferson Miller (Connoisseur February ( Wesley Historical Society, Plymouth and and March 1970). Exeter Branch. Proceedings, No. 7, 1965); a Two museum catalogues of interest. to short note on Dutch decorated Leeds ware students of Leeds ware are The incomparable appeared in The Times (10th September, art: English pottery from the 7homas Greg 1966); and a note by John Ferlay on collection (Manchester City Art Galleries Leeds horses in Antique Dealer and Collec- 1969) and J. K. Crellin's Medical ceramics: tors'uide (March 1968). a catalogue of the English and Dutch collections One early item not included in the in the Museum of the Wellcomc Institute of the original bibliography was an anonymous History of Medicine (1969).

12 The continental potters severely affected the Leeds collection nor apparently in the by the successful exporting of Leeds and Victoria and Albert Museum Library. It Wedgwood creamware attempted to coun- is doubtful, for reasons of space, if such a ter by the production offaiences fine. Their priced key could give the amount of detail products and the fascinating relationship recorded on the plates of the copy here of their designs, etc., to English wares can described. Besides giving prices for each now be studied in some detail. A.-M. size, several plates have useful annotations. Marien-Dugardin's splendid catalogue of Once analysed these prices could be of the fines in the Musees Royaux great interest, especially as they can d'rt et d'Histoire (Brussels 1961 [Le. possibly be dated to within a few years. 1963]) covers ceramics from several con- Jewit't appears to mention a priced copy tinental countries and also includes Leeds of the 1794 Pattern Book, but it is not ware. Two issues of Cahiers de la Ceramique clear whether he refers to the Key or the (Nos. 44 and 45 1969) add valuable Plates. articles on this subject. All the items mentioned are available in the Print Room and Art Library. The Keys The title-pages of the three keys are all dated 1794 and contain minor but signi- ficant typographical differences from the 2 A Leeds Pottery Agent's 1783—6 title pages in another Leeds copy. The date on each title-page has been Book struck out —possibly to indicate that the volume had been brought up to date. In 1966 a copy of the Leeds Pottery Jewitt stated that he had a copy of the Pattern Book'ame on to the London Pattern Book dated 1794, and also that antiquarian book market, with the assist- the 1794 copy "was precisely the same in ance of a generous grant-in-aid from the contents as the previous editions, both in Victoria and Albert Museum it was the plates and letterpress; and contained acquired for Leeds City Libraries. The the catalogue, or list, in English, French provenance is not known in detail but the and German". Subsequent writers have book was in the Madingley Hall Library taken 1794 as the date of the 2nd edition and so was in the collection probably of (Designs 1 —221; 1 —48) although only two Colonel T. W. Harding, who had close copies (and they possibly the same) are Leeds connections. recorded with a key —the Hailstone copy The volume is a copy of the 1st edition by Jewitt, and the Boynton copy by the of the Leeds Pattern Book (Designs Kidsons —both with English and — — (?) numbered I 152, 1 32), the engraved Spanish keys but undated, and Jewitt plates are priced in MSS throughout. It states that it was "in a few years issued" has three title-pages and keys, English, (i.e. after 1794). German and French, each dated 1794, The volume now in Leeds suggests that the date has been struck out and the keys the dating of the Pattern Book should have several MSS corrections. Following revert to Jewitt's account. First edition the engraved plates are 21ff containing with keys dated over the period 1783—6, 46 monochrome pen and wash drawings reprinted 1794; second edition c. 1800, and 2ff containing 11 water-colour draw- reprinted c. 1814. ings. Further description and discussion The annotations to the keys in the Leeds is aided if each section of the book is volume were evidently made to bring the treated separately. volume into line with current sizes, etc., some items have more than one correction. The Engraved Plates The figures appear to match the details The Kidsons and Solon mention Leeds given in the key to the 2nd edition. Pattern Books with the keys annotated This suggests a date of between 1794 in ink to give prices, but no such copy is in and c. 1800 for the book under discussion. L Engraved designs with MSS prices and sizes Leeds Pottery Agents'ook.

The Pen and Wash Drawings many of them appear in it. As a date of 1'r The 46 drawings are numbered in the c. 1800 seems likely the 2nd edition, range 156—278 and are reduced copies by these copies can be dated in the late a competent though less skilled hand of 1790's designs in Drawing Books Nos. 1 and 2. 'he The numbers on the copies correspond to Water-colour Drawings the numbers in the Drawing Books; 42 are These eleven designs are numbered 149, copied from Drawing Book No. 1 and 4 and in the range 210—220, they are all of from Drawing Book No. 2. Over half of enamelled tea-cups. The drawings do not these copies are of designs which were tally with similarly numbered designs in engraved and included in the extra plates any known Leeds Drawing Book. However, of the 2nd edition of the Pattern Book. the New Teapot Drawing Book in the It seems reasonable to suppose that these Victoria and Albert Museum Library has copies were made for the original user of designs numbered 250—610 and does in- this Pattern Book. If this is so they are not clude a few tea-cups. Donald Towner has earlier than 1 794. There would be no proposed the period 1805—15 for the com- reason for making copies of this particular pilation of this book. selection of designs after the publication of By implication of the title New Teapot the 2nd edition of the Pattern Book—as Drawing Book there was an 'Old'eapot 2. Pen and water-colour designs of enamelled tea-cups Leeds Pottery Agents'ook.

Drawing Book, with designs numbered up when the first edition was becoming dated, to 249s. It is suggested that the eleven cups but before the 2nd edition was produced. recorded in the Leeds book are copies from It is a volume of outstanding importance this now lost Teapot Drawing Book. They and must be taken into account by future would for the most part come towards the students of the Leeds Pottery. end of that volume, and, accepting Towner's dating, a date in the late 1790's 1. This volume was described briefly in The Leeds Pottery Drawing and Pattern Bool s, a duplicated is possible for the copies. leaflet produced for the visit of the Wedgwood These eleven copies are of importance International Seminar to Leeds on 19th July in that they add to known Leeds designs 1969. The following account is greatly enlarged, whilst it cannot, at this stage, be regarded as and add extra weight to the presumption definitive. that the Leeds Pottery used Drawing 2. I believe that there is a more satisfactory way of Books other than the twelve now known.4 dating these copies, but this involves the dis- cussion of many points concerned with the Pattern and Drawing Books which are outside the scope of this article. Purpose of the Book 3. Jewitt mentions Leeds teapot designs nos. 133, 149, 218, 252, but he may be referring to It is suggested that this special copy of the blackware patterns. Book was for Pattern produced an Agent 4. There is material evidence for three other of the Pottery in the late 1790's, at a time Drawing Books.

15 3 A Leeds Pattern Book and one of the partners in the Leeds Pottery", he suggests that this was Thomas Wainwright. In March 1967 a copy of the c. 1814 im- in brief, are the facts on Samuel pression of the 2nd edition of the Leeds These, and Thomas Wainwright as recorded Pattern Book was kindly presented to the by Jewitt', the Kidsons and Donald Towner . Art Library by Mrs. F. Pickard. The book old Hunslet became the had been in the collection of her late The chapelry Parish the Hunslet, husband, a Leeds antique dealer. of St. Mary Virgin, and the present church dates only from It is of especial interest on two counts. however at some time in the past It carries the bookplate of H. C. Embleton, 1864, from the old were the well-known collector of Leeds ware, gravestones graveyard taken and laid down around the present who presented Leeds City Libraries with up church to form paths and yards. In 1969 a copy of the 1st edition of the Pattern whilst searching for the stones to Book and with nine Leeds Drawing Books relating the Green (for Mr. Donald in 1920. family Towner was thus, the The fly-leaf carries two inscriptions: the who unwittingly, cause the following discovery) a grave- first in ink: "Received from Mr. Routh of stone with the following inscription was the Liquidator of the Leeds Pottery Co., Deer. 20 1878. J. Rhodes"; the second in found: pencil and by a different hand "carried on In memory of Mr. Saml. Wainewright by Rd. Britton 8r. Sons who became bank- the Leeds Pottery. He died the 19th rupt in 1878—". of Octr Aged years. A copy with a similar inscription to the 183[4] [4]3 first is mentioned by Donald Towner in figures in square brackets are worn The Leeds Pottery (1963 p. 21). [The but the one for the age is fairly clear.] From this clue the following entry was found in the Leeds Mercury for Saturday, Mr. SamL Wainewright 25th October 1834: of the Leeds Pottery On Sunday last in the 41st year ol'is age Mr. Samuel Wainewright of the Leeds The earliest record ol'Sansuel Waittwright Potter y. in connection with the Leeds Pottery appears to be a notice published in the These records confirm 1834 as the year of Leeds Intelligencer for 20th February 1781, his death, but as both place him in his when he was already a partner. An early 40's —suggesting a date of birth indenture of'799 mentions "Samuel c. 1790—they raise another problem. This Wainwright of Boston in Kerseymere Samuel Wainewright could be the person printer and Jane his wife". After the 1820 who managed the factory from 1820—25 catastrophe Samuel Wainwright was man- and owned it from then until 1834, but ager of the factory until he bought the could hardly have been the partner during firm and became sole proprietor from the period 1781 1799. 1825. He died of cholera in 1832 (Jewitt) The most economical solution (granted or 1834 (Kidson). that the variant spelling of the surname is Thomas Wainwright is listed as a simply typical of the times) is that we have partner in 1783, the Kidsons state that he yet another family connected with the was an attorney in Kirkgate and both they Leeds Pottery over more than one gen- and Jewitt list him as a partner in 1800. eration. I would suggest that Samuel and Towner, who suggests that 'I'homas was Jane Wainwright (mentioned in 1799) Samuel's brother, records a notice in the were the parents of Samuel (d. 1834). Leeds Intelligencer for 30 April 1798 "On If this is acceptable the Wain(e)wrights Saturday died... Mr. Wainwright, of are of some significance —besides being a Ferrybridge, the postmaster of that place partner over a long period Towner sug- gests that the elder Samuel was concerned It is generally assumed that articles and the with these prints were for the with the Leeds transfer-printing, 'Methodist'arket. younger Samuel not only provides a link Leeds in the 1770's and 1780's with the early partners but takes the was a centre of Methodism and the venue Pottery through fourteen difficult years of at least six Methodist conferences, the after 1820. prints of Wesley and Glascott add weight to this view. The source of one verse has been traced 1. Llewellynn Jewitt: The of Great —that for 'Faith'; the verse is: Britain... 2 vols. London. 1878. vol. 1. pp. 469, 472-3. There is a voice of sovereign grace 2. Joseph R. and Frank Kidson: Historical notices Sounds from the sacred word of the Leeds Old Pottery... Leeds. 1892. pp. 19, 20, 24, 25, 26, 27. Ho, Ye despairing sinners come, 3. Donald Towner: The Leeds Pottery. London. And trust upon the Lord. 1963. pp. 16, 18, 20. 21, 39, 163, 165—6, 171. Julian's Dictionary of Hymnology records this as a verse from Isaac Watts'ymn 'How sad our state by nature is', published under the heading 'Faith in Christ for Pardon and Sanctification'n his Hymns and Songs, 1707, and used by John Wesley in his S 'Methodist'ransfer Prints 1736—37 edition of Psalms and Hymns, it also appeared in later hymn books. The from Leeds version on Leeds pottery has a minor variant from Watts'ext. There is a group of related transfer prints The source of the other verses is probab- from the Leeds Pottery which take the ly similar but the two known ones are not form of a symbolical figure, or figures, in recorded in Julian. They are: a circle with angels or cherubs as bearers, 'Love the title of the print is above the picture and Obedience'ove and underneath is a verse, the words is the grace that lives and sings, 'Leeds Pottery're included in some When Faith and Hope shall cease, designs. Related to these, though of a 'Tis this shall strike our joyful strings diferent style, are portrait prints of John In the sweet realms of bliss. Wesley and Cradock Glascott.

The literature records the two portrait 'Repentance'hen prints and five of the other series 'Faith', thou, 0 Lord, shalt stand dis- 'Hope', 'Charity', 'Love and Obedience', clos'd 'Repentance'. Known examples are two In Majesty severe, teapots both with the Wesley and 'Love And sit in judgment on my soul and Obedience'rints and a mug with Oh how shall I appear. the 'Love and Obedience'rint in the Leeds collection; a mug with the It would be interesting to have recorded 'Faith'rint in the Yorkshire Museum; and a tea- examples of the 'Hope'nd 'Charity'rints pot with the Cradock Glascott and 'Re- and also the source of the four re- pentance'rints in the Hird collection. maining verses and the five pictures. 'Hope'nd 'Charity're at present un- known to the writer. DAVID S. THORNTON Mr. Greg's 'Leeds

Ware'escribing

his collection of English Pottery the new cream ware of Wedgwood and in a letter in 1904, Mr. Thomas Tylston the Leeds which then began to Greg wrote: "This collection, which I make its appearance in great quantities, have been over twenty years in bringing .".4 Although Mr. Greg refers in his together, contains several hundred speci- published lectures to some of his pots in mens dating from Romano-British times detail, he does not mention any particular to the end of the eighteenth century. It is, piece of creamware or discuss the manu- I regret to say, far from exhaustive, but it ture of creamware. However, a number of is none the less interesting from an educa- the labels which he attached to his pots tional point of view, as it illustrates, even still remain and they bear a classification if inadequately, the evolution of the Potters which must refer to some list that has not Art in . It is perhaps richest in yet come to light, and very frequently the those wares which are known among word 'Leeds'. Dr. Edward J. Sidebotham, collectors as English Delft Ware, Salt- who was also a collector of English pottery, Glazed Ware, Whieldon Ware and Leeds catalogued the Greg Collection in 1923s Ware." This short passage is very reveal- and attributes much of the creamware to ing, as it indicates that Mr. Greg wished Leeds. Thomas Greg's name does not to illustrate the history of English pottery appear in the list of subscribers to Joseph by his collection, that he was one of the and Frank Kidson's famous book, Histori- few early enthusiasts for and collectors of cal A'otices of the Leeds Old Pottery, but he English pottery, that he was very modest would only have been a fairly young collec- about his collection, and that he and other tor and student of English pottery at that collectors called cream-coloured earthen- time, and was almost certainly well- ware, or what is now usually called acquainted with this book and probably creamware, by the name 'Leeds Ware'. had a copy in his library. It is likely, too, Thomas Greg clearly understood Josiah that Mr. Greg knew Mr. George F. Cox, Wedgwood's work in the development of the Manchester collector, who owned the the cream-coloured earthenware, for he Leeds drawing books, now in the Victoria refers to it in two lectures given in Man- and Albert Museum. As with other classes chester in 1906 and fortunately published of pottery, there must always be an ele- two years later,2 and he may well have been ment of uncertainty about the place and paying a tribute to the Leeds potters for date of manufacture of any given piece of the fine quality of their work by these creamware, even with the existence of words in his letter. The Greg family had marked pots and Drawing and Pattern after all a similar background and atti- Books of cream-coloured earthenware to tudes to the Wedgwood family; they were assist in the identification, unless the both Unitarian families, and Samuel piece in question is actually marked Greg, an ancestor of Thomas Greg, had and dated. The pots described in this built a textile mill and a village for the account are those which Thomas Greg workers at Styal, Cheshire, in 1785, on either called 'Leeds'r considered to very similar lines to Josiah Wedgwood's be of Leeds type in the knowledge that Etruria. Mr. Greg wrote in his lectures: the Staffordshire production of cream- "...the more convenient creamware in- coloured earthenware must have been troduced by Wedgwood and carried to a considerable, too. He wrote of the high state of perfection by himself and difficulty of identifying the makers of Messrs. Hartley and Green R. Company pottery: "It is a matter of considerable of Leeds..."s and "...the popularity of regret among collectors that, owing to the

18 almost invariable custom of leaving the ware unmarked, it is impossible to attri- bute with any certainty any particular piece or set of pieces to any particular maker." As Joseph and Frank Kidson wrote themselves: "...all Cream ware is not Leeds,...."'. There is a great variety in the designs of the creamware candlesticks in the Greg Collection, the most delightful being those in the form of a dolphin (Greg 776, I.A. 198). A set of four large candle- sticks has a design of' laughing dolphin with its head resting on a circular pede- stal, with applied acanthus leaves and shell edge, which stands on a triangular base with squared-off corners and applied acanthus and anthemion patterns; the tail of the dolphin supports the nozzle. This design is unlike the one made by , and Joseph and Frank Kidson, writing about candlesticks, say one is a dolphin supporting a nozzle... "".A set of two smaller candle- sticks (Greg 721) has a more thoughtful dolphin with a smooth body (in the larger version the dolphins have scales); the head of the dolphin in this version rests on a square moulded base decorated in relief with a pattern of anthemion and shells; the tail supports a shell for a grease-pan, and the nozzle is of gilded metal. This design seems to correspond with the candlestick in plate 108 of the Leeds Pattern Book of 1814', the candle- stick base being identical to the engraved design. These candlesticks are even closer to the design in the Pattern book than the one in the collection of Mr. Hollings at Leeds, which Donald Towner illus- trates in his book ?he Leeds Pottery". A 1. Candlestick in the form of a dolPhin, one of a set nf pair of candlesticks (Greg 746, I.A. 196), four 1 Greg 7761. are in the form of a short fluted column supported by four large scrolls; on the top of the column is a bust of a woman holding capital and the base. Another pair (Greg the urn-shaped nozzle on her head with 757, I.A. 197) very much in Neo-classical her arms; this is an unusual design. A style corresponds with a pair in Mr. T. E. much more common design is the Corin- Hollings's Collection at Temple Newsam thian column, no. 115 in the 1814 Pattern House; they are in the form of a vase with Book. Two pairs of candlesticks are very two scroll handles ending in masks and the similar to the engraved design, one pair sides decorated with swags; the neck is in being plain (Greg 739), the other pair the form of spreading acanthus leaves (Greg 810, I.A. 209), apparently from the supporting the nozzle and the vase is same mould is touched with green on the supported by a stem of acanthus leaves

19 which rest on a raised moulded foot of poTTERY, but the basket is unmarked; waved rectangular shape decorated with they appear to be design no. 134 in the beading and gadroons. These candlesticks Pattern Book. It is interesting that a would almost certainly have been attri- similar design appears in the Whitehead buted to Leeds, but they do in fact Pattern Book, plate 16, no. 80. There are correspond very closely indeed with a two 'Melon Terrines'Greg 727, I.A. 203, design in a Pattern Book of the firm Greg 731'), which are attributed to I.eeds and Charles Whitehead of Hanley,of'ames and may relate to no. 68 in the Pattern which was published in 1798." Book, though the engraved design gives no A piece that is more certainly of Leeds indication of the pierced designs which origin is the fruit stand (Greg 784, I.A. form part of the decoration of both 202) of the kind so well described by the tureens; this is interesting as the piercings Kidson brothers and about which they are rather faulty in both covers unlike wrote: "So far as we are aware, Leeds so much of the skilful pierced decoration of Pottery was the only English factory other pieces. The better tureen of the two which made them."s The fruit stand in has a pierced design which resembles that Thomas Greg's Collection consists of a of the 'Round Royal Desert Plate'en- rocky mound supporting five conjoined tioned above, and this tureen has a ladle scallop shells; above these are five smiling, which accompanies it according to the almost grinning, dolphins supporting five 1923 catalogue by Dr. Sidebotham. In more smaller shells with a figure of Plenty their book the Kidson brothers write: seated in the centre. There are many of the "Sauce tureens and boats were, of course, different kinds of ware for the dining included in the Dinner Services, and table in the Greg Collection: plates; several designs for them appear. A great dishes; sauce boats; tureens, cruets; egg- favourite was a shell-shaped boat with cups; ladles; a 'Double Pail'; fruit- and twisted handle... and another equally confectionery-baskets and a chestnut bas- popular was the Duck sauce boat".'4 ket. A plate (Greg 812) corresponds with There is a fine pair of the former (Greg no. 44 in the Pattern Book of 1814, where 742), complete with matching stands in the design is described as 'Round Royal the Thomas Greg Collection, which have deep Pierced Desert Plates'; the plate has always been regarded as of Leeds manu- the impressed mark: LEEDs poTTERY., which facture. There does not appear to be an seems to be mark Fig. 5 no. 7 listed by engraved design in the Leeds Pattern Donald Towner,'hereas the very simi- Book, however, which is close to the de- lar plate in his collection and illustrated by sign of the boats, and another difficulty is him in plate 20b, iii has mark no. 3.'4 that the Whitehead Pattern Book illus- Another marked pier e, where unfortu- trates one of this kind." There are also nately the stamp has been imperfectly two of the other 'equally popular'esign, duck. of impressed and only the words LEEDs'nd sauceboats in the form of a One a dot or asterisk appear, is a pickle- them is in plain creamware (Greg 790) dish (Greg 779), very similar to one in and catalogued as Leeds by Dr. Side- Mr. Towner's Collection which has mark botham, the other (Greg 688) coloured Fig. 5:1. These dishes are presumably green on the head and wings and oddly the 'Sea-Shell'ishes, Pattern Book, No. enough included by Dr. Sidebotham 12, and presumably also the kind of amongst the 'Whieldon'ype of Stafford- marked pots the Kidson brothers had in shire lead-glazed earthenware. They are, mind when they wrote: "...many, as in however, both from the same mould and the case of the Leeds factory, seeming to be both have the same rather puzzled ex- particularly conscientious in marking un- pression. A vinegar bot tie, a pepper important pieces...".'s Dr. Sidebotham castor and two sugar castors (Greg 778 described this pickle-dish of Thomas and 786) inscribed in German 'Essig', Greg's as 'late Leeds', but it is not clear 'Pfeffer'nd 'Zucker', all apparently what he intended by this. A stand for a came from the collection of Thomas fruit basket (Greg 730) is marked LEEDs Bateman, the famous nineteenth-century

20 2. Cogee pot, with twisted ro/~e handle and flouier terminals: one 3. /coodwarmer, of dee/e cream colour, consistino of a j ul/ and lid, of Ihe finest /deces of plain creamware in the Thomas Gre<~ stand and ttodet (Grog 758). Collection (Grog 785).

Derbyshire antiquarian and friend of made in an eight-lobed shape with Llewellynn Jewitt, the author of the first pierced patterns; the basket has twisted comprehensive book on English ceramics. handles with applied flower terminals. One of the castors is very like drawing 451 According to the Pattern Book they were in Leeds Drawing Book No. 3,' design probably called 'Confectionery baskets'." for sugar and pepper castors. Another A pear-shaped sugar castor with a plain curious piece which was probably in scroll handle entwined with tendrils Thomas Bateman's collection is a shallow (Greg 768, I.A. 204) is very similar to dish with ornate perforations in the centre some in the collections at Temple Newsam and standing on three knobbed feet (Greg House; possibly they once belonged to a 760). The dish must be intended to rest Centre Piece (Grand Platt Menage,'mongst on a stand to act as some kind of strainer the pots described under the and perhaps relates in some way to the heading TEA wARE in the Pattern Book kind of dishes described as strawberry is one of the most beautifully proportioned dishes in the Leeds Pattern Book (Nos. teapots striped with green and with a 86 and 87). The tiny dishes and baskets galleried rim (Greg 823, I.A. 219); the are as attractive as the larger pieces. The body is of baluster shape with vertical Greg Collection contains a good selection reeding, the handle of scrolled foliate of them, some with small stands. Most are shape, the curved spout with enfolding oval or circular, but one basket and its acanthus; the neat gallery has a slightly stand (Greg 752, I.A. 195) are beautifully wavy edge and is pierced alternately with

21 pot is very similar to one painted with g +~~~+erg+++gQ+~ s~~~ flower sprays in red enamel formerly in ~r~eW Donald Towner's Collection but now in 1%40 the collection at Manchester (I.A. 212). A bowl and cover (Greg 788) have the same applied flower terminals, but the +yl+y twisted rope handles on bowl and cover are not so fine as that on the coffee pot and the colour of the bowl is a deeper o+~~.+4 cream; both bowl and cover have gad- rooned borders. Mr. Greg's labels on the

~4Pgy coffee pot and on the bowl indicate they 0~j~Etg were acquired fairly late and possibly at ~3414%~%~ approximately the same time. There is an interesting smaller coffee pot in the collec- tion (Greg 723) of a deeper colour than the one just described. It is also pear-shaped 4. 'Round Royal deeP Pierced Deserl Plaie', marked with a kind of gadrooming round the foot, LEEDS POTTERY (Greg 8121. and border pattern of impressed dots below the rim; the handle is a double reeded one with flower terminals rather lozenges and quatrefoils; the domed lid like Fig. 7:7 in Donald Towner's 'The has an acorn knob and both knob and lid Leeds Pottery', and the spout appears to be are ribbed in the same manner as the of a kind of 'basket-work'attern. The lid body, the sides of the lid also being striped has a rather large flower knob and a band with green. This class of ware is referred to of impressed ornament as a border con- and illustrated in a Leeds drawing book sisting of dots and diamonds in relief. An the teapot would have certainly been'nd unusual teapot (Greg 725, I.A. 205), ascribed to the Leeds Pottery in Mr. which Dr. Sidebotham regarded as Leeds, Greg's time and long after. Donald and probably Mr. Greg did too, has a Towner now considers that the teapot globular body, concave neck, curved could, however, have been made at Mel- spout at right-angles to the twisted plain bourne in Derbyshire in the light of his handle with flower heads, and a flower recent researches into that Pottery. Each knob on the lid. This teapot is similar to part of this teapot so beautifully corres- one in the Schreiber Collection,2s which ponds with the others, that it is not only has the spout in line with the handle and one of the finest of its kind, but also one is painted in colours. The Schreiber teapot of the best pots in the Thomas Greg is catalogued as Stafl'ordshire, but Mr. Collection as a whole. Another equally Towner considers that Mr. Greg's was beautiful piece coming under the TEA made at Cockpit Hill, Derby. A well- wARE heading is a plain baluster-shaped known pattern with strong Leeds as- coffee-pot (Greg 785) raised on a concave sociations, 'Miss Pit', so called after the foot and with a high-domed lid; the spout, pattern so inscribed on a salt-glazed like that of the teapot just described, has teapot in the collection of Sir Victor and enfolding acanthus at the base and also Lady Gollancz, '4 occurs on a coffee-pot, smaller leaf ornament at the top; the cream-jug and sugar-basin or slop-bowl, handle, however, is of twisted rope form which together form a most attractive set with applied flower terminals (see Donald (Greg 795, 796, 798; I.A. 213).The pattern Towner, 7he Leeds Pottery, Fig. 7:5 and is painted in red and is the same on each Fig: 10:11); the high-domed lid has a pot; the other smaller patterns associated flower-knob (Fig. 9:4); these decorative with it, however, vary according to the details indicate a date of about 1775; both shape and size of the pots. Miss Pit is pot and lid have narrow borders of bead- painted as usual seated before a small tripod ing. Apart from the handle, this coffee tea-table in a garden; there is a teapot on

22 the table and Miss Pit holds a tea-cup and and saucers have bands of plain beading; saucer in her left hand and tea-spoon in no. 28 and letter A, plate 66 in the Pat- her right hand; there are two small trees tern Book may relate to these, although or bushes on either side and a feathery fragments of cups and saucers similar to cloud above and small birds flying. This these have been found on a site at Fenton, pattern is on one side of the coffee-pot and Staff'ordshire. 'ven in 1892 Joseph and bowl, and on the front of the jug below the Frank Kidson wrote "Cups and saucers lip. The cream-jug has no other painted are now extremely rare;...".~sThere are pattern, but the other side of the coffee-pot a number of tea-caddies or tea-poys in the has a round tower with a weather-cock on collection; most of them are of the oblong- a tall shaft, similar trees on either side and shape with truncated corners,~o with trans- the same feathery cloud above; the lid of fer-printed decoration in black or red, or the coffee-pot and the other side of the cylindrical with printed or painted decora- bowl both have a gate, shrubs and trees, tion. Although there are a good number of and more clouds and flying birds. The Liverpool transfer-printed pots in the col- painter gave each main part of the pattern lection, Dr. Sidebotham catalogued all a curious, almost saucer-shaped, fore- except one ofthe printed teapoys as'eeds', ground. ~'he coffee-pot has the same and Thomas Greg probably shared this shape and details as the one in Donald opinion. One of the teapoys, complete Towner's collection referred to above. with cover, (Greg 713, I.A. 222) has now Both coffee-pot and cream-jug have the tentatively been ascribed to Staffordshire same twisted reeded handles and flower and the decoration to Liverpool; the scene terminals, and both stand on concave on one side being apparently adapted from bases. The cream-jug has a high wide lip an engraving by Francis Vivanes, pub- and may relate to No. 16, plate 64 in the lished in 1760 after a painting by Thomas Pattern Book. Three tea-cups and saucers Gainsborough entitled 'The Rural Lovers'. (Greg 797, I.A. 214) of the kind Miss Pit A teapoy'; (Greg 769), which is much larger seems to be using are in Thomas Greg's than the others, Mr. Greg certainly con- collection. They are painted in red with sidered to be of Leeds manufacture. It is simple sprays of flowers, and both cups square with an arched top, and almost the

5. Gagee pot, cream jut; and basin, painted in red, unth the 'Miss Pit'attern lGreg 795, 796, 798).

II)tJ„)

23 whole surface of the sides and top has elab- those in Mr. Hollings collection in Leeds. orate stamped decoration which pierces The design is both majestic and practical; the outer surface only. The teapoy is of the ewer has a broad firm base and the dark cream colour and may have been one outline is of undulating curves, the surface of Mr. Greg's early additions to his col- partly plain and partly decorated with lection of creamware. John and Thomas reeding. The handles are of the kind illus- Wedgwood, cousins of Josiah, may have trated by Mr. Towner in Fig. 7:7. The been referring to this kind of surface- basin is of the usual oval shape with pierced ware when they spoke of a raised base, scrolled edge and fluted rim. so 'let-in'ecoration. Thomas Greg acquired another interesting Mr. Greg's foodwarmer (Greg 758, I.A. piece of pottery for use at toilet which he 201) is also of deep cream colour. It is very labelled as Leeds; this is a fairly deep- similar to the one in Mr. Towner's collec- coloured shaving bowl (Greg 745). The tion.s'he principal differences being that Leeds Pattern Book contains several designs it has a ring handle (which has been re- for 'Shaving Basons', both round and oval, stored) in a place of the candle holder and plain and decorated. Mr. Greg's shaving it is darker in colour. They both have the basin is round with a moulded detail at same kind of handles, relief decoration and the edge of the piece cut out for the neck, pierced decoration; Mr. Greg's has, how- a circular place for thc soap on the rim ever, in addition, gadrooning round the with two holes supplied for drainage, and lid, the base of the stand and the top of the two holes for suspension. There is an inter- godet, which also has a small shell handle. twined reeded handle with flower termi- To the Leeds potters Thomas Greg gave nals of the kind on the ewer just described. the credit for a delightful piece of potting- Creamware intended for decorative pur- an invalid's feeding cup (Greg 751). This poses is also in the Greg Collection. Two cup is in the form of a small wooden boat wall- (Greg 775, I.A. 207, 208) moul- with many stamped circles on the surface ded in relief with figures symbolising au- (portholes'?), the spout has a figure-head tumn and winter are from the same moulds and the two grooved loop-handles at the as those in the Schreiber Collection3s. sides have shell 'thumb-pieces'; at the back Mrs. Mary Greg added her 'Quintal is a handle in the form of an animal, Flower Horn'o her husband's collection. perhaps intended to be a seal? Nothing The design for this vase is no. 142 in the could have been designed with more sense Leeds Pattern Book. The brothers Kidson or more gentle humour; the cup with its wrote: "The vases for flower-holding were three handles would have been easy for the many and various, all exceedingly orna- nurse to use and the simple but eflective mental and chaste in design, but now some- design would have surely helped to cheer what rare. The most popular of them is the the patient. The feeding cup may not well-known five-tubed vase, or, as it is be a Leeds one, as Thomas Greg thought, called in the list, the 'Quintal Flower but may have been modelled by William Horn'."s4 James and Charles Whitehead Greatbach and made in Stafl'ordshire. also had this design which they called The Leeds Pattern Book gives various 'Five-fingered Flower-Pot'. ss There are designs for 'sallads', but none of the designs other plant- or flower-pots in the collection. resembles the bowl in the Greg Collection, The pair of'usts representing Air and which stands on a base and has fluted sides Water (Greg 754, 755) are not painted, (Greg 724). The bowl, which Dr. Side- which is perhaps an advantage, as the botham catalogued as 'Leeds', is in fact figures seem to have more dignity when closer to the Whitehead pattern.s2 Two they are left uncoloured. Their dignity is other fine pots, which may either have been emphasised by the circular pedestals sup- made by the Leeds potters or by White- porting them and resting on square plinths. heads, are the large ewer and basin (Greg The bust of 'Air's of a deeper colour than 736, I.A. 200). The ewer belongs to the the bust of 'Water'nd is not in such good same class as that illustrated by Donald condition. The bases of the plinths are also Towner in pl. 22a in The Leeds Pottery and in need of restoration. The inscriptions on three painted pots black, purple, red and yellow. On one side are dated. A mug (Greg 800) with a a miller stands in front of his large mill, slightly flared base and plain loop handle which has a large ~ heel and two chimneys with a flower terminal at the lower end is smoking; on the other side is an exotic bird painted in red and black with a plough, and flowers. In the front is a large garland rake and pitchfork, and a scroll resting on of flowers containing a rhyme and the two sheaves of'orn and inscribed: Eliza- date 1778. The clouds and birds round the beth Gleed was born April th 30 1772. top of the jug recall those in the 'Miss A large baluster-shaped jug (Greg 804) rais- on the wares described earlier.Pit'attern ed on a broad concave moulded foot and The most imposing piece of'ainted having a double reeded handle and flower creamware in the Thomas Greg Collec- terminals is neatly painted in mauve with tion is a loving cup formerly in the Lawson flowers and leaves, and the flower terminals Tait Collection. The cup (Greg 805, I.A. are touched with mauve, too. The inscrip- 217) is bell-shaped and stands on a con- tion is in black and reads: Tho'akefeild cave moulded base; it has two indented 1774 (sic). The third pot is also a baluster strap-handles. The painted decoration is shaped jug (Greg 807, I.A. 215), but pos- of very fine quality and is in black, brown, sibly one that was made in Staffordshire green, purple, red and yellow enamels. On and painted in I.eeds by David Rhodes. The one side is a shepherdess and her lover handle is a plain loop and the jug rests on a before a rocky mound ot trees and in the moulded concave base. The painting is in distance on either side hills and two churches. On the other side are two exotic birds; round the foot a floral pattern and round the inside of the rim a diaper and floral pattern. The excellence of the design ti. u'ilh Tea-caddy, blacl transfer Printed decoration. and execution of this painting matches well The Pattern on this side is aPParentiy after an engrav- ing by Francis Uitanes, Published in 1760. after lhe the balanced shape and proportions of the ltainting by Tltomas Gainsborough entitled 'he Rural cup. Losers'. 7 he design on the other side is a landscape Thomas did not ignore the later uith a man and callle r Greg 713). Greg wares, as he included a small teapot (Greg 676) decorated with marbled dip and small medallions on either side, and a pearlware teacaddy (Greg 820) and coffee- pot (Greg 816) marbled with clays of various colours. The coffee-pot is pear- shaped on a raised foot with a band of reeding in the lower half. The greater part of the body is marbled, divided by a band of dip decoration in black forming a black and white chequer pattern. The creamware exported to Holland and painted there is represented by a plate (Greg 808) with the impressed mark TUR- NER underneath. Thomas Greg was a man with a sense of humour and on the label he afhxed to the back of this plate he wrote the word 'Leeds'ut added inverted com- mas on this occasion. He admittedly did not collect any of the black stonewares made at Leeds, but neither did he collect the jasper and black basaltes made by Wedgwood, as he may have regarded this kind of pottery as outside the mainstream of English pottery.s6

25 Had Thomas Greg collected only piete in these words: "This important col- 'Leeds'are, his collection would have deserved lection...". 'onald Towner, the fore- attention for the quality and variety of the most authority on Leeds Pottery and Eng- pieces in it. The creamware, however, lish cream-coloured earthenware wrote forms the final part of a very large, compre- last year: "The Greg Collection at Man- hensive and remarkable collection formed chester is one of the great collections of on sound and sensible principles, which English pottery in this country. Collected illustrates the development of English pot- between the years 1880 and 1920, a time tery from the Middle Ages to the end of when knowledge of English pottery was still the eighteenth century. During Thomas in its infancy, the judgement shown by Greg's lifetime, L. M. Solon, the famous Thomas Tylston Greg in the pieces he designer of porcelain in the late nine- acquired to form his collection is quite teenth century, who was one of the first to remarkable, covering as it does every period study and collect English pottery and who till approximately the end of the eighteenth made notable contributions to the liter- century."s Thomas Greg left a record of ature of ceramics, paid a tribute to the his own very sensible attitude to collecting Greg Collection when it was still incom- in these words: "No collector who is worthy

7. Loving cup, painted in black, brovn, green, purple, yellocv anrl red; on the other side are tu o exotic birds 1Greg 8051.

xl

26 of the name amasses a number of objects, newly awakened sense of wonder reveals be they pieces of old silver, old pottery, his own depth of ignorance and as he endea- coins or postage stamps, simply for the vours to remedy it, he sees the horizon selfish pleasure of looking at them or gloat- widen out before him; he is filled with the ing over the fact that amongst his galli- zeal of a missionary and he wishes to share maufry of specimens he possesses one or his new possession with others whose eyes more than his less-favoured competitor has are temporarily shut and their ears clo- been able to attain. He opens to himself sed."ss and others new fields of knowledge; his MICHAEL R. PARKINSON

l. Thomas Tylston Greg; Letter to the Lord 25. Cf'. a teapot illustrated by Donald Towner, Mayor of Manchester, dated 17th June 1904. The Leeds Pottery, pl. 26 a ii. There is a teapot 2. Thomas Tylston Greg; A Contribution to lhe with the same pattern painted in black, which Hislory of English Pollery, toith SPecial Reference is unusual, in the Collection of George Beatson lo the Greg Collection, Manchester, 1908. Blair in Manchester Art Gallery. 3. Ibid., p. 59. 2(i. Fig. 7: 7 in Donald Towner's classification in 7 he Leeds Poltery. 4. Ibid., p. 68. 27. I am grateful to Mr. Arnold Mountford, the 5. Edward J. Sidebotham; Catalogue of the Greg Director o('he Stoke-on-Trent Art Gallery Colleclion of English Pottery, Manchester, 1923. and Museums for showing me these fragments. (i. Thomas Greg; ibid., p. 77. 28. J. and F. Kidson, ibid., p. 62. 7. Joseph and Frank Kidson; Historical Itfotices 29. The Leeds Pattern book has a design for these of the Leeds Old Potlery, Leeds, 1892, p. 52. —see no. 10, pl. 6'3. 8. J. and F. Kidson, ibid., p. (14. 30. This description is given in unpublished docu- 9. The nozzle is apparently a replacement for a ments at Stoke-on-Trent Art Gallery and pottery original one. Museum, and I am grateful to Mr. Mountford for bringing this to notice. 10. 'Designs of Sundry;1rticles of Oueen's or Cream- my color'd Earthen Ware Manufactured by Hartley, 31. Donald C. Towner, English Cream-Coloured Greens, and Co. at Leed~ Pottery'kc. This edition Earthenuiare, pl. 46. of 1814 is reprodu<.ed by Donald Towner in '7 32. This bowl may also have belonged to Thomas he Leeds Pottery', 1963, pp. 59 to 141, and Bateman. The design in the Whitehead Pattern see pp. 56 to 58. Book is pl. 7, no. 41. 11. Donald Towner; The Leeds Pottery, pl. 21 b iii. 33. Bernarcl Rackham, Schreiber Cat., nos. 334, 12. games and Charles Whiteheoc/, Manufacturers, 335. Hanley, Staffordshire, Designs of Sundry Arlicles 34. J. and F. Kidson, ibid., p. 65. of Earthentoare, 1798, pl. 23, no. 107. This pattern book is similar to those issued by the 35. Whitehead Pattern Book, pl. 24. Leeds Pottery and presumably rel'ers to pat- 36. Donald Towner, in the Introduction to the terns of cream ware. catalogue, The Incomparable Art, p. 2. 13. J. and F. Kidson, ibid., p. 57. 37. M. L. Solon, Ceramic Lilerature, London, 1910, 14. Donald Towner, ibid., p. 144. Part I, p. 184. 15. J. and F. Kidson, ibid., p. 106. 38. Donald Towner, in the Introcluction to the catalogue, The Incomparable Art, p. l. 16. J. and F. Kidson, ibid., p. 61. 39. Thomas Tylston Greg, Calalogue of a Collection 17. Whitehead pattern book, pl. 3, no. 19. of Brass Tobacco Boxes, 1760—1780, Manchester, 18. In the Print Room and Art Library, City Art 1922-3, p. 7. Gallery, Leeds. 19. See no. 145. 20. See Donald Towner, ibid., pl. 25. 21. Donald C. Towner, English Cream-Coloured Earthenware, pp. 20 and 80. .Vole: The numbers in the text following the name 22. Dr. Sidebotham, however, catalogued this 'Greg're those in the complete catalogue by Dr. teapot as 'early Wedgwood'. E.J. Sidebotham, published in 1923, and now out- of-print. The numbers prefixed by the letters Bernard Catalogue the 'I.A.'efer 23. Rackham, of Schreiber to the new catalogue of pottery from the Colleclion, Vol. II, Earthenware, Victoria and Thomas Greg Collection, entitled 'The Incom- Albert Museum, no. 346. 1930, parable Art', compiled by the writer of this article 24. Donald Towner, The Leeds Pottery, pls. 4a, b; and with an introduction by Donald Towner, 26 a ii; pp. 24 and 37. published in 1969.

27 Published in Leeds by the Amenities Committeejointly upwith the Leeds Art Collections Fund and a contribution from the yorkshire Arts Association. Designed and Printed by E. j.Arnold ta'on Limited at their Broadtoay Factory, Leeds 11. Half-tone blocks by Gilchrist Bros. Limited, Leeds 2. Park Square Gallery

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