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The Earthenware Collector Uniform with This Volume THE EARTHENWARE COLLECTOR UNIFORM WITH THIS VOLUME THE FURNITURE COLLECTOR THE GLASS COLLECTOR THE CHINA COLLECTOR THE STAMP COLLECTOR THE SILVER AND SHEFFIELD PLATE COLLECTOR " I, WiNCANTON Jug. Nathaniel Ireson, 1748." Glaisher Collection, THE EARTHENWARE COLLECTOR BY G. WOOLLISCROFT RHEAD WITH SIXTY ILLUSTRATIONS IN HALF-TONE AND NUMEROUS MARKS NEW YORK DODD, MEAD & COMPANY 1920 Printed in Great Britain by Butler & Tanner, Frome and London ; FOREWORD BY THE EDITOR. old as civilisation itself, the art of the potter AS presents a kaleidoscope of alluring charm. To paraphrase the word of Alexandre Brongniart, no branch of industry, viewed in reference either to its history or its theory, or its practice, offers more that is interesting and fascinating, regarding alike its economic appUcation and its artistic aspect, than does the fictile art ; nor exhibits products more simple, "more varied, and their frailty notwithstanding, more desirable. Of course the crude vessels of ancient times, as well as the more serviceable and scientifically more beauti- ful articles of to-day, exist primarily for one and the same object—the use and convenience of man. The story of the potter and his technique has been told repeatedly, sometimes as a general survey and some- times as a specialised branch of a widely extended subject, but notwithstanding the numerous books devoted to it there is always something new to be recorded, fresh pieces to describe, new points to advance and discuss. In these respects The Earthenware Collector will serve the twofold purpose of explaining clearly and concisely the various English wares and how to identify them FOREWORD and of relating the potter's life and the manifold difficulties that he has constantly to overcome ; for some of these men, with little knowledge of their craft, were yet adventurers, as the Elizabethan voyagersr were, saiHng into unknown seas in quest of discovery and fortune ! Mr. WooUiscroft Rhead is a practical potter. He has served the customary seven years' apprenticeship with Messrs. Mint on, the leading firm of Staffordshire potters during the seventies. He is, moreover, an artist and Art Examiner in Pottery to the Board of Education, and consequently is exceptionally qualified to treat of pottery wares whose intrinsic interest for the collector largely depends on their aesthetic value and charm. We need only cite M. Solon as a similarly gifted writer whose work, on that account, carried both authority and conviction. Naturally the author touches lightly on the earlier British wares as scarcely coming within the scope of the ordinary collector, whose interest is likely to be confined to a definite period beginning with the pictur- esque Slip ware of Wrotham in the early decades of the seventeenth century and continuing until the opening of the Victorian era, when Pottery shared with the rest of the arts the decline inseparable from the greatly increased resort to mechanical means of production, to say nothing of the tyranny of commercial and utilitarian principles*. It is rarely possible for a collector to cover so wide and so varied a field as the whole of British Ceramics ; but even if he specialise in a particular period, or in the ware of a particular factory, it is incumbent on him to appreciate the general development of the potter's art and craft, the extent and direction in FOREWORD which one potter influenced another, the peculiar characteristics of such wares as, for example, the Elers, and the way in which these wares merged into the more picturesque productions of Astbury, and the difference between a Whieldon Toby and one of the Ralph Wood type. Unless this knowledge be derived from the patient and careful consideration and com- parison of pieces with well authenticated examples, the collector will find himself encumbered with worth- less specimens and probably many forgeries, and no doubt he will have paid dearly for his acquisitions. It is hoped that this book will enable the collector to avoid these and similar pitfalls. The author has endeavoured to unfold the story of the potter's triumphs attractively, and the reader will rise from its perusal with enhanced knowledge and trained interest in the wares in his possession. H. W. LEWER. No Art With Potters Can Compare, We Make our Pots of what we Potters Are. R, W. {inscription on heirloom jug, made by Ralph Wood and signed at bottom: T. Locker. 1770.) AUTHOR'S PREFACE ^^HE aim and purpose of the present work, is to supply the would-be collector, and especially the collector of more modest means, the connoisseur, student and general reader with a know- ledge of the development of British Earthenware, and an acquaintance with the character of the various wares and makers, so as to enable him, so far as is possible by means of the written word, to make his selections with some degree of intelhgence and under- standing, thereby saving him many a disappointment. The book covers the whole story of British Earthen- wares from those of the Slip and Salt Glazed period now more and more sought after, to the less coveted but still interesting specimens of the early nineteenth century. There is also an introductory chapter on Early British Pottery. ^ -;P1 The illustrations include many rare examples from well-known collections. The- bulk of them, however, are selected so far as is feasible, as typical examples of the different leading classes, marked pieces being given wherever possible. In some few instances, notably that of Church Gresley, earthenware was made at places hitherto associated with China alone. A number of marks are also included which will serve as a further means of identification. II AUTHOR'S PREFACE There is, besides, a full glossary of pottery and technical terms, together with a bibliography and list of sale prices by way of making the book as complete as possible. My thanks are due to Dr. J. W. L. Glaisher, F.R.S., for permission to reproduce a number of examples from his fine collection, and for many kindnesses. To Mr. Frank Falkner for several unique pieces, and for his kindness in reading the chapter on Slip wares and making valuable suggestions. To Mr. Edward Sheldon for a number of pieces hitherto unpublished, and to Dr. Sidebotham, Captain Price, Mrs. Comyns-Lewer, Mr. P. Entwistle, Mr. H. Stuart Page, Mr. W. Bosanko, Dr. Crawford and Mr. C. E. Parkinson for photographs of pieces and for help in various ways. G. WOOLLISCROFT RHEAD. Doune Lodge, Putney. 12 8 CONTENTS CHAPTER PAGE I EARLY BRITISH, MEDIAEVAL AND SIX- TEENTH CENTURY WARES - - - I9 II SLIP WARES ------ 35 III ENGLISH DELFT WARES - - - - 62 IV JOHN DWIGHT AND STONEWARES - - 79 V ELERS AND ASTBURY WARES - - - 95 VI STAFFORDSHIRE SALT-GLAZED WARES - 10 VII. THOMAS WHIELDON AND VARIEGATED WARES ------ 124 VIII WEDGWOOD ------ 135 IX THE WOOD FAMILY - - - - I58 X CONTEMPORARIES AND FOLLOWERS OF WEDGWOOD ----- 172 XI PRATT WARE - - - - - - I93 - XII TRANSFER PRINTED WARES^ . - - 200 XIII LUSTRED WARES ----- 220 XIV THE YORKSHIRE POTTERIES - - - 23O XV POTTERIES OF THE TYNE, WEAR AND TEES 243 XVI LIVERPOOL AND HERCULANEUM - - 252 XVII CAMBRIAN AND SALOPIAN WARES - - 260 XVIII SOME MINOR POTTERIES - - - - 270 XIX THE PHILPOT FAMILY - - - - 2^^ CONTENTS CHAPTER PAGE XX THE MAKERS OF IMAGE TOYS AND CHIMNEY ORNAMENTS ----- 287 GLOSSARY OF TERMS - _ - - 302 BIBLIOGRAPHY ----- 308 INDEX ------- 313 14 ILLUSTRATIONS TO FACE PAGE 1. WiNCANTON Jug • - - Frontispiece 2. Medieval Tile, Winchester Cathedral 26 3. Anglo Saxoi^ Jar c. 600 - - - - 26 4. Wrotham Tyg. 1659 - - - - 40 5. Toft Dish. Arms of Cordwainers' Com- ^ pany - - - - - - 40 6. Moulded Slip Dish. Adam and Eve - 52 7. Covered Tyg. John Hugheson. 1691 - 52 8. Blue Dash Charger. A.H.L. 1677 - 72 9. Bristol Covered Posset Pot. 1703 - 72 10. DwiGHT Bowl ------ 86 " " 11. Stoneware Jug. Marked Kishere - 86 12. Nottingham Bear ----- 92 - 13. Statuette : Lydia Dwight - - 92 14. Elers Covered Tea Poy - - - 98 15. PORTOBELLO BoWL ----- 98 16. " Pew " Group. White Salt Glaze - 112 17. Salt Glaze Mug. Ralph Shawe's Patent 112 18. " Scratched Blue " Mug. " Enoch Booth. 1742 " 112 15 ILLUSTRATIONS to face page 19. Salt Glaze Plate. Enamelled 120 20. White Salt Glaze Dish. Perforated - 120 21. Double Perforated Teapot. Tortoise- shell % - - - - •• '' " 22. Cauliflower Basin _ - - - 23. " Pegasus " Vase. Flaxman - 24. Cream-ware Figure of Fortitude - 25. Statuette of Voltaire. Black Basaltes 26. Ralph Wood Figure of Diogenes - 27. Salt Glaze Soup Tureen. Aaron Wood - 28. Plaque of Abelard. Enoch Wood - 29. Sauce Tureen and Cover. Elijah Mayer 30. Turner Cup and Saucer - ^ - - " " 31. Adams Stand ----- 32. Bottle-shaped Vase. J. Voyez 33. Satyr Mask Jug ----- " " 34. Jug and Platter. Mason's Ironstone " " 35. Teapot and Vases. Mason's Ironstone 36. Flask. Duke of Cumberland. Pratt - 37. Jug. "Nelson and Berry." Pratt 38. Tea Poy. Pratt ----- 39. Liverpool Mug. Transfer Printed 40. Mug. Transfer Printed. J. Aynsley 41. " Railway " Jug. Transfer Printed 42. " Railway " Jug. Transfer Printed 43. Goblet. Copper Lustre - - - - _ 44. Jug. Silver Lustre _ . 45. Leeds Centre-piece. Cre^m-w^are 16 ILLUSTRATIONS TO FACE PAGE Leeds Monogram pieces and Wedgwood Teapots 240 Cream-ware Mug. Granite decoration- 244 Rockingham Teapot ----- 244 Blue printed Plate. Herculaneum - 254 Black printe^d Plate - - - - 254 Dessert Dish. Painted by W. W. Young 266 Cup and Cover. Painted by W. Fifield - 266 Tureen. Church Gresley - - - 274 Cream-WARE Plates. Church Gresley - 274 Ralph Wood Toby Jugs - '-' - - 280 " Falstaff " Jug ----- 284 Female Toby. Marked " Davenport " - 284 " Tree " Group. Cow and Calf - - 290 Model of Potash Farm - - - - 290 Figures of Sportsman with Dog, and Pair " of Figures, " Age - - - - 290 ^7 THE EARTHENWARE COLLECTOR CHAPTER I EARLY BRITISH, MEDIEVAL AND SIXTEENTH CENTURY WARES art of the potter has always exercised, no THEless for the craftsman than for the man in the street, a charm and fascination of which no other craft can boast.
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