XXXIII, Shelf 1, there will be seen two Minton Plates; the one in the
centre is pottery, is mainly hand painted in bright colours, one over
the glaze, and impressed “Minton.” That on the right is thick porcelain
with one colour over the glaze, the outline of the design in black
transfer, the colouring done by hand. I have had a pair of the latter
some time, and the marked plate confirmed my opinion that they also
came from the same factory, so I included one for the benefit of the
reader, who will do well to study old Minton. Because--I have just been
pulled up short when passing a shop which exhibited a large dish (20
in. by 15½ in.), having been struck by its almost dazzling decoration
and its perfect condition. I found it bore no maker’s mark, but as I
had Minton’s style in my mind’s eye, I bought it in a hurry as pottery.
Now I have time to examine it at home I find it is excellent porcelain,
translucent throughout, although it weighs 6½ lb. It is the largest
piece of china I have and the most brilliant in colouring, which is
all hand painted, being touched up here and there with dark brown for
a finishing effect after glazing. There is enough work on this dish to
keep a “Ca’ Canny” artist (did such exist) toiling for a week. It is a
greatly glorified edition of the marked plate, and it is just in time
to be too late to photograph, as this is my final haul before going to
press. Here is another proof of my previous remark that “You never know
your luck when collecting,” but I must add that your fortune may be
considerably influenced by the knowledge you have acquired. You should
first of all make up your mind where you want to go, and ascertain the
best way to “get there,” as there are many pitfalls on the road. The
six plates referred to have been found at five different places (the
pair 100 miles away); and as to the cost, well, that is a detail which
might depreciate the descriptive notes.
SWANSEA (PLATE XLI)
I must say a few words about this group, as second on the left is a
jug which represents my first purchase in old china. I knew nothing
about the subject, and when later I discovered its mark “Woodbine”
denoted that the piece emanated from Swansea, and that it was actually
mentioned in a book, it set me thinking, and I decided to enter for
the China Stakes. I have gathered in other Swansea representatives,
none of them of a really uncommon type. Four in the centre are lustre
decoration, but no one I have come in contact with has been aware that
it was all Swansea, so possibly the photograph may be of avail to more
than one curious reader. I am well aware that the really artistic
Swansea is considered of great value, but the fact that I have no
specimens of this class does not keep me awake o’ nights. The jug on
the right is Nantgarw.
BLUE DRAGON (PLATE XL)
I had a remarkable experience one morning when I was staying at a
seaside town. I turned out to see what I could find, and visited all
likely shops. In one where the stock was mostly modern I was told they
had no old china, but for some reason I opened a drawer near the door
and lifted out a blue dragon bowl bearing an old Worcester mark. They
had forgotten all about it, and seemed almost as pleased as I was at
the discovery, which ended in a mutual bargain. In another street at a
shop where they were giving up business, and only had a little stock
left, I saw another blue dragon bowl the same size, marked 4s. 6d. When
I got home I removed the price ticket and was shocked when an imitation
Chinese mark was revealed proving it to be very early Caughley. No blue
dragons or blue devils have since crossed my path, but if I do meet
with any green dragons on cups I will see if I cannot make them agree
with some which are portrayed on the two early Coalport saucers I show
on Plate XLI.
WORCESTER (SHELVES 3 AND 4, PLATE XL)
Reader, I have now brought you to Worcester, which you know is a
Sauce-y as well as a Saucer-y place, but that should not influence our
careful study of some of its products which appeal to me effectively.
There is something so reposeful about the blue-and-white old Worcester
china, mellow with age, and soothing with its smoothness, combined with
a warmth of feeling, that has ofttimes affected me. When reaching the
stage of jadedness after a long ramble, when the results have been up
to that point disappointing, I have felt quite revived after treating
myself to a taste of Worcester Sauce. You see the variety of articles,
wine cup, egg-cup, sweetmeat dish, teapot, cups and saucers--but I wish
to call your special attention to the small jug. I saw one very like
this recently fitted with a lid, and marked with a crescent, which the
dealer said denoted either Worcester or Caughley, and the price was
four guineas. As my jug has no mark I call it “Worcester.” The cup and
saucer, lotus pattern bear the 1862 mark.
Shelf 3, Plate XLI, coloured and printed Worcester. I bought the
English Japanese mask jug, as I was struck with its doubtful beauty,
especially as it had only part of the handle. Later it took a journey
to London, and returned after a lengthy absence fitted with the
artificial limb which, as it has not been put to use since, has proved
most satisfactory.
With regard to the coloured cream jug, on one of my cycling rambles
I unexpectedly came across an emporium, stocked with a legion of
antiques, which I entered, after dismounting of course. Being a
beginner I was much bewildered, and was backing out without buying
when I was hypnotised by the glare of the proprietor’s gaze, so I
grabbed the most strikingly coloured thing that struck my eye, put
down half a crown, and scorched away with what I have since discovered
to be a piece of old Worcester of a type which is in great demand. I
got to know the man fairly well later, and if he had sudden fits of
uncontrollable temper at intervals his lungs were O. K., and fitted him
for the role of local politician. He did a big trade, and if I caught
him in his shirt with his trousers fastened up by his braces tied round
him I anticipated we could do business; but on occasions when I found
him got up in print shirt-sleeves and a black velveteen waistcoat then
I knew he was expecting wealthy clients and I had better call again.
His knowledge of marks was somewhat limited, and I wondered why his
price always seemed high after I had examined the bottom of a piece;
and that he never said what he wanted until he had taken the thing
from me and satisfied himself if it had a mark or not. When I tumbled
to his game, if I caught sight of a mark I had to put that piece back
hurriedly and pick it up again casually just before leaving, this being
a case of paste cutting a rough diamond.
Lastly I come to my first little bit of Worcester. You will no doubt
have heard of Dr. Wall, who really created this china; if not, you
can read him up, when you will find he took a great interest in
Malvern, so it is not surprising that on this mug there is a view of
Malvern. Judging by the scene it must be a very early production, more
especially as the printing is over the glaze. Every collector seems to
be out for reminiscences of Dr. Wall, and I once came in contact with
a dealer who labelled most of his Worcester “Dr. Wal period.” On my
pointing out the error in the spelling he remarked, “I see--that makes
a L of a difference!”
NEWHALL
It is often hard to tell a certain class of Newhall from Bristol common
or cottage china, and Newhall seems to have turned out many qualities
of work without using any mark. The only pieces I have which are
marked are the bowl on “Grandfather Helm” and the teapot in Plate XLII,
Shelf 3.
[Illustration: Old China.
Shelf 4. French Porcelain.
” 3. Newhall (3), Plymouth Cup, Bristol Saucer,
Mug and Teapot, “Dresden” Duds (2).
” 2. Bristol Cottage China.
” 1. Plates: Minton, Worcester, Chamberlain’s
Worcester, Cups and Saucers: Minton,
Leeds, Caughley, Newhall.
PLATE XLII.]
[Illustration: Old Horse Amulets. Group 1.
PLATE XLIII.]
In regard to the bowl I am about to reveal a secret known to very few
outside my own family circle. The bowl was given (not thrown) in with
several other things I had bought, as it had a piece broken out. It
is gaudily painted inside, and having the letter “N” on the bottom I
determined to make the most of it. I had a wooden block cut, grooved to
just fit the jagged edge when the bowl was on its side, and fitted with
a back support which took in the bottom, then a piece of wire holds the
bowl always in position. This is a bit of camouflage that has only been
noticed by one collector visitor, and the bowl has often been admired.
On the top shelf, Plate XLI, you will see two teapots very similar in
decoration, the practically perfect one is Newhall and soft; the other,
without a handle, is Chinese and very hard. I bought the latter to
demonstrate how nearly the English artist copied the Oriental, but the
faces always give the show away; the fact is, you cannot make a Chinese
mug out of an English face. When I bought this broken pot the following
remarks were exchanged:
“I never thought anyone would be soft enough to buy that thing.”
“Ah! but I collect teapots without handles; then they cannot be broken
off when they are used at home.”
“But how can they pour the tea out when it’s hot?”
“Pump it out with a strainer.”
“How?”
“Now you are pumping. If you get any more without handles, will you
save them for me? Good day.”
DERBY (SHELF 4, PLATE XXXIX)
The cup and saucer on the right are richly decorated in heavy gold
only, and are marked. Those at the left end are painted with rural
scenery, and I was surprised to find they were Derby. The part-set of
handsome Crown Derby will be easily identified by the typical handwork,
which is of good early production.
SPODE (SHELVES 2 AND 3, PLATE XXXIX)
I give several specimens representing this prolific factory, and
although none of them is marked, I feel sure they are correctly
classified. There is a substantial portion of a family tea service
of old Spode on the third shelf, to which I have added some cups and
saucers of the same design, but whiter in the body. These all have the
well-known Mandarin design as decoration with the typical bright green
in evidence. The teapot, sugar bowl, and specimen cups and saucers on
the shelf below call for no special comment.
LEEDS
I give on Shelf 1, Plate XLI, a charming specimen of some cups and
saucers printed in maroon and gilt, and on Shelf 1, Plate XLII, a
blue-and-white cup and saucer bearing a square imitation Chinese mark.
On “Grandfather Phillips,” Plate III, there is an example of old Leeds
pottery, hand painted in blue, with an early Oriental design. I was
in doubt where this bowl emanated from, but I am now convinced it is
Leeds, for I have just bought a perfect rich blue-and-white Leeds
Queen’s ware coffee pot of similar design and glaze. It has a twin
twisted handle with flower knob, and cost less than the price of this
book. A basket-pattern dish in fine condition appears on Plate XV.
FRENCH PORCELAIN
At the head of Plate XLII you will see a covered potpourri jar and a
pair of 8-inch beakers, together with two mugs. I found four of these
things at Folkestone, while one mug, with the coat-of-arms of the
Earl of Arundel worked into the decoration, I got in Kendal. When I
was in Folkestone in 1912 I was hopelessly puzzled as to what this
stuff could be. In another shop I had examined a bowl of the same make
bearing an imitation Chinese mark, and as up to then I had learnt that
only English china was soft--which all these pieces were--I could not
understand where it came from. After comparing notes with Mr. J. F.
Blacker, who had previously written me very kindly when answering my
queries, I felt satisfied it was made in France of a soft quality to
suit the English market. The decoration is by hand, and is a mixture
between Chelsea and Oriental design. Lots of this stuff has been called
Lowestoft, and about that time in an up-to-date shop I saw something
like it which I felt sure had not long come over from the Continent.
Soon after this holiday I was asked to call at a house near home to
look at two “Lowestoft” vases which had just been sent them, and I
found they were similar modern Continental. I believe my specimens are
about a hundred years old.
_SEVENTH COURSE_
Old Horse Amulets
A Poor Start--Castings--Tips--Duplicates--Photographs--A Puzzle--My
only Son--Our last Tour.
I have now reached a course which I am afraid I shall not find
easy-going. My attention was first drawn to horse amulets or face
brasses in an article in the _Connoisseur_ for October, 1911, but it
was not until 1913, when I came in touch with the proprietor of an
antique shop who had dabbled in these things for some time, and who
obligingly talked to me about them, that I decided I would add a few
to my collection, as they might be interesting and would occupy small
space. My first purchases resulted in my bringing home on approval
quite a number which I had obtained from a dealer, who informed me that
the brasses were usually collected in pairs. I referred this find to
the friendly antique proprietor, who, after looking them through, asked
if I had paid for them, and he said it in such a way that I evaded the
question by enquiring “Why?” His answer was, “Because there are several
stamped pieces, and you should only buy cast ones; besides, what do you
want pairs for?”
This seemed rather a poor start, but I was taught early in life to make
difficulties stepping-stones to success, so I returned the amulets
not approved of, and later received desirable specimens in exchange.
The next step was to learn how to detect those that were cast, and I
found they usually had a couple of points or studs apparent at the back
corresponding with the holes in the moulds through which the molten
metal had been run. Further, all stamped pieces are punched out of a
sheet of brass, the same thickness throughout, the back of which is
practically as smooth as the front. I have about half a dozen not cast
and not stamped, but fretted by hand.
Next I had to ascertain how to tell old from modern. That can usually
be arrived at by the appearance of wear, while the old type are more
highly finished and better metal was used in their manufacture. I was
soon made aware of the fact that new “old” pieces were being made,
as they were constantly cropping up. The ambition of the collector
evidently should be to get together as many varieties as possible,
leaving the duplicates for other buyers; but as soon as my curiosity
was aroused I bought all the old castings I came across.
To anyone who makes a special study of signs and symbols these patterns
and designs must be very fascinating, and the collecting thereof should
appeal forcibly to those with enquiring minds whose fancies tend in
that direction.
As it was quite impossible to get together a collection by my usual
method of looking out for myself, I secured the assistance of two
kindly travellers who went in all directions in connection with their
ordinary business. They took great interest in my requirement, and
bought up all the old brass cast specimens they could find, with the
result that I became possessed of many duplicates, some of which I
disposed of, whilst through the courtesy of a correspondent who readily
exchanged the remainder, I was able to raise the number of my different
specimens to about four hundred.
I found these amulets made very interesting groups for photography,
and as fast as I procured a fresh two dozen I hung them by strong pins
on a bridge table, which I placed on its side on a dining-table, and
so was enabled to make an easy job. I was quite keen up to a point on
doing this, but the bottom seemed to drop out of the business soon
after the war started, though not before I had taken quite a number of
photographs. In the hope they will interest many readers, I give two
plates reduced from twelve of my best negatives, which will show enough
amulets for anyone to be going on with. One collector informed me he
knew of over one thousand designs, and no doubt there are many more, so
there is ample scope, but my experience is that old specimens are very
hard to find.
I am now going to put a puzzle before you, and hope it may be somewhat
entertaining. The fact is, one of the amulets is a fake. It occupies
a central position on one of the twelve photographs reproduced. I
conceived the idea when the spirit of mischief was upon me, and with
the assistance of a mechanic and a little solder, a very common piece
was made into a very rare specimen. It was specially remarked upon by
another collector to whom I sent my photographs as the only one of the
kind he had seen. Which is it?
I remember showing this jokingly to my son, and his characteristic
comment was, “That’s jolly good; but I say, dad, is it playing the
game?”
[Illustration: Old Horse Amulets. Group 2.
PLATE XLIV.]
[Illustration: Sheffield Plate and Old Silver.
PLATE XLV.]
In the spring of 1914 my son took me in his side-car for a tour which
lasted one happy week, one day of which now comes forcibly to my mind.
That we started back from Henley-on-Thames in pouring rain made no
difference to his equable temper, and before we reached Oxford the sun
was as bright as his disposition. When we turned at Whitney and passed
over the Cotswolds _en route_ for the Wye Valley, we came across the
scenery in which he revelled, and here he and I found a few old amulets
in a saddler’s shop while waiting for the wayside lunch. In peace and
quietness his true bent lay, and only his regard for duty impelled him
to join the Army when volunteers were appealed for. His commission was
dated on his twenty-first birthday, and it was the irony of fate that
the last two years of his clean life should have been spent in the
grime and stress and turmoil of war. Thus I lost my lovable companion,
who for nearly ten years had played such a charming part in assisting
to make my collecting a pastime.
_FINAL COURSE_
Sheffield Plate and Old Silver Told by the Plateau
I have been asked to act as spokesman for this group and as it is in
the customary order of things, not only for every group but for each
individual, to have a grievance and air it, I must first of all protest
against the indignity of placing my companions and myself at the rear
of the book, when our value and appearance justify our occupying the
premier position, and we consider it a great slight on the estimation
in which we are held by real connoisseurs that we have been allotted a
back setting while things like old pewter, for which we have the utmost
contempt, have been allocated to the forefront. Now that I am on my
feet I will say a few words respecting my associates and myself, and
considering that my age and reflections extend over a century, I hope
they will be followed with some regard. I get on very well with the
Tankard, but there are times when he gets out of hand. On one of these
unruly outbursts he addressed me as “Centrepiece,” but I metaphorically
put his lid on by calling him “a mug.” Taking him all round, he is
not a bad specimen, and undoubtedly has sprung from a good family,
although I have heard that he latterly came out of a pawnshop for half
a sovereign.
My friends the candlesticks might assist me considerably in my
reflections, but their glory has been snuffed out since coming here,
and on no occasion have they served any useful purpose, whereas if
their telescopic action was brought into play and their proper office
as candle-bearers to a distinguished specimen bearing the aristocratic
title of “Tableau” was allotted to them, they would undoubtedly throw
more light on this subject.
The cake-basket is the silent member of our select clique, but I learnt
that it had served a fine family for some generations, when it was
presented to a church bazaar. From there it passed into the warm hands
of the late donor to our present owner. In my opinion this is a case of
overfretting.
The sugar-tongs and butter-knife are quite unobtrusive, but are of
sterling worth. They often indulge in punctilious conversation which
usually becomes more animated in the afternoon about tea-time, when
they often refer to a family of Spoons--the Tea Spoons, I believe. On
these occasions Mr. Knife lays the butter on rather thickly, which Miss
Tongs in her sweet way appears to look upon as quite the correct thing.
Only on her arrival here in company with the Cream Jug have I seen them
upset, and I gathered that they had all their lives been accustomed to
the troy weight which jewellers use, but owing to the vicissitudes of
their recent experience they had fallen into the hands of a broker,
who, when he parted with them, dumped them into the scales which were
guaranteed to weigh correctly up to 14 lb. avoirdupois, and which had
just been used for dirty pewter and called them “half a crown an ounce.”
The Cream Jug keeps himself to himself, and is taciturn, at times
turning to sourness. He suffers from swelled head occasionally, and
then says things about “hall-marks” and “helmet shape,” but he always
carries himself well. We call the Toddy ladle “Euclid,” because he is
length without breadth, but he doesn’t mind. He has had jovial times in
the past, and says if he were to tell me some of the tales he has heard
when he was kept busy at nights that I should crack my mirror. He loves
to lie on me with his face downwards, as then he can see it in the
glass, and I will say I have seldom seen a nicer.
As regards myself, I could fill a volume with the interesting events I
have witnessed and the conversations I have heard, but the space placed
at my disposal is so meagre I will limit my disclosures to the last
few years of my existence. Owing to circumstances over which I had no
control, after a lengthy period of neglect I was condemned to occupy an
undignified position in a broker’s window, where the odour of paraffin
was most repulsive to my susceptibilities. I was dozing in the dark one
evening when I heard a voice inquiring, “Have you any pewter?” and the
reply, “There is a thing in the window, but I think it has some copper
about it.” Some money changed hands, I was wrapped in soiled paper and
carried to this home, where I was shocked to see a lot of horrid pewter
in the hall and elsewhere, and I was introduced to the family in this
way, “I don’t know what it is, but it is juicy heavy.”
These people treated me with an attention I had not been accustomed
to for many years, and after giving my frame a bath and a polish,
refitting my mirror top and screwing my mahogany back, promoted me to
the drawing-room, where no pewter was permitted to enter, and here I
have since remained. I am convinced I never looked better, and they
went into ecstasies over my grape and vine leaves border decoration,
and I then had my photograph taken for the first time in my life. Being
a great advocate of cleanliness, and as the same care was bestowed on
my appearance in my early days as now, I was quite in accord with the
lady who remarked, “She thought that in all well-managed houses the
carpets ought to be taken up and beaten at least once a year.”
Do you know I love old furniture, and on occasions when there is a
general dust up in the drawing-room I am walked past an elm dresser on
which I have caught sight of a pair of Sheffield plate snuffers. I have
cut them dead, as I notice they have so far demeaned themselves as to
form an unholy alliance with a despicable pewter tray.
I had an uneventful period until the leaves were falling in 1918, when
a young captain in khaki arrived straight from the firing line in
France on leave for a fortnight. The next few days I am proud to say I
had to bear the weight of a large wedding cake, and on the eventful day
I trembled when the bride began to cut it with the captain assisting
her, but my old back, which is as strong as ever, bore up bravely.
There was much talking on that occasion, but the words which most
impressed me--and which, in order that I may apply them to my patient
readers, shall be my last--were
“HEALTH, WEALTH, AND HAPPINESS.”
PRINTED BY CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LONDON, E.C.4
F.30.320
* * * * *
Transcriber’s Note:
Italic text is denoted by _underscores_ and bold text by =equal signs=.
The use of small capitals for the names of the plates has been
regularised throughout the text.
Variations in spelling and hyphenation remain as in the original unless
noted below.
List of Illustrations, number “17” inserted.
Plate VI, period added at the end of the caption.
Plate XVII, period added after “p.”
Plate XXXVI, “Deft” changed to “Delft” (“Bristol Delft Dish”).
Page 7, period added after “viz.”
Page 67, “Shipwrights’ Arms,’ Limehouse Hole,” changed to “Shipwrights’
Arms’, Limehouse Hole,”
Page 72, “W Nettleford” changed to “W. Nettleford.”
Page 73, period added after “Wisbeach.”
Page 79, superfluous quotation mark removed after “26, Haymarket, 1824.”
Page 92, double quotation mark added after “Freemason’s Arms.”
Page 93, single quotation mark changed to double after “S.”
Page 105, period added after “the glaze will be his initials.”
Page 115, period added after “stoneware K. & B.”
Page 119, period added after “caused me all this trouble.”
Page 125, “teapoys” changed to “teapots” (“real Old Worcester teapots”).
Page 130, period added after “was undoubtedly old Bristol.”
Page 139, “were” changed to “where” (“I could not understand where it
came from”).
Original scans of this book can be found here:
https://archive.org/details/collectingaspast00rowe
End of Project Gutenberg's Collecting as a Pastime, by Charles Rowed