the vast number of pieces of pottery and porcelain that bear the name
and ostensibly bear the portrait of Washington—more and more varied even
than the Lord Nelson prints in England. Often Washington’s portrait is
found with that of Franklin or Lafayette; in such cases I have given the
subject of the most prominent or the named design the honor of
determining the place on the list. The largest number of these
Washington designs occur upon Liverpool mugs and pitchers in black
prints. Some few are in blue upon Staffordshire earthenware. In the
Huntington Collection at the Metropolitan Museum of Art, in New York,
may be seen a vast number of ceramic likenesses of the great American.
Many of these are single specimens painted by hand—both by artists and
amateurs, apparently. One set of four plaques has copies of the Savage,
Trumbull, Peale, and Stuart portraits of Washington. Such I have not
attempted to describe or classify. One specially comical portrait
plaque, painted in China, shows an almond-eyed Washington with his hair
_à la chinoise_, with feminine hair ornaments, while on his republican
shoulders rests the dark blue sack garment familiar to us as the
festival garb of our Chinese washermen. There are in the Trumbull-Prime
Collection a large number of Washington pitchers, from which some of the
entries on this list are described.
One Liverpool print deserves special mention, for a very interesting
story is attached to it, and is told in detail by Benson J. Lossing in
his “Mount Vernon and Its Associations.” A dealer in Philadelphia
imported a number of pitchers of various sizes, each bearing a portrait
of Washington, the design for which had been taken from Gilbert Stuart’s
picture painted for the Marquis of Lansdowne. Nutter had engraved this
portrait for Hunter’s edition of Lavater, and a copy of the engraving
was printed upon the pitchers. Mr. Dorsey, a sugar-dealer of
Philadelphia, purchased several of these pitchers, and after a number of
unsuccessful attempts to separate the part bearing the portrait from the
rest of the pitcher, managed at last, by using the broad-faced hammer of
a shoemaker, to break out the picture unharmed with a single sharp blow.
The pottery fragment bearing the portrait was handsomely framed by Mr.
James R. Smith, of Philadelphia, and sent to Judge Washington at Mount
Vernon, where it was hung and was known as the pitcher portrait. A copy
of it is here shown.
[Illustration: Pitcher Portrait.]
Mr. Smith owned a crayon portrait of Washington, a copy made by
Sharpless himself of his original picture of Washington. On the back of
this Sharpless portrait was a long eulogy of Washington, written by an
English gentleman. Mr. Smith copied a portion of this eulogy on the back
of the pitcher portrait—as much of the inscription, in fact, as there
was room to write. It ran thus, as given in “Alden’s Collections of
American Epitaphs and Inscriptions:” “Washington the Defender of his
Country, the Founder of Liberty and the Friend of Man. History and
Tradition are explored in vain for a parallel to his character. In the
annals of modern greatness he stands alone, and the noblest names of
antiquity lose their lustre in his presence. Born the Benefactor of
Mankind he united all the qualities necessary to an illustrious career.
Nature made him great, he made himself virtuous. Called by his country
to the defense of her liberties, he triumphantly vindicated the rights
of humanity and, on the pillars of National Independence, laid the
foundations of a Great Republick. Twice invested with supreme
magistracy, by the unanimous vote of a free people, he surpassed in the
cabinet the glories of the field; and voluntarily resigning the sword
and the sceptre, retired to the shades of private life. A spectacle so
new and so sublime was contemplated with the profoundest admiration, and
the name of Washington, adding new lustre to humanity, resounded to the
remotest regions of the earth. Magnanimous in youth, glorious through
life, great in death, his highest ambition the happiness of mankind, his
noblest victory the conquest of himself. Bequeathing to posterity the
inheritance of his fame, and building his monument in the hearts of his
countrymen he lived—the ornament of the eighteenth century, he
died—regretted by the mourning world.”
The centre portion of this inscription has been within a few years cut
out of the back of the frame by some vandal hands. The entire eulogy, as
written on the back of the Sharpless portrait, can be seen in Lossing’s
“Mount Vernon and Its Associations,” and in Sparks’s “Writings of
Washington,” and as a masterpiece of flattery—and honest flattery,
too—it knows no equal.
This pitcher portrait descended to Lawrence Washington, Esq. It was
exhibited at the Philadelphia State-House in 1876, and was sold at
auction April 22, 1891, at Philadelphia, for $75.
Liverpool pitchers bearing the design like that of the pitcher portrait
are rare in America, but are found in a few private collections; and
oval plaques are also found bearing the same portrait. These latter have
a swelling surface, as if cut from the side of a pitcher. There are
specimens with this print in the Trumbull-Prime Collection. Some years
ago a framed pitcher portrait was found in the attic of an old house in
Washington Street, Newport, and is now in the possession of Benjamin
Smith, Esq., of Philadelphia.
Some very interesting ceramic portraits of Washington were made in
China, early in this century, on four porcelain toddy-jugs, by order of
Mr. B. C. Willcocks, of Philadelphia. It is said that the portraits were
copied from one of these pitcher portraits, but the head on the
toddy-jugs is longer and narrower, and the neck is much longer. This
elongating may have been done by the Chinese artist, but it looks more
like the other Stuart portrait, the one with lawn ruffles; the pitcher
portrait has a lace ruffle. One of this quartette of covered toddy-jugs
was kept by Mr. Willcocks, and the other three he presented to three
life-long friends who met frequently and regularly to play whist with
him. One of these Washington toddy-jugs is now in a Washington
collection in Newport. It is a foot in height and seven inches in
diameter, of white Chinese hard porcelain. It has foliated handles,
heavy rim, and “chimera” knob on the cover, all of gilt. On one side is
the portrait of Washington, but by reason of the bluish shade of the
hard porcelain it lacks the softness of the print on the Liverpool ware.
The portrait is banded with a heavy gold edge, and in a similar gilt
oval on the opposite side of the pitcher is a pretty cipher, B. C. W.
[Illustration: Washington Monument Pitcher.]
To this pitcher-portrait design, since so much honor has been paid to
it, I will assign the first place on my Washington list.
1. Washington. Head from Stuart’s Portrait. Liverpool.
On oval plaques and pitchers. Described on pages 258 _et seq._, and
shown on page 259.
2. Washington. Head from Stuart’s portrait. Canton.
On Chinese toddy-jug. Described on preceding page.
3. Washington. Medallion head on monument. Liverpool.
This oval design is printed on pitchers of three sizes. In the centre is
a monument bearing a poor medallion portrait of Washington, surmounted
by a laurel wreath and urn, and bearing the words “George Washington
Born Feb 22, 1732 Died Decr. 17, 1799.” Below the coat of arms of the
Washington family, a shield bearing five bars in chief three mullets. A
weeping female figure leans against the monument, and a very sad eagle
droops in the foreground, with two equally drooping willows on either
side. Above the design are the words, “Washington in Glory,” below,
“America in Tears.” A pitcher bearing this design is here shown.
4. Washington. Medallion head. Liverpool.
Similar design to No. 3, but more coarsely engraved, while the
inscriptions are within the oval line of the print.
5. Washington. Medallion. Liverpool.
This is printed in black on mugs and pitchers of various sizes. One is
shown on page 139. The portrait is mean and poor to the last degree. On
the right stands America with the words, “Deafness to the ear that will
patiently hear, and dumbness to the tongue that will utter a calumny
against the immortal Washington.” On the left Liberty says, “My favorite
Son.” Below, the inscription, “Long Live the President of the United
States.” This, of course, was made previous to 1799, the date of
Washington’s death.
6. Washington. Portrait. Staffordshire.
Printed in black. Marked F. Morris, Shelton. Liberty holds a wreath over
the head of Washington. The inscription reads, “Washington Crowned with
Laurels by Liberty.” This is surrounded by a chain with fifteen large
links inclosing the names of fifteen States.
7. Washington. Monument.
A plate of cream-colored ware printed in dull reddish brown. Within a
ring dotted with fifteen stars is the figure of the Goddess of Liberty,
with a shield and olive branch. Behind her stands a pyramidal monument
bearing a portrait of Washington and inscribed, “Sacred to the Memory of
Washington.” On one side is seen the ocean with a ship, and at the foot
of Liberty is an eagle and a scroll with the words, “E Pluribus Unum.”
Around the edge of the plate are long oval medallions of stripes and
stars.
8. Washington. Portrait. Liverpool.
Printed in black or red. A poor portrait of Washington, over which a
cherub holds a wreath inclosing the word “Washington.” Justice and
Liberty on either side of portrait, and Victory at base. A ribbon scroll
has the names of fifteen States and incloses fifteen stars.
9. Washington. Apotheosis. Liverpool.
Oval print, with a label at the base, the word Apotheosis. A tomb with
seated figures of Liberty and an Indian in the foreground. Time is
lifting Washington, clothed in a shroud, from the tomb, while an angel
holds the patriot’s hand and points up to rays of glory. On the tomb the
words, “Sacred to the memory of Washington ob 17 Dec. A.D. 1799. Ae 68.”
Outside the oval are winged cherub heads. Often under the nose of the
pitcher is seen the motto, “A Man without Example, A Patriot without
Reproach.” Pitchers bearing this specially hideous print seem to be
eagerly sought after by all china collectors. It is a reduced copy of a
large engraving three feet long and two wide, which was issued by Simon
Chandron and John J. Barradet, in Philadelphia, in January, 1802. This
engraving is still frequently seen in old Philadelphia homes, and was
common enough in the middle of the century. In the large engraving many
funny details can be seen which are lost or blurred in the pitcher
print. For instance, the various decorations owned by Washington,
including the Order of the Cincinnati, are proudly displayed, hanging
over the stone of the open tomb. Sometimes the print is seen without the
word Apotheosis. One of these pitchers is here shown.
[Illustration: Apotheosis Pitcher.]
10. Washington. Monument. Liverpool.
This design is printed in a scalloped oval. In a landscape with water,
ships, and a church, is a monument with a medallion portrait of
Washington and the words: “First in War, First in Peace, First in Fame,
First in Victory.” Fame stands on the right, and a naval officer on the
left. In front is an American flag, cannon, swords, etc. Around the edge
of the oval are the names of thirteen States. I have several times had a
pitcher with this design offered to me for purchase for $8, $10, or $15,
according to the size and condition; but I saw one in a jeweller’s shop
in New York during the Centennial celebration in 1889, marked $150, and
it was asserted that it was sold at that price. The revival of interest
at that time in anything and everything that related to Washington, of
course afforded the explanation of this enormous and absurd price.
11. Washington. Medallion Portrait. Staffordshire.
A poor full-face portrait, not resembling Washington, with same legend
as No. 5. It is marked F. Morris, Shelton.
12. Washington. Profile Portrait. Liverpool.
This is printed in black on small pitchers. Over the portrait the
legend, “He is in Glory, America in Tears.”
13. Washington. On Horseback. Liverpool.
This design appears upon a gallon bowl in the collection of the
Connecticut Historical Society, and also upon one in a collection in
Newport. Pitchers also have been seen with it. Washington appears
mounted, on a battle-field, with the accompanying inscription: “His
Excellency General George Washington, Marshal of France, and Commander
in Chief of the North American Continental Forces.”
Though this inscription dubs Washington a marshal of France, it seems
uncertain whether the title was correctly applied. It is said that when
Colonel Laurens was special ambassador to France, a discussion arose as
to the command of the united armies in America. Of course Laurens
insisted firmly that Washington must have absolute control; but Count de
Rochambeau, an old lieutenant-general, could be commanded only by the
king or a maréchal de France. Laurens with ready wit solved the
difficulty by suggesting that Washington be made a maréchal. This
suggestion was carried out, and the French at Yorktown addressed
Washington as Monsieur le Maréchal. On the other hand, when Lamont, in
his volume of poems, addressed Washington by his French title of
maréchal, Washington wrote to him in 1785, saying: “I am not a marshal
of France, nor do I hold any commission or fill any office whatever
under that government.” This letter would appear to be conclusive
evidence.
The bowl also bears a fur-cap portrait of Franklin, the print of the
soldier and the British lion described in No. 106, with the legend, “By
virtue and valor we have freed our country,” and also the “spatch-cock”
American eagle and shield.
14. Washington. On Horseback. Liverpool.
This print is similar to No. 13, but is apparently of earlier
manufacture.
The mounted figure has the right arm raised. One is upon an octagonal
Liverpool plate in the Huntington Collection, and has the inscription,
“His Excellency George Washington.”
15. Washington. Portrait. Liverpool.
Small portrait of Washington in black print on Liverpool pitcher, with a
design of Liberty cap and flags, and the verses:
“As he tills your rich glebe your old peasant shall tell,
While his bosom with Liberty glows,
How your Warren expired, how Montgomery fell,
And how Washington humbled your foes.”
16. Washington. Medallion. Liverpool.
A background of weeping willows. In the foreground a monument surmounted
by an urn and bearing a medallion portrait of Washington. Beneath this
the arms of the Washington family, and crossed swords with palm or
laurel branches. Above the entire design the words, “Washington in
Glory.” This design resembles No. 3, but is smaller. On the reverse of
the pitcher, a design of Ceres and Pomona at either side of a cannon,
and a spread eagle with the words, “Peace, Plenty, and Independence.”
17. Washington. Map of United States. Staffordshire.
Printed in black on bowls, plates, and pitchers. It is thus wittily
described by George Champlin Mason in his book on old Newport:
“Washington and Franklin are inspecting a map of the United States,
which shows thirteen States. Liberty and History look smilingly upon the
pair, while Fame blows a trumpet and flourishes her heels in dangerous
proximity to Washington’s head, who is the more prominent of the two,
Franklin being screened in part by the pine-tree flag.” On this map
Louisiana is called the Country of Mines, and stretches up to Lake
Superior. The pitcher is marked F. Morris, Shelton. There are three
slightly varying prints of this design, one having reference numbers and
a key with the names of the figures. A bowl twelve inches in diameter
bearing this print can be seen in the Huntington Collection at the
Metropolitan Museum of Art. There is also one in the Trumbull-Prime
Collection. One in Newport bears the date 1796. A pitcher from the
Trumbull-Prime Collection with this print is here shown.
[Illustration: “Map” Pitcher.]
18. Washington. Portrait. Liverpool.
A full-face portrait of Washington, with inscription “His Excellency
Gen^l Washington,” and the fur-cap portrait of Franklin, on the outside
of a bowl which has on the inside a design of a full-rigged frigate, the
Insurgente, and the same legend as No. 101. It also has the motto:
“My love is fixed,
I cannot range;
I like my choice
Too well to change.”
19. Washington. Cameo. Wedgwood.
Made in white on colored grounds and in pure white. Mentioned in
Wedgwood’s Catalogue of 1787.
20. Washington. Intaglio. Wedgwood.
In highly polished black ware for use as a seal. Though so small a head,
the likeness is good. In Wedgwood’s Catalogue of 1787. A specimen may be
seen in Huntington Collection.
21. Washington. Medallion. Wedgwood.
Made both in black basalt and blue and white jasper. This head is very
fine, and an excellent copy may be seen in the Huntington Collection.
22. Washington. Bust. Wedgwood.
This bust is in black basalt. The height is thirteen inches. A fine
engraving of it may be seen in Miss Meteyard’s “Wedgwood and his Works,”
numbered Plate XVIII. One is owned by a collector in Chicago.
23. Washington. Medallion. Neale & Co.
An oval medallion in pottery with the head of Washington in high relief.
24. Washington. Statuette. Enoch Wood.
This statuette is fifteen inches high, and is identical in dress and
figure with the statuette of Franklin, No. 46, save that the head of
Washington is covered with white powdered hair or a white wig, instead
of the dark natural locks that grace the Franklin statuette. The head
and face only are colored, though the buttons, buckles, and coat
ornaments or frogs are gilded. It seems rather unjust in Enoch Wood to
put the head of Washington on Franklin’s extremely rotund body. In the
right hand of the figure is a scroll with vague lettering, and under the
left arm a cocked hat. I know of but one of these statuettes with the
Washington head; it is in the Huntington Collection.
25. Washington. Statuette. Badin Frères.
This French statuette is about ten inches in height. Washington is
dressed in a yellow coat and blue waistcoat, and carries a scroll marked
“Patria.” By his side is an American eagle crowing over a broken tablet
painted with a picture of the British lion. On the pedestal in gilt
letters, “Badin Frères, D’leurs, à Paris.” Specimen in the Huntington
Collection.
26. Washington. Statuette. Badin Frères.
Statuette of glazed pottery. Washington has his foot on a thoroughly
subdued British lion and the British flag. He carries in his hand a
scroll with word “Independence.” Specimen in the Huntington Collection.
The face of this statuette (as well as that of the preceding one, No.
25) bears more of a likeness to the Rembrandt Peale portrait of
Washington than to any other.
27. Washington. Parian Pitcher.
An embossed full figure of Washington on a Parian pitcher in the
Huntington Collection. Also designs of flags and spread eagles.
28. Washington. Bust. Ralph Wood.
Number G. 367, in the Catalogue of the Museum of Practical Geology in
London. It is thus described:
“Bust of Washington, 10 inches high, in plain cream-colored ware, with
impressed mark Ra. Wood, Burslem.” Ralph Wood, whose name is stamped on
this piece, was the father of Aaron Wood and grandfather of Enoch Wood.
29. Washington. Relief Portrait. Dresden.
Profile portrait of Washington in relief, gilded, on _bleu de roi_
ground. On other side similar relief portrait of Franklin. In front an
American eagle. Dresden mark. One may be seen in the Trumbull-Prime
Collection.
30. Washington. Medallion. Dresden.
Dresden china cup and saucer, gilded without and within. On the cup a
blue oval medallion with exquisite head in white relief of profile
portrait of George Washington. This beautiful piece is owned by Mrs.
Nealy, of Washington, D. C.
31. Washington. Bust.
A bust of Washington in cream-colored oily pottery. It is about four
inches in height and is one of a set comprising busts of Clay, Webster,
Calhoun, Lafayette, Franklin, etc. I think the date of manufacture was
about 1850. They are common in America. Specimens may be seen in the
Huntington Collection.
32. Washington. Mirror Knob.
A portrait of head of Washington, in a cocked hat, on a porcelain
mirror-knob. A transfer print in black; sometimes being printed in
outline and filled in with pale colors. For description of mirror-knobs
see page 159 _et seq._
33. Washington. Tomb. Wood.
This dark blue design represents a bewigged man with knee-breeches at
the tomb of Washington. In his hand he carries a scroll. This print is
usually known as “Lafayette at the tomb of Washington.” The face does
not resemble Lafayette, and when Lafayette visited Washington’s tomb he
wore trousers, knee-breeches being out of date. It has been suggested
that the solitary figure is intended for Jefferson. In the background is
a view of a town and water, with shipping. The print is usually
indistinct and poor, though the color is good. It is seen on all the
pieces of tea and toilet services. Impressed mark, Wood.
34. Washington. Funeral Urn. Canton.
The pieces bearing this design are extremely beautiful in shape,
quality, and decoration, every detail being perfect. The owner called it
Lowestoft, but it is plainly Oriental in manufacture, being of very
hard-paste, and the character of the design (showing that it was
executed after the death of Washington) would hardly point to the
Lowestoft manufactory as its place of birth. The platters and plates
have an open-work basket-design border lined with delicate threads of
golden brown and gold. At each intersection of the interlaced border is
a tiny embossed rosette colored in gilt or bronze, with a darker centre.
The delicacy and beauty of this dainty border can hardly be described.
In the centre of each piece, in various shades of gold—both dull and
polished gold being combined—is a design of a funeral mound and an urn
bearing the word “Washington,” overhung by a weeping-willow. The leaves
and branches of this tree are models of the gilder’s art. On each piece
are in gold the gracefully intertwined initials J. R. L., probably the
initials of the person for whom the set was made. For beauty of design
and workmanship these pieces excel any others I have ever seen bearing
any so-called Washington design.
35. Washington Memorial.
This plate, with irregularly scalloped edge, is green in the centre,
with red border. The decoration is a scene with a seated classical
figure writing upon a tablet, and with a Greek temple in the background.
The border contains four medallions of funeral urns and weeping willows.
On the back is stamped in red a funeral urn with the word “Washington,”
and the initials E. H. Y. S. The printing of this design is very clear
and the lines very delicate, and the drawing is good.
36. Washington. Medallion.
A bowl of clear white china with plain band of gilt on the edge. On one
side, in blue, a medallion of Washington between two flags, surmounted
by a spread eagle. Unmarked.
37. Washington. Funeral Urn.
Plate with pink flower border, centre in green. A statue of Washington
and a cinerary urn with the word “Washington.”
38. Washington. Portrait.
A portrait of Washington printed in black on a white stone-ware
pitcher—apparently modern. Crossed flags painted in colors. This pitcher
may have been made to use in a hotel or on a steamboat.
Washington. Portrait.
On “Emblem of America” Pitcher. See No. 98.
Washington. Views of Mount Vernon.
See No. 195 _et seq._
Washington. Portrait. Erie Canal.
See No. 166.
Washington. Portrait. Erie Canal.
See No. 170.
Washington. Inscription. Proscribed Patriots.
See No. 86.
Washington. Medallion. Staffordshire.
See No. 251.
XIV.
DESIGNS RELATING TO FRANKLIN
The great popularity and long residence of Benjamin Franklin abroad
would account for the many and varied ceramic relics relating to him
that were manufactured in England and France during his lifetime, and
that are still in existence, more varied in quality and shape even than
those relating to Washington. Nor after his death did the production
cease. I will place at the head of the list the most beautiful of them
all.
39. Group of Louis XVI. and Benjamin Franklin. Niderviller.
[Illustration: Neiderweiler Statuette.]