appears a spread eagle with shield on his breast, and below him the
words “Semi China;” surrounding all the words “E. Wood & Sons, Burslem.
Warranted.” In conjunction with this impressed stamp appears often a
dull blue mark, an oblong panel an inch and a half long and about
three-eighths of an inch wide, inclosing the name of the view on the
face of the plate. On this panel stands an eagle with laurel branch in
his right claw, and in his beak a written scroll attached to a small
United States shield, and bearing the words “E Pluribus Unum”—the whole
on a clouded background. Many of the pieces bearing both of these marks
are confused in outline, as if the dies or plates from which they were
printed were worn out. And they also have the poorly drawn, ugly shell
border. This stamp and mark are not given by Chaffers or Jewitt. The
ware also varies greatly, the earlier plates being of much lighter
weight. The impressed circular mark appears alone on some very richly
colored, clearly printed, and beautifully drawn pieces decorated with
spirited marine views and clear and graceful shell borders. These were
evidently made for the American market, for on all of them appears
prominently a full-rigged ship bearing the American flag; yet they
cannot be classed as “American views.” The names given to some of these
views are “A Ship of the Line on the Downs,” “In a Full Breeze,”
“Christianeburg,” “Danish Settlement on the Gold Coast, Africa,” “York
Minster.”
The name “Wood,” alone, appears impressed, and often accompanied by an
impressed crescent. The date of this mark is apparently about 1818, when
the firm was no longer Wood & Caldwell, and Enoch Wood’s sons had not
been taken into partnership. All the pieces with this stamp are rich in
color and clear in outline, as if the dies or plates were fresh and new.
The mark “E. W. & S.” on lighter-blue pieces I have also fancied stood
for E. Wood & Sons.
A circular stamp, impressed, of a crown, surrounded by words “A.
Stevenson, Warranted Staffordshire.” This stamp appears with a mark
printed in blue of an eagle holding a tablet, with the name of the view
on the face of the plate; or sometimes with a blue printed mark of an
urn festooned with drapery, on which is printed the name of the view,
which is usually of an English scene. The Cobridge Works were erected in
1808, were owned for a few years by Bucknall & Stevenson, and afterward
by A. Stevenson alone. The works were closed in 1819, hence pieces
bearing this mark can have the date quite definitely assigned. The
circular mark is given by Chaffers as appearing once on a painted
faïence plate. The impressed mark of name Stevenson in capital letters
is found on many “American historical pieces,” usually on plates with a
beautiful vine-leaf border and white impressed edge.
A circular stamp of concentric rings, impressed, about one inch in
diameter. In the centre a crown, and in surrounding ring the words
“Clews Warranted Staffordshire.” After 1819 the Cobridge works passed
into the hands of Mr. James Clews, who continued them until 1829, when
they were again closed and remained so until 1836, when they were opened
under another firm name. Mr. Clews came to America, and an account of
his enterprise here is given on page 97 _et seq._ This mark is not given
by Chaffers, who calls the firm J. & R. Clews, and says they made “pale
cream-colored ware.” During the ten years that Mr. Clews owned these
Cobridge Works some of the richest pieces of dark blue color that were
ever made by any potter took the form of pieces bearing American
historical designs, and bear the last-mentioned stamp.
The mark of an open crown surmounting the words “Clews Warranted
Staffordshire” appears on a set, “Picturesque Scenery.” Upon the back of
each piece appears also the colored stamp which was placed by the
manufacturers to designate this set, all of which were printed with
American views. It is a little landscape of pines and a sheet of water
with a sloop. This scene is crossed diagonally with an oblong stamp
bearing the words “Picturesque Views,” and the name of the special view
printed on the face of the piece; for instance, “Penitentiary in
Allegheny nr Pittsburgh Pa.” This set of views of “Picturesque Scenery”
was of much later date than the rich dark blue pieces, being printed in
sepia, green, chocolate, or plum color, thus showing the degraded taste
of the second quarter of the century.
An impressed mark of Rogers appears sometimes in conjunction with an
eagle stamped in blue. Occasionally, also, the eagle is seen without the
Rogers mark. Sometimes the chemical sign for iron is found with these
marks. The firm of Rogers was in existence in Burslem until 1849.
A circular impressed mark, one inch in diameter, with a star in the
centre, surrounded by words “Joseph Stubbs Longport.” This mark is not
given by Chaffers, nor the name of the manufacturer or manufactory.
Jewitt, who gives no marks, says that he was a successful potter at Dale
Hall from 1790 to 1829, preceding T. Mayer at his pottery, and thus
proving that pieces with the Stubbs mark are the earlier of the two. The
circular mark of “Stubbs & Kent, Longport,” also unknown in England,
appears on many pieces; for instance, the dark blue basket and rose, and
the milkmaid designs so common on toilet and dinner services. Still
another impressed mark of “Stubbs” alone, in capital letters, appears on
many American historical pieces, particularly on the ones with what is
known as the eagle, rose, and scroll border.
A large number of pieces were printed, with views of public buildings in
America, by the firm of J. & W. Ridgway. These pieces bore on the back
an oblong stamp inclosing the name of the building and its location, as,
for instance, “City Hall, New York;” above this the words “Beauties of
America,” below, J. & W. Ridgway. One of the set is shown on page 319.
The pieces bearing this stamp are only medium blue in tint, though the
color is good and some of the shading is dark. These pieces are
disfigured by the border, which has the effect of oval medallions
inclosing alternately a single stiff rose and a six-petalled flower—a
myrtle blossom, perhaps. This border is poorly shaded and far from
graceful in designing. I cannot definitely assign the date of these
pieces; the firm succeeded Job Ridgway & Sons in 1814, and was in
existence in 1829. This mark is not given by Chaffers. Another Ridgway
mark is an oval medallion with the initials J. R. under a crown, and
with the names of the pattern in a scroll. Still another has the
initials J. W. R., another Jno. Ridgway, and another W. Ridgway.
A large number of very beautiful English views, printed in dark blue,
are found on dinner services of Staffordshire ware, bearing the mark in
blue of a spray of rose-leaves with a double scroll and name “Riley,”
and name also of the view—for instance, “Goggerdan, Cardiganshire.” The
firm of John & Richard Riley rebuilt in 1814 the Hill Works, that had
formerly been owned by Ralph Wood, and ran them until 1839. The prints
of this firm are clear and distinct, and really artistic in drawing, the
borders being specially graceful. The only mark given by Chaffers is
“Riley Semi-China” on blue willow-pattern ware. This I have also found,
the words appearing within a circular belt. The impress Riley also is
seen.
R. Hall’s wares were imported to America in large quantities, especially
his “Select Views.” I do not know whether this is R. Hall who ran the
“Sytch Pottery” in Burslem until 1830, or whether he was Ralph Hall who
owned the Swan Banks Works, Tunstall, during the first quarter of the
century. Chaffers does not mention either Hall, and Jewitt gives no
marks. The stamp most frequently seen is an oval ring in blue; at the
top, “R. Hall’s Select Views;” below, a sprig of flowers and the words
“Stone China.” The ring inclosed the name of the view, Biddulph Castle,
Staffordshire, and Pains Hill, Surrey, being the most frequent. I have
seen hundreds of Pains Hill plates in New England, fully half the
country houses that I have entered had a few on cupboard or pantry
shelves.
Still another Hall mark is a crown-shaped blue stamp with “Hall” and the
name of the set—for instance, “Quadrupeds.” Another, a blue stamp in an
irregular shield, at top and bottom “R. Halls Picturesque Scenery,” in
the middle the name—for instance, “Fulham Church Middlesex.” Another is
an irregular shield, with scrolls with words “Oriental Scenery, I. (or
J.) Hall & Sons;” and also “Italian Scenery, I. Hall & Sons;” and
“Indian Scenery, I. Hall & Sons.” The views, of course, on these pieces
are indicative, respectively, of the marks on the back.
The views of Oriental scenery were taken from the illustrations of
Buckingham’s Travels in Mesopotamia, of the date 1828.
A very interesting mark is a wreath of blue flowers inclosing the words
“Bristol Flowers,” and accompanied either by impressed initials in
capitals, E. & G. P., or an impressed cross like the Bristol stamp. This
mark has been seen only on pure white “semi-china,” decorated in clear
blue, with a design of fruit and flowers in which the passion-flower
predominates.
Still another blue mark, on pieces a trifle lighter in tint, is a fine
spread eagle; above, the word “Ironstone;” below, “Sydenham J.
Clementson.” Chaffers does not mention this name or mark. Jewitt gives
no marks, but says Clementson became proprietor of the Sydenham works
about 1832, and manufactured for the American market.
The impressed mark of “Adams Warranted Staffordshire” appears in a
circle around an American eagle. And the initials R. S. W., in a
graceful scroll with a branch of leaves, appear on many beautiful
American views. I have been told that this was the stamp of R. S.
Warburton, but can give no proof nor further information. It may be the
stamp of some member of the Wood family, so many of whom were potters.
When we examine all these special American marks on English pottery, it
seems odd to read Mr. Jewitt’s statement, that marks were frequently
omitted on the English china sent to America, “on account of the jealous
dislike of the Americans of that day to anything emanating from the
mother country.”
With the pieces of Staffordshire wares bearing American designs, and a
few pieces which cannot be classed elsewhere, I conclude my list.
134. Albany.
View of city of Albany printed in black on plate. Date of view
apparently about 1840.
135. Albany.
View of Albany in bright dark blue. E. Wood & Sons. Marked on back,
“City of Albany State of New York,” and spread eagle with E Pluribus
Unum. In centre the Capitol Hill with old Capitol. On the river a
steamboat and sailing vessels. Cows grazing in foreground. Shell border.
Albany. Capitol.
See No. 166.
Albany. Theatre.
See No. 170.
Albany. Canal.
See No. 171.
Alleghany.
See No. 241.
136. Anti-Slavery Plate.
This design is printed in a purplish and rather light blue on various
pieces of dinner and tea-services. The plates are most frequently found.
One is here shown. They have slightly scalloped edges and a scroll
border dotted with stars. Four American eagles and shields are in the
border, and four medallions. The upper one contains the figure of
Liberty standing beside a printing-press, while a negro kneels at her
feet. Around the design are the words, “The Tyrants Foe—The People’s
Friend.” In the lower medallion is the design of the scales of Justice.
In the medallion to the right are the words, “Of One Blood are All
Nations of Men.” In the medallion to the left, “We hold that all men are
created equal.” In the centre of the plate, against the background of a
sun-burst, are these words: “Congress shall make no law respecting an
establishment of religion, or prohibiting the free exercise thereof; or
abridging the freedom of speech, or of the press, or the right of the
people peaceably to assemble and to petition the government for a
redress of grievances. Constitution U. S.” On some of the
pieces—pitchers and teapots, for example—there also is seen this
inscription, “Lovejoy—the First Martyr to American Liberty. Alton, Nov.
7th, 1837.” It is asserted that the pieces bearing this design were the
gift of the English Anti-Slavery Society to the American Abolitionists,
shortly after the death of Lovejoy; that they were sold at auction in
New York, and the proceeds devoted to the objects of the Society of
Abolitionists. If this account is true, these plates are certainly among
the most interesting relics of those interesting days.
[Illustration: Anti-Slavery Plate.]
Battery. New York.
See No. 217.
137. Baltimore. Battle Monument.
A plate printed in black, dark brown, or green, with border of flowers.
In the centre a view of the city of Baltimore with a monument in the
foreground. Name on the back, “Battle Monument Baltimore.” This
monument, which stands in Battle Square at the intersection of Calvert
and Fayette Streets, is commemorative of those who fell defending the
city when it was attacked by the British in 1814. It has a square base
twenty feet high, with a pedestal ornamented at the four corners with
sculptured griffins. On each front is an Egyptian door with bas-reliefs
and inscriptions. A column eighteen feet high rises above the base and
is surrounded by bands inscribed with the names of those who fell in
battle. The column is surmounted by a marble figure typical of the city
of Baltimore.
138. Baltimore. Exchange.
View of Exchange building, in dark blue. This plate is very rare.
139. Baltimore. Court-House.
A dark blue plate with a rose and fruit border. In the exact centre of
the plate is the Court-House in an open square. Pedestrians are walking
to and fro. The design of this plate is very stiff and ugly. The mark on
the back is a scroll of blue, with words “Baltimore Court-House;” also a
circular impressed mark, smaller than the Clews mark, with words
“Warranted Staffordshire.”
140. Baltimore & Ohio Railroad. Wood.
Plates printed in dark blue with rich shell border, with a train of
little cars like stage-coaches, and the stumpy little locomotive which
it is said was designed by Peter Cooper, and which was originally
intended to have sails like a boat to help propel it along. The
corner-stone of this railroad was laid in Baltimore, July 4, 1828, by
Charles Carroll of Carrollton, the last surviving signer of the
Declaration of Independence. This event was considered of so great
importance that it was celebrated by a great trades-procession in
Baltimore, during which the cordwainers made a fine pair of satin shoes
which were at once sent to the idolized Lafayette, and were placed in
the museum at La Grange.
In 1830 the first locomotive was placed on the road. Peter Cooper thus
describes it:
“The engine was a very small and insignificant affair. It was made at a
time when I had become the owner of all the land now belonging to the
Canton Company, the value of which, I believe, depended almost entirely
upon the success of the Baltimore & Ohio Railroad. When I had completed
the engine I invited the directors to witness an experiment. Some
thirty-six persons entered one of the passenger cars, and four rode on
the locomotive, which carried its own fuel and water; and made the first
passage of thirteen miles over an average ascending grade of eighteen
feet to the mile, in one hour and twelve minutes. We made the return
trip in fifty-seven minutes.”
The locomotive on these blue plates is not like the Tom Thumb locomotive
in an old print which I possess; it is more like the “Stourbridge Lion,”
the first engine made in England for America, which arrived in New York
in 1829. Marks on plate both E. Wood and Wood.
141. Baltimore & Ohio Railroad. Down Hill.
This plate is in dark blue with a shell border. It has a stationary
engine at the top of a hill, with a number of small freight cars running
down a very steep grade, with the cars at a very singular angle. Both
Baltimore & Ohio plates are here shown.
There were several of these down-hill tram-roads built at an early date
in America. One on the western slope of Beacon Hill, in Boston, was
constructed in the year 1807. It was used for transporting gravel from
the top of the hill down to Charles Street, which was being graded and
filled. The descent of the heavy gravel-loaded train drew up the empty
cars—thus the machinery was worked without horse-power. In 1810 a
similar one was built in Ridley, Pa., for transporting stone. In 1825 a
third road was built, in Nashua, N. H., to carry down earth from a hill
to fill up a factory location on a grade below. In 1826 a road three
miles long at Quincy, Mass., carried in the same manner granite to the
Neponset River. In 1828 the coal-mines at Mauch Chunk, Pa., had a road
nine miles long to the Lehigh River. The empty cars were drawn up by
mules. In 1828 the Delaware & Hudson Canal Company, and the Bunker Hill
Monument Company, had similar tram-ways or roads.
[Illustration: Baltimore & Ohio Railroad Plates.]
Other views of early railroads and locomotives appear, and are often
sold as of the Baltimore & Ohio Railroad. They are probably views of
English railways.
142. Boston. Almshouse. J. & W. Ridgway.
This view is upon the cover of an enormous soup-tureen, described in No.
178. The set medallion border is shown on page 319, and is found on all
pieces of this “American Beauties” set. Stamp on back in oblong disk,
“Beauties of America. J. & W. Ridgway. Almshouse, Boston.”
143. Boston. Common.
Comparatively modern print in black of a view on Boston Common.
144. Boston. Hospital. Stevenson.
Dinner set printed in dark blue with view of the Hospital. Trees in
foreground, and a smart chaise with man and woman driving. Border of
vine leaves on dark blue. White impressed or fluted edge on some
specimens. Mark in blue on back, “Hospital, Boston.” Impressed mark,
“Stevenson.” There is said to be another view of this hospital with a
canal in the foreground.
145. Boston. Insane Hospital. J. & W. Ridgway.
Printed in dark blue on various pieces of a dinner service. Small
building in centre with high fence in foreground. Same medallion border
as shown on page 319. Stamp on back in blue, “Beauties of America.
Insane Hospital, Boston. J. & W. Ridgway.”
146. Boston. Octagon Church. J. & W. Ridgway.
A plate printed in dark blue, with view of the church and of other
buildings. In the foreground a curious covered coach or carriage with
two horses, one carrying a postilion. The same medallion border as shown
on page 319. Stamp on back, “Beauties of America. Octagon Church,
Boston. J. & W. Ridgway.” This Octagon Church was often known as the New
North Church, and was built in 1815. A description of it is given in
Drake’s “History of Boston,” page 552.
[Illustration: State-House Plate.]
147. Boston. State-House.
Print in dark blue, on dinner and toilet services, of a view of the
State-House and surrounding buildings, including the John Hancock house.
Trees and the Common in foreground, and a group of grazing cattle. Three
poplar-trees appear at the right; also a man with a wheelbarrow. The
border is a pretty design of roses and forget-me-nots. The mark on the
back is different from any stamp I have seen—simply the American
“spatch-cock” eagle in blue. This State-House plate is popularly known
as “the one with John Hancock’s cows.” One is here shown. The “New
State-House” was built on a portion of John Hancock’s field, where not
only his cows, but those of many of his fellow-townsmen, found
pasturage. During the memorable visit of D’Estaing and his officers to
Hancock, the latter’s servants milked all the cows on the Common to
obtain milk enough to supply the visitors. This pasturing of cows on the
Common in front of the State-House continued until the year 1830, when
accidents from bovine assaults upon citizens became so frequent that the
cows were exiled from their old feeding-ground. The pitchers printed
with this view are very handsome, often having an extended view of
Boston in the vicinity of the State-House encircling the body of the
pitcher. I have seen one with the initials R. S. W. on the base, though
I have always attributed this view to Rogers.
148. Boston. State-House.
Print in rather light blue of a view of the State-House. Surrounding
buildings do not show in this design. In the foreground is a horse and
chaise with driver. No maker’s stamp. Border of roses.
149. Boston. State-House. Jackson.
View of State-House with group of persons in foreground. Printed in
pink. Mark, “Jackson.”
150. Boston. St. Paul’s Church.
Blue and white plate with view of St. Paul’s Church.
151. Boston. Athenæum. J. & W. Ridgway.
This dark blue design is on plates of different sizes, and possibly on
other pieces of dinner services. It has the set medallion border shown
on page 319. Mark on the back, “Boston Athenæum. Beauties of America. J.
& W. Ridgway.” In the present Athenæum building may be seen one of these
plates with this note: “This building stood in Pearl St., and one-half
was given by Mr. James Perkins, the other half bought of Mr. Cochran in
1822, and the whole occupied by the Athenæum until 1849.”
152. Boston Court-House. J. & W. Ridgway.
This design is on platters, plates, and dishes in dark blue. It has the
set medallion border shown on page 319, and in the centre a view of the
Court-House. Mark on the back, “Boston Court-House. Beauties of America.
J. & W. Ridgway.”
153. Boston. Lawrence Mansion.
Though all the plates, pitchers, and basins which bear this beautiful
dark blue design are unstamped and unmarked, it is well known that it is
a view of Mr. Lawrence’s handsome house, which stood on Winter Street,
Boston. It is a view of a large three-storied double mansion, surmounted
by a steeple which at first sight seems a part of the house, but which
is intended for the steeple of the Park Street Church in the background.
A garden is on one side of the house. It has a clear vine-leaf border.
154. Boston. Warehouse. Adams.
This is a rich plate printed in clear dark blue, with a design showing
Boston streets and buildings. A large warehouse stands at the right, on
the left a block of buildings, and in the background the wharves and
harbor with shipping. The beautiful border is formed on the top and
sides by a design of trees with foliage. On the back is the stamp, in
blue, “Mitchell & Freemans China and Glass Warehouse Chatham St. Boston
Mass.;” also the impressed mark, “Adams.” No doubt these plates were
made at the order of the Boston firm whose name they bear. I have known
of but four pieces with this design. A plate may be seen at the rooms of
the Bostonian Society, in the old State-House in Boston.
155. Boston. Almshouse.
A view printed in dark blue of the old Almshouse on Leverett Street. The
border is the beautiful design of vine leaves like that on No. 144, and
the plates and platters have a white edge. Mark on back, “Almshouse
Boston.”
156. Boston Mails.
Plate printed in brown or black. The border contains the figures of four
steamships with these names severally printed under them—Acadia,
Columbia, Caledonia, Britannia. In the centre is a view labelled
“Gentlemen’s Cabin.” Mark on the back, “Boston Mails.” These plates were
doubtless printed to commemorate the opening of the first line of
steamships between Liverpool and Boston. I have seen the date of the
first trip given as July, 1840, when the Britannia arrived in Boston.
[Illustration: John Hancock’s House.]
157. Boston. John Hancock’s House.
This print is seen in red, blue, or green on cups and saucers, or on
slightly scalloped plates. One of the latter is here shown. This
historic house is not now in existence. It was the intention of Governor
Hancock to present the handsome and substantial mansion, with its
elegant furniture, by bequest, to the Commonwealth of Massachusetts, to
be preserved as a memorial of great historical events, and to be used,
if necessary, by the Governor of the State during his residence in
Boston through his term of office. Hancock died without signing this
bequest, and his heirs then offered it to the Government for a modest
purchase sum. After many years of indecision, half-acceptance, and final
refusal on the part of the State, this fine old house was in 1863 pulled
down. In it Washington, Lafayette, and scores of other distinguished men
were visitors. There D’Estaing made his home in 1778, and with forty of
his officers dined with hospitable welcome every day for many weeks. It
was during this visit that the event occurred of which Madame Hancock
complained—that D’Estaing went to bed overcome with Hancock’s good wine,
and tore her best satin bedspread in pieces with his spurs, which he had
been too drunk to remove.
158. Brandywine Creek.
View of Gilpin’s Mills on Brandywine Creek. Dark blue. Mark on back of
scroll, eagle and E Pluribus Unum.
Brooklyn. View from.
See No. 208.
Bunker Hill Monument.
See No. 164.
159. Burlington. Richard Jordan’s House. J. S. & Co.