intersected with paths and the trees are different. The border is of
scrolls, roses, and eagles, shown on page 354. Color, dark blue. Mark on
back, “City Hall New York.” This view is taken, I think, from a drawing
by W. G. Wall, which was published December 20, 1826.
214. New York. City Hall.
Same view of City Hall as No. 213, with no trees in the foreground. Oak
leaf border with outer edge of white. Color dark blue. Probably by
Stevenson. A pitcher bearing this view is here shown.
215. New York. Fort Gansevoort.
Printed in dark blue on various pieces of a dinner service. A view of
the fort with water and sloop in foreground. A confused leaf border. The
pieces I have seen bore no maker’s mark.
216. New York. Almshouse. J. &
A view printed in dark blue of the ugly Almshouse on Blackwell’s Island.
One of the Beauties of America set, with same marks and border as shown
on page 319.
217. New York. Battery.
A view of the Battery in common black print.
218. New York. City Hotel. R. S. W.
A plate printed in dark blue, with a view looking down Broadway, and
including Trinity Church. In the foreground, in the middle of Broadway,
in front of a hotel, a man is sawing wood on an old-fashioned saw-buck.
The clear oak leaf and acorn border, and scroll mark on back, with R. S.
W., as in No. 219.
219. New York. Park Theatre. R. S. W.
[Illustration: Park Theatre Plate.]
A view of the Park Theatre, including the lower end of City Hall Park
with its ancient brick posts, where now stands the Post-office. In the
distance the spire of the Old Brick Church, where Dr. Spring preached. A
clear oak leaf and acorn border, and scroll and leaf mark, with initials
R. S. W. A plate is here shown. The first Park Theatre was built in
1797. It stood in Park Row, about two hundred feet from Ann Street. It
was opened on January 29, 1798, the first play being “As You Like It;”
$1,232 were taken in at the first performance. In May, 1820, it was
burned to the ground. In 1821 it was rebuilt, and opened with “Wives as
they Were and Maids as they Are.” It was burnt on December 16, 1848. An
original water-color drawing of the interior is in the rooms of the New
York Historical Society, with a key to the members of the audience, for
the figures are portraits. Many of the men are sitting with their hats
on. In this theatre appeared Thomas A. Cooper, Charles Mathews, the
Keans, Charles and Fanny Kemble, Malibran, Celeste, Fanny Ellsler,
Madame Vestris, Clara Fisher, Julia Wheatley, Master Burke, the Ravels,
Mr. and Mrs. Wood, Charlotte Watson, Charlotte Cushman, Ellen Tree,
Taglioni—what prettier memento of the old New York stage can there be
than the old Park Theatre plate?
220. Niagara.
A view of Niagara Falls in a pink print on small plate.
221. Niagara.
Print in medium shade of blue. A large house and trees in foreground and
diminutive semi-circular waterfall in background. On back the stamp
“Niagara.”
222. Niagara. Table Rock.
This beautiful dark blue plate has the rich shell border of Wood, though
it does not bear his impressed mark, and has only the stamp with eagle
and motto “E Pluribus Unum” and words “Table Rock Niagara.” The view is
taken from the foot of Table Rock looking upward, and is very artistic.
Entire dinner services bearing this design were exported to America.
Park Theatre. New York.
See No. 219.
Passaic Falls. Trenton.
See No. 256.
223. Peace and Plenty. Clews.
A medium blue plate decorated with border of fruit and flowers. In
centre, a Roman husbandman crowned with grain and surrounded by sheaves
of wheat; in his right hand a sickle, and in his left a basket of fruit;
by his side a shield with the American eagle and the motto “Peace and
Plenty.” Made by Clews. Two plates bearing this design sold at the
Governor Lyon sale for three dollars each.
Penn, Wm. Treaty with Indians.
See No. 267.
224. Pennsylvania. Arms of. T. Mayer.
A very spirited and beautiful rendering of the arms of this State,
printed in dark blue on platters and plates, with border and marks like
No. 190. Marks fully described on page.
225. Pennsylvania Hospital. J. & W. Ridgway.
In dark blue, marked “J. & W. Ridgway. Beauties of America.” Border
shown on page 319.
226. Philadelphia. View.
This print is in dark blue upon a plate six inches in diameter. The
border is a confused scroll with roses. The spires of two churches are
seen, and in the foreground is a wharf with a derrick, and a sloop
alongside. Some of the plates have upon the back the stamp “View of the
city of Philadelphia.” Also the impressed stamp of a star like the
Worcester mark.
227. Philadelphia. Fairmount Park. Stubbs.
A view of Fairmount, with a large tree in the foreground, and a man and
woman in the dress of the early part of the century. On the opposite and
further shore of the lake are two of the handsome dwelling-houses which
stood there at that time. The border is the handsome design of scroll,
roses, and eagles. The medallion stamp on back “Fairmount near
Philadelphia.” Impressed mark, Stubbs. A plate with this design is here
shown.
228. Philadelphia. Upper Bridge. Stubbs.
This is one of the four Fairmount Park views. It bears on the back the
impress and the oval blue stamp “Upper Bridge over River Schuylkill.”
The border is the same as shown on page 364. On the left of the
foreground of the view is a large tree, and under it is a group of
persons, one of whom is sketching. At the left is an old covered
Pennsylvania wagon with six horses. The view of the ferry bridge is
clear and good, and the color is a good blue, though not rich and dark.
Impressed stamp on some specimens, Stubbs.
[Illustration: Fairmount Park Plate.]
229. Philadelphia. Library. J. & W. Ridgway.
Plate printed in dark blue with set medallion border. In the centre a
view of the Library at Philadelphia. Mark on the back, “Philadelphia
Library. Beauties of America. J. & W. Ridgway.” One of these plates is
shown on page 319.
230. Philadelphia. Stoughton Church. J. & W. Ridgway.
Plate printed in dark blue with set medallion border shown on page 319.
In the centre a view of the old church which stood on Filbert Street
above Eighth. The church looks like an old Grecian building. Mark on the
back, “Stoughton Church. J. & W. Ridgway, Beauties of America.”
231. Philadelphia. Girard’s Bank. Jackson.
A view, printed in pink or black, of Girard’s Bank. Mark on back,
“Jacksons Warranted.”
232. Philadelphia. United States Hotel.
A view of the hotel in rich dark blue, with a border composed chiefly of
the foliage of two trees standing at the right and left and meeting
overhead.
233. Philadelphia. Woodlands. Stubbs.
View of a low building like a lodge and landscape in dark blue. Scroll,
eagle, and rose border shown on page 364. Stamp on back, “Woodlands near
Philadelphia.”
234. Philadelphia. Washington Church.
235. Philadelphia. Race Street Bridge. Jackson.
Print in black, brown, or pink, marked on back with name of view and
“Jacksons Warranted.”
236. Philadelphia. Race Street Bridge. Stubbs.
Eagle, rose, and scroll border like No. 225. Impressed mark, “Stubbs.”
237. Philadelphia. Waterworks. R. S. W.
Low building with dome in centre of the plate, fountain at right, and
trees, fence, and an old-time covered emigrant wagon in foreground.
Distinct oak leaf and acorn border, like No. 180. Clear dark blue in
color. Mark on back in scroll with leaves, “Philadelphia Waterworks. R.
S. W.”
238. Philadelphia. Waterworks. Jackson.
Same view as No. 237, but smaller, and printed in black. Mark on back,
“Jacksons Warranted.”
239. Philadelphia. Bank of the United States. Stubbs.
A plate in dark blue with street and buildings in the centre. Eagle,
rose, and scroll border shown on page 364. This is the bank which was in
1833 forced into bankruptcy by President Andrew Jackson.
240. Pilgrims. Enoch Wood & Sons.
[Illustration: Pilgrim Plate.]
This Plymouth Rock decoration is found on plates and pitchers, and the
pieces are perhaps more highly prized than any other historical
Staffordshire wares, especially by all descendants from and lovers of
the Pilgrims. The print is clear and good, though the blue color is not
very dark. In the centre of the plate is a print representing a
“rock-bound coast” with the Mayflower and a small boat overfilled with
Pilgrim Fathers landing on Plymouth Rock, upon which are inscribed the
names Carver, Bradford, Winslow, Brewster, Standish. Two Indians are
also perched on the rock. Above this print is the small-lettered
inscription “The Landing of the Fathers at Plymouth, Dec. 22, 1620.” The
border consists of a handsome design of eagles and scrolls, broken by
four medallions or shields. The upper one contains the words “America
Independent, July 4, 1776;” the lower the words, “Washington born 1732,
died 1799;” on the right a little view of two full-rigged ships with
names Enterprise and Boxer (?); on the left a part of the print on No.
128—a steamer, rock, and eagle. On the back is the blue stamp “Enoch
Wood & Sons Burslem.” One of these plates is here shown. In spite of the
presence of the steamship, the name of Washington, and the date 1799, I
have been gravely informed by country owners that these plates were two
hundred years old, and once even that they “came over in the Mayflower.”
We have often been told that the plates were “made for the dinner at the
laying of the corner-stone of Bunker Hill Monument, in 1824, when Daniel
Webster spoke.” This account was obviously improbable, since nothing in
the design on the plate bore reference to that occasion, and the
probability seemed equally clear that the celebration was instead the
bicentennial celebration of the Landing of the Pilgrims, which was held
in Plymouth in 1820, and at which Webster, clad in silk gown and satin
small-clothes, made the address which laid the foundation of his
reputation as an orator. I was glad to receive confirmation of my belief
from Mr. T. B. Drew, Librarian of Plymouth Hall, at Plymouth. He says,
“The Pilgrim plates you refer to were made in England by order of John
Blaney Bates, a well-known contractor and builder of his day, who in
1820 was building the Plymouth County Court-House. He had it so nearly
completed that the dinner of the celebration was provided in that
building. It was, as you say, the bicentennial of the Landing of the
Pilgrims, but often termed by us the Webster celebration, on account of
Daniel Webster being the orator of the day. There were two sizes of
pitchers and two of plates, and one of the plates has on the rock the
names as you describe. After the dinner the wares were sold either at
auction or private sale, and the different pieces became distributed
quite widely through New England. I know of no publication that gives
any account of what I have been telling you, but the facts were well
known and have been told by aged people who remember the circumstances.”
To this information I can add in one respect. There are six sizes of
plates, one being deep like a soup-plate. An old lady still living in
Plymouth, asserts that while the plates were furnished by Mr. Bates, her
husband, seeing their popularity and ready sale, ordered the pitchers,
as she remembers, from Holland. As the print on the pitchers varies from
that on the plates, being encircled also by a narrow ribbon scroll with
the words “The Landing of the Fathers,” and as the former do not bear
the stamp of Enoch Wood of Burslem, this reminiscence is probably
correct, except possibly the point that the pitchers came from Holland.
These plates are usually found one in a family, but from one household,
near Worcester, Mass., were purchased by a china hunter eight
tea-plates, and from another family two soup-plates, four tea-plates,
seven saucers, and ten “cup-plates.” By cup-plates I mean the little
flat saucers in which our grandmothers set their teacups when they
poured the tea in the deep saucers to cool.
Pine Orchard House.
See No. 160.
241. Pittsburg Penitentiary.
This is upon large and small platters and plates in purplish pink, blue,
brown, and black prints. The ware is stone-ware of good quality. The
border is a pretty scroll-work design with roses and other flowers and
eagles. The edges are slightly scalloped. This Pittsburg plate has a
clear unperspectived drawing of the Penitentiary, with high hills at the
background. Stiff little houses and trees are scattered around. In the
foreground a man in knee-breeches is holding a horse which is harnessed
to a chaise. The building in this print is the Western Penitentiary of
Pennsylvania, at Alleghany City. It is an enormous stone building of
ancient Norman style of architecture, that was built in 1827.
242. Pittsburg.
Print in pale blue, brown, or black of a view of Pittsburg, with the
Iron Mountain in the background and two large steamers, named
respectively “Home” and “Pennsylvania” in the foreground. Mark on the
back, “Picturesque Views, Pittsburg.”
243. Pittsfield. Clews.
A winter view of the town common at Pittsfield, Mass., with the church
and other public buildings. In the foreground an elliptical enclosure
with a skeleton elm-tree, intended to represent the famous great
Pittsfield Elm. The author of “The China Hunters’ Club” quotes from a
newspaper of 1864, that the trunk of this tree was made into bowls and
other relics, and that “about 1825 Mr. Allen, a merchant of Pittsfield,
had a view of the elm and park, as they then appeared, taken and sent to
England, where it was reproduced on blue crockery ware.” As the fence
which appears in the view on the plate was not placed around the elm
until 1825, this date is probably correct. Before that the tree had been
entirely unprotected; it was sadly nibbled by the farm horses that were
frequently hitched to the iron staples that were driven into its trunk.
When the elm fell in 1861, a great number of these staples were found
imbedded in the wood. The design of the church appears in four
medallions in the border of the plate. It is marked “Clews” and the name
“Winter View of Pittsfield Mass.” I have also seen this same view with a
vine-leaf border.
Plymouth Landing.
See No. 240.
244. Quebec.
Dark blue print of view of the heights at Quebec. Mark on back in blue
scroll “Quebec,” also the impressed stamp of a Greek cross.
245. Quebec. Falls of Montmorency.
Dark blue view of the Falls, with a shell border. Stamp on the back
“Falls of Montmorenci near Quebec.” This and the previous number are the
only views of Canadian scenery that I have ever seen on old
Staffordshire plates. Persons who have gathered china in Canada tell me
that they have found no other views there.
246. Rhode Island. Arms of State. T. Mayer.
Dark blue print marked “T. Mayer Stone Staffordshire.” Same border as
No. 192. Marks fully described on page 324.
247. Richmond, Va. College.
View of college printed in light blue.
248. Savannah. Bank. J. & W. Ridgway.
View of the Bank at Savannah. It has the same set medallion border shown
on page 319. Mark on back “Bank, Savannah, Beauties of America. J. & W.
Ridgway.”
Scudder’s Museum. New York.
See No. 210.
249. South Carolina.
A plate with a palmetto-tree in the centre, and a ship in the distance,
on either side a flag. A shield with the date July 4th and the motto of
the State of South Carolina. Flower border like plates of E. Wood &
Sons.
250. South Carolina. Arms of State. T. Mayer.
Dark blue plate. Marked “Stone Staffordshire T. Mayer.” Same marks and
border as No. 192, and a very clear rendering of the State arms.
251. States. Clews.
This design is the larger plate shown on page 9. It is found on all the
pieces of a dinner service, but I have never seen a tea-set. The dinner
plates are exceptionally large. The print is in a rich shade of dark
blue. In the centre is a medallion of what is said to be the White
House, at Washington, with sheep or cattle grazing in foreground. It is
supported on one side by a kneeling figure with plumed helmet and
bearing a liberty cap—labelled Independence. On the other side the
figure of a woman kneeling on her ankles with the bandage of justice on
her eyes, and Masonic emblem on her apron. She holds a portrait
medallion labelled Washington. On the pedestal at her ankles, the word
“America.” The border is of flowers and a scroll with names of fifteen
States, and with fifteen stars. On some pieces these stars are simply
crosses. Impressed stamp “Clews Warranted Staffordshire.” On the larger
pieces, such as tureens, the centre view is often of an English
castle—the White House view not being large enough, apparently, to fill
the space. Some of the platters have in the centre a view of a two-story
house, while in the foreground are two men and a sheet of water with a
sloop. This is sometimes called the Washington Masonic Plate.
252. Steamship.
A dark blue print of a side-wheel steamship, bark rigged, under full
sail, and flying the American flag. Impressed mark of “E. Woods & Sons.”
This may commemorate the Savannah, the first steamer to cross the
Atlantic, in 1819.
Stevens Mansion.
See No. 182.
Stoughton Church.
See No. 228.
Table Rock. Niagara.
See No. 222.
253. Temperance Plate.
This curious and finely printed plate is very rare. It is made of a soft
yellowish paste, and the decoration is printed in black. The edges are
slightly scalloped and have a little line of black. In the centre of the
plate is a shield supported by the figures of a man and woman; the man
bearing a banner inscribed with the word “Sobriety,” and the woman a
similar banner with the words “Domestic Comfort.” By the side of the man
is a small figure of a boy seated reading; on the opposite side that of
a girl sewing. The shield is surmounted by a crest—an oak-tree—and above
that a scroll containing the motto “Firm as an Oak.” Below the shield
are clouds and two shelves of vases and jars of antique shapes; and
beneath all a scroll with the motto “Temperance, Sobriety.” The shield
is divided by perpendicular lines and transverse bars. In the spaces
thus formed are designs. That of a beehive has on the bar beneath it the
word “Industry;” that of a farmer working in a field, the word “Health;”
that of a sailor, the word “Freedom;” that of a pile of money, the word
“Wealth;” that of a cornucopia, the word “Plenty;” that of a snake, the
word “Wisdom;” in the lower space are an open Bible and the letters
I.H.S. There is no stamp or mark on the back. It is probably a Masonic
design, but is called the “Temperance Plate.”
254. Texas. J. B.
English stone-ware with blue or pink prints. Trophies of war in the
corners, and on the sides symbolical figures of Peace and Plenty. In the
centre, a fight between Texans and Mexicans, marked “Gen. Taylor in
Texas.” It was doubtless printed to commemorate the Independence of
Texas. Marked on the back with initials J. B. A large platter bearing
this design sold in the Governor Lyon sale, in 1876, for $7.50.
255. Texan Campaign.
Plates with a small, poor print in sepia green, red, or black, of a
scene with troop of soldiers with mounted commander. Border, a scroll
with trophies of arms and flags. Stamp on the back “Texan Campaign.”
Transylvania University.
See No. 189 _et seq._
256. Trenton Falls.
This plate is eight inches in diameter, of a rich dark blue. The
handsome shell border indicates it to be one of Clews manufacture (as
Mr. Prime asserts); the impressed stamp on the back cannot be
deciphered. The view in the centre of the plate is a pretty group of
pine-trees with the Passaic Falls in the middle. On the back is a blue
stamp of an eagle with the scroll and the words “E Pluribus Unum,” and
the name “View of Trenton Falls.”
257. Troy. Clews.
A view of Troy, N. Y., from Mount Ida, marked Clews.
Union Line. Steamboat.
See No. 184.
United States Bank.
See No. 239.
United States Hotel.
See No. 232.
Utica.
See No. 167.
Virginia. Natural Bridge.
See No. 201.
Virginia.
See No. 198.
258. Virginia. J. W. Ridgway.
Print in black or brown with floral border. In centre a landscape view.
Mark on back “Virginia. J. W. Ridgway.” The house bears a close
resemblance to Arlington House.
Wadsworth Tower.
See No. 176.
Washington’s Headquarters.
See No. 203.
Washington, D. C. View of.
See No. 197.
259. Washington, D. C. Capitol. J. & W. Ridgway.
A view of the Capitol in dark blue with man and woman on horseback in
the foreground. Medallion border shown on page 319. Marked “J. & W.
Ridgway. Beauties of America. Capitol Washington.” This appears usually
on large platters.
260. Washington, D. C. Capitol. R. S. & W.
[Illustration: Capitol Plate.]
A very beautiful dark blue plate with slightly scalloped edge, with view
of the Capitol, large tree in foreground. A vine-leaf border. Mark on
back in shield “Capitol Washington. R. S. &. W.” One is shown here.
261. Washington, D. C. Capitol. Stevenson.
Dark blue print of same view. Vine-leaf border and white fluted edge.
Impressed mark, Stevenson.
262. Washington, D. C. Capitol. E. Wood & Sons.
Dark blue plate with view of the Capitol. Confused shell border. Mark
“E. Wood Warranted Staffordshire.”
263. Washington, D. C. White House. Jackson.
This is a view of the Executive Mansion at Washington, with garden to
the left and a group of figures to the right. It is printed in black and
marked “Jackson.”
264. Washington, D. C. White House.
Another view printed in black of the White House. Scalloped edges and
wide ornate border. Marked on the back “White House Washington.”
265. Washington, D. C. White House. Jackson.
Pink and white printed plate marked on the back “Presidents House
Washington,” and mark “Jacksons Warranted.” Same border as No. .
White House. Washington. States.
See No. 251.
266. West Point. Clews.
View of West Point, with river and steamboat and row-boat. Mark on back
“Picturesque Views. West Point Hudson River,” also impressed mark
“Warranted Clews Staffordshire.”
267. William Penn. Treaty with Indians. Jackson.
Print in black or brown on dinner service of a view with William Penn,
in Quaker garb, talking with an Indian chief. At their feet a box of
treasure, including a string of beads which an Indian woman is
examining. Border a stencil design.
Woodlands.
See No. 233.
XVIII.
CHINA MEMORIES