AT THE END OF THE EIGHTEENTH CENTURY.
Wedgwood’s financial success with his Jasper and Black Etruscan ware, a
success hitherto quite unique in the experience of the Potteries, led
every potter of any capacity to attempt the same lines. They cannot be
blamed for trying to imitate what was demanded by the fashionable market.
The whole progress of the industry had been based upon the copying
of successful processes, and Wedgwood did not patent his patterns or
methods, even could he have done so.
All over the Potteries they followed in his steps, content to reap
with little trouble the advantages of his past labours—reproducing
his patterns and avoiding all dangerous novelty. Invention died and
the wares, tamely and ignorantly copied by inartistic workmen, sank
artistically throughout the next half century. The copyist, imitator or
rival, who annoyed Wedgwood most in his lifetime was Humphrey Palmer
of Hanley. Most of the Palmer and Neale ware we now know of seems
original enough—and good enough—but from 1769-1776 Wedgwood regards him
as a copyist of the most objectionable description.[111] It must be
said however that he always stamped his imitations with his own name
and not Wedgwood’s; a precaution which is not always observed at this
present day, even with a patent law to enforce a man’s right to his own
trade-mark. It is noticeable too that when Wedgwood did, in 1771, patent
the method of painting with an encaustic red on the Black Etruscan ware,
Palmer produced the same results and forced him to share the patent
rights.[112] Palmer however got into financial difficulties, in 1776, and
his business was taken over by his brother-in-law Henry Neale. Neale,
in conjunction later on with David Wilson, continued the same style of
ornamental ware, and so excellent are some of his granitic ornamental
pieces now in museums that he must take rank as a rival rather than as
an imitator of Wedgwood. Both Neale and Palmer had married daughters of
that Thomas Heath who tried to make Delft ware at Lane End early in the
century. Another daughter is said to have married Mr Pratt, a potter of
Lane Delf, whose descendants have ever since continued to make pottery
on what may be the very spot where Thomas Heath made his original Delft
ware.[113]
[Illustration: Vase by John Turner of Lane End. _d._ 1786. From the
Stoke-on-Trent Museums.]
John Turner, of Lane End, was another competitor of Wedgwood. He was
almost as confirmed an experimenter, and produced a jasper ware very
close on Wedgwood’s heels. He was born in 1738,[114] and started his own
works at Lane End in 1762, and his chief productions were the fashionable
cream colour and a cane-coloured stoneware. He was one of the first
to appreciate the value of the newly discovered china stone for the
cream-coloured body, and he therefore took an active part in opposing
the extension of Cookworthy’s patent. Afterwards, in 1775, he joined
Wedgwood in leasing some of the Cornish clay mines. A discovery of a
good local clay at Green Dock, close by Longton Cemetery, led to his most
characteristic production—the cane-coloured stoneware, ornamented with
embossed decoration in the same colour. The material was also found very
suitable for busts and statuettes. It is recorded that he could, in this
material, make a most life-like representation of pie-crust, and that
once, as a _tour de force_, he reproduced exactly an entire banquet with
everything, from the roast beef to the custards, realistically translated
into stoneware. It will be understood from this that there was room for a
revival of taste in pottery. Turner’s jasper is quite different to that
of Wedgwood, or of those who made it when the secret of the mixture had
become known. Its ground is an unfortunate slaty blue, which does not
improve the appearance of the ware, and the designs of the bas-reliefs
are rococo, which is worse than neo-classical.
[Illustration: THOMAS MINTON
c. 1765-1836]
John Turner died in 1786, and was succeeded by his two sons, John and
William, who continued to produce black basalt as well as this strange
jasper. Their business was ruined by the French wars, and in 1803 they
were compelled to close down. John Turner, jun., became manager to Thomas
Minton, then starting his historic factory in Stoke.
We have seen that Turner went to Lane End in 1762. “About 1750,” says
Shaw, but probably some years later, “Mr John Barker, with his brother
and Mr Robert Garner, commenced the manufacture of shining black and
white stoneware salt glaze at the Row Houses, near the Foley, Fenton,
where afterwards they made tolerable cream colour. They realized a good
property here; and Mr R. Garner erected a separate manufactory and the
best house of the time in Lane End, near the old Turnpike Gate.”[115]
This was after 1762, for among the Wedgwood MSS. is an account of that
date from Messrs Robert Garner and J. Barker jointly for brown china
tea-pots and pineapple jars supplied to Wedgwood at Burslem,[116]
doubtless to complete an order. Roger Woods too is said to have built
in 1756 a factory, afterwards known as Sampson Bridgwoods, by the brook
at the Lower Market Place in Longton. And about the same time Thomas
and Joseph Johnson started making good salt glaze just opposite Lane End
church.[117]
In this manner potting spread to the Longton end of the Potteries. In
1756 there are said to have only been 100 houses in Longton and Lane
End, and even by 1773 an old estate map of the Heathcotes’ shows but 180
houses, or a population of less than 1,000.
As early as 1770 we obtain a familiar glimpse of the working of the
factory system. Some of the master-potters in that year tried, for the
first time on record, to form a ring to keep up prices. The bond runs as
follows: “We whose hands are hereunto subscribed do bind ourselves ...
in £50 ... not to sell ... under the within specified prices, as witness
our hands: John Platt, John Lowe, John Taylor, John Cobb, Robt. Bucknall,
John Daniel, Thos. Daniel jun., Richd. Adams, Saml. Chatterley, Thos.
Lowe, John Allen, Wm. Parrott, Jacob Warburton, Warburton and Stone, Jos.
Smith, Joshua Heath, John Bourn, Jos. Stephens, Wm. Smith, Jos. Simpson,
John Weatherby, J. and Rd. Mare, Nic. Pool, John Yates, Chas. Hassells,
Ann Warburton and son, Thos. Warburton, Wm. Meir.” A list of prices
for dishes, tureens, saucers, etc., is given; and manufacturers of the
present day will be interested to see the first attempt at checking those
“rebates” which have successfully broken down this and all subsequent
attempts to keep prices artificially high. “To allow no more than 5
per cent for breakage, and 5 per cent for ready money.” Then follows a
sentence which misled Shaw and made him think that these potters made
salt-glaze stoneware: “To sell to the manufacturers of earthenware at
the above prices, and to allow no more than 7½ per cent, beside discount
for breakage and prompt payment.”[118] It was the custom of many,
particularly the larger manufacturers, to buy ware from other makers,
either to decorate, or, more usually, to complete orders in lines which
they did not happen to have in hand; (orders were far more all-embracing
in those days). Thus we find William Greatbach starting a works at Lower
Lane in 1762 under an agreement with Wedgwood to be paid by him fixed
prices for his ware.[119] In any case Shaw is obviously wrong in calling
these men salt-glaze potters, for makers of salt glaze did not usually
apply it to the baking dishes and chamber pots whose prices were under
discussion; and it is only in common and standard lines that prices can
ever be regulated by a ring. Makers of ornamental salt glaze would have
been the last people to combine, and the only ones known to have been
making salt glaze at this time, Christopher Whitehead and the Baddeleys,
do not appear on this list of Shaw’s at all.
The most notable potters on this list of 1770 were the Warburtons and
the Daniels of Cobridge. When the art of enamelling became localized
at Hot Lane about 1750, John and Ann Warburton were among the most
successful. They were potters of old standing, for a Warburton appears
as a master-potter in the Burslem district in 1710-15. They did most
of the enamelling for Wedgwood in his early days, and their son, Jacob
Warburton (1740-1826), became a potter of great repute, above all on the
Continent where his business was very extensive.[120] He spent many
years travelling abroad and was a strange man among the rough potters
of that day—a Roman Catholic, a great linguist, a famous skater; and
for some reason he was always known as Captain Warburton. He was an
intimate friend of Wedgwood, and in 1771 acted as his arbitrator in his
case against Palmer.[121] When Enoch Booth invented the fluid glaze, the
Warburtons were among the first to take it up, and their cream-coloured
ware, enamelled with all their exceptional artistic skill, is often
confounded with Wedgwood’s best productions.
But to Jacob Warburton the Potteries are chiefly indebted for the
revival of Littler’s attempt to introduce the manufacture of hard paste
porcelain into Staffordshire. It will be remembered that Richard Champion
of Bristol had in 1775 obtained an extension of his monopoly of the use
of china clay and china stone in the manufacture of porcelain. In spite
of this monopoly he met with but little success in Bristol, and in 1781
he sold his patent to a company in Staffordshire—the first instance
recorded of a potting company. Of this company Jacob Warburton was the
moving spirit. After John Turner, of Lane End, and Anthony Keeling,
of the Phœnix Works in Tunstall, had withdrawn from the scheme, the
company—consisting then of Warburton, Sam. Hollins (the red china potter
of Shelton) and two financiers—settled their manufactory at Shelton New
Hall.[122] Their porcelain is always spoken of as “New Hall China,” but
it was of little importance or artistic merit. John Daniel, son of that
Richard Daniel who had introduced plaster of Paris moulds from France,
was appointed manager and became a partner some years before his death
in 1821.[123] Jacob Warburton himself died at Rushton in the old Abbey
Grange in 1826, but even before that time the manufacture of hard paste
porcelain at the New Hall had ceased.[124]
Another enameller who attained success by perfecting the cream-coloured
ware was Elijah Mayer. He is said to have been originally foreign agent
for the Chatterleys, and as late as 1787 he appears as an enameller pure
and simple, though already in business on his own account. Soon after
this date his factory at Hanley began turning out not only cream colour,
admirably enamelled in the sober artistic style of Wedgwood’s best
Queen’s Ware, but also black basalt, which is every bit as good and has
as good a reputation as the best that was turned out at Etruria.[125]
Other very early makers of porcelain were Messrs Baddeley and Fletcher.
For some time after 1763 they attempted, with William Littler as manager,
to make glassy porcelain similar to that of Longton Hall. Mr Fletcher was
the father of Sir Thomas Fletcher, M.P. for Newcastle, and ancestor of
the Fletcher-Bougheys, Baronets of Aqualate. Mr John Baddeley the elder
was the father of Ralph and John Baddeley, who carried on the works and
made an early success with blue printed earthenware.[126]
The Chatterleys of Shelton were another very successful potting family
of this date. Dr Samuel Chatterley made the ordinary black Egyptian
teapots, but Charles Chatterley went in for the newer cream colour
and secured a large foreign connexion. His brother Ephraim became his
partner, and ultimately carried on the business alone till 1793, when
he handed it over to his nephews, James and Charles Whitehead, sons of
Christopher Whitehead of the Old Hall Factory.[127] Ephraim Chatterley
lived at what is now Chatterley House, and had the singular distinction
of being, in 1784, the first of a long and honourable series of “mock
mayors” of Hanley.[128] Though Hanley and Shelton were united in 1812,
yet it was not till 1856 that they became incorporated as a borough, and
obtained their first genuine Mayor, John Ridgway of Cauldon Place.
The list of potters of 1787, which has already been quoted from, occurs
in a rare “Survey of Staffordshire” made by Wm. Tunnicliffe. The Survey
consists of little but an itinerary of the main roads, and lists of the
manufacturers in each town. As we have to rely so much on the fallible
recollections of Shaw, this piece of contemporary evidence is worth
quoting in full.
“Survey of the Counties of Stafford, Chester and Lancaster,
compiled and published at Namptwich in 1787 by Wm. Tunnicliffe,
land surveyor, of Yarlet near Stone; and a Directory of the
principal merchants and manufacturers.”
In the Potteries they give:—
Burslem.
(a) Wm. Adams & Co. Cream-coloured ware and China glaze ware painted.
Wm. Bagley, potter.
John Bourne, China glaze, blue painted, enamelled and cream
coloured earthenware.
Bourne & Malkin, China glaze, blue painted, enamelled and cream
coloured earthenware.
S. & J. Cartlidge, potters.
Thos. Daniel, potter.
John Daniel, cream colour and red earthenware.
Timothy Daniel, Do. do.
(b) Walter Daniel, Do. do.
John Graham jun., white stone, and enamelled white and cream
earthenware.
John Green.
(c) Thos. Holland, black and red china ware, and gilder.
(d) Anthony Keeling, Queens ware in general, blue painted, and
enamelled, and Egyptian black.
Timothy & John Lockett, white stone potters.
Burnham Malkin.
(e) John Robinson, enameller and printer of cream colour and china
glazed ware.
(f) John & George Rogers, china glazed, blue painted, and cream
coloured ware.
Ambrose Smith & Co., cream coloured ware, china glazed, blue
painted.
John & Joseph Smith.
Chas. Stevenson & sons, cream coloured ware, blue painted.
Thos. Wedgwood, (Big House), cream coloured ware, china glazed,
painted with blue etc.
Thos. Wedgwood, (Overhouse), cream coloured ware, china glazed,
painted with blue etc.
James Wilson, enameller.
(g) John Wood, potter.
(h) Enoch & Ralph Wood, all kinds of useful and ornamental
earthenware, Egyptian black, cane, and various other colours,
also black figures, seals and cyphers.
Josiah Wood [_sic_, but should be Wedgwood], fine black, glazed,
variegated and cream coloured ware, and blue.
Cobridge.
Joseph Blackwell, blue and white stone ware, cream and painted
ware.
John Blackwell, Do. do.
Robert Blackwell, Queens ware, blue painted, enamelled, printed
etc.
Thos. & Benj. Goodwin, Queens ware and china glazed blue.
Hales & Adams, potters.
Robinson & Smith, potters.
Jacob Warburton, potter.
Handley.
Sampson Bagnall, potter.
Joseph Boon, potter.
C. & E. Chatterley, potters.
(i) John Glass, potter.
(j) Heath [_sic_], Warburton & Co., china manufacturers.
Edw. Keeling, potter.
John & Ric. Mare, potters.
Elijah Mayer, enameller.
Wm. Miller, potter.
(k) Neale & Wilson, potters.
Samuel Perry, potter.
Geo. Taylor, potter.
Thos. Wright, potter.
John Yates, potter.
Shelton.
J. & E. Baddeley.
John Hassells.
Heath & Bagnall.
(l) Samuel Hollins.
Anthony Keeling.
Taylor & Pope.
G. Twemlow.
(m) Christopher & Charles Whitehead.
(n) John Yates.
Stoke.
Sarah Bell, potter.
(o) Hugh Booth, china, china glazed, and Queens ware in all its
branches.
James Brindley, potter.
(p) Josiah Spode, potter.
Joseph Straphan, merchant and factor in all kinds of earthenware.
(q) Thos. Woolfe, Queens ware in general, blue printed and Egypt
black, cane, etc.
Fenton.
Wm. Bacchus, Queens ware in all its various branches.
Edw. Boon, Queens ware and blue painted.
Taylor Brindley, potter.
Clowes & Williamson, potters.
John Turner, potter.
Josiah & Thos. Wedgwood, potters.
Lane End.
John Barker, cream colour, china glaze and blue wares.
Wm. Barker, potter.
Ric. Barker, potter.
(r) Joseph Cyples, Egyptian black and pottery in general.
Wm. Edwards, potter.
Forrester & Meredith, Queensware, Egypt black, red china, etc.
Joseph Garner, potter.
(s) Robert Garner, Queens ware and various other wares.
Michael Shelley, potter.
Thos. Shelley, potter.
Turner & Abbott, potters.
(t) Mark Walklate, potter.
(a) Of Greengates Tunstall; (b) afterwards of Newport; (c) of
Hill Top; (d) of the Phœnix Works, Tunstall; (e) of Hill Top;
(f) of Longport; (g) of Brownhills; (h) of Fountain Place; (i)
of Market St.; (j) of Shelton New Hall; (k) of High St.; (l) of
Vale Pleasant; (m) of Shelton Old Hall; (n) of Broad St. Works;
(o) of Cliffgate Bank; (p) afterwards Copelands; (q) afterwards
Adams’; (r) of Market St., Longton; (s) of the Foley Works; (t)
of High St., Longton.
Of course this list is fallible. Josiah and Thomas Wedgwood potted at
Etruria, not Fenton; John Turner, shown at Fenton, should probably be
the Turner of Lane End; the Josiah “Wood” of Burslem is almost certainly
Josiah Wedgwood, who owned at that time the old Churchyard Works, in
which he had been born. (They were sold in 1795 to Thomas Green, and
on his bankruptcy in 1811 passed to John Moseley). Again, both S. and
J. Cartlich, and Wm. Adams, who certainly potted at Golden Hill and
Greengates respectively, are included with other Tunstall potters in the
Burslem list.
[Illustration: WILLIAM ADAMS
1777-1805]
This William Adams of Greengates (1745-1805)[129] achieved a great
reputation for his Jasper and Black Basalt ware. He was a cadet of
the Adams family, a family which is almost as much identified with
the potting industry as is the family of Wedgwood. Four generations
had potted at Burslem “Brickhouse” in succession to Thomas Adams who
died a “potter” in 1629, and at the end of the eighteenth century the
representative of this branch of the family, another William Adams, was a
master-potter at Cobridge, and could lay some claim to the introduction
of under-glaze blue printing into Staffordshire. The life of Adams of
Greengates is given in “William Adams—an old English Potter,” Ed. by
Wm. Turner, F.S.S. Born in 1745, he was apprenticed to Josiah Wedgwood,
and became his most adept pupil. He commenced manufacturing on his
own account at Greengates about 1787, and the jasper he turned out is
difficult to distinguish from that of Wedgwood. No doubt he had full
particulars of body and firing, but other potters had that information
and yet failed to produce the same class of ware.[130] This William Adams
died in 1805, and his son wasted his property and sold the Greengates
works about 1820 to John Meir.[131] Of recent years, however, the
Greengates works have been repurchased by the senior branch of the Adams
family, and it is now managed in conjunction with their old Greenfield
works adjoining.
For the first time in 1787 the mail coaches to London began to run daily.
The best days of coach travel were yet to come, but even these early
coaches kept up a steady seven miles an hour. Their time table is given
as follows: London (“Swan with Two Necks”) 9 p.m., St Albans 11 p.m.,
Coventry 9 a.m., Lichfield 1 p.m., Stone 5 p.m., Newcastle (149 miles) 7
p.m., Warrington 2 a.m., Carlisle 2 p.m.[132]
[Illustration: JOHN WOOD OF BROWNHILLS
1746-1797]
Three other potters on the 1787 list deserve special mention: John, Ralph
and Enoch Wood. They all came of one still celebrated potting family.
Ralph Wood, miller, of Burslem, was their common ancestor. His eldest
son, Ralph, was a modeller of distinction, and about 1754 started a works
at Burslem, where he, and his son Ralph after him, made those quaint
Staffordshire figures now in such demand. They are usually decorated
with coloured tortoiseshell glaze, applied with a brush, and have a
singularly decorative effect. Ralph Wood, the first figure maker of the
name, married the sister of that Aaron Wedgwood who had once made china
at Longton Hall. He died in 1772, and was succeeded in his work by his
sons John and Ralph.[133] John Wood soon left his brother, and began, in
1782,[134] to pot at Brownhills. Ralph kept to figures, and adopted the
enamel process of decoration for some of his busts and figures. Other
makers who were prolific in this style of figure decoration were John
Walton of Burslem (1800-40), Robert Garner of Lane End, _c._ 1786, son of
that Robert Garner of the Foley Works who married Margaret Astbury, Ralph
Salt of Hanley (1812-46), Lakin and Poole of Hanley (1770-94).[135]
Meanwhile the eldest son, John Wood, was making ordinary earthenware at
Brownhills. This John Wood was murdered in 1797 by Dr Oliver of Burslem,
a rejected suitor of his daughter.[136] His son married the heiress of
John Wedgwood of Bignal End, with whom he acquired a large fortune.[137]
He removed the factory from Brownhills to Tunstall, where he erected the
Woodlands Works in 1831-5.[138] A third John Wedg Wood of Brownhills
carried on these pot works in Tunstall in partnership with Mr Edward
Challenor. He died in 1857, and was succeeded at the Woodlands Works by
his brother Edmund Thomas Wedg Wood. This factory was in 1887 sold to Mr
W. H. Grindley.[139]
Ralph Wood, the miller, had another son—that Aaron Wood who made for
himself so great a reputation as a block cutter when block moulds were
first introduced and the salt glaze was at the height of its glory. Aaron
Wood worked for Dr Thomas Wedgwood, Thomas Mitchell of the Hill Top
Works, Burslem, and for Whieldon of Fenton. His eldest son, William, was
apprenticed to Josiah Wedgwood in 1762, and worked with him, first at
the Burslem “useful” works, and afterwards at Etruria, all his life long.
Most of the Queen’s Ware articles made by Wedgwood are said to be from
block moulds of his carving.[140]
But it was the youngest son of Aaron Wood, Enoch by name, to whom potters
of all time are most indebted, for he was the first collector of pottery.
And he collected it to illustrate specially what his family and district
had done, and how the industry had progressed. His splendid collection
was never catalogued, and as it was divided into four parts at his death
and scattered,[141] it is of less value than it ought to have been; but,
without it, this or any account of the North Staffordshire Potters’ work
must have been a shadow indeed.
Enoch Wood (1759-1840) was apprenticed to Palmer of Hanley and remained
there some time as a modeller. In 1783 he commenced business at
Fountain Place, Burslem, so called from the fountain or pump which he
erected there for his factory and work people.[142] He was at first
in partnership with his cousin Ralph Wood, who made the Staffordshire
figures. About 1790 he was joined by James Caldwell of Lindley Wood,
and the firm became “Wood and Caldwell.” He bought Mr Caldwell out in
1819, and thenceforth conducted business as “Enoch Wood and Sons.” He
had 12 children and died in 1840 at Fountain Place, the patriarch of
the Potteries. His most famous work probably was the well-known bust of
John Wesley, made in 1781 when Wesley was stopping at his house during
one of his preaching tours in the Potteries. His factory turned out the
usual cream colour, black basalt and jasper,[143] but soon after his
death the firm got into financial difficulties and closed down. His third
son, Edward, was fortunate in being associated with a clever Italian,
Count Kuntz, in the development of Italian borax, introduced into the
Potteries first in 1828 as a flux for the glaze. In this new business
they realized a fortune, and Edward Wood’s descendants are now settled at
Browhead in Cumberland. But the borax works in Newcastle are carried on
as “H. Coghill and Son” by Douglas and Archibald Coghill.
Aaron Wedgwood, Brother of Thomas and John of the Big House, Burslem.
| (1695-_c._ 1725)
|
+-Mary Wedgwood (1715-1756) = -----------------------------------------+
|
Ralph Wood, Miller of Burslem, (1677-1753) = Elizabeth. |
| |
+-Ralph Wood, Master Potter of Burslem (Figure maker). (1716-1772) = --+
| |
| +-Josiah Wood, mᵈ Mary dᵃ of Thos. Wedgwood, Master Potter of the
| | Overhouse.
| |
| +-John Wood, Master Potter of Brownhills. (1746-1797). Murdered by
| | | his daughter’s suitor.
| | |
| | +-John Wood, Master Potter of Brownhills. (1778-1848) = 24 XI.
| | | 1807 Mary, dᵃ of John Baddeley, Master Potter of Shelton,
| | | by Mary, sister and heiress of John Wedgwood of Bignal End.
| | | (_c._ 1785-1866)
| | |
| | +-Marianne, mᵈ Wm. Davenport, Master Potter of the Unicorn
| | | Bank, Longport.
| | |
| | +-Nicholas Price Wood. (1810-1869)
| | |
| | +-Rev. Ric. Mountford Wood, of Aldbury, Herts. (1811-1889)
| | | |
| | | +-Col. Geo. Wilding Wood. b. 1840.
| | | | |
| | | | +-[symbol indicating ‘had issue’]
| | | |
| | | +-Reginald Newcome Wood, of Bignal End. b. 1841. = Emily
| | | | | Ann, dᵃ of Wm. Davenport, Master Potter.
| | | | |
| | | | +-[symbol indicating ‘had issue’]
| | | |
| | | +-Rev. Henry T. Wood, of Aldbury, Herts. b. 1850.
| | | | |
| | | | +-[symbol indicating ‘had issue’]
| | | |
| | | +-John Mountford Wood, of Holkham, co. Norfolk. b. 1861.
| | | =Collector of Staffs. Pottery.=
| | |
| | +-John Wedg Wood, Master Potter of Brownhills, & Woodlands,
| | | Tunstall. (1813-1857) O.S.P.
| | |
| | +-Edmund Thomas Wedg Wood of the Watlands, Master Potter of
| | | Tunstall. (1822-1886)
| | |
| | +-John Baddeley Wood of Henley Hall, Salop, mᵈ Eliz. dᵃ &
| | | | h. of Nicholas Price Wood. =Collector of Staffs.
| | | | Pottery.=
| | | |
| | | +-[symbol indicating ‘had issue’]
| | |
| | +-Emily Henrietta, m. 1868 Richard Pirie Copeland, Master
| | Potter of Stoke.
| |
| +-Ralph Wood, Master Potter of Burslem (figures) (1748-1795)
| |
| +-Ralph Wood, only son. (1781-1801)
|
+-Aaron Wood, the “Block cutter.” (1718-1785) = Mary Meir, of
| Stoke-on-Trent.
|
+-William Wood, Modeller at Etruria. (1746-1808)
|
+-Enoch Wood, Master Potter of Fountain Place, Burslem.
| (1759-1840) = 1780 Ann Bourne, of Newcastle.
|
+-Enoch Wood, Master Potter of Fountain Place. (1793-1852)
|
+-Edward Wood, Master Potter of Fountain Place, and Borax
| Manufacturer. (1796-1882) = Elizabeth Schofield.
|
+-Edward Herbert Wood of Newbold Revel (1847- )
|
+-A. H. Edward Wood of Browhead, co. Cumb. b. 1870.
[Illustration: MAP OF BURSLEM IN 1800]