be later (excepting of course the early attempts at Brislington which
stand by themselves). It is held too by collectors up to the present
not to offer such artistic possibilities as the "resist" silver lustre.
This is amply borne out by the prices obtained at auction. But it
must not be forgotten that this bronze or copper lustre varies very
considerably. It may be and often is very coarse brown ordinary ware,
and it may be very thin and delicate as to tempt the connoisseur to
regard it with more than a passing glance.
In the highest forms of copper or bronze lustre, painted views appear
in panels against the lustrous background, and such views are of a
high order of merit. They may in all probability have been executed at
Swansea. We illustrate a fine example (p. 437) of a large copper lustre
mug with painted panel of landscape and other panels of fruit.
Very frequently in this copper lustre the jugs and mugs have
ornamentation in relief which is enamelled in vivid colours. This is a
fairly common form, and has been reproduced in very coarse examples,
not to be confounded with the finer and thinner copper lustre at its
best. We illustrate a copper lustre jug (p. 437) with serpent handle
and Bellarmine mask spout, decorated in turquoise blue, and with basket
of flowers in relief. The Goblet to the right is of similar decoration,
and that on the left is of conventional coloured design on a mottled
pink lustred band.
=Marked Lustre Ware.=--We have already mentioned a number of potters
who are known to have made lustre ware, but the following names have
been found impressed on the ware in various collections throughout the
country, and may be of interest to collectors who have specimens either
by these potters or by other makers not on this list. Wedgwood, Wilson,
Warburton, Bailey and Batkin, J. Lockett & Sons, E. Mayer, Mayer &
Newbold, E. Wood, Wood & Caldwell, Minton, Bott & Co., P. & U. (Poole &
Unwin), Meigh, C. Meigh & Sons, Copeland & Garrett, and Leeds Pottery.
[Illustration:
LARGE COPPER LUSTRE MUG.
Panels painted with landscapes and flowers in colours.
(_In the collection of Miss Feilden._)]
[Illustration:
GROUP OF COLOURED COPPER LUSTRE.
Goblet with enamelled decoration in relief.
Jug with Bellarmine mask and spout and decorated in turquoise blue.
(_In the collection of Miss Feilden._)]
PRICES.
LUSTRE WARE. £ s. d.
_Silver lustre_ Barber's jug with medallion
of Barber and Customer, inscribed
"William Freeman, 1809"; 6-3/4 in.
high. Bond, Ipswich, April, 1906 5 0 0
_Silver lustre_ "resist" pattern jug with
grape and barley design. Sotheby,
June, 1906 2 0 0
_Nelson & Hill_ jug in silver lustre and
decorated in red and black. Sotheby,
June, 1906 1 10 0
_Silver lustre_ jug, decorated with bird
and flowers, and inscribed "J.
Simpson, original Staffordshire
Warehouse, 1791." Christie, January,
1908 14 14 0
_Lustre decorated_, Sunderland figures
of _Seasons_ (four) decorated in colours
and purple lustre; all impressed,
mark "DIXON, AUSTIN & CO."
Sotheby, February, 1908 10 0 0
_Copper lustre_ pair of five-fingered
flower vases marked SEWELL. Sotheby,
November, 1905 4 15 0
XIV
LATE
STAFFORDSHIRE
WARE
CHAPTER XIV
LATE STAFFORDSHIRE WARE
The School of Colour--Josiah Spode the Second
(1798-1827)--Davenport (1793-1880)--Thomas
Minton--Semi-porcelain--Ironstone China--The Masons--Early
nineteenth-century Commemorative Ware--The revival
of Stoneware--Messrs. Doulton--The twentieth-century
Collector--Table of Marks--Prices.
The latest phases of earthenware are mainly concerned with the school
of colourists, the chief of which was Josiah Spode the Second, who
controlled the factory on the death of Josiah his father, in 1797, and
took William Copeland as partner. It was this Spode who introduced into
earthenware decorative patterns of Japanese colouring in which reds and
yellows and dark cobalt blue predominate, following the style of the
Crown-Derby Japan style. About 1800 Spode commenced the manufacture of
porcelain as well as earthenware, and his richly gilded Japan patterns
began to rival those of Derby. In regard to the light-blue-printed
ware of a fine quality turned out by Spode, an illustration is given
in the chapter on Transfer-printed Ware (p. 331). It was this second
Josiah Spode who standardised the body used in English porcelain,
which is to-day practically the same as Spode's formula. It may be
said, roughly, to consist of the constituents of true porcelain plus a
proportion of bone ash. Enoch Wood, when an apprentice with Palmer, was
the first to use bone with earthenware, about 1770.
It is obvious that with these rich colours of Staffordshire porcelain
side by side in the same factory, with earthenware, the latter began to
assume all the decorative appearance of porcelain. A reign of colour
set in. Earthenware was as lavishly decorated in colours, and as richly
gilded as any of the contemporary porcelains, and in putting on these
colours it lost all its old characteristic features and became an echo
of porcelain.
Before leaving the Spode family, it may be mentioned that Josiah Spode
the second, who died in 1827, aged seventy-three, was succeeded by his
son, Josiah Spode the third, who died within two years.
William Copeland had died in 1826, and in 1833 the factory at Stoke
came into the hands of W. T. Copeland, known as Alderman Copeland, as
he then was, of the City of London. He became Lord Mayor of London in
1835, and in that year took Thomas Garrett into partnership. Copeland
and Garrett is the name of the firm till 1847. For twenty years it was
known as "W. T. Copeland, late Spode," and is now at the present day
Messrs. W. T. Copeland & Sons.
The marks belonging to the firm at various dates are given at the
end of this chapter. We illustrate a row of five remarkably fine
earthenware vases decorated in rich colour in the Derby style, so
perfectly simulating the brush work of that famous porcelain factory,
that upon a hasty examination they would pass for Crown-Derby. They
evidently belong to the days when Josiah Spode was turning out at
Stoke more Japan patterns than were produced at Derby.
At the same time a good deal of less ornate earthenware for cottage
use was being made, and specimens may frequently be met with, such as
tea-sets with old-fashioned teapot and two-handled sugar-bowl made
about 1825. Their homely English rural subjects are very pleasing, and
show that there was still a large market in the country for simple ware
without any great pretensions to foreign taste. It was the last stage
of the great tradition of old English earthenware.
=Davenport (1793-1880).=--John Davenport, of Longport in Staffordshire,
began potting in 1793. There is no doubt that he was a great potter
with artistic instincts. He went to France prior to 1800, and on his
return introduced a porcelain body superior to anything then produced
in England. With Josiah Spode the second he claims more attention as a
maker of porcelain than of earthenware. But his earthenware is highly
prized by collectors. His blue-printed ware was exceptionally fine, and
he followed in his plates and dishes the style of Turner and of Minton
in the perforated rims. His stone china is well potted and carefully
painted, and in design he was not loth to follow Mason of whom we shall
speak later. Many specimens of the familiar type of jug associated
with Mason's name, of octagonal shape are found in porcelain. Some
collectors noticing the great similarity to Mason have been inclined
to attribute these porcelain jugs to him, and doubtless, as Mason made
china, many are his, but Davenport who made replicas of the Mason
stoneware jugs, being a maker of porcelain too, is likely to have
produced these porcelain replicas also. None of these porcelain jugs
appears to be marked.
Davenport ware is strong in colour, and follows the rich designs of
Spode. Some pieces of stoneware are richly gilt, and have finely
painted fruit-pieces and landscapes, some probably by Steel from the
Derby factory. The illustration (p. 447) of the highest flight of
Mason typifies this class of landscape ware. Swansea, in common with
Staffordshire, had not hesitated in painting earthenware with landscape
subjects hitherto employed only by artists who decorated porcelain.
The Davenport marks are given at the end of this chapter, and are
always prized when found on specimens, as Davenport did not mark
his ware so freely as did Spode. From 1835 the firm became "William
Davenport & Co.," and later "Davenport & Co.," and ceased about 1880.
[Illustration:
DESSERT PLATES.
With border richly gilded with floral design.
Impressed mark MASON'S PATENT IRONSTONE CHINA.
(_In collection of Author._)]
[Illustration:
DESSERT DISH.
Richly gilded border with landscape painted in colours.
Impressed mark MASON'S PATENT IRONSTONE CHINA.]
=Semi-porcelain.=--This is found as a term in some of the marks of the
early-Victorian period; sometimes the title "opaque china" appears.
These descriptions are always puzzling to the collector. As a matter of
fact they tell of the later and more modern development of earthenware.
It had snatched the china glaze, it had employed the enamel colours,
and had adopted the designs of the English porcelain factories.
The rivalry of the Staffordshire potters and the English porcelain
factories was coming to an end. This stage of semi-porcelain and
semi-china represented the last word of earthenware. It now simulated
porcelain in its body, with one drawback, it was not translucent as is
porcelain. It was naïvely termed "opaque china." But the potters were
proud of their latest achievement, and accordingly marked their wares
with the above terms. As has been shown, Swansea came to the front,
and Haynes in the closing years of the eighteenth century produced a
hard, white earthenware termed "opaque-china," and Riley's "semi-china"
about 1800 was the Staffordshire equivalent.
But, as we have seen, the Staffordshire potters not only imitated
porcelain, continuing a long trade rivalry extending over nearly a
century, but many of them had commenced to make porcelain themselves.
Even the firm of Wedgwood succumbed to the temptation, and made
porcelain from 1805 till 1815, which manufacture was revived again in
1878.
=Thomas Minton (1765-1836).=--Minton was one of Spode's engravers, and
commenced as a master potter at Stoke in 1793.
Minton had been apprenticed to Thomas Turner, of Caughley, as an
engraver, and it was he who designed the celebrated "Broseley dragon"
pattern on the Caughley porcelain, and it is held by some authorities
that Minton engraved the "willow pattern" too. At first, at Stoke,
he made only earthenware, and his blue and white ware in imitation
of the Nankin porcelain won him distinction. About 1800 porcelain
was made and was continued throughout the nineteenth century. His
son, Herbert Minton in 1836, took into partnership John Boyle, who
joined the Wedgwoods in 1842. Herbert Minton raised the quality of the
productions, being one of the greatest of the Staffordshire modern
potters.
In the latter half of the century Mintons obtained a world-wide
reputation. From 1850 to 1870 a band of French modellers and painters
executed some fine work, but this trespasses on the field of porcelain.
Among the earthenware of Minton some of the early pieces such as plates
and dishes enamelled in colours with Chinese subjects, are marked with
the letter M in blue and a number. Some of the earliest-known examples
in earthenware of the celebrated "willow pattern," such as plates with
perforated edges (similar to that illustrated, p. 331) and baskets, are
by Thomas Minton.
_Ironstone China._--This again is a term used by Mason and others in
regard to an earthenware body for which the firm of Mason, of Lane
Delph, took out a patent in 1813. It is a ware, heavy in weight, and
possessing great strength. In pieces of important size, such as punch
bowls of huge proportions, and posts for old-fashioned bedsteads this
was of no little value. We have already alluded to the Mason series
of octagonal-shaped jugs of pleasing shape, undoubtedly following the
Spode scheme of colour in Japanese style, but lacking the finer finish
of Spode ware. Although undoubtedly original in design, these jugs were
easily excelled in potting and colouring by copyists such as Davenport.
But Mason's blue in his imitations of old Nankin ware is exceptionally
fine. There are dinner-services consisting of a great number of pieces
painted in under-glaze blue which are very rich in tone, and stand
comparison with any of the blues of Staffordshire, not excepting those
of Adams and Minton.
We illustrate a large vase obviously a replica of a Chinese model,
and enamelled in very rich colours. It shows a remarkable facility in
potting, and although strongly coloured conveys without caricature the
decorative qualities of the Chinese potter.
[Illustration:
"GRANITE CHINA" VASE.
Richly decorated in colours. Grass-green ground. Panels with landscape
in Japanese Imari colours. Rich blue base and top heavily gilded.
Dragon handles salmon-pink colour. (Height 2 feet.)]
[Illustration:
BASE OF ABOVE VASE.
Showing mark "GRANITE CHINA. STAFFORDSHIRE POTTERIES.
FENTON STONE WORKS. C J M & CO."
(_In the collection of Dr. H. Bournes Walker._)]
The vase is two feet in height. The ground is grass green. The panels
have painted landscapes in Imari colours. The base and the top are
a rich blue heavily gilded, and the dragon handles are a salmon pink.
Obviously this, although imitative, is a very ambitious piece.
The mark of this vase stamped on the bottom (illustrated p. 451) is
interesting. An outline design represents the pottery works. It is
marked "Fenton Stone Works C. J. M. & Co." and in the outer rim is the
inscription "Granite china," "Staffordshire Potteries."
The initials C. J. M. stand for Charles James Mason, who together with
G. Miles Mason applied for the ironstone china patent in 1813.
Among other ware, similar to the early cream ware is a body termed
"Mason's Cambrian-Argil." This evidently is in direct rivalry to the
Swansea cream ware marked "Cambrian." Earlier jugs by him are rarely
marked, and are not of the octagonal form, though the sides are
prismatic, and usually seven in number. They are of a buff-coloured,
soft, and chalky body, but the decorations are obviously his in similar
style to his series of stoneware jugs. The handle of this earlier form
is not of the snake or lizard form, but follows in design the metal
handle of teapots of the period.
That the Masons could and did produce earthenware of a very high,
artistic quality is shown by the illustration (p. 447) of three pieces
marked with the impressed mark running in one line across the back
of the examples "MASON'S PATENT IRONSTONE CHINA." The gilding in the
floral design in the borders is well done, and the landscapes in
the centre are finely painted. They are in the brush work patiently
stippled with as much minuteness as the work of Birket Foster. A
dessert service of which this forms portion, is a very desirable
acquisition, and represents stone china at its high-water mark.
The various marks used by the Masons are given at the end of this
chapter. In 1851 the pottery was purchased by Francis Morley, and it
was incorporated with Ridgway, Morley, Wear & Co., and at a later date
passed into the hands of Messrs. C. E. Ashworth and Taylor Ashworth,
who to this day revert to the original patterns of the Mason jugs which
have become so deservedly popular. Most of these old patterns are being
produced, although of course they have not the charm for the collector
whose interest ends with the original period under Mason.
"Stone china" became a term used by many other potters who produced
strong and durable earthenware, heavy in weight, and extremely suitable
for domestic use. Mintons had a series of patterns in this ware
decorated in Oriental style in colour. The most popular of these is
one termed "Amherst, Japan," following the old anglicised versions of
Japanese Imari designs and colours. This was at the date when Lord
Amherst was in the public eyes. It will be remembered that he headed an
embassy to China, and was requested to perform the _ko-tou_, or act of
prostration, nine times repeated with the head touching the ground. Sir
George Staunton and other members of the Canton Mission protested, and
the mission was admitted to the Emperor's presence on their own terms,
which consisted of kneeling upon a single knee. Lord Amherst was later
appointed Governor-General of India. There are a great many potters
whose names are found on earthenware of mid-Victorian days. They cannot
be said to exhibit much originality in design, and their value as
collectors' specimens is infinitesimal.
[Illustration:
PLATES, TRANSFER-PRINTED IN BLUE UNDER-GLAZE.
Impressed mark "IMPROVED FELSPAR. C. MEIGH & SON."
(Date 1850.)
(_In the collection of the Author._)]
[Illustration:
SET OF STAFFORDSHIRE EARTHENWARE VASES.
Floral decoration in gold on rich blue ground. Flowers in enamel
colours on white panels in imitation of Derby porcelain style.
(_In the collection of Miss Feilden._)]
We illustrate two finely-potted stoneware plates, by Messrs. C. Meigh
and Sons, made about 1850. They are printed in blue with designs of
English primroses twined with peacock feathers! Here is East and West
in strange combination. Fortunately the plates are not in colours or
the result might have been disastrous; as it is they are very pleasing
for the blue is of a very excellent tone. There is nothing hasty about
the potting; the finish and the minor details suggest work of the old
days long gone. It is evident that in the treatment of the design the
inspiration came from the Japanese potter whose influence was beginning
to make itself felt in pictorial art even so far back as the middle of
the nineteenth century. Whistler's peacocks and the dawn of the later
æstheticism were at hand.
=Nineteenth Century Commemorative Ware.=--It has been previously shown
how fond the potters became of recording events and creating figures of
popular heroes in earthenware. The story is continued in the nineteenth
century, which covers, one is apt to forget, the last twenty years of
the reign of George III., includes the ten years of George the Fourth's
reign, and the seven of William IV., commencing the Victorian Era in
1837 on the accession of the late Queen.
So that the term early nineteenth century is not the same as early
Victorian; as a matter of fact a good deal of very good porcelain
and earthenware comes well within the nineteenth century, but very
few examples that appeal to the artistic collector belong to the
early-Victorian period.
The nineteenth century as a whole was crowded with incident, and in
the class of earthenware with which we are now dealing the record is a
full one. From Nelson to Garibaldi; from Maria Martin the victim of
the Red Barn murder to Moody and Sankey, the American revivalists; from
Napoleon crossing the Alps to George III., as the King of Brobdingnag,
looking at Napoleon through a telescope; from Burns's _Souter Johnny_
to Dickens's _Sam Weller_; from punch bowls, inscribed "Rum and Water"
and "Health to all," to figures of Father Mathew, the temperance
reformer--all sub-heads are touched, and although the artistic may be
absent the human touch is ever present.
There are jugs and mugs with a portrait of "Orator Hunt," with
inscriptions "Universal Suffrage," "No Corn Laws," dating from 1818.
A lustre mug has a print with a dragoon represented as riding over a
woman, and has the legend, "Murdered on the plains of Peterloo, near
Manchester, 16th August, 1819." The woman carries a flag inscribed,
"Liberty or Death."
A puzzle jug of Staffordshire earthenware is inscribed, "Hatfield shot
at George III., 1800. God save the King." The trial of Queen Caroline
produced a crowd of figures and mugs and plates with portraits and
verses. The Crimean War had its ceramic record. There is a Newcastle
earthenware butter-dish printed and coloured, with an English soldier
greeting a French soldier, and motto, "May they ever be united."
[Illustration:
NELSON JUG.
Portrait of Admiral Nelson, inscribed "England expects that every man
will do his duty." On reverse, female figure and children, inscribed
"Behold the Widow casting herself and Orphans on benevolent Britons."
(_In the collection of Miss Feilden._)]
[Illustration:
NELSON JUG.
With portrait of Admiral Lord Nelson. Aged 47. Inscribed "England
expects every man to do his duty." On reverse, plan of Battle of
Trafalgar.]
The transfer-printed jugs and mugs with nautical subjects we have
already alluded to in a previous chapter. The unfamiliar uniform of the
late eighteenth and early nineteenth century "Jack Tar" is a study in
costume. This silent ceramic world of old three deckers and ships of
the line and barques and brigantines is all that is left of a fleet
of ships which have long since sailed their last voyage--an armada of
non-existent craft as ghostly as the phantom ship of Vanderdecken.
Nelson jugs are of many types; we illustrate two varieties (p. 459).
Some of them are as early as 1797, and others as late as 1820.
The top jug illustrated is of Staffordshire cream ware, and is in date
after Trafalgar (1805), made to commemorate this victory. The portrait
of Nelson has an inscription over it, "England Expects every Man to do
his Duty." On the reverse is a plan of the Battle of Trafalgar with the
disposition of the ships and a slight description which ends in the
sentence "in which Action the Intrepid Nelson fell covered with Glory
and Renown."
The lower jug is of the same period and the portrait of Nelson is
more authentic. It is transfer-printed, the uniform being slightly
touched in colour. On the reverse there is a female figure and two
children, and the sad human touch in the inscription, "Behold the Widow
casting herself and Orphans on benevolent Britons." This is, indeed,
the reverse of the medal. The glory of war is exalted unduly. But the
awful reality does not always come home so pointedly as in this homely
jug, which in its way records the "simple annals of the poor." We are
reminded of the lines of that forgotten poet, Amelia Opie, and of
the wood-engraving by Dalziel in Willmott's "Poets of the Nineteenth
Century," published in the sixties. "The Orphan Boy's Tale," who tells
how pleased he was--
"When the news of Nelson's victory came,
Along the crowded streets to fly
And see the lighted windows flame!"
The shouts of the crowd rejoicing drowned the widow's tears. In simple,
but none the less poetical, language the child continues:
"She could not bear to see my joy;
For with my father's life 'twas bought,
And made me her poor orphan boy."
It is undoubtedly such human touches as these on the domestic crude
ware which stir the heart's blood quicker than all the gods and
goddesses ever turned out in Staffordshire.
The age of steam and steel and its inventions did not come unheralded.
We illustrate a plate of one of the earliest steam carriages (p. 463).
The plate is of Staffordshire origin and evidently was intended to
be sold in Germany as a "present from London," as the inscription
runs, "Dampf Wagen von London nach Bristol. Ein Geschenk für meinen
Lieben Jungen" ("Steam Coach from London to Bristol. A Present for my
dear boy"). In date this is about 1827 as the accompanying engraving,
entitled the "New Steam Carriage," is from a periodical publication of
that date.
[Illustration:
TRANSFER-PRINTED PLATE IN COLOURS.
Inscription--"Dampf Wagen von London nach Bristol. Ein Geschenk für
meinen Lieben Jungen."
(Staffordshire, about 1830.)
(_In collection of Author._)]
[Illustration: "NEW STEAM COACH." From an old print dated 1827.]
Equally interesting is the Staffordshire blue-printed _Jug_ marked at
back "Liverpool and Manchester Railway" showing the famous _Rocket_
steam-engine invented by George Stephenson. The date of this is 1830. A
fine _Cyder Mug_ printed in black with touches of colour shows an early
passenger train. The luggage, as will be seen, is on the roofs of the
carriages. The aristocratic company at the rear are seated in their own
carriage, the ladies of the party are noticeable by their old-fashioned
poke bonnets. There is something very interesting in these old
railway mugs and jugs. They are modern, that is in regard to technique
and artistic beauty, but the subjects are of sufficient interest to
make the ware important enough to find a treasured place of honour in
the collector's cabinet.
=Lambeth Stoneware.=--Mention should be made of the revival of
artistic stoneware at Lambeth about 1850 by Henry Doulton, of the
Lambeth pottery. An attempt was made to make vessels for ordinary use
as ornamental in character as the old Flemish stoneware. Some of the
early pieces are in brown stoneware with incised decoration filled with
blue-glaze. Tankards and vases and jugs were made of very pleasing
character. Under Sir Henry Doulton great advances were made, and mugs
with hunting subjects and many grotesque brandy bottles of stoneware
were made. Light brown stoneware flasks modelled to represent Lord
Brougham, and impressed "The True Spirit of Reform," and "Brougham's
Reform Cordial," are often of Lambeth origin. In date these are about
1830, other factories made similar ware, including the Derbyshire
potteries.
Of the Doulton and Watts period which commenced 1815, from 1815 to 1832
some fine Napoleonic stoneware was turned out. There is, in particular,
a small stoneware, brown jar of Napoleon made about 1825, which is
finely modelled and an excellent portrait. In the Reform days of the
early thirties they produced, to supply a public demand, many spirit
jars with more or less grotesque models of Earl Grey, Lord Brougham,
William Cobbett, and Lord John Russell. In the museum at Messrs.
Doulton's at Lambeth are some fine examples of the early period.
We illustrate a strongly modelled jug with Bacchanalian subject in high
relief (p. 471), showing the excellence of some of this early work at
its best.
=The Twentieth Century Collector.=--The story of the triumphs and
sometimes of the decadence of English pottery cannot be ended without a
passing reference to the wondrous ware being produced at the end of the
nineteenth century and now. It should appeal to-day to the prescient
collector. It will appeal to the collector fifty years hence.
Under the name of the Lancastrian Pottery Messrs. Pilkington, at
Clifton Junction, near Manchester, have during the past few years
produced some of the most beautiful ware ever seen in this country.
At the exhibition of this ware in London in 1904 they astonished all
experts. The indescribable variety of exquisite colours, ranging from
faint pink and sky blue to the richest purple and dark green and amber,
showed at once that modern scientific methods and painstaking research
had rediscovered the lost glazes of the old Chinese potters.
The starry crystalline glazes so well known in the Copenhagen porcelain
have been faithfully reproduced, recalling the patterns traced on the
window-pane by frost--sometimes brilliantly coloured blue or green
against a background of pale lavender blue, at other times having a
sheen like bronze. Other crystalline glazes are the _Sunstone_ in
which brilliant prismatic and golden crystals are disseminated through
rich green yellow or olive brown glazes. The fiery crystalline glazes
display brilliant red crystalline formation through purple and grey
glaze in dazzling patches.
[Illustration:
STAFFORDSHIRE BLUE PRINTED JUG.
Marked at back "Liverpool & Manchester Railway."
Showing the famous _Rocket_ locomotive invented by George Stephenson.
(Date 1830.)
(_In the collection of Miss Feilden._)]
[Illustration:
CYDER MUG.
Printed in black with touches of colour.
(_In the collection of Mrs. M. M. Fairbairn._)]
Opalescent clouded, or curdled, or veined, or serpentine glazes
have countless variations of colours--copper-green, turquoise-blue,
or deep lapis-lazuli broken with white curds, or opalescent veinings,
or fine lines of variegated colour shot through the glaze from top to
bottom--this alone suggests a dream of colour schemes, and the wise
collector will realise without further ado that we are in a period of
great ceramic triumphs in pottery of this nature.
Texture glazes of chicken-skin, fruit-skin, and orange-skin are highly
prized, and vellum or egg-shell glazes splashed and marked like
Nature's own handiwork in the most beautiful birds' eggs. Or there
are metallic effects of peculiar beauty and golden lacquer glazes
resembling the old gold lac-work of Chinese and Japanese artists
so cunningly imitated by Martin, the French cabinet-maker, in his
Vernis-Martin, so beloved of collectors of furniture and fans.
Of purple glazes of the transmutation class some of the richest effects
have been obtained in colour and in splashed effects. Wine purple,
mulberry, and other alluring tones have burst upon an astonished circle
of connoisseurs. Of the _flambé_ specimens it is not too much to say
that their like, for which the Chinese potters were so famous, have
never been seen before in Europe.
The Havilands of Limoges, Copenhagen, and Sèvres, and Berlin potters,
as well as the artists in the Rookwood Pottery in America, have worked
in the same field; but it is pleasant to think that English potters
have produced greater variety, including Lancastrian lustre ware of
wealth of glowing colour not surpassed by the Hispano-Moresque potters
nor by the lustrous majolica of the Italian renaissance. To the
scientific activity in wresting from the past the lost secrets of the
old Chinese potters, a great tribute of praise should be accorded to
Mr. William Burton and his brother, Mr. Joseph Burton.
Other workers in the same field of glazes are Mr. Bernard Moore, of
London, whose glorious _flambé_, rich red, and _sang-de-boeuf_ glazes
are of unsurpassed beauty. Mr. William de Morgan has for many years
been known for his lustrous tiles and work of fine originality and
strength. Another pottery known as the Ruskin Pottery conducted by Mr.
W. Howson Taylor at West Smethwick, Birmingham, is a bright spot in
recent ceramic enterprise, and has won distinction for ware which is of
great beauty.
In bringing the story of English earthenware to a conclusion, it is
the hope of the writer that the ground has been sufficiently covered
to provide an outline history of a complex subject. It may be that
much appears that might have been omitted, and that much is omitted
that might have appeared within these covers. But it must be allowed
that personal tastes play an important part in selection either by the
collector or by the student. But in matters of fact and in the mass
of details relative to the potters and their wares no pains have been
spared to make this little handbook worthy of its subject.
[Illustration:
DOULTON STONEWARE JUG.
(Date about 1845. Height 10 inches.)
(_In the collection of Mr. W. G. Honey._)]
MARKS FOUND ON LATE STAFFORDSHIRE EARTHENWARE.
The first half of the nineteenth century in earthenware included a
variety of types: (1) the last output of the classical school; (2)
cream ware transfer-printing in under-glaze blue; (3) the school of
colourists in imitation of English porcelain.
In the following list a great many names appear of potters not well
known nor worthy of more than passing allusion. But their trade marks
often puzzle collectors.
=Adams.=
One of the oldest firms in Staffordshire.
[Illustration: Adams & Co.]
Early mark for cream ware, plain and
enamelled, 1770-1790.
[Illustration: ADAMS & CO.]
Mark used for solid jasper ware, 1780-1790.
[Illustration: ADAMS]
Mark for printed ware, stoneware, and
jasper, 1787-1810.
[Illustration:
ADAMS
WARRANTED . STAFFORDSHIRE]
Mark used for deep blue-printed ware,
1804-1840, so much collected by American
connoisseurs.
=Spode.=
[Illustration:
SPODE
Stone-China
or
SPODE
Stone-China]
Josiah Spode the second, who
introduced Derby-Japan patterns
into earthenware. The name is found
impressed, or printed, or painted in
colours on back.
[Illustration:
Spode's
NEW FAYENCE]
[Illustration: SPODE]
At the introduction of ironstone
china other marks were introduced,
and they were printed on the ware.
[Illustration:
Spode's
Imperial]
Similarly the "new fayence,"
another of Spode's improvements,
was printed on ware of that character.
[Illustration:
COPELAND & GARRETT
LATE
SPODE
THE TIBER
COPELAND & GARRETT
NEW
JAPAN STONE]
Other marks, both
impressed and printed,
in the ware are SPODE,
SON & COPELAND, or
SPODE & COPELAND.
[Illustration:
COPELAND AND GARRETT]
COPELAND & GARRETT
NEW
FAYENCE]
From 1833 to 1847
these, among other trade
marks, were used.
[Illustration:
COPELAND
Mark used 1847-56.]
From 1847 to 1856 this
mark was used.
[Illustration: COPELAND LATE SPODE]
The present day mark of
Messrs. W. T. Copeland &
Sons.
=Davenport= (1793-1886).
[Illustration: LONGPORT]
[Illustration: DAVENPORT]
[Illustration: Davenport]
These marks are found on the earthenware,
stamped or printed, in small letters
in red, and other Davenport marks, such
as that with the anchor and the stone
china design used after 1805, are frequently
puzzling to collectors, especially
when partially obliterated.
[Illustration:
DAVENPORT
STONE CHINA]
=Minton.= Established at Stoke, 1790.
In 1800 porcelain was made, and was
continued throughout the century and at
the present day.
[Illustration:
M & B
FELSPAR PORCELAIN]
From 1790-1798 blue and white earthenware
in imitation of common Nankin largely
made. In 1798 semi-porcelain was made.
Felspar china, similar to Spode and stone
china, in common with other Staffordshire
potters, was largely produced. From 1836-1841
the firm was Minton & Boyle, and
afterwards Minton and Hollins, and at the
present day Minton is one of the best-known
English firms.
Not many of the early earthenware pieces
were marked, and it is difficult to distinguish
Minton's firm from some of the fine
blue-printed ware of Adams and of Mason.
[Illustration:
B B
New Stone]
This +B B+ mark appears on all stone
china of Minton from 1845-1861, signifying
_Best Body_.
The name MINTON was not stamped nor
impressed on the ware till after 1861.
About 1823 the _Amherst Japan_ pattern
was made, and has a printed mark in a
scroll. It is frankly imitative of Spode
and the Derby-Japan style.
[Illustration:
R
M & Co]
A rhomboidal mark with the letter +R+,
sometimes "+R^D+," signifying that the design
is "Registered," and having +M & Co+, is
not confined to Mintons, as other potters
used the same mark with their names or
initials underneath. It is quite late and on
ware not likely to appeal to the collector.
=Mason.=
[Illustration:
MASON'S
CAMBRIAN-ARGIL]
The marks of Mason are found, after
1813, either impressed in a straight line or
having the mark under a crown and in
scroll, on his celebrated ironstone china
printed in blue.
[Illustration: MASON'S PATENT IRONSTONE CHINA (_impressed_)]
[Illustration: M. MASON]
His semi-porcelain or Cambrian-argil
bears the name on the ware, and was
intended to compete with Swansea.
[Illustration: MILES MASON]
An illustration of the mark on stone
china, marked "Fenton Stone Works,
C J M & Co," is given on page 451.
[Illustration:
MASON'S
PATENT IRONSTONE
CHINA]
It should be mentioned that the blue-printed
mark with a crown and scroll does
not necessarily mean that the ware
(especially in the hexagonal set of jugs)
is old. It is still used at the present day
by Messrs. Ashworth, who are reproducing
some of the old and favourite patterns.
Collectors are advised to buy one of these
jugs as a model to compare it with the
older work.
[Illustration: P. B & Co]
The mark of Pindar, Bourne & Co., of
Burslem, who made red terra cotta spill vases
decorated in colours and gold with arabesque
designs, about 1835. In 1880 the factory
passed into the hands of Messrs. Doulton.
[Illustration: ROGERS]
Mark of Dale Hall Pottery, John Rogers
& Son, 1815-1842. Notable for light blue
printed "Willow" and "Broseley Dragon"
series.
[Illustration:
_J E & S_
DALE HALL]
J. Edwards & Son, Dale Hall, 1842-1882.
[Illustration:
W B.
W & B
W B & S
CLEWS]
=W. Brownfield & Son= (Cobridge) 1808-1819.
[Illustration: W B]
Bucknall & Stevenson and A. Stevenson
alone during part of above period.
_James Clews_, 1819-1829. His mark
was a crown above his name.
_Robinson, Wood & Brownfield_, 1836.
[Illustration:
WARRANTED
REAL IRONSTONE CHINA
W & B]
_Wood & Brownfield_, 1836-1850. _W.
Brownfield_, 1850-1870. _W. Brownfield
& Sons_, 1871 to present day. China has
been made since 1871.
[Illustration:
ITALIAN
GARDEN
W & B]
We append some of the marks of this
firm, including the Staffordshire knot,
which has been used by other Staffordshire
potters.
[Illustration: I. RIDGWAY]
[Illustration:
JR
VICTORIA]
=Ridgway=, founded in 1794.
J. & W. Ridgway and Ridgway & Sons,
1814-1854.
Many of these marks have puzzled collectors,
as only the initials are used in
many cases.
The firm subsequently became T. C.
Brown-Westhead, Moore & Co., and has
had a distinguished career in the ceramic
world, gaining honours at the various
international exhibitions.
[Illustration:
India Temple
Stone China
J.W.R.]
(_See Table p. 349_).
[Illustration: P & B]
[Illustration:
Best
P & B]
These marks are found impressed in
ware of Messrs. Powell & Bishop, 1865-1878,
of Hanley. They are often confused
with Pindar, Bourne & Co., when only
initials are used.
[Illustration]
Another form is a Caduceus, the emblem
of Mercury, impressed in the ware and
sometimes printed.
(_Messrs. Powell & Bishop._)
[Illustration:
ORIENTAL
IVORY]
A seated figure is another trade mark
which has given rise to a good deal of
speculation among tyros in collecting.
(_Messrs. Powell & Bishop._)
[Illustration:
G. HEATHCOTE & Co
CAMBRIA]
_Heathcote & Co._ is a mark found in
early nineteenth century ware. The blue-printed
earthenware was of a fine quality.
[Illustration]
=Late Nineteenth Century Earthenware.=
The three marks of the Lancastrian
Pottery, the Ruskin Pottery, West
Smethwick, and of the earthenware of
Mr. William De Morgan, are known
to connoisseurs of what is great in latter-day
English earthenware, and they are
given here for the information of collectors
who may be interested.
[Illustration:
RUSKIN
POTTERY
WEST SMETHWICK
1907.]
[Illustration: D M]
PRICES.
LATE STAFFORDSHIRE. £ s. d.
=Spode= (Earthenware).
Spode felspar, ice pails and covers
painted with flowers and richly gilded.
Puttick & Simpson, March, 1907 12 1 6
=Davenport= (Earthenware).
Toby Jug, marked "Davenport." Sotheby,
November, 1904 3 12 6
=Minton= (Earthenware).
Set of Chessmen, in form of mice, drab
and ivory coloured, decorated with black
and gold. Kings and Queens crowned,
Knights with swords, Bishops with croziers,
and Castles with warder on top and a mouse
imprisoned below. Sotheby, July, 1908 2 0 0
=Mason.=
Vases, pair, large, decorated in gold
with kylin tops. Debenham, January, 1906 8 5 0
Ironstone china dinner service (197
pieces) floral decoration in colours.
Christie, March, 1906 53 11 0
Vases, pair (12 in. high), mazarin blue
ground, decorated with Oriental birds,
&c. Bradby, Perth, September, 1906 7 7 0
Ironstone china bowl, decorated in flowers
blue, red and gold. Puttick & Simpson,
January, 1907 5 0 0
EARLY VICTORIAN.
=Staffordshire= (Earthenware).
Red Barn (scene of well-known murder of
Maria Martin), very scarce. Sotheby,
February, 1907 2 10 0
Jug, with portrait of Lord Nelson, marked
HOLLINS. Sotheby, November, 1908 1 19 0
Jug with figures of Volunteers, and a
smaller jug with portrait of Wellington.
Sotheby, May, 1907 3 0 0
Three Jugs, brown ground, with Madonna
and Child in relief, marked "Meigh," and
three jugs with Tam o' Shanter subjects
marked "Ridgway." Sotheby, May, 1907 1 3 0
INDEX
A
Abbey, Richard (Liverpool), 403
Absalon, decorator at Yarmouth, 378
"Adam and Eve" delft dishes, 67, 109
Adams (marks), 263
Adams (prices), 282, 283
Adams & Bromley, 260
Adams & Co., marks, 260, 473
Adams, Benjamin, mark, 263, 348
Adams, William (of Cobridge), 260, 329
Adams, William (of Greenfield), 260
Adams, William (of Greengates), =259-263=, 279, 330, 340, 348 (mark)
Adams, William, & Sons (of Burslem), 348
Adams, William, & Sons (of Stoke) (mark), 348
Æsop, _Fables_ of, reproduced on earthenware, 321, 322
Agate ware, definition of, 27;
summary of, 70, 169;
_solid_ and _surface_ (Wedgwood), 228
Alexander, Czar of Russia, bust of, 374
Allen, of Lowestoft, Leeds ware decorated by, 301
America and England (in earthenware), 337, 338;
independence of, jug relating to, 350;
views in (Clews), 349
"Amherst, Japan" (Minton), 454
Anchor as a mark, Fell, Newcastle, 350;
Middlesbro', 350
Animals, figures of, 174
Antony and Cleopatra, Swansea figures, 395
Ashworth, C. E., Messrs., 454
Astbury, John, =147-151=;
the successor of Elers, 164;
early salt glaze, 204
Astbury, Thomas, 147;
flint, 232;
figures, 361;
as a mark, 298
Astbury ware, definition of, 27;
summary of, 68;
prices, 155, 191, 192
Aynsley, John, 348;
lustre ware, 430;
mark, 279
B
Bacon, John, 248
Baddeley, 222, 232
Baddeley, J. and E., 349
Baddeley (R. J.), basket-work, salt glazed, 212
Baddeley, R. and J., 349
Baddeley, W. (Eastwood), 280
Bailey and Batkin (lustre ware), 436
Balloon ascent depicted on delft, 113
Bamboo ware (Wedgwood), 230
Barberini Vase, 249
Barker (mark), Leeds ware, 289, 310
Barnes, Zachariah, 67, 125, 403
Basalt ware, definition of, 27;
Wedgwood, 228
Basket-work, Leeds, 297;
salt glaze, 212;
Wilson, 266
"Bat" printing, 347
Battersea enamels, 318
Batty & Co., 280
B B. New stone (Minton mark), 476
Bear hugging Bonaparte (Nottingham), 152
Bear jugs, Nottingham, 69, 152
Beauclerk, Lady Diana, 248
Beehive as a mark (Ridgway), 479
Bellarmine jugs, 68, 134;
prices, 152
Benson, Thomas, use of flint, 232
Bentley, his influence on Wedgwood, 244
Bentley, G., modeller (Swansea), 395
Bevington (Swansea), 399
Biblical subjects in delft, 67
Billing, Thomas (1722), 207
Birch, E. J., 280
Birch, black basalt ware, 274
Bird as a mark, 417
Birds, figures of, 174
Bingley, Thomas, & Co., 302, 305
Biscuit, definition of, 27, 51
Black basalt (E. Mayer), 269
Black printed ware, its mission, 333
Blue dash decoration (delft), 109
Blue enamelled salt-glazed ware (Littler), 207
Blue printed ware, =338-347=
Body, definition of, 28
Bonaparte, bust of, 374;
caricatures of in earthenware, 337;
lustre ware, 435;
Russian bear hugging, 152;
stoneware, 465
Bone-ash, first use of, 444
Bordeaux earthenware, 215
Books, quaint titles of Puritan, 95
Booth, Enoch, 182;
improved glazing, 232
Boscage school of figures (Walton), 378
Bott & Co., 280;
lustre ware, 436
Boyle, John, 449
Brameld, Rockingham, 305, 311
Brampton pottery, 69, 412
Brislington lustre, 424
Bristol delft, summary of, 67, =113-118=;
prices, 129
Bristol earthenware prices, 419
Bristol pottery, 404;
mark, 418
British Museum, mediæval tiles at, 84
Britton & Sons (Leeds), 288, 310
Bromley (Adams & Bromley), 260
Bronze busts imitated, 229
Bronze lustre ware, 435
Brookes, engraver for earthenware, 347
Brougham, Lord, stoneware flask, 465
Browne, Sir Thomas, quoted, 163
Brown-Westhead, T. C., Moore & Co., 479
Burns's _Souter Johnny_ in earthenware, 458
Busts and figures, stoneware, 68
Butler, Samuel, _Hudibras_, quoted, 366
C
C as a mark, 408, 418;
Caughley, 349;
Wilson, 266
"Cadogan" teapots, 305, 311
Caduceus as a mark, Powell & Bishop, 480
Cambria as a mark, Heathcote & Co., 480
Cambrian-Argil (Mason), 453
Cambrian pottery (Swansea), 395;
marks, 415
Camel pattern teapots, 208
C. & H. (Cookson & Harding) mark, 280
"Canary" bottles, fraudulent, 110
Caricatures in earthenware, 337
Castle Acre Priory, tiles from, 84
Castleford Pottery (D. D. & Co.), 174, 270, 302, 311;
prices, 313
Catalogues printed in several languages (Leeds), 288;
Wedgwood, 224
Cats, figures of, 174;
slip decorated, 358;
agate, 359
Caughley earthenware, 407;
prices, 419;
marks, 417, 418
Caughley, transfer-printing at, 318
Cauliflower ware, 169;
teapots, 208
Caylus, Count, 259
Chaffers (Liverpool), 403
Chalk introduced into cream ware, 269
Champion (Bristol), 235-237
Chapel, Stephen (Leeds), 288
Chatterly, William, 66
Chertsey Abbey, tiles from, 83
Chester, Grosvenor Museum, Toft dish at, 88
Chesterfield, 69
China, definition of, 28
China clay, definition of, 28
China stone, definition of, 28
Chinese pottery as a model for delft, 102;
inspires English potters, 196;
old glazes of, rediscovered, 466
Chippendale, his similarity to Wedgwood, 259
Christian, Philip (tortoiseshell ware), 70
Chronological table of chief events, eighteenth century, 158
Church, Professor, quoted (Lambeth delft), 113;
Dwight ware, 138
C J M as a mark (Mason), 453
Classicism, eighteenth century, 243;
foreign to Staffordshire, 160;
the passing of, 276
Classic ware, summary of, 73, 74;
Greek designs (Turner), 263;
figures, Staffordshire, 370
Claude landscapes on earthenware, 344
Clays used for pottery, 28;
various, how used, 47
Clementson, 79
Clementson, J., 280
Clews, 280
Clews, James, 349
Close & Co., 280;
mark, 348
Close, Mort & Co. (Liverpool), 403
Cobalt blue used in salt-glazed ware, 208
Cobbett, William (stoneware flask), 465
Cockspur-mark, definition of, 31, 298
Collecting, the field of, 52;
reasons for, 35
Cologne ware, 134
Colour, its adoption, 273;
_versus_ Form in earthenware, 178
Coloured salt-glazed ware, 211
Cookson & Harding, 280
Cookworthy (Plymouth), 235
Copeland, 443, 444
Copland & Garrett, 444;
marks, 474, 475
Continental potters, indebted to Staffordshire, 177;
imitations of Wedgwood, 247
Copenhagen porcelain, 293, 466
Copper lustre ware, 435;
Wilson, 282;
prices, 439
Copyists--earthenware imitating china, 43;
of Wedgwood, 257, 265
Cornish clay mines, 235;
kaolin, its use in cream ware, 237
Cottage ornaments, figures for, 378
"Crabstock" handles, 212;
jug and handle, 185
Cream ware, =230-240=;
definition of, 28;
its experimental stage, 169;
its later white body, 44;
Leeds, =293-301=;
Queen's ware, 232;
revival of old Wedgwood designs, 231;
summary of, =71-73=
Crich ware, 204
Cricket match depicted in earthenware, 338
Crouch ware, 204
Crown in circle as a mark (Stevenson), 348
Crown as a mark, 266
D
Dale (mark), 381
Dalehall as a mark, 477
Daniel, Ralph (salt-glaze), 207
Daniel, Thomas, painter, 232
Davenport marks, 475;
prices, 481
Davenport, John, 445
Davenport (of Longport), 269;
mark, 280
Davenport, Thomas, 348
Davenport, Henry and William, 348
Davenport & Co., 446
Dawson, Samuel (lustre), 428
D. D. & Co., Castleford mark, 302, 311
Decadent period Staffordshire figures, 378
Delft ware (_Bristol delft_), 113-118;
definition of, 28;
general characteristics of, 67;
how made, 101;
its foreign origin, 102;
its introduction into England, 105;
(_Lambeth delft_), 106-113;
(_Liverpool delft_), 118-125;
prices, 129-130;
summary of, =67-68=;
(_Wincanton delft_), 125
De Morgan, William, pottery of, 481
Denny Abbey, tiles from, 84
Derby (earthenware), 408;
(Pot Works) mark, 349;
transfer-printing at, 318
Dickens, _Sam Weller_ in earthenware, 458
Dillwyn, L. W. (Swansea), 399
Dillwyn & Co. (marks), 415, 416
Dipping-house, the, 51
Dixon, Austin, & Co., Sunderland, 309
Dixon & Co., Sunderland, 306
D. J. Evans & Co., Swansea, 400;
marks, 416
D. M., mark of William De Morgan, 481
Don Pottery marks, 289, 310, 311
Dorset, Earl of, arms on jug, 92
Doulton, Lambeth stoneware, 151, 465
Drug pots, 106
Dunderdale, David, 302
Dunderdale & Co. (D D & Co), 174
Dutch enamellers employed on salt-glaze, 211
Dwight, John, 68, 134, =138-142=;
prices, 155
E
Eagle as a mark (Leeds), 311
Early English ware, =83-98=
Early pottery, summary of, 66
Early salt-glazed ware, 203
Early-Staffordshire ware, =159-192=;
prices, =187-192=
Early-Victorian earthenware (prices), 482
Earthenware, definition of, 29, 40;
figures compared with china, 382;
how made, 44;
imitating porcelain, 273;
its appearance, 43;
method of studying, 55;
the nine classes of, 55;
_versus_ porcelain, 182
East India Company, 106
Eastwood mark, 280
Edwards, J., & Son, Dale Hall, 477
Egyptian ware, definition of, 27
E. I. B. mark, 280
Eighteenth century, chief events of, table, 158
Election plates (_Bristol delft_), 67, 114
Elers, David, 142, 146
Elers, John Philip, 144
Elers Brothers (_not_ the inventors of salt glaze), 204;
prices 155;
their effect upon Staffordshire, 164;
Wedgwood's opinion of, 163
Elers ware, definition of, 29, =142-147=;
summary of, 68
Elizabethan silver mounts on earthenware, 126;
coats of arms on jugs, 134
Enamel colours, definition of, 29;
use in salt glaze, 211;
kiln (enamel), description of, 52
Engine turned ware, 148
English character in early Staffordshire ware, 160;
costume subjects, 264;
porcelain factories largely imitative, 196;
scenery (on earthenware), 277;
national spirit in earthenware, 186
Engravers employed to decorate earthenware, 325
Etruria Museum, catalogue of, 227
Etruscan ware, Dillwyn's (Swansea), 400;
prices, 418
Evans, painter (Swansea), 399
Evans & Glasson (Swansea), 400
Exhibition, Great, of 1851, hideousness of, 358
F
F as a mark (Newcastle), 350
Fable subjects in earthenware, 321, 322;
Liverpool tiles, 125
Factory system, the, its origin, 249
Falstaff, earthenware figure of, 374
Fell (Newcastle), 306
Ferrybridge, 309
Fifield, William and John, painters (Bristol), 404
Figures (Astbury), 361;
Astbury prices, 192;
earthenware and china compared, 382;
Leeds prices, 385;
Salopian, 407;
salt-glazed, 181;
Staffordshire, best period, 362;
Staffordshire, =357-389=;
decadent period of, 378;
prices, 385, 386;
summary of, =74-77=;
Wedgwood, 240;
Whieldon, 361;
prices, 192
Firing, period of duration, 51
Fitzwilliam family, crest of, as a mark, 311
Flaxman, John, 248;
his designs in cream ware, 231;
designs of, copied, 274
Fletcher & Co. (Shelton), 348
_Fleur-de-lis_ as a mark, 400
Flint introduced into body, Thomas Astbury, 207;
use of, 232
Ford (South Hylton Pottery), 309
Forgeries (in general), 59
Forgeries--Slip ware, 60;
sack bottles, dated, 60;
salt-glaze coloured, 60;
Toby jugs, 63;
"Fair Hebe," 63;
"Vicar and Moses," 63;
Whieldon ware, 63;
Leeds, 63.
Form _versus_ Colour in earthenware, 178
Fowke, Sir Francis (Lowesby), 400
Frank, Richard (Brislington), 424
Freeth, Mr. Frank, quoted (Toft ware), 91
Frog, green, on Catherine II. service, 239
Frog mugs, 309
Fulham stoneware, =151=;
summary of, 68, 70;
prices, 155
Funeral cups (lustre), 428
Furniture decorated with Wedgwood ware, 247
G
Gateshead Potteries, 306
Gilding used in salt-glazed ware, 208
Gillray's caricatures in earthenware, 337
Glazes, various, definition of, 29;
rich, used by Whieldon, 169
Glazing, description of process, 51;
improvement by Booth, 232
Glost oven, description of, 48, 51
Godwin, Francis, Bishop of Hereford, 117
Goethe, quoted, 259
Gold lustre ware, 427
Gonsales, Domingo, Voyage to Moon, 117
Granite ware, 170;
Wedgwood, 228
Greatbach, William, 166, 248
Great Malvern, tiles from, 84
Green (mark), Leeds ware, 289;
signature of, Liverpool tiles, 121
Greens, Bingley & Co., 302
Grenzhausen, stoneware of, 137
_Grès de Flandres_ ware, 137, 151
Grey, Lord (earthenware flask), 465
Greybeard jugs, 134
Griffin as a mark (Rockingham), 311
Grotesque design, in early Staffordshire ware, 160;
in English pottery, 208
Growan stone, its use in cream ware, 237
H
Hackwood, 280
Hackwood, William, 248
Hamilton, Sir William, 244, 259
Hancock, John (lustre), 430
Hancock, Robert, 329;
his "Tea Party," Worcester, 318
Harding, 280
Harley, 280
Hartley, Greens & Co., 288
Haynes, 79
Haynes, George (Cambrian Pottery), 395
Haynes, Dillwyn & Co., marks, 415
Heath, 280;
prices, 284
Heath family, Derby potters, 408
Heath & Bagnall, 280
Heath, Warburton & Co., 280
Heathcote, C., & Co., mark, 480
Herculaneum Pottery (Liverpool), 403;
marks, 417;
figures of, 77
Hewitt, painter (Wood figures), 373
Hicks & Meigh, 349
Hicks, Meigh, & Johnson, 349
Historical events, chronicled in earthenware, 333
Hollins, Samuel, 269, 275, 280
Hollins, T. & J., 281; mark, 275;
prices, 482
Howe, Earl, portrait of, 334
Hudson River, American views (Clews), 349
Humble & Green, 288
Humour in pottery, 208
Hylton Potteries, 300
I
I. Dale, mark on figures, 381
Identification of earthenware, 65;
=Table=, =66-79=
I. E. B. as a mark, Baddeley, 349
Imitation of porcelain in earthenware, 273;
bronze busts (by Wedgwood), 229;
Chelsea and Derby figure of Falstaff 377;
Chinese pottery (at Leeds), 290;
Crown Derby, 443;
Japanese incised work (salt-glaze), 212;
Oriental porcelain styles, 196, 215;
Plymouth group by Staffordshire, 377;
silversmiths' work (by Elers), 195;
at Leeds, 294;
by Wedgwood, 196;
Wedgwood, 257, 265;
Wedgwood's Queen's ware at Swansea, 396
Imitativeness of English potters, 196
Imitativeness, black basalt ware, 274
Incised decoration, salt glaze, 208
"Indian Temple," J. W. R. (Ridgway), 479
Ireson, Nathaniel, 125
Ironstone china, 450;
definition of, 30;
prices, 482
Isleworth pottery, 411;
marks, 418;
prices, 419
"Italian Garden" (W. and B.), mark, 478
J
Jackfield pottery, 305; prices, 313
Jacobite toasts, 215
James II., Dwight bust of, 141
Japanese decoration adopted in Staffordshire, 273
Japanese incised work imitated, salt glaze, 212
Jasper ware, definition of, 30;
Adams, 259-263;
Turner, 263-265;
Wedgwood, 240-249;
_solid_ and _dip_, definition of, 247
J. E. & S. as a mark, 477
Jervaulx Abbey, tiles from, 84
Jinkcuson, name on salt-glazed jug, 212
Jonson, Ben, quoted, Bellarmine jugs, 134
J. R. as a mark, Ridgway, 479
J. W. R. as a mark, Ridgway, 479
K
Keeling, A. and E., 281
Kilns, the various, description of, 48
L
L., Leeds mark, 289, 310
Lakin, 281;
prices, 284
Lakin & Poole, 281 (lustre ware), 433;
mark, 381;
prices, 284
Landré, Mrs., figure designer (Wedgwood), 240
Late Staffordshire ware, 443-483;
marks, 473
Lambeth delft, =106-113=;
summary of, 67;
prices, 129
Lancastrian Pottery, 466
Landscape subjects after Claude, in earthenware, 276
Lead-glaze, definition of, 29;
early experiments, 174;
improvements in, 232
Leeds ware, =287-301=;
basket-work, 297;
best period of, 290;
decorated at Lowestoft, 301;
decorated at Yarmouth, 378;
figures, 76;
figures, prices, 385;
a fine collection of, 56;
fraudulent, 63;
marks, 289, 310;
prices, 312
Leeds Pottery Co., 288
Leeds Pottery (lustre), 436
Lewes Priory, tiles from, 84
Lion as a mark, 289, 311
Littler, William, lead glaze, 232;
salt glaze, 207, 208
Liverpool, fine collection of, 56;
(_cream ware_), =402-404=;
figures, 77;
prices, 419;
(_delft_), =118-125=;
prices, 130;
tiles, subjects of, 125
Lockett, J. and J., 281
Lockett, J., & Sons (lustre ware), 436
London as a mark, 350
Longton Hall, blue used on salt-glazed ware, 207
Lovers' teapots, 208
Lowesby Pottery, 400;
prices, 419
Lowestoft, Leeds ware decorated at, 301
L. P. (Leeds), mark, 288
L. P., monogram, as a mark, 481
Lustre ware, =423-439=;
definition of, 30;
first use of lustre, 430;
marks, 430, 433, 435, 436, 439;
prices, 439;
summary of, =77=, =78=;
copper lustre, 435;
Wilson, 269, 282;
silver lustre as a decoration to figures, 377;
silver or platinum, =429-436=;
silver, J. Aynsley, 279;
various classes of, 424
M
M. as a mark (Minton), 450
M. & Co. as a mark (Minton), 476
M. & B. as a mark (Minton & Boyle), 476
M. & N. as a mark (Mayer & Newbold), 281
Malling jug (Tudor earthenware), 130
Marbled ware, definition of, 30;
summary of, 70
Marbling on early vases, 68
_Marks_ (see under special class of ware), their use and value, 30;
used fraudulently, 64
Marseilles earthenware imitates Dresden models, 43
Martin, Maria, of Red Barn, in earthenware, 482
Mason (ironstone china), 450;
marks, 477;
prices, 482
Mason, Miles, 349
Masonic plates (J. Aynsley), 348
Mary, Queen, portrait of, on jug, 137
Mayer, E., lustre, 430;
prices, 284
Mayer & Newbold, 281;
lustre ware, 436
Mayer, E., & Son, 281
Mayer, E. J., 281
Mayer, Elijah, 151, 269, 274;
glazed black ware, 305
Mayer & Elliott, 281
Mediæval tiles, 83;
summary of, 66
Meigh, 79
Meigh, C., & Sons, 457;
lustre ware, 436
Meir, F., 281
Meir, John, 66
Meissen, imitation of Wedgwood by, 247
Metal imitated: Wedgwood, silver lustre, 229
Metal designs copied at Leeds, 294
Metal dies used by Elers, 195
Metal stamps, used for ornament in earthenware, 142
Metal workers, influence of, upon pottery: Elers, 195;
Wedgwood, 196
Metropolitan slip ware, 95
Meyer, Joseph (mark), 275
Middlesbrough Pottery (mark), 350
Milton, bust of (R. Wood), 369;
prices, 386
Minton, 79;
marks, 476;
prices, 482;
(Thomas), 330, 348, 449;
(Herbert), 449
Modern, earthenware when considered, 30
Modern silver lustre teapots, 423
Modern spirit, the beginning of the, 249
Monglott, Swiss artist (Adams), 260
Moore & Co. (Sunderland), 306
Morley (Nottingham) (seventeenth century), 69
Morley, Charles (Nottingham), 151
Morley, John (of Nottingham), 146
Morr & Smith, 281
Mortlock as a mark, 305, 311
Moseley, 281
M. P. Co. as a mark (Middlesbro'), 350
Museums where earthenware is exhibited, 56
Musicians, earthenware figures of, 381
Myatt, 281
N
Namur, stoneware of, 137
Napoleon, bust of, 374;
caricatures of 152, 337;
in lustre ware, 435;
in stoneware, 465
Nash, Joseph, 66
National character in early Staffordshire ware, 160
National spirit in earthenware, 186
Nautical subjects in earthenware, 334
Neale & Co., figures, 370;
marks, 266
Neale & Palmer marks, 266;
prices, 283
Nelson jugs, 461
Newcastle lustre, 428;
transfer-printing at, 330
Newcastle ware, =306-310=;
prices, 313
New stone B B. (Minton), 476
Nineteenth-century commemorative ware, 457
Nineteenth-century developments, 78, 79
Niderviller earthenware imitates Dresden models, 43
Nottingham ware, early, 204;
summary of, 69;
prices, 155-156;
stoneware, 151-152
O
Omar Khayyam quoted, 48
Opaque china, 79, 446;
Haynes (Swansea), 399
Opie, Amelia, quoted, 461
"Orator Hunt" on late earthenware, 458
Oriental decoration adopted in Staffordshire, 273;
designs at Leeds, 298;
styles imitated (Leeds), 290
"Oriental ivory" as a mark (Powell & Bishop), 480
Oven, description of, 31, 48, 51
Over-glaze, definition of, 29;
printing, description of, 325
P
P as a mark (Lancastrian Pottery), 481
Palmer, Henry, 265;
marks, 266;
prices, 283
P & B as a mark (Powell & Bishop), 480
P. & U. (Poole & Unwin), lustre ware, 436
Pardoe, Thomas, painter (Swansea), 399
Parson and Clerk group, 365
Paste, definition of, 31
P. B. & Co. as a mark (Pindar, Bourne & Co.), 477
Pearl ware (Wedgwood), 238
Peasant pottery of nineteenth century, 381
"Pelican in her Piety" (Toft dish), 95
Pennington (Liverpool), 403;
marks, 417
Pharmacy jars, 106;
(Lambeth), 113
Phillips, J. (Hylton Pottery), 306
Phillips (Longport), 281
Phoenix as a mark (Clementson), 280
Pilkington, Messrs., 466
Plagiarists of Wedgwood, 257, 265
Plaster of Paris moulds first introduced, 207
Political events chronicled in earthenware, 333
Poole & Unwin (lustre ware), 436
Porcelain colours imitated in earthenware, 273
Porcelain copied in earthenware, 43;
made by earthenware potters (Caughley), 407;
(Minton), 449;
(Rockingham), 305;
(Staffordshire), 444;
(Swansea), 399
Portland Vase, 249
Porto Bello Bowl, the, 147
Portraits in earthenware: Bonaparte, 337, 435, 465;
Brougham, 465;
Cobbett, 465;
Duke of York, 321;
Grey, 465;
James II., _bust_, 141;
King of Prussia, 318;
Nelson, 461;
Prince Rupert, _bust_, 138;
Rousseau, _bust_, 240;
Washington, 338;
Wesley, _bust_, 374;
William III., 137;
Young Pretender (salt-glaze), 215
Posset-pot inscribed "Wm. Simpson, 1685," 95
Potter's wheel, the, 48
Pountney & Allies (Bristol), 407
Pountney & Co. (Bristol), 407
Powell & Bishop (mark), 480
Powell & Sons, Messrs. James, 231
Pratt, 281
Prices, hints concerning, 59;
dealers', 59
Prince of Wales's Feathers as a mark, 480
Prince Rupert, Dwight bust of, 138
Printed ware, =317-350=
Printing on earthenware, at Leeds, 293;
over-glaze, description of, 325;
under-glaze, description of, 326
Prussia, King of, mugs and jugs (Worcester), 318
Puritan influence on earthenware, 95
Q
Queen's ware (Wedgwood), 232
Queen's ware, its decoration, 238, 239
Quin as _Falstaff_, figure of, 374
R
Railway mugs, 462
Railway, Liverpool and Manchester, inscription on jug, 462
Raren, stoneware of, 137
Rathbone, Mr. Frederic (Wedgwood), 24, 25, 227
R. B. & S., Leeds mark, 289, 310
Reasons for collecting, 35
Red Barn murder, in earthenware, 482
Redrich & Jones, patent of, 170
Red ware, Wedgwood, 230
Reform days, commemorative ware, 465
Reid, W. & Co., Liverpool, 403;
marks, 417
Renaissance of Staffordshire, 165
Resist pattern, definition of, 31
"Resist" silver lustre, how made, 434
Rhodes, salt-glaze enameller, Leeds, 211
Ridgway, 79;
prices, 483
Ridgway, J. & W., 349;
marks, 479
Ridgway, Morley, Wear & Co., 454;
mark, 349
Riley, 79, 281;
semi-china, 449
Riley, J. & R., 349
Ring, Joseph, Bristol, 404
R. M. W. & Co. as a mark, 349
Robinson, salt-glaze enameller (Leeds), 211
Rockingham, 302;
prices, 313
Rogers, 281
Rogers, John, & Son (mark), 477
Rous, Thomas, 138
Rousseau, bust of, 240
Royal portraits, on delft, 109;
on stoneware, 137;
on Toft ware, 91;
bust of James II., 141;
King of Prussia, 211, 318;
bust of Prince Rupert, 138;
Duke of York, 321
Ruskin Pottery, mark, 481
S
S as a mark, 408, 418
"Sack" bottles, 106;
fraudulent, 60, 110
Sadler & Green, 122
Sadler Liverpool tiles, signature of, 121
Saggers, definition of, 31;
description of, 48
St. Alban's Abbey, tiles from, 84
St. Anthony's as a mark, 306
Salopian earthenware, 407;
prices, 419
Salopian, earthenware figures, 77
Salt, 281
Salt, Ralph, figures of, 378;
School of, figures, 76
Salt-glaze, definition of, 29;
description of process, 199
Salt-glazed ware, =195-217=;
classes of, 207;
coloured, fraudulent, 60;
defects of, 222;
figures, 74, 181;
prices, 216;
rivalry with early Staffordshire, 178;
summary of, 69
S. & G. (mark), Isleworth, 411, 418
Satire, earthenware the medium for political, 333
S. B. & S. (mark), Leeds ware, 289, 311
Scieux earthenware imitates Dresden models, 43
Scott Brothers (Sunderland), 306
"Scratched blue," salt glaze, 208
Semi-china, definition of, 31
Semi-porcelain, 446;
definition of, 31
Sewell, 306
Sewells & Donkin, 306
Sèvres, imitation of Wedgwood by, 247
Shakespeare, quoted (potter's wheel), 48;
willow pattern, 343
Shaw (Liverpool), 403
Shaw, Ralph, 148, 207
Shaw, Robert, 66
Shell forms used in earthenware, 238
Ships as decoration on delft (Liverpool), 67
Shore & Goulding, 411
Shore, Joseph, 411
Shorthose, 281
Shorthose & Co., 348
Shorthose & Heath, 282
Siegburg, stoneware of, 137
Silver designs, in earthenware, 195, 196, 229;
copied at Leeds, 294;
imitated (Hollins), 275
Silversmith, influence of, upon earthenware (Elers), 195;
(Wedgwood), 196
Silver lustre as a decoration to figures, 377
Silver lustre ware, =429-436=;
J. Aynsley, 279;
marked pieces, 430, 433;
prices, 439;
summary of, 78
Simpson, Ralph, 95
Simpson, William, 95;
petition of, 137
Slip, definition of, 31, 47
Slip ware, 87;
prices, 97;
summary of, 66
Sneyd, 282
Solid agate ware, 170;
Wedgwood, 228;
definition of, 27
"Solid" jasper, definition of, 247
Solon, Mr., quoted (mediæval tiles), 84
Spode, Josiah (the first), 269, 330, 339;
Josiah (_the second_), 270, 348, 443;
marks, 474;
prices, 481
Sporting subjects in earthenware, 269, 270, 338
"Spur" marks, 298; definition of, 31
Squirrel pattern teapots, 212
Staffordshire delft, prices, 129;
early ware, =161-192=;
figures, =357-389=;
figures, best period of, 362;
figures, decadent period of, 378;
potters ahead of the Continent, 177;
potters confined to earthenware, 237;
pottery, its renaissance, 165;
the transfer-printers of, 329
Steam carriages, on earthenware, 462
Steel, 282
Steele, David, painter, 232
Stevenson, A., 348
Stevenson, W., 282
Stockton-on-Tees potteries, 306
Stone china, 79;
marks, 474-477
Stoneware, =133-156=;
definition of, 32, 40;
Lambeth (nineteenth century), 465;
prices, 152;
summary of, =68-70=
Stothard, Thomas, 248
Stuart, stump work pictures, similarity to Toft ware, 91
Stubbs, George, 248
Stubbs, Joseph (mark), 349
Sunderland School, figures of, 77
Sunderland ware, 306-310;
lustre, 428;
Moore & Co., 306;
prices, 313;
transfer-printing, 330
Surface agate ware, 169;
definition of, 27;
Wedgwood, 228
Swansea, =395-400=;
figures, 77;
marks, 415;
prices, 418;
transfer-printing at, 330
Syntax, Dr., tour of (on earthenware), 280
T
=Tables=, chief events of eighteenth century, 158;
dividing earthenware into classes, 55
Tabor, William, 66
Tassie, James, 248
Templeton, Lady, 248
Tennyson, quoted, 258
Thrower, the, 48
Thursfield, Maurice, 306
Tiles, Bristol delft painted, 67, 114;
printed, 121;
mediæval, 83;
transfer-printed (Liverpool delft), 67
Titles of Puritan books, strange, 95
Toby, jugs, 366, 374; fraudulent, 63
Toft, John, name on teapot, 212
Toft, Thomas, Toft, Ralph, 66
Toft, ware, =88-95=;
prices, 97;
summary of, 66
Tomlinson & Co., 309
Tortoiseshell ware, 170, 177;
summary of, 70;
Castleford, 302;
Castleford (D. D. & Co.), 174;
Liverpool, 174
Transfer-printed ware, =317-350=;
marks, =347-350=;
prices, 350
Transfer-printers, the Staffordshire, 329
Transfer-printing, definition of, 32;
description of, 322;
in outline, 347;
its adoption in Staffordshire, 321;
at Battersea, 318;
at Caughley, 318;
at Derby 318;
at Leeds, 293;
at Liverpool, 318;
at Newcastle, 330;
in Staffordshire, 329;
at Sunderland, 330;
at Swansea, 330, 396;
at Worcester, 318
Triangle as a mark (Powell & Bishop), 480
Tudor jugs, 126;
prices, 130
Turner, John (Lane End), 235, =263-265=, 330;
marks, 348;
prices, 283
Turner, Thomas (of Caughley), 270, 329, 339;
marks, 418
Turner, William and John, 348
Turnor, Ralph, 66
Twentieth century collector, the, 466
Twyford, early salt glaze, 204
U
Under-glaze, definition of, 29
Under-glaze printing, description of, 326
V
Van Hamme (Lambeth), 67;
his patent (Delft), 106
Variegated ware, =169-174=;
summary of, 70;
"tesselated" style, 173;
Wedgwood, 228
Vernon, Admiral, victory of Porto Bello, 334
Verse on earthenware, 334, 337
Vicar and Moses group, 362, 365;
fraudulent, 63
Viellard & Cie (Bordeaux), 215
Voltaire, bust of, 240
Voyez, modeller, 265, 370
W
W as a mark (lustre ware), 435;
(Myatt), 281
Wainwright & Co. (Leeds), 288, 310
Walton, 282;
(John), figures by, 378
Walton School, figures of, 76
Warburton, 222, 232, 282
Warburton, Peter (lustre ware), 430, 435
Warburton, Britton & Co. (Leeds), 288
Washington, portraits of, 338
W & B as a mark (W. Brownfield), 478
W B as a mark, 478
W B & S as a mark, 478
Wedgwood, Aaron (lead glaze), 232
Wedgwood, Josiah, as a potter, 227;
his views of Elers, 163;
influence of, 249;
gold lustre, 427;
under-glaze blue, 330;
Josiah _the second_, 348
Wedgwood, Ralph, 348
Wedgwood, Dr. Thomas, salt glaze, 207
Wedgwood ware, =221-254=;
figures, 370; influence, the wane of the, 276;
marks, 251-253;
printed at Liverpool, 240;
prices, 253, 254;
school, 257;
figures of, 75;
old cream ware designs, revival of, 231
Wedgwood & Co. (of Burslem), 348
"Wedgwood & Co.," spurious mark, 309
"Welsh" ware (Isleworth), 411
Wesley, John, busts of, 374
Wheel, the potter's, 48
Whieldon (Thomas), =159-193=;
prices, 187
Whieldon School, figures of, 75
Whieldon ware, definition of, 32;
prices, 187-192
Whitefriars Glass Works, 231
Whitfield, George, busts of, 374
Wilcox, Mrs. (Etruscan ware), 248
Wilkie's pictures on earthenware, 280
William III., portrait of, on jug, 137
Willow pattern at Caughley, 329;
at Leeds, 298;
at Swansea, 396;
Chinese original of, 339;
where first made in England, 329;
story of the, 340
Wilson, 282;
(D. Wilson & Sons) marks, 269
Wilson, Robert (marks of), 266
Wincanton Delft, 125;
summary of, 68
Wood (Aaron), salt-glazed basket-work, 212;
salt glaze, 207
Wood, E., 282;
prices, 284
Wood, Enoch, 373;
mug, 186;
(Turner jugs), 264;
use of bone ash, 444
Wood, Enoch, & Sons, 282, 349
Wood & Caldwell, 282, 373;
lustre, 430, 433
Wood and Caldwell School, figures of, 75
Wood family, the, Staffordshire figures, 362-370
Wood, Ralph, 362;
prices, 284;
variegated ware, 173
Wood School, figures of, 75
Worcester, transfer-printing at, 318
Workmen, trained, transferred to new factories (Liverpool), 403;
(Minton), 330;
(Shelton), 404;
(under-glaze blue printing), 329
Worthington, Liverpool, 403
Wright, John, 66
Wrotham (Kent) ware, 87;
prices, 97;
summary of, 66
W. S. & Co. (William Smith & Co.), 309
Y
Yarmouth, Staffordshire figures decorated at, 378
Young, W. W., painter (Swansea), 399
UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON.
Transcriber's Notes
In the text version of this book, italic text is marked _italic_
and bold marked =bold=. The text also contains some single character
pottery marks and these are represented as e.g. +C+
Blank facing pages to illustrations are included in this books page
numbering system (although they are not marked). These page numbers
are not shown in the html version of the text.
Minor punctuation errors and inconsistencies in spelling and
hyphenation have been corrected.
p 488.
Derby (earthenware), 408;
(Pot Works mark, 349;
changed to:
Derby (earthenware), 408;
(Pot Works) mark, 349;
p 496.
((under-glaze blue printing), 329
changed to:
(under-glaze blue printing), 329
p 153.
Raised medallion with crown and G.R. (Period of George I.
changed to:
Raised medallion with crown and G.R. (Period of George I.)
p 243.
Added a closing quote to _à la Grecque_."
p 365.
including bust of _John Wesley_
changed to:
including a bust of _John Wesley_
p 395. Caughley or Salopian (1751-1775) Derby,
changed to:
Caughley or Salopian (1751-1775)--Derby,
End of Project Gutenberg's Chats on Old Earthenware, by Arthur Hayden