Fenton Low, one of the most eminent potters of his day, and they
remained together five years; while here Wedgwood also produced that
fine green glaze which covered his dessert services, in imitation of
leaves.
At the expiration of the partnership in 1759 Wedgwood returned to
Burslem, and commenced business on his own account at the "Churchyard"
works. He soon became so successful that he was compelled to enlarge his
establishment, and to take over the "Ivy House" works. He engaged the
services of his cousin, Thomas Wedgwood, who had gained his experience
at the Worcester works, and in 1765 he took him into partnership, and
three years later Thomas Bentley joined the firm. The first ware which
gained him reputation was his fine cream-coloured ware, which remained a
staple article from 1762 down to the time of his decease, and after
royalty had approved of it the name was changed to Queen's ware.
Wedgwood also produced, about this date, a sort of red ware, formed of
the same ochreous clay as was used by the Elers nearly a century before;
it required no glaze except what it derived from friction on the wheel
and lathe, and was covered with engine-turned ornament; and in 1766 he
began to make a black ware, which he called basaltes or black Egyptian.
The business increased so much that he was obliged to open a new
manufactory at ETRURIA in 1769.
In 1773 he made "a fine white terra-cotta of great beauty and delicacy,
suitable for cameos, portraits, and bas-reliefs"; this was the
forerunner of the jasper ware, which became by constant attention and
successive improvements the most beautiful of all his wares. In 1776
the solid jasper ware was invented, which, however, attained its
greatest perfection ten years later. In the manufacture of this elegant
ware Wedgwood largely employed sulphate of barytes, and for many years
derived great profits, none of the workmen having any idea of the nature
of the material upon which they were operating, until a letter
containing a bill of parcels referring to a quantity of the article fell
into the hands of a dishonest servant, who told the secret, and
deprived the inventor of that particular source of emolument: for when
the same article was made by those who employed inferior workmen, to
whom they only paid one-fourth of the salary given by Wedgwood, the
price of jasper ware became so reduced that he was unable to employ
those exquisite modellers whom he had formerly engaged to superintend
that branch of the manufacture.
[Illustration: FIG. 238.--VASE. _Of basaltes ware._]
[Illustration: FIG. 239.--THE PORTLAND VASE. _Of black and white
jasper._]
In 1785 a "jasper dip" was introduced, in which the white clay vessels
were dipped, and received a coating of jasper, instead of being jasper
throughout. This was considered a great improvement, and caused an
increase of 20 per cent. in the price.
[Illustration: FIG. 240.--TEAPOT, CADDY, AND PLATE. _With printed
transfer._]
Flaxman was engaged by Wedgwood and Bentley as early as 1775, and he
furnished them with drawings and models. After Bentley's death in 1780
Flaxman's fame as a sculptor obtained him more important work, but
still, as time permitted, he worked for Wedgwood up to the time of his
departure for Rome in 1787.
Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.
[Illustration: FIG. 241.--SIX JASPER CAMEOS.]
[Illustration: FIG. 242.--VASE. _Granite ground, with gilt festoons and
handles._]
[Illustration: FIG. 243.--EWER. _Of agate ware._]
[Illustration: FIG. 244.--AN OBELISK, _by_ RALPH WOOD, _and_ A TEA SET,
_by_ AARON WOOD.]
In 1773 RALPH SHAWE of Burslem took out a patent for chocolate-coloured
ware, striped with white and lined with white, glazed with salt. He
afterwards transferred his factory to France.
RALPH WOOD was established at Burslem about 1730, and was succeeded
about 1750 by his son AARON WOOD, who served his apprenticeship to
Thos. Wedgwood; he was a very clever cutter of moulds for stoneware
plates and dishes, with raised pattern borders, &c., which have been
erroneously termed Elizabethan. Cream ware is said to have been invented
by him. He was succeeded, about 1770, by his son ENOCH WOOD, who was
also a sculptor, and made many busts of eminent men. His successors were
Wood and Caldwell, who continued the manufacture of busts and groups.
[Illustration: FIG. 245.--STATUETTE. _Chaucer, by_ RALPH WOOD.]
MOSES STEEL was a manufacturer at Burslem in 1715. The name of a
descendant is found on a vase, with blue ground and white figures in
relief, in the style of Wedgwood, in the Victoria and Albert Museum.
[Illustration: FIG. 246.--VASE.]
SHELTON. ASTBURY of Shelton, early in the 18th century, made red crouch,
and white stoneware. It is said he derived his knowledge of mixing the
clays by pretending to be an idiot and obtaining employment at the
Elers' manufactory at Bradwell; after gaining their secret, he set up
in business against them.
The first use of calcined flints as an ingredient in the composition of
pottery is attributed to the younger Astbury; it led to the manufacture
of fine fayence, and paved the way for the great improvements afterwards
achieved by Wedgwood.
SAMUEL HOLLINS of Shelton established about 1760 a manufactory of fine
red ware teapots; he procured the clay from Bradwell. He was succeeded
about 1777 by T. and J. HOLLINS.
[Illustration: FIG. 247.--GREEN BOWL. _With ornaments in relief. Signed
"S. Hollins."_]
[Illustration: FIG. 248.--BASIN. _With white ground and blue figures in
relief. Stamped T. and J. Hollins._]
The NEW HALL CHINA WORKS at Shelton owed their origin to the purchase of
Champion's (Cookworthy's) patent by a company of potters in 1777, and
were the first porcelain manufactory in Staffordshire. The ware made
here was not of a fine character; inferior artists were employed in its
production, and it was never held in any great esteem. The manufacture
consequently soon fell to decay, after many changes. The mark is the
name of the works in a double ring.
[Illustration: FIG. 249.--CUP AND SAUCER. _Painted with flowers._]
BRADWELL. A potter to whom Staffordshire was indebted for great
improvements in the ware was JOHN PHILIP ELERS, who about 1690 came over
from Holland and settled at Bradwell. He was descended from a noble
family of Saxony.
Elers was a clever chemist, and discovered the art of mixing the clays
of Staffordshire to greater perfection than had ever before been
attained. He manufactured to a considerable extent an improved kind of
red pottery, in imitation of that of Japan, while by the addition of
manganese to the clays, he made a fine black ware, which a century
afterwards was adopted and improved by Wedgwood.
[Illustration: FIG. 250.--TEAPOT. _Of red ware, with flowers in
relief._]
HANLEY. Shaw mentions a Mr. MILES of Miles's Bank, Hanley, who produced
the brown stoneware about 1700. There is in the Victoria and Albert
Museum a fayence barrel of brown glaze with gilt hoops, dating
apparently from the first half of the 18th century, and it is impressed
with the name of Miles (see Fig. 251).
[Illustration: FIG. 251.--BARREL.]
ELIJAH MAYER of Hanley was a contemporary of Wedgwood. He was noted for
his cream-coloured ware and brown-line ware, but he produced many other
varieties. A vase of unglazed drab terra-cotta, with festoons, &c., in
relief, coloured (see Fig. 252).
[Illustration: FIG. 252.--VASE.]
He also produced basaltes ware tea services, with animals, &c., in
relief.
PALMER of Hanley was a great pirate of Wedgwood's inventions, and Mrs.
Palmer, who seems to have been the active manager of her husband's
business, engaged persons surreptitiously to obtain Wedgwood and
Bentley's new patterns as soon as they arrived at the London warehouse,
for the purpose of copying them. Palmer had a London partner of the name
of NEALE. They imitated Wedgwood's black Egyptian vases and other
inventions, and eventually his Etruscan painted vases. In 1776 Palmer
failed, and the business was carried on by Neale & Co., who by some
means discovered the secret of the jasper body. They became formidable
rivals of Wedgwood.
[Illustration: FIG. 253.--JARDINIÈRE. _Of blue and white jasper._]
[Illustration: FIG. 254.--VASE.]
J. VOYEZ of Hanley was a clever artist; he was employed by Wedgwood and
afterwards by Neale and Palmer.
FENTON. THOMAS WHIELDON of Fenton established a pottery in 1740; besides
the common household articles, he made fancy marbled ware. Aaron Wood
and Josiah Spode were his apprentices, and Josiah Wedgwood was in
partnership with him until 1759.
TUNSTALL. ENOCH BOOTH of Tunstall, and JOHN WARBURTON of COBRIDGE in the
same county, were extensive potters, and first made cream-coloured
pottery by the use of fluid glaze introduced by Booth.
WILLIAM ADAMS of Tunstall was a favourite pupil of Wedgwood, and while
with him executed some of his finest specimens of jasper ware. He
afterwards went into business on his own account, and carried on an
extensive trade.
[Illustration: FIG. 255.--JUG. _Of blue jasper._]
LANE END. JOHN TURNER of Lane End made a fine description of ware, and
his productions were the most successful imitation of Wedgwood's jasper,
with ornaments in relief, and only second to the latter's in excellence;
he also made a fine white stoneware.
[Illustration: FIG. 256.--SUGAR BASIN. _Of yellow clay, with figures in
relief._]
[Illustration: FIG. 257.--TEAPOT. _With medallion, figures in relief._]
LONGPORT. The Messrs. DAVENPORT of Longport made great improvements in
the manufacture of earthenware; they were celebrated especially for
their stone china. The manufactory was established in 1793, and has been
successfully carried on up to the present day in the same family.
[Illustration: FIG. 258.--CUP, COVER, AND SAUCER.]
[Illustration: FIG. 259.--DISH.]
LANE DELPH (now Middle Fenton). MILES MASON of Lane Delph early in the
last century produced some fine ware. The ironstone china was brought to
great perfection by Charles James Mason, and the forms were of a high
quality, very much resembling porcelain.
[Illustration: FIG. 260.--CUP, COVER, AND SAUCER.]
STOKE-ON-TRENT. THOMAS MINTON established a manufactory at
Stoke-upon-Trent in 1791; he was apprenticed to Turner of Caughley as an
engraver. His productions were of the useful kind, viz., services for
the table, in imitation of common nankin. He died in 1836, and was
succeeded by his second son, the celebrated Herbert Minton, who brought
the potter's art to great perfection. He largely increased the business,
and manufactured articles in earthenware, hard and soft porcelain, and
parian. Reproductions of Italian maiolica, Delia Robbia, Palissy, and
Henri II. ware were also extensively made by him. He died in 1858, and
was succeeded by Michael Daintry Hollins and Colin Minton Campbell, his
nephew and heir. The founder's grandsons afterwards succeeded to the
business; the firm of Messrs. Minton & Co. still exists, but there are
no members of the family now connected with it.
LIVERPOOL. Early in the 18th century, and probably much before that,
Liverpool was noted for the manufacture of pottery. Little is known of
its early history, and it was not until Mr. Jos. Mayer rescued from
oblivion many interesting particulars that anything like a succinct
account was published. In his interesting notice of the Art of Pottery
in Liverpool, we learn that the most celebrated of the early potters was
Alderman Thomas Shaw, who had works for making pottery in the beginning
of the 18th century; several large plaques and monumental slabs of his
make are in existence, dated from 1716 to 1756. About this time, there
seems to have been a large demand for punch bowls; as these formed the
principal ornaments on the sideboards of the middle classes, and
especially on board the ships, which were constantly going and coming in
the port, considerable pains were taken in decorating them, and many
are still in existence painted with ships, convivial mottoes, and
inscriptions.
[Illustration: FIG. 261.--MUG.]
Another important establishment was founded by Mr. John Sadler, the son
of a painter, who had learnt the art of engraving.
He was the inventor, about 1752, of the method of transferring prints
from engraved copper plates upon pottery, and in conjunction with Guy
Green, proposed to take out a patent in 1756, the draft of which is
still preserved, but they preferred keeping the invention secret to the
doubtful security of patent rights.
[Illustration: FIG. 262.--PUNCH BOWL.]
Wedgwood availed himself of this new mode of decoration, and sent his
Queen's ware weekly to Messrs. Sadler and Green to be printed.
[Illustration: FIG. 263.--TILES. _By_ J. SADLER.]
[Illustration: FIG. 264.--TEAPOT. _With portrait of Wesley._]
RICHARD CHAFFERS was the principal manufacturer of Liverpool; he served
his apprenticeship with Alderman Shaw, and in 1752 established a bank
for the manufacture of blue and white earthenware and fine porcelain,
which gained him great reputation; they were largely exported to our
American Colonies (now the United States).
His porcelain works were established about the same time as those of
Worcester and Derby, and his productions had a great sale in England.
The Liverpool establishments of PENNINGTON, PHILIP CHRISTIAN and RICHARD
ABBEY were on an extensive scale, but towards the end of the eighteenth
century only one of any importance survived, and that belonged to
Messrs. WORTHINGTON, HUMBLE and HOLLAND, who in 1796 established a large
manufactory on the south bank of the Mersey. As Wedgwood had christened
his settlement Etruria they called theirs Herculaneum. A larger capital
being required, in 1806 an increase of proprietors took place. The first
wares made here were Queen's and blue printed ware. About 1800 the
production of porcelain was commenced, the mark used being
"Herculaneum," or "Herculaneum Pottery." About 1836, when the factory
came into possession of Messrs. Case, Mort & Co., the mark used was a
bird called the liver, which forms the crest of the Borough of
Liverpool.
JACKFIELD, near Thursfield, in Shropshire. There was an old pottery here
about 1760. The ware was of a red clay, with a brilliant black glaze,
sometimes with scrolls and flowers in relief. Tea services are
frequently seen. The jugs were known in the locality as "black
decanters." About 1780 the works were taken by Mr. John Rose, and
subsequently removed to COALPORT, on the opposite side of the Severn,
where the well-known Salopian porcelain was made.
[Illustration: FIG. 265.--TEAPOT.]
Fig. 265. A black glazed teapot inscribed "Richard and Ruth Goodin,
1769."
FULHAM. The first successful imitation of the _grès de Cologne_ was made
by JOHN DWIGHT, an Oxfordshire gentleman, and in course of time it
almost entirely superseded the importation from abroad. This great
potter took out his first patent in 1671, and probably established a
manufactory at Fulham in that year, which was successfully carried on
through two patents of fourteen years each. The Fulham stoneware is of
exceedingly hard and close texture, very compact and sonorous, covered
with a salt glaze, of grey colour, ornamented with a brilliant blue
enamel in bands, leaves, and flowers, having medallions of kings and
queens of England in front, with Latin names and titles, or their
initials only.
Dwight produced a great variety of objects, and brought the potter's
art to a great perfection. The figures, busts, and groups are
exquisitely modelled, and will bear comparison with any contemporary
manufactures of Europe. A careful inspection will convince any
unprejudiced mind of the erroneous impression which exists, that until
the time of Wedgwood the potter's art in England was at a very low ebb,
and that none but the rudest description of pottery was made, without
any attempt to display artistic excellence. For here, a century before
Josiah Wedgwood's time, we have examples of English pottery which would
do credit to the atelier of that distinguished potter himself. John
Dwight died in the year 1737, and with him also departed the glory of
his manufactory at Fulham.
[Illustration: FIG. 266.--"LYDIA DWIGHT. _Dyed March 3, 1673._"]
LAMBETH. The next important pottery in England in the 17th century was
that of Lambeth. In the _History of Lambeth_ it is related that about
1650 some Dutch potters established themselves here, and by degrees the
industry became important, for the village contained no less than twenty
manufactories, in which were made the glazed pottery and tiles used in
London and various parts of England. The ware was very much of the
character of Delft, with a fine white creamy glaze, painted with
landscapes and figures in blue.
[Illustration: FIG. 267.--DISH.]
The white bottles or jugs, upon which are written the names of wines
accompanied by dates, were made here.
The trade flourished here for more than a century, until about 1780 or
1790, at which time the Staffordshire potters, by the great improvements
they had made in the quality of their ware, and having coal and clay
ready to their hand, were enabled to produce it at a cheaper rate, and
eventually beat the Lambeth potters out of the field.
The Lambeth potters, about the end of the 17th century, appear also to
have copied the forms of the Palissy ware, especially in large oval
dishes with initials and dates. Fig. 267 is an example of one of these
dishes.
YEARSLEY, in Yorkshire. A pottery of coarse character was made here in
the 17th century. A factory was established by an ancestor of Josiah
Wedgwood about the year 1700; and on the estate of Sir George Wombwell
fragments of pottery, of a coarse brown ware, with lead glaze, have been
frequently found on the site of the old manufactory.
There was also a manufactory established at the Manor-house, YORK, about
1665, of which little is known except the mention of its existence by
Ralph Thoresby and Horace Walpole; although it is by the former
erroneously called porcelain, the ware was actually a fine stoneware,
with a salt glaze.
DON POTTERY. There was a pottery on the river Don, near Doncaster,
established by Mr. John Green of New-hill, who came from the Leeds
pottery about 1790. In 1807 some other members of his family joined the
firm, and it was for a short time "Greens, Clark, & Co."
[Illustration: FIG. 268.--TEA CADDY. _Of yellow clay, ornamented with
chocolate brown appliqué medallions of female figures in relief._]
The Don Pottery was very similar to that of Leeds, frequently producing
pierced work-baskets, vases, dinner, dessert and tea services, &c.
LEEDS. This ware was made by Messrs. Hartley, Greens, & Co. in 1770. It
is of a sort of cream colour, and has much perforated or basket-work,
sharply cut out of the borders in various patterns. Important
centre-pieces with figures were also made here.
[Illustration: FIG. 269.--CHESTNUT BOWL AND COVER.]
CASTLEFORD, about twelve miles from Leeds. Here David Dunderdale
established works in 1790 for the finer kinds of pottery, especially
Queen's ware and the black Egyptian.
[Illustration: FIG. 270.--TEAPOT. _With ornaments in relief, of white
ware edged with blue._]
SWINTON, near Rotherham. Initiated by Edward Butler in 1757, on the
estate of the Marquis of Rockingham. In 1765 it was carried on by
William Malpas, and in 1778 by Messrs. Bingley, Brameld, & Co., who
enlarged the works, and made earthenware of a very superior quality.
Rockingham teapots, of a mottled chocolate colour, glazed inside with
white, were in great repute. But the aims of the Messrs. Brameld were of
a higher character, and some works of artistic merit were produced. When
the Rockingham works were closed in 1842 many of the moulds were
purchased by Mr. John Reed, and transferred to the Mexborough pottery.
[Illustration: FIG. 271.--TEAPOT.]
NEWCASTLE-ON-TYNE. There were some extensive manufactories here at the
end of the 18th century for making Queen's ware, some of which is
perforated like that of Leeds, and has wicker pattern borders. Some of
the earthenware mugs have a pink metallic lustre, and are ornamented
with transfer engravings. On the inside was usually a toad in relief.
[Illustration: FIG. 272.--DISH. _Of Queen's ware, marked "fell."_]
[Illustration: FIG. 273.--MUG. _With printed monument of Lord Nelson;
inside is a toad; marked "Fell & Co., Newcastle Pottery."_]
ST. ANTHONY'S, about 2-1/2 miles from Newcastle-upon-Tyne. Established
by Sewell & Donkin in 1780. Queen's ware and pink metallic lustre, also
printed subjects, were produced; pierced wicker baskets, like that of
Leeds, were also made.
[Illustration: FIG. 274.--JUG. _With cupids in relief, coloured with
pink metallic lustred clouds._]
NOTTINGHAM. Stoneware was made here in the first half of the 18th
century; it usually has a dark brown glaze, with a slightly metallic
lustre, is very hard and durable, and is frequently ornamented with
outlines of stalks and flowers, especially the pink.
[Illustration: FIG. 275.--MUG. _Inscribed, "Made at Nottingham, the 17th
August 1771."_]
[Illustration: FIG. 276.--JUG. _In the form of a Bear._]
GREAT YARMOUTH. A potter named Absolon about 1790 decorated pottery of
the cream colour. The favourite subjects are single flowers and plants,
with their names on the back of the piece.
[Illustration: FIG. 277.--PLATE.]
LOWESBY, in Leicestershire. A pottery was established by Sir Francis
Fowkes, about the year 1835. Red terra-cotta with black enamelled
ornaments, in imitation of Wedgwood, was made.
[Illustration: FIG. 278.--GARDEN POT.]
[Illustration: FIG. 279.--VASE.]
BRISTOL. At REDCLIFFE BACKS a manufactory of Delft ware was carried on
in the 18th century by Richard Frank.
At TEMPLE BACKS, Bristol, Joseph Ring, son-in-law of Cookworthy (after
the porcelain works had been relinquished in 1777), opened a manufactory
called the "Bristol Pottery." It was continued for many years, and
about 1820 it was occupied by Messrs. Pountney & Allies. The articles
produced were similar to those of the superior potteries in
Staffordshire.
[Illustration: BRISTOL (Redcliffe Backs)
FIG. 280.--TILES. _St. Mary Redcliffe Church._]
CADBOROUGH, near Rye in Sussex. A pottery was established here early in
the 19th century for the manufacture of common sorts of pottery, but
some vases of glazed ware of elegant forms were also produced. The
works are now carried on at Bellevue Pottery, Rye.
[Illustration: FIG. 281.--VESSEL. _In form of a pig._]
SWANSEA. Established about 1750; it was greatly enlarged by George
Haynes in 1780, who styled it the "Cambrian Pottery." In 1802 the works
were purchased by Lewis Weston Dillwyn, and about 1810 an improved ware
was made which was termed _opaque porcelain_; with the assistance of
Young, a draughtsman employed in delineating natural history, the ware
became remarkable for its beautiful and truthful paintings.
The early Swansea ware was elegant in form, and frequently covered with
a deep blue glaze.
[Illustration: FIG. 282.--DISH. _Mark, Swansea and letter C._]
GREAT BRITAIN
PORCELAIN
The manufacture of porcelain in England began much earlier than has been
generally supposed, and the invention was patented in England by John
Dwight of Fulham in 1671, while that at St. Cloud was not patented until
1702, thirty years afterwards.