Burslem--Early Potters--Earthenware Gravestones--Toft--Talor--Sans
--Turnor--Shawe--Mitchell--Cartwright--Rich--Wood--Wood & Caldwell
--Churchyard Works--Bell Works--Red Lion Works--Big House--Ivy
House--Lakin & Poole--Waterloo Works, Boote & Co.--Washington
Works--Nile Street Works--Newport Pottery--Dale Hall--Stubbs--Bates,
Walker & Co.--Mayer & Co.--Dale Hall Pottery--Rogers--Edwards &
Son--Dale Hall Tile Co.--Albert Street Works--Mersey Pottery--Steel
--Maddock & Son--New Wharf Pottery--Over House Works--Swan Bank
Pottery--Hill Top Pottery--Hill Pottery China Works--Crown
Works--Scotia Works--Queen Street Works--Hill Works--Ralph
Wood--Sylvester Pottery--High Street Pottery--Sneyd
Pottery--Hadderidge Pottery--Navigation Works--Sytch
Pottery--Kilncroft Works--Albert Pottery--Waterloo
Works--Central Pottery--Longport--Davenports--Terra
Cotta--Brownhills--Wood--Littler--Marsh and
Heywood--Brownhills Pottery Company--Cobridge--Cobridge
Works, Brownfields--Clews--Furnivals--Bates & Bennet--Abbey
Pottery--Villa Pottery--Cockson & Seddon--Allcock & Co.--Elder
Road Works--Warburton--Daniel, &c.
BURSLEM.
Plot, writing in 1686, says, “the greatest pottery they have in this
county is carried on at Burslem, near Newcastle-under-Lyme, where for
making their different sorts of pots they have as many different sorts
of clay, which they dig round about the towne, all within halfe a
mile’s distance, the best being found nearest the coale,” &c.[45] The
town has earned for itself the name of “mother of the potteries.” In
the early part of the eighteenth century, the potters in Burslem appear
to have been as follows:--
Thos. Wedgwood (2).
John and Samuel Cartlich.
Robt. Daniel.
Thos., Isaac, and Rcd. Malkin.
Dr. Thos. Wedgwood.
Wm., Rcd., and Jhn.(3) Simpson.
Thos. Cartwright.
John Wedgwood.
Robt. Bucknall.
Isaac Wood.
Richard Wedgwood.
Thos. Taylor.
Wm. Harrison.
John and Robt. Adams.
Moses Marsh.
Aaron Shaw.
Thos. Mitchell.
J. Warburton.
J. Bagnall.
Aaron Wedgwood
H. (?) Marsh.
Moses Shaw.
Isaac Ball.
Saml. Edge.
Thos. Lockett.
J. Tunstall.
Moses Steel.
Hugh Mayer.
J. Stevenson.
H. Beech.
Ralph Daniel.
In 1750 the potters--_i.e._ owners of pot-works--appear to have
been--
Moses Copeland.
John Marsh.
Ralph Allen.
Moses Marsh (two).
Aaron Shaw.
John Daniell.
Richd. Parrott.
Thos. Cartlich (Olding).
E. Astbury.
Saml. Malkin.
John Adams.
Ralph Adams.
Wm. Lockett.
Robt. Daniell.
Thos. Steel.
Samuel Cartlich.
Maria Locker.
John Heath.
Richd. Onions.
Aaron Clowes.
Ephraim Booth.
John Taylor.
Thos. Taylor.
Joseph Simpson (two).
Clark Malkin.
Thos. Mitchell.
John Mitchell.
Josiah Simpson.
Taylor (two).
William Burn.
J. Ball.
Aaron Cartlich.
Timothy Lockett.
&c.
A century later, in 1843, according to Ward, the potters then at work
were Enoch Wood and Sons; Samuel Alcock & Co., who occupied their
pot-works at the Hill Top; Machin and Potts (formerly Machin and
Baggaley), at the Waterloo Works; Mellor, Venables & Co., Hole House;
Thomas Godwin, Burslem Wharf; John WedgWood, Hadderidge; Barker,
Sutton, and Till, Liverpool Road; Peter Hopkin, Market Place; William
Pointon, Green Head; Samuel Mayer & Co., Waterloo Road; Joseph Hawley,
Waterloo Road; Maddock & Seddon, Newcastle Street; James Vernon & Co.,
High Street; James and Thomas Edwards, Kiln Croft; Cork and Condliffe,
Queen Street; Nehemiah Massey, Bournes Bank; Ann Holland, Hill Top;
Daniel Edge, Waterloo Road; Jones and Bell, Bell Works; and those not
then occupied were the Churchyard Works (late J. and J. Jackson), the
Big House Works (formerly Thos. Wedgwood), the Hamill Street Works
(formerly Cartlidge and Beech), the Knowl Works (formerly Breezes), and
the Navigation Works, late John Waltons.
Many of the names in the earliest of these lists will be recognised
as those of successful potters even of our own day. Burslem, long the
centre of the pot-making district, was the place where the Wedgwoods
had their various works, and where Josiah Wedgwood was born. It
has, therefore, always been, as it is now, a place of considerable
importance in connection with the history of the ceramic art of our
country. It is manifestly impossible, nor would it be desirable, to
enumerate all the firms from that time forward. The following are
some of the more noted houses, exclusive of the Wedgwoods, to whom a
separate chapter will be devoted. Shaw, in 1829, mentions that besides
the various manufactories held by Enoch Wood and Sons, there were about
twenty-six other pot-works, the principal of which were Machin & Co.,
T. and B. Godwin, T. Heath, J. Cormie, J. Hall & Sons, and John Riley
Marsh.
[Illustration: Fig. 345 to 347.
ThomAs:
PAin 1718
W:M
1·7·3·7
R:M
1·7·3·7]
A very interesting matter relating to the history of pottery in this
locality is the number of coarse earthenware gravestones which may
be noticed in the churchyards at Burslem, Wolstanton, and elsewhere.
They are formed of the common dark brown marl, or sagger clay, and
the inscriptions are generally deeply incised, or pressed in. In some
instances, however, they are laid on in white slip, and in others
the incised letters are filled in with white clay. They are fired in
the usual manner. The earliest, as regards date, which I noticed on
my cursory examination of the two churchyards just mentioned, is at
Wolstanton, and bears the inscription, “ThomAs PAin 1718.” (Fig. 345).
In the same churchyard are other earthenware memorials of various
dates, the latest of which is 1828, viz., “William Heath departed this
life 14 February, 1828 aged 6 weeks.”
Among others of which I made notes in the same churchyard are--
“_Here Lyeth the Body of John Bin[ns] who Departed this Life
November the [] 4 1751 Aged 41 years._”
“Here lieth the body of Samuel Willshaw died th 20 1755 aged 11
[?]”; at the top are the remains of cherubs’ wings.
“_Here Lyeth the Body of Thos. Son of William and Mary Rowley
of Red Street who Died November the 17 in the year 1767 in the 7
year of His age._”
“_Here Lieth the Body of Mary Meller who departed this Life
January the 6th 1750 aged 10._
_Short was my time
Grate was my pane
Weep not for me
Great is my gaine._”
“Here lieth the Body of Esther Vernon aged 51 1745”;
“Here Lyeth the Bodey of Thomas Coleough aged 70 1737”; and so on.
The other engravings are from Burslem churchyard--the same ground in
which some of the older of the Wedgwoods are buried, and adjoining
which Thomas Wedgwood’s “Churchyard Works” stood when Josiah Wedgwood
was an apprentice there, and still exist. They are early (1737) and
good specimens of these interesting memorials. Another bears the simple
inscription, “Elesbeth Malkin Aged 96: 1745.” Many others of various
dates occur.
* * * * *
_Toft._--The name of Toft is intimately connected with pottery,
both in Staffordshire and Derbyshire. The names of Thomas Toft and
Ralph Toft occur on large coarse earthenware dishes of the middle
of the seventeenth century (see vol. i. pages 101 to 104), some of
which are dated. The material of the body of Toft’s dishes platters,
and other domestic articles, is a coarse, reddish, or buff-coloured
clay--a common fire-brick clay--and the patterns are laid on in yellow,
white, or other coloured slip, and then thickly glazed over with a lead
glaze. I have reason to believe that some of the Tofts were potters at
Tickenhall (which see, page 152).
[Illustration: Fig. 348.
THOMASTOFT]
[Illustration: Figs. 349 to 362.--Examples of early Staffordshire
Wares, Museum of Practical Geology.]
* * * * *
_Talor._--Apparently contemporary with the Tofts, or at all events
producing precisely the same kind of dishes, &c., was William Talor,
one of whose productions is in the Bateman collection. He was probably
of Staffordshire, and most likely of the same family as the Taylors,
potters of Burslem, in the beginning of last century.
* * * * *
_Sans._--Another contemporary of the Tofts was William Sans, whom Shaw
states to have used manganese and pulverised galena in his processes.
The name Thomas Sans also occurs on an example.
* * * * *
_Turnor._--Turnor is a name so long and so intimately connected with
potting and Staffordshire, that it is fair to presume Ralph Turnor,
whose name ^{RALPH TURNOR}_{1681} occurs on a tyg of the same general
character as Toft’s dishes, belongs to that county.
* * * * *
_Shawe._--Ralph Shawe, of Burslem, “earth potter,” in 1733 took out a
patent for improvements in earthenware (see Vol. I. p. 110). In 1736
he commenced an action for infringement of his patent right, against
John Mitchell, an extensive potter of the same town, but was defeated
(p. 111). He removed with his family into France, where he carried on
his trade, but his family, about 1750, returned to Burslem. About 1710
Aaron Shaw was a maker of stone and dipped wares in Burslem, with a
house adjoining his works; and Moses Shaw (surely two brothers, Aaron
and Moses!) made stone and freckled goods at the same place, with a
house in the middle of the town.
* * * * *
_John Mitchell._--In 1736, this potter having succeeded in producing
ware very similar to that of Ralph Shawe, an action was commenced
against him by Shawe for infringing his patent. This was tried at
Stafford, but the defendant, being fully supported by his pottery
neighbours, gained the verdict, the judge concluding with the
memorable words, “Go home, potters, and make whatever kind of pots
you like.” Aaron Wood was at one time employed by Mitchell, whose
principal productions were white stoneware and salt-glazed ware. In
1743 an agreement was entered into between Aaron Wood, of Burslem,
“earth-potter,” and John Mitchell, of the same town, “earth potter,” by
which the former bound himself to the latter for seven years at 7_s._
a week, and 10_s._ 6_d._ on each 11th November.
* * * * *
_Cartwright._--The name CARTWRIGHT is stated by Shaw to occur on some
butter-pots, along with the date 1640. This maker, Cartwright, at
his death, in 1658, gave twenty pounds yearly to the poor of Burslem
for ever. Burslem, which, as I have already shown, was famed for its
butter-pots (in 1670 these were ordered to be made to contain not less
than 14 lbs., and to be of hard quality), was to some extent known as
the “butter-pot manufactory.”
* * * * *
_Rich._--Shaw (1829) describes a crouch-ware dish, bearing the name W.
RICH, 1702.
* * * * *
_Wood._--Ralph Wood, of Burslem, was a potter in the first half of last
century. He was probably brother of Aaron Wood, and son of Ralph Wood,
miller, of Burslem. Specimens of his ware, which is of the same general
character as Whieldon’s, bear the mark ^{Ra. Wood}_{Burslem} and others
R. WOOD, or “Ra. Wood.” Aaron Wood, son of “Ralph Wood, of Burslem,
in the county of Stafford, miller,” was apprenticed in 1731, to “Dr.
Thomas Wedgwood, of Burslem, potter;” the indentures being dated the
23rd August in that year.[46]
When out of his time Wood continued with the same master, Dr. Wedgwood,
for five years, at five shillings per week. Afterwards he worked
principally at making moulds for the then very fashionable embossed
ware, erroneously known as “Elizabethan ware” (at which he was
remarkably clever), for Thomas Whieldon and others. He next engaged,
as already stated, in 1743, with John Mitchell, of Burslem, a rival of
Dr. Thos. Wedgwood, to work solely for him for seven years, at seven
shillings a week, and half-a-guinea every 11th November. About 1750
he began business for himself in making salt-glazed white stoneware
or crouch-ware. Dying about 1780, he was succeeded by his youngest
son Enoch Wood, “the Father of Pottery” as he is sometimes called.
Enoch Wood was a good practical potter, and a modeller of no little
skill for the period. In 1781 he produced a bust of John Wesley (who
used to stay at his house when in the Potteries, and sat to him for
the purpose) which became very popular. He was at one time joined
in partnership by Mr. James Caldwell, under the style of “Wood and
Caldwell” (which see). In the early part of this century Mr. Wood
formed, at considerable labour, a collection of pottery, which, after
his death, was dispersed; some of his specimens are in the Museum of
Practical Geology, and others in the Dresden Museum. The firm in 1792
was carried on as “Enoch Wood & Co.,” and later on, after he took his
son into partnership, “Enoch Wood & Sons.” The marks, so far as I am
aware, used by Enoch Wood are E. WOOD, or ENOCH WOOD, or ENOCH WOOD &
CO., and later on, ENOCH WOOD & SONS impressed in the body of the ware.
The firm was succeeded by Messrs. Pinder, Bourne, and Hope.
[Illustration: Figs. 363 to 365.]
* * * * *
_Wood and Caldwell._--This firm (Enoch Wood and James Caldwell)
produced earthenware of very superior character, both in ordinary
articles and services of various kinds. Some of their tea-pots were of
admirable design and excellent workmanship. Busts and small statuettes
were also extensively made, as were highly ornamented candlesticks.
Good examples are found in the Jermyn Street Museum. The usual marks,
impressed, are
WOOD & CALDWELL or WOOD & CALDWELL.
BURSLEM
_Staffordshire_
Mr. Caldwell, who, I believe, was a “sleeping-partner,” was one of the
executors under the will of Josiah Wedgwood. He married a daughter of
Thomas Stamford (half brother to Mary Stamford, wife of Thomas Bentley,
the partner of Wedgwood), and by her was father of the late gifted and
popular authoress of “Emilia Wyndham,” &c., Mrs. Marsh-Caldwell, of
Linley Wood.
* * * * *
[Illustration: Fig. 366.--The Churchyard Works, Burslem.]
_The Churchyard Works._--The Churchyard Works, at the house adjoining
which Josiah Wedgwood was born, and where he was apprenticed to his
brother Thomas, form the north-east boundary of the “churchyard” of
the old church at Burslem. Since that time they have naturally been
much altered and enlarged, but the site is the same, and some of the
buildings now there are what stood and were used in his day. The house
in which he was born, taken down many years ago, stood near where
the present slip-house stands, but its site has since been occupied
by fresh buildings. New hovels and other buildings have, of late
years, been added to the establishment, which is now a very complete
and commodious manufactory. These works, for several generations,
belonged to the Wedgwoods, and are described in 1698 as belonging to
Thomas Wedgwood, “of the Churchyard House,” to whom they appear to
have passed on his father’s death, who was also a potter. His son
Thomas, eldest brother of Josiah, inherited this property on his
father’s death in 1739, and three years later, on his marriage with
Isabel Beech, by marriage settlement dated 12th of October, 1742 (in
which he is described as Thomas Wedgwood, of the Over House, Burslem,
Potter), “the messuage, with the appurtenances situate and adjoining
the churchyard, Burslem, and all outhouses, _work_ houses, &c., then
in the occupation of the said Thomas Wedgwood, or his under tenants,”
were settled upon the children of this marriage. On the death of Thomas
Wedgwood, in 1772, this and other property descended to his son Thomas,
of the Over House, subject to portions to his younger children, under
the settlement of 1742. The works were for some time carried on, along
with the “Bell Works” and “Ivy House Works,” by Josiah Wedgwood. On his
removal to Etruria, they were occupied by his second cousin, Joseph
Wedgwood (brother of Aaron, and nephew of the Aaron Wedgwood who was
partner with William Littler in the first manufacture of porcelain in
the district), who lived at the house now the Mitre Hotel, near the
works. This Joseph Wedgwood, who made jasper and other fine bodies
under the direction of and for Josiah, occupied the works until the
time of their sale to Mr. Green, when he removed to Basford Bank.
About 1780 “the Churchyard premises were sold to Josiah Wedgwood,
then of Etruria, who in 1787 conveyed them to his brother John, also
of Etruria, who in 1795 sold them to Thomas Green, at which time two
newly-erected houses near the potwork were included in the sale.”
Mr. Green manufactured earthenware at these works, and for some time
resided at the house near the works, now known as the Mitre Hotel,
which had been built by one of the Wedgwood family. The property
remained in Thomas Green’s hands until his bankruptcy in 1811, when it
appears to have been purchased by a manufacturer named Joynson, from
whom it passed, some years later on, to Mr. Mosely. While in his hands,
the potwork was held by various tenants, and until about 1858 was
let off in small holdings to different potters. About that period Mr.
Bridgwood, of Tunstall, became the tenant of the premises as a general
earthenware manufacturer, and was soon afterwards joined in partnership
by Mr. Edward Clarke, whose large practical experience tended much
to increase the reputation of the works. This firm, having taken a
lease of the premises, remodelled many of the buildings, and erected
others, and greatly improved the whole place by bringing to bear many
improvements in body unknown and unthought of by their predecessors.
After Mr. Bridgwood’s decease, which took place in 1864, these works,
and the large establishment at Tunstall, were carried on by the
surviving partner, Mr. Clarke, until after a time he ceased working
them, when they passed into other hands as his tenants. The manufactory
was afterwards again carried on by Mr. Clarke in partnership with Mr.
Josiah Wood (a descendant of Aaron Wood), who is referred to under the
head of Poole, Stanway, and Wood, under the style of Wood and Clarke.
The productions of the Churchyard Works, while carried on by Mr.
Clarke, were opaque porcelain of the finest and hardest quality (known
as “white granite”), for the American market, and ordinary earthenware
of the finest quality in the usual services; many of the services,
&c., being embossed in excellently designed patterns, and others
artistically painted and gilt. One of the notable features was artists’
goods (palettes, tiles, slabs, saucers, &c.), and door furniture, both
black, white, and highly gilt and decorated. The impressed mark was
“Bridgwood and Clarke,” and the printed mark a royal arms, with the
words “Porcelain Opaque, B & C, Burslem.”
In 1874, Mr. W. E. Withinshaw entered upon the Churchyard Works, and
since then has greatly improved them, and raised their productions
to a high order of merit. His productions consist of dinner, tea,
toilet, and other services; vases, jugs, tea-pots, kettles, and jug
stands; trinket and fancy articles; candlesticks, and all the usual
varieties of useful and ornamental goods, both plain, printed, painted,
enamelled, and gilt. In toilet designs Mr. Withinshaw is particularly
successful, many of the designs being novel in character, striking
in conception, and beautiful in point of manipulative decoration.
Notably among these is a service in which the head of the elephant is
utilised in a very pleasing manner to form the handle of the ewer; the
head itself forming the top of the handle, and the trunk the part for
grasping. This is, in some of the services, produced in mass gold,
with a rich and striking, but at the same time simple and elegant,
effect. Other designs of this firm are of equal excellence. In vases,
Mr. Withinshaw produces some admirable designs, the outlines of which
are faultless, and the decoration well and judiciously managed. The
quality of the ware is far above the average, and gives the productions
a high standing among those of the locality. In jet ware, all the usual
articles--tea-pots, kettles, jugs, spill cases, &c.--are made, and in
endless variety of style; all being equally good in body, in glaze, and
in decoration.
Another speciality of these works is now, as in former days, door
furniture. The plates are remarkable for their evenness and flatness of
surface, and for the taste displayed in the patterns which adorn them;
they are made both in white and in black, and of every possible style
of decoration. Umbrella, walking-stick, kettle, machine, and every
other kind of handles, as well as other china articles used by cabinet
brassfitters, are made.
The mark, impressed in the body of the ware, is W. E. WITHINSHAW. On
the dinner ware the name of the pattern is given on printed marks, with
the initials W. E. W.
* * * * *
_The Bell Works._--The Bell Works, of which, as they appeared in 1865,
I give an engraving, Fig. 367, was, at the time when the great Josiah
Wedgwood entered on its occupancy, the property of Mr. John Bourne,
an army contractor, in the neighbouring town of Newcastle. From him
the property, about the year 1771, passed to his grandson, Mr. John
Adams, of Cobridge, and in 1847 the estate again passed by will into
the hands of the late Mr. Isaac Hitchen, of Alsager. The pot-works were
occupied by Josiah Wedgwood, as tenant to Mr. John Bourne, until his
removal to Etruria. The next tenant was, I believe, Mr. William Bourne,
an earthenware manufacturer, who held them for some years, and was
tenant in 1809. Mr. Bourne afterwards entered into partnership with a
potter named Cormie, and the works were carried on under the style of
“Bourne and Cormie.” In 1836, the works having then remained for some
time unoccupied, were divided, a portion being taken by Messrs. Beech
and Jones as an earthenware manufactory, another portion taken away
for the building of the present Independent Chapel, which was erected
on its site in the following year; and other parts were let off to
various holders for different purposes apart from the pot trade. In
1839, the partnership between Messrs. Beech and Jones was dissolved,
the former gentleman alone continuing to occupy the same portion of the
premises, in which he produced china and earthenware figures. In 1846
Mr. Beech, having increased his business, became tenant of the whole
of the remaining premises, with the exception of that part occupied by
Mr. Dean’s printing-office, &c., and in 1853 took into partnership Mr.
Brock, which firm, however, only lasted a couple of years. In 1855,
Mr. Brock went out of the concern, and from that date Mr. William
Beech carried on the manufactory until his death, which took place in
1864. It was next carried on by Messrs. Beech and Podmore; but in 1876
a part of the premises was purchased by the Board of Health for the
purpose of building a covered market on the site, and the remainder was
bought by Mr. George Beardmore of Rode Heath and taken down; thus these
historically interesting works have been brought to a close.
[Illustration: Fig. 367.--The Bell Works, Burslem.]
At these “Bell Works” Josiah Wedgwood turned his attention more
especially to the production of the fine and delicate descriptions of
earthenware which soon earned for him the proud distinction of “Queen’s
Potter.”
The Bell Works were situated at the corner of Brick House Street and
Queen Street, very near to the new Wedgwood Institution, but in the
time of Josiah Wedgwood, Brick House Street was not formed, but was
a part of the ground belonging to the manufactory, and was, indeed,
waste land, covered with “shard rucks,” and other unmistakable evidence
of the potter’s art. Queen Street then, too, was little better than a
lane, but was dignified with the name of _Queen_ Street, through
Wedgwood being there appointed _Queen’s_ potter, and there making
his celebrated _Queen’s_ ware.
* * * * *
_Red Lion Works._--These were carried on by Dr. Thomas Wedgwood, and
took their name from their contiguity to the Red Lion Inn.
* * * * *
_Big House._--The pottery adjoining this house, at the corner of
Wedgwood Street and the Market Place, passing down Swan Square,
belonged to Thomas and John Wedgwood; the works have long ceased to be
used, and are converted into builder’s premises.
* * * * *
_The Ivy House_ and works, so called from the fact of the house being
covered with ivy, was situated where the butchers’ shambles now stand,
the old buildings having been purchased by the market commissioners,
and taken down for the erection of the present market in 1835. These
premises belonged to Thomas and John Wedgwood, of the “Big House,” to
whom Josiah became tenant, covenanting by written agreement to pay
for the house and the potwork attached to it the yearly rent of ten
pounds. The “Ivy House” and works were situated nearly in the centre
of Burslem, at the corner of what was then known as _Shoe Lane_, or
_Shore Lane_, now called _Wedgwood Street_, which at that time was a
narrow way, only wide enough for a single cart to pass along, and as
rough and uneven as well could be. The visitor to Burslem who desires
to know exactly the site of this historically interesting house, should
stroll up to the fine modern-built shambles, or “butchery” as it is
sometimes called, and while he stands at the corner facing down Swan
Square, he may rest assured that he is standing on what was the little
enclosed garden in front of Wedgwood’s house; that the outer wall of
the building at his back goes diagonally across the house from corner
to corner, one half being under the shambles and the other where the
street now is; that the site of one of the kilns is just beneath the
centre of the shambles; and that another kiln was about the middle of
the present street at his back; the surrounding workshops being partly
where the street now is and partly where the building at present stands.
[Illustration: Fig. 368.--The Ivy House, Burslem.]
The “Ivy House” might originally have been roofed with thatch or mud,
like the other buildings of the district, but it was afterwards tiled,
as shown in the engraving. In front was a small garden enclosed with
a low wall, and a brick pathway led from the gate to the doorway. The
front faced the open space called the “Green Bank,” and adjoining was
a low, half-timbered, thickly-thatched building, afterwards known as
the “Turk’s Head,” and beyond this again was the maypole, on “Maypole
Bank,” on the site now occupied by the Town Hall. At the opposite side
of the house from the Turk’s Head was a gateway leading into the yard
of the works, which made up one side of Shoe Lane, the pot-works of
John and Thomas Wedgwood, with which they were connected, being on the
opposite side of the lane. These works and house have the reputation of
being the first roofed with tiles in the district--the usual roofing
being thatch, or oftener still, mud. At the Ivy House Josiah Wedgwood
carried on the manufacture of his ornamental goods, his more ordinary
ware, I believe, being produced at the Churchyard. At the Ivy House
works he produced many things far in advance of his day, and to the Ivy
House itself he brought home his bride, and there lived happily with
her for several years.
* * * * *
_Lakin and Poole._--Messrs. Lakin and Poole were in business in
Burslem, and doing a very extensive trade, at the latter end of the
last century. Their billhead in October, 1792, was simply “Burslem,
Staffordshire, Bought of Lakin & Poole,” and in the front of the
heading was a garter and star, surrounding a vase, on which was
“Manufacturers of Staffordshire Earthenware. Table Services Enamelled
or Painted with Arms, &c., &c.” On the garter “Burnished gold got up
as in London.”[47] In 1793 (July) a new billhead was used--“Burslem,
Staffordshire, Bought of Lakin and Poole. Blue Painted Table Services,
&c., and Coloured in all its various Branches.” At the front is a
standing figure of Commerce, with an anchor, against which is an oval
tablet with “Table Services Enamelled with Arms, Crests, Cyphers, &c.,
&c.,” to which the figure is pointing. In many of the billheads I have
seen the word “Painted” is altered to “Printed” with a pen, and the
word “Ware” is written between (over) “coloured” and “in.” This heading
was used till the early part of 1794.[48] In December, 1794, they used
a written billhead. On the 14th of February, 1795, it is announced in a
letter that “Mr. Thomas Shrigley[49] has joined us in our manufactory
of Earthenware, and that for the future the business will be carried
on under the firm of _Poole, Lakin and Shrigley_.” In May, 1795, the
billhead (written) is “Burslem, Bought of Lakin, Poole & Shrigley,”
the managing man being R. B. Swift. This firm continued until the end
of 1795, but in January, 1796, another change took place, the firm
now being simply “Poole and Shrigley”--Mr. Lakin either having died or
withdrawn. The billheads were still written. T. Kempe was managing man
in February, 1796. The last account I have is up to February, 1796.
During this period (1792 to 1796) the goods manufactured by them, as
appears in these invoices, are as follows:--cream-colour, blue-printed,
fawn-colour, black, stone, and other wares; “oval concave dishes of
various sizes, flatt plates, soups, twifflers, muffins, tureen compots,
sauce ditto, boats and stands, root dishes, cover dishes, sallads,
bakers, dessert services of various patterns, ewers and basins, cups
and saucers, bowls, cream-jugs, tea-pots, chocolates, flower-horns,
flower-pots, jugs, sugar-boxes, double-handled coffee cups, salad
dishes, sauce boats, gravy pots, candlesticks, baskets and stands,
black tea-pots, mugs, figures in great variety, mortars, cheese
toasters, raddish dishes, paste pots, tripe pots, Mocoa tumblers,
candlestick vases, bow pots, hand vases, French pies, English pies,
stone jugs with and without figures, fawn-coloured porter mugs, blue
printed dishes and other articles, egg-cups, custards and covers,”
&c. The products of this manufactory were of very superior character
both as regards the quality of the various bodies, and the modelling,
painting, and artistic decoration of the articles. The blackware, in
imitation of Wedgwood’s basalts, is remarkably good, and many of the
figures and services are of good character.
The mark of the firm was usually simply the words LAKIN & POOLE
impressed in the body of the ware. On one or two examples the name
LAKIN only occurs, and on others R. POOLE.
After the death of Mr. Lakin, presumably the potter named above, his
widow, in 1824, published a book of his recipes, of which the following
is a note:--
“Potting, Enamelling, and Glass Staining.--The valuable Receipts
of the late Mr. Thomas Lakin, with proper and necessary
directions for their preparation and use in the manufacture of
Porcelain Earthenware, and Iron Stone China, together with the
most recent and valuable improvements in the advanced art of
Glass Staining and Painting. Leeds: Printed for Mrs. Lakin, by
Edward Baines. 1824.” Such was its title.
The Preface, which is very explanatory, is as follows:--“The
progressive improvements in the manufacture of Porcelain and
Earthenware, during the last thirty years, have raised this art
to an eminence which it never reached before in the British
Empire; and, perhaps, in no department of art has scientific
research and experiment been so productive of wealth and fame
as in this, and it is no undue encomium on the industry of the
manufacturer to state, that the consumption at home and the
demands from abroad have kept pace with the improvements which
have increased both. The important station which this art holds
amongst our manufactures renders every attempt at improvement
worthy of consideration and attention. It has been said, the man
who causes one ear of corn to grow where one never grew before,
deserves the thanks of his country; but what does that man
merit who, by indefatigable industry, contributes materially
to the advancement of the interests of his country, in the
improvement of its manufactures? It was in this class that the
late MR. THOMAS LAKIN held a situation much above
mediocrity, for, in Staffordshire, it is well known that few men
have contributed more to the improvement of an art so useful and
so much admired. The following work is the result of upwards of
thirty years of labour, study, and repeated experiment, and no
pains have been spared in arranging the various Receipts in such
a chain of connection as to render them easy of comprehension
to an intelligent operator. The Subscribers may rest assured,
that the whole of the following Receipts may be individually
depended upon as genuine, each having been repeatedly tried in
the course of the author’s long experience. Mr. Lakin had also
extensive practice in the admired art of Staining and Painting
Glass; several windows of exquisite workmanship were executed by
him during the time he was engaged with John Davenport, Esq.,
for some of the first noblemen in the kingdom. The Receipts,
together with the method of using them, are therefore laid down
from actual experiment, and it is hoped will be found extremely
valuable. In presenting the following work to the subscribers,
Mrs. Lakin is anxious to express her gratitude for the liberal
encouragement she has met with, and for the highly gratifying
tribute they have paid to the abilities of her departed husband;
but to the kindness of those gentlemen who had before purchased
some of the Receipts at a price far beyond the whole charge of
this work, and yet have become subscribers, she feels herself
particularly indebted. Mrs. L. respectfully solicits of the
subscribers not to permit persons who are not purchasers to
copy any of the Receipts, as it might not only injure her as
proprietor of the copyright, but also other subscribers; on her
part she pledges herself not to publish the work, nor permit the
work to be published, at a lower price than that at which it is
now offered to the subscribers.” The work extends to 86 pages,
and contains 136 processes connected with potting, enamels, and
glass-staining. The receipts are evidently the compilation of a
greatly experienced and very intelligent potter.
[Illustration: Fig. 369.]
[Illustration: Fig. 370.]
* * * * *
_Waterloo Potteries._--These works were carried on in the latter part
of last century by Walter Daniel, who was succeeded by Messrs. Timothy
and John Lockett; the manufacture at that time being principally
salt-glazed ware. About 1809 the premises were purchased by Joseph
Machin and Jacob Baggaley, and carried on by them for the making
of china and ordinary earthenware. In 1831 Mr. Machin died and was
succeeded by his son Mr. William Machin and partners. The works next
passed into the hands of Mr. Richard Daniel, and next to Mr. Thomas
Edwards. In 1850 they were purchased by Messrs. T. and R. Boote, who
still occupy and work them.
[Illustration: Fig. 371.]
[Illustration: Figs. 372 to 374.]
In 1843 Messrs. Boote took out a patent for “Certain improvements
in pottery and mosaic work.” These consist in producing “coloured
designs on grounds of different colours, as black on white or white
on black. First, the designs are made from a mould, as in figuring,
and laid on the moulds for making the ware; the ground colour is then
put on. Second, the design, cut in paper, parchment, &c., is laid in
the moulds and the halves fastened together, the colour to form the
ground is poured in, after which the paper, &c., are removed and other
colour poured in to fill its place. Third, producing different coloured
raised surfaces. The figures in low relief in the inside of the moulds
are filled with a composition, the halves of the moulds fastened
together, and the slip poured in to form a thin coating, which was
then supplemented with an inner lining of a cheaper material to form a
substratum, thus producing mosaic and other elaborate designs. In this
process the excess of liquid is withdrawn when the necessary thickness
is attained.
[Illustration: Fig. 375.]
In 1857 Messrs Thomas Latham Boote and Richard Boote took out a patent
for “Improvements in the manufacture of ornamental pottery, and
articles made from clay and other like plastic materials.” “A thin
piece of metal or other suitable substance, which forms the outline of
the design, is fixed on the flattened clay intended to form the article
then being made. The hollow parts are then filled up with the coloured
clay or clays which are to form the design. The piece of metal is next
removed, and the flattened clay with the design upon it is put in the
mould to form the article. In some cases that part of the mould which
is to correspond to the groundwork of the article to be manufactured
is made to rise by springs or other means, suitable coloured clay is
put into the hollow parts of the mould thus formed, and the clay to
form the body is put in and the whole is pressed;” or the parts of the
mould corresponding to the ornaments may be raised and the ground part
filled in. We give three examples produced by one of those processes,
Figs. 369 to 371. The effect in many instances was very pleasing,
and gave the appearance of relief, without, however, the pattern
being at all raised. Parian was also formerly largely produced and of
considerable excellence, both in vases, jugs, figures, both single and
in groups, and other objects. One of the most effective groups is that
of “Repentance, Faith, and Resignation,” modelled by Mr. Gillard. (Fig.
375.)
[Illustration: Figs. 376 and 377.]
Among the Parian vases formerly produced at the Waterloo Works were
some the body of which was buff and the raised flowers in white; thus
producing a very pleasing and softened effect.
All these decorative classes of goods have been discontinued by Messrs.
Boote, who now confine themselves to the production of the ordinary
white graniteware for the American markets, and encaustic and other
glazed and unglazed pavement tiles. For these latter the firm are
patentees of a process for inlaying encaustic tiles with clay dust--a
process which is also adopted for the manufacture of dishes and other
articles in earthenware in what this firm called “Royal Patent
Ironstone,” and by which, by means of one press alone, as many as 100
dozen plates or small dishes, could be made in a day.
The encaustic and other tiles made by that firm consist of encaustic,
geometrical, and majolica tiles of great variety in pattern and of very
effective combinations of colours.
The marks used by Messrs. Boote are, on their white granite ware, the
impressed initials T & R B.; and the following, printed in
black, viz.--
[Illustration:
ROYAL PATENT
IRONSTONE
T & R BOOTE
Fig. 378.]
and another bearing the crest, a greyhound, couchant, collared and
slipped, between two laurel wreaths, and the words--
T & R BOOTE
ROYAL PREMIUM
IRONSTONE
and above the words TRADE MARK. On the tiles, the name in raised
letters, T & R BOOTE appears.
BURSELM
The Jurors’ Report of 1862 says: “The tiles exhibited by this firm are
deserving of high commendation; the designs are well selected; the
equality of surface evidences great efficiency. Messrs. T. and R. Boote
claim some originality in their process, to which this perfection is
not only attributable, but obtained at a much less cost.”
[Illustration: Fig. 379.]
* * * * *
_Washington Works._--The business now carried on at this manufactory
originated experimentally in King Street, Burslem, where the late Mr.
William S. Kennedy, about the year 1838, commenced the production of
palettes and other requisites for artists’ use. Shortly afterwards,
removing to a pottery in Bourne’s Bank, he there added to his business
the manufacture of door furniture, letters for signs, &c. With
perseverance, Mr. Kennedy combated the difficulties which these novel
articles presented; and while in conjunction with Mr. William Maddock,
who remained with the firm for thirty-five years, he was successful in
effecting great improvements in the various processes. About 1847, the
manufacture was removed to its present locality, and has from time to
time been enlarged. The marks W. S. KENNEDY and J. MACINTYRE have been
very rarely used.
In 1852 Mr. Kennedy was joined in partnership by his brother-in-law,
Mr. James Macintyre, who shortly afterwards became sole proprietor
of the works. In 1863, Mr. Macintyre patented methods of producing
oval, reeded, octagon, and other forms, by the lathe; and he was ever
alert to devise and apply improvements in mechanism, &c. He succeeded
in the production of a rich cream-coloured body, which, under the
name of “Ivory China,” has held a high reputation, and will always
be honourably associated with the “Washington” Works. In 1867 Mr.
Macintyre produced backs for hair-brushes, hand-mirrors, &c., which
were patented by Mr. J. J. Hicks, and in numerous other instances,
especially for France, the “body” has been used as an ivory substitute.
So far as can be ascertained, the successful application to door
furniture of the earlier invention of the beautiful black, which
is produced by dipping the brownish red _bisque_ in a rich cobalt
glaze, also originated at these works. This “jet,” produced in great
perfection, has been applied in plain, and also with richly gilt and
enamelled ornamentation, not only to door furniture, but more recently
to inkstands and similar goods. Mr. Macintyre, who was a man of public
spirit and great enterprise, was much beloved by his workpeople, and
the annual festive gatherings in which he, his family and friends, met
his employés, obtained a well-merited celebrity. He died in December,
1868, having a few years previously taken into partnership his
confidential manager, Mr. Thomas Hulme, and his son-in-law, Mr. William
Woodall. By these two gentlemen the business is still carried on under
the old title of “James Macintyre and Co.”
* * * * *
_Nile Street Works._--These works were built upon the site of an early
pottery; this is evidenced by numbers of early fragments of pitchers,
“porringers,” and other salt-glazed domestic vessels “of red and yellow
clay marbled together,” being found during alterations of the premises
in late years. Messrs. J. and R. Riley removed from here to the Hill
Works, and were, I believe, succeeded by Mr. James Cormie, uncle of
the late Mr. Thomas Pinder (who at one time was a partner in the firm
of Mellor, Venables, and Co.), and great-uncle of the present sole
proprietor of the works, Mr. Shadford Pinder, who trades under the
style of “Pinder, Bourne, and Co.” China was at one time made here, but
the productions have latterly been confined to printed, enamelled, and
gilt earthenware, in which all the usual services are made; stoneware
for telegraphic purposes; fine red ware for useful and ornamental
goods; jet ware in a variety of articles; and sanitary goods. These
they export largely both to the colonial and foreign markets. Messrs.
Pinder, Bourne, and Co.’s ornamental goods, notably their “red ware,”
or terra cotta, is of fine, hard, and durable quality, and much taste
is evinced in some of the designs of its decoration. The vases,
spill-cases, and other articles in this body, richly enamelled and gilt
in arabesque and other patterns, are remarkably good. The jet ware is
also of good quality. Among their specialities in this ware, and in
fine earthenware, are flower vases, and jardinières; some of the latter
being skilfully painted in birds, flowers, &c. Messrs. Pinder, Bourne,
and Co. have patented improvements in ovens and in steam printing
presses; but this latter, having excited the hostility of the workmen
at the time of the riots in 1842, was abandoned. The firm received
medals at the London and Paris Exhibitions of 1851, 1855, and 1867. The
marks used are a circular garter, bearing the name of the pattern and
the initials “P. B. & C^{o.}” surmounted by a crown and encompassed
with a wreath of laurel; and a triangular figure, with the words
“Pinder, Bourne & Co., Nile St., Burslem.”
[Illustration: Fig. 380.]
* * * * *
_Newport Pottery._--These works were established at the close of
last century by Mr. Walter Daniel, and about 1810 passed into the hands
of Mr. John Davenport. The manufacture was afterwards carried on by
Messrs. Cork and Edge, and is now continued by Messrs. Edge, Malkin,
& Co., a firm which, with various alterations in partnership, dates
back to the beginning of the present century. Messrs. Cork and Edge,
in their ordinary earthenware, introduced many years ago a process of
inlaying the patterns in the ground body, but of different colours.
These were intended for the cheapest markets, but were produced in
good taste. Three of these designs, two tea-pots and a ewer, shown
at the Great Exhibition of 1851, are engraved on Figs. 381 to 383.
The productions of the firm at the present time are dinner ware; jet,
enamelled, lustre, and other fancy goods; and all the ordinary wares
for the home and foreign markets.
[Illustration: Figs. 381 to 383.]
* * * * *
_Newport Works._--Established in 1866 by Malkin, Edge, & Co. for
the manufacture of encaustic and other tiles. The tiles are made from
dust (by the process of Messrs. Boulton and Worthington), by which
process the various colours are fixed in the tile, immediately and
without pressure, in the following manner. “On a level block of iron,
surrounded by an outer casing which is movable, is placed a sheet of
brass with the pattern cut out of the same, and into the different
spaces are put the various coloured clays, in dust, required. A raised
counterpart of the design is then gently pressed upon these dusts, and
the brass sheet, or plate, is removed. The outer casing before referred
to is then raised according to the thickness required, and the space is
filled up with dust to form the body of the tile. A screw, worked by a
wheel, is then lowered upon the outer casing and block, which forces
the out-casing back again to its former position around the level
block, as far as the dust will allow. The tile is then taken out of the
outer casing, and is completely finished, with the exception of being
fired. This screw pressure produces in a few moments a remarkably solid
substance.” Messrs. Malkin, Edge, & Co. produce an extensive variety
of patterns, both in encaustic, wall, and other tiles. The designs are
good and effective, and the colours rich, clear, and well defined.
[Illustration: Figs. 384 and 385.]
[Illustration: Figs. 386 and 387.]
* * * * *
_Dale Hall._--The extensive works at Dale Hall (or Dale Hole, as it
used to be written), founded in 1790, originally belonged to Mr Joseph
Stubbs, a very successful manufacturer, who, having retired from
business, died in 1836. He was succeeded by Messrs. Thomas, John, and
Joshua Mayer, who afterwards traded “as Mayer Brothers and Elliot,”
and from them, successively through the firms of “Liddle, Elliot, &
Co.,” and “Bates, Elliot & Co.,” to the present owners and occupiers,
Messrs. Bates, Walker, and Co.; Mr. Elliot having retired, and Mr.
Walker, stepson to Mr. Bates, being taken into partnership. By the
earlier firms, ordinary earthenware was produced, but under Messrs.
Mayer, who came from Stoke to Dale Hall,[50] rapid strides were made
in art manufactures, and many important improvements effected. They
were exceedingly clever potters, especially Mr. Jos. Mayer, who
died prematurely through excessive study and application to his art.
They introduced many important improvements in the manufacture and
decoration, especially in the beautiful polychromatic bisque printing
which is continued by their successors and other firms. Besides
ordinary earthenware, this firm produced stoneware of a highly vitreous
quality; Parian of an improved body; a fine caneware, in which some
remarkably good jugs (notably the “oak” pattern) were made; and other
wares. In the stoneware, besides many well-modelled jugs and other
articles, they made tea-urns, which they were the first to introduce,
of excellent design and admirable finish. Two of these, made in 1851
(Figs. 384 and 385) I here engrave. The peculiar body of the stoneware
of which they were made was capable of withstanding the variations of
temperature to which vessels of this kind, usually formed of metal,
are liable. These were not made to any extent by Messrs. Mayer, but
are now being reproduced by Messrs. Bates, Walker, & Co. with great
success; they are highly ornate in appearance, and will doubtless come
much into use. Messrs. Mayer also produced some admirable designs
in vases, decorated with a profusion of exquisitely modelled raised
flowers. Two of these are shown on Figs. 386 and 387, and a jug in the
following figure. The dinner plates, dishes, &c., of Messrs. Mayer,
were characterized by an excellent “fit” in nesting, by lightness of
body, and by neatness of finish in decoration. In 1851 they received a
medal for their exhibits, and again in the New York Exhibition of 1853
and the Paris Exhibition of 1855 medals were awarded.
[Illustration: Fig. 388.]
The present firm of Bates, Walker, & Co., produce perhaps a larger
variety of manufactured articles than any other one house in the trade.
In earthenware, dinner, tea, toilet, and other services, and every
variety of article of use and of ornament, are made; and the other
wares are ironstone, opaque porcelain, jet, stone, &c. In tableware,
whether in dinner, breakfast, or tea-services, every variety of
style, from the plain white, ordinary printed, and flown, to the most
elaborately enamelled, painted, and gilt patterns made The jugs, too,
are a speciality; of these there are an immense variety of excellent
shapes, and of strikingly beautiful decoration. The same remark will
apply to the toilet services, which are, as a rule, characterized
by good form and artistic decoration; of these, the “Mistletoe”
pattern is one of the most simply elegant yet produced. Among other
articles in earthenware, the richly ornamented spirit barrels form a
distinct feature. In stoneware, of which I have spoken, well designed
and sharply executed pressed patterns, in jugs, tea-pots, and other
articles, are made in great variety.
[Illustration: Figs. 389 and 390.]
In terra cotta, Messrs. Bates, Walker, and Co. produce statuary groups,
figures, and busts of remarkably good design and of artistic finish.
The body is of a somewhat similar character to that of the Watcombe
ware, but the process is different. The Watcombe “is fired in the
enamel kiln or in an oven not subjected to greater heat, while this
is fired in the biscuit oven; the one is so soft that it may be cut
with a knife, while the other is quite vitreous and hard.” In this
material--a clay found near the works--the firm produce a large variety
of subjects, and a selection of these formed a notable feature in
the Philadelphia Exhibition of 1876. Among the subjects are “Peace”
and “War,” and “Time unveiling Truth,” by Grispie; “The Fighting
Gladiator,” “The Bath,” “The Young Apollo,” and other subjects from the
antique; “Flora,” “Pomona,” “Washington,” and other pieces by Beattie;
Flaxman’s “Wine” and “Water” vases; the “Crowning of Esther,” “The
Lorelei Syren,” “The Seasons,” “The Elements,” &c.
[Illustration: Figs. 391 to 397.]
Another speciality of the firm is what they have named their “Turner
Jasper Ware.” This consists of a terra-cotta body, with a slip of
various colours--green, blue, chocolate, buff, &c.--decorated with
bas-reliefs, many of which are Flaxman’s designs, as used by Turner at
his famous works of last century. Of a large number of these old Turner
moulds, Messrs. Bates, Walker, and Co. are the fortunate possessors,
and they are reproducing them in a variety of ways and with good
effect, although their body wants the fineness, hardness, and compact
character of the old Turner ware.
[Illustration: Figs. 398 and 399.]
[Illustration: Figs. 400 to 403.]
Among other goods produced by Dale Hall are artists’ palettes, slabs,
tiles, mullers, &c.; photographic articles (trays, baths, troughs,
stands, funnels, and every other requisite); chemical and druggists’
goods (mortars and pestles, leech-jars, covered jars, evaporating pans,
inhalers, pill tiles, and every other article); scent bottles and
vases; toilet and other boxes; sign-board letters; door furniture;
ironmongers’ fittings; and fancy articles of various kinds. Garden
and ornamental flower-pots, garden-seats, suspenders, fern and other
stands, &c., are also made. In sanitary ware, Messrs. Bates, Walker, &
Co. rank very high, and produce every known article and of faultless
excellence in quality. They are patentees of an improved “wedge commode
pan,” the principle of which is shown in Fig. 398; its advantage in
the sick chamber or travelling carriage being very apparent. Another
and very important patent taken out by the firm, is for self-locking
and self-adjusting covers for jugs, tea-pots, &c. The principle,
which is one of the most simple, but at the same time most successful
yet adopted for preventing the falling off of the lid in the act of
pouring, is shown in Figs. 400 to 403. One of the great specialities
of the firm is the process by which printing in two to five colours is
successfully transferred on to the ware while in biscuit state, and is,
therefore, under the glaze. By this process, the invention of Messrs.
Mayer Brothers, vases, dinner and other services, and other articles,
are decorated in thoroughly good taste; and, through there being no
touching whatever by the pencil, as the entire pattern is transferred
at one operation from the coloured print, they are produced at a
comparatively moderate cost. The effect is soft and delicate, and is
capable of considerable development.
[Illustration: Fig. 404.]
[Illustration: Fig. 405.]
The marks of Messrs. Mayer were T. J & J MAYER; MAYER BROS, &c. Those
of the present firm are BATES, WALKER & CO. PATENTEES, on an oval
ribbon, with date, &c., of registration inside; and a nude figure
kneeling and holding an ewer in front of him, on a tablet with the date
1790. This is introduced in a variety of ways, with the initials B. W.
& CO., and the name of the pattern, &c. The markets supplied are both
home and foreign.
* * * * *
_Dale Hall Pottery._--The extensive works of Messrs. James Edwards
and Son are the oldest existing works in Dale Hall. They belonged to
Messrs. John and George Rogers (brothers) till 1815, when the latter
died, and Mr. Spencer Rogers having joined his father, the business was
carried on under the style of John Rogers and Son. In 1816 Mr. John
Rogers died, leaving £1,000 to the North Staffordshire Infirmary, and
other charitable bequests. He had erected a handsome residence, “The
Watlands,” near Wolstanton. The firm continued as John Rogers and Son
until 1842, when the manufactory was purchased by the late Mr. James
Edwards, formerly of the firm of James and Thomas Edwards of the
Kiln-Croft Works. Messrs. Rogers produced tableware of a higher and
better quality than most of their contemporaries, and were especially
famed for their light blue “Broseley” or “Willow” pattern services. The
mark used by them appears to have been simply the name ROGERS
impressed in or printed on the ware; sometimes with the addition of the
sign of Mars or Iron
[Illustration: ♂
ROGERS]
Mr. James Edwards was entirely a self-made man, and was one of those
bright examples of indomitable perseverance, unflinching rectitude,
steadiness of purpose, and genuine benevolence, which crop up every now
and then among our most successful manufacturers. Commencing simply
as a thrower at Messrs. Rogers, he became a manager at Philips’s of
Longport, and at John Alcock’s of Cobridge, then commenced business
in partnership with John Maddock, and afterwards, in partnership with
his brother Thomas Edwards, carried on business in Sylvester Square,
Burslem, and next in partnership with Mr. John Maddock, in the same
town. In 1842 he purchased the manufactory of Messrs. Rogers and Son,
where he commenced entirely on his own account. By him the manufactory
was considerably enlarged and extended; a flint-mill erected; new
machinery of the most approved construction (including steam jiggers,
lathes, jollies, throwing-wheels, and Needham and Kite’s patent
pressing machines for preparing clay by filtration) put up, patent
stoves and pug-mills erected, and the whole place so increased as to be
enabled to produce fully six times the amount of ware it was capable of
doing when he first entered upon it.
By these improvements much of the heavy drudgery of labour both to
children and adults was saved. In these works, too, the whole of the
rooms containing the machinery are heated by steam, and kept at one
uniform temperature. To Mr. Edwards the white graniteware, which has
now become so important a feature in the Pottery district, mainly owes
its excellence; that made by him being considered to be all that could
be desired by our transatlantic brethren, and to be the standard of
perfection to which the aims of other houses were directed. In 1851
a medal was awarded to Mr. Edwards, and an additional certificate of
merit, for beauty of form and excellence of goods exhibited. At the
New York Exhibition they also received honourable mention, and in
1865 a prize medal was awarded for electrical, chemical, galvanic, and
photographic apparatus in both ironstone and earthenware. Mr. Edwards,
who had taken his son Mr. Richard Edwards into partnership, retired
from the concern in 1861, and died, full of honours, as a magistrate
and otherwise, in January, 1867,--one of his last acts of thoughtful
benevolence being that of (only a few days before his death) sending
to a number of his old workpeople at the manufactory cheques varying
in amount from £20 to £100 each, according to each one’s length of
service. The works are now carried on by Mr. Richard Edwards under the
style of “James Edwards and Son.”
The productions consist of white graniteware for the American and
steamship trade; ordinary earthenware for the home trade, in which
all the usual services, &c., are made; Indian ironstone goods; and
electrical, chemical, galvanic, and photographic appliances. These are
all of the highest quality, and are much in repute. In “stone china,”
which is of good firm semi-transparent quality, many excellent patterns
are made. Among these are the “bishop,” “barley,” “mediæval,” “rope,”
“tulip,” “scroll,” and others.
The marks used by the firm, June, 1842, are as follows. The royal arms
above the name
STONE CHINA
JAMES EDWARDS & SON
DALE HALL
The same, with the addition, beneath, of the trade mark, a dolphin
entwined round an anchor. The initials _J E & S_ in writing letters,
surrounded by a circular garter bearing the words IRONSTONE CHINA.
The name J EDWARDS & SON surrounded by an oval garter bearing
DALE HALL
the words IRONSTONE CHINA. And Dalehall surrounded by a similar
oval garter bearing the name JAMES EDWARDS & SON. An impressed
mark of EDWARDS is also used.
D H
* * * * *
_Dale Hall Brick and Tile Company._--These works belong to the
Brownhills Pottery Company (see page 288, _pcst._) and produce all the
usual classes of plain and ornamental goods.
* * * * *
_Dale Hall Tile Works._--These Tile Works are carried on by Mr. James
P. Basford, whose grandfather, above half a century ago, worked the
same field of clay. His productions are all the usual classes of plain
and ornamental tiles, bricks, &c.
* * * * *
_Albert Street Works._--These works were established by Mr. John
Hawthorne in 1854, who continued them until 1869, when they were taken
by Messrs. Wiltshaw, Wood, & Co., and are now carried on by William
Wood & Co.; they were among the earliest in this branch of trade. The
goods made are door plates, lock furniture, &c., both in white, black,
gilt, and painted; drawer, shutter, and other knobs in oak, white,
black, &c.; bedstead vases; caster bowls; umbrella, walking-stick,
sewing-machine, closet, and other handles; inkstands, bottles, and
wells; highly decorated jam-pots and biscuit-jars for the table;
match-pots; teapot and urn stands of various degrees of decoration,
painted, gilt, and enamelled; and every description of china used
by brass-founders, tin-plate workers, japanners, &c. Most of these
articles are of good quality in body, and excellent glaze and finish,
and the colours--white, black, ivory, oak, brown, turquoise, green, and
blue--in which they are produced are clear and effective. The only mark
used is W W & CO.
* * * * *
_Mersey Pottery._--Established in 1850 by its present owner, Mr.
Anthony Shaw. Goods specially adapted for the various American markets
are made: the specialities being white graniteware and cream-coloured
wares for the United States; the same with the addition of printed,
lustred, and painted goods for South America, and printed for the
colonies. In 1855 Mr. Shaw was awarded a medal at the Paris Exhibition.
The mark used is the royal arms, with ribbon bearing the words STONE
CHINA, and beneath,
WARRANTED
ANTHONY SHAW
BURSLEM
The works were rebuilt on a very extensive scale in 1866, and are
looked upon as a model manufactory, in which are brought to bear all
the latest improvements in the art of pottery.
* * * * *
_Steel._--A manufacturer named Moses Steel had a potwork in Burslem in
1715, and made the ordinary clouded ware of the period. Another potter
of the same name, probably his descendant, carried on business in the
latter part of the same century; he produced a fine earthenware and an
imitation jasperware. The works are still standing by Queen Street, and
are known as “Bournes Bank.”
* * * * *
_John Maddock and Son_ manufacture white graniteware for the American
markets to a large extent.
* * * * *
_New Wharf Pottery_--(Hollinshed and Kirkham, late J. Daniel
& Co.)--Printed ware of the kinds required for the home, Russian,
Italian, and French markets, and all the usual kinds of painted and
Paris white wares suitable for the African, Australian, and American
trades.
* * * * *
_The Overhouse Works_--Wedgwood Place.--The old works, now, alas!
taken down, were possessed of no ordinary degree of interest, from the
fact of the “Overhouse,” the residence which closely adjoins them,
having been the property and residence of Thomas Wedgwood, the eldest
brother of Josiah Wedgwood (to whom Josiah was bound apprentice),
and having been in the possession of the Wedgwood family for some
generations. The old works were situated at the back and side of
the “Overhouse,” with entrance in Wedgwood Place, where that street
joins Scotia Road. A doorway, over which was a tablet, now no longer
in existence, connected the works with the house. This historically
interesting but now lost relic is represented by Fig. 407.
The Overhouse works were occupied, early in the present century by
Messrs. Goodfellow and Bathwell, who were succeeded in turn by Mr.
Edward Challinor in 1819, and later by Mr. Pointon. In 1856 they passed
to Messrs. Morgan, Williams, & Co., and afterwards to Morgan, Wood, &
Co., from whom, in 1861, they passed into the hands of Messrs. Allman,
Broughton, & Co., and next to Messrs. Robinson, Kirkham, & Co.
In 1869 the old works were entirely taken down and a new and extensive
manufactory erected with all the latest improvements of machinery
and appliances; the jiggers all being driven by steam power, and the
drying stoves heated by exhaust steam. The rebuilding is commemorated
in ornamental scroll stonework over the entrance: “Edward Challinor
commenced business here A.D. 1819, and rebuilt the premises
A.D. 1869.” The new manufactory was opened in 1870 by Mr.
Ralph Hammersley, who removed here from the Church Bank Pottery at
Tunstall, and who had previously been engaged for twenty years or more
with Mr. Challinor.
The goods produced are the ordinary description of earthenware in
services of various kinds and in the usual classes of useful articles,
which, besides a good home trade, are shipped in large quantities to
the United States, Canada, and Sweden. Stoneware jugs are also produced.
[Illustration: Fig. 407.]
* * * * *
_Swan Bank Pottery._--These works have passed successively through
the hands of Thomas Edwards; Messrs. Pinder, Bourne, & Co.; Messrs.
Beech and Hancock (now of Tunstall); and Messrs. Hancock, Whittingham,
and Hancock (now of Stoke). In 1873 they came into the hands of the
present proprietors, Messrs. Tundley, Rhodes, and Procter. The goods
produced are, and have been, printed, enamelled, and gilt earthenware,
of the useful classes in all the usual services, &c., for the home,
Russian, and South American markets.
[Illustration: Figs. 408 and 409.]
_The Hill Top Pottery, or Hill Pottery._--These works, formerly
belonging to Ralph Wood were for many years carried on by Messrs.
Samuel Alcock & Co., by whom they were in 1839 rebuilt and enlarged;
their rearranged manufactory comprising the works of Mr. Riley
(formerly John Taylors), John Robinson and Sons, and William Taylors,
which were all taken down for the purpose. The productions of Messrs.
Samuel Alcock & Co. were, both in china and the finer descriptions of
earthenware, of the highest quality, both in body and in decoration.
One of their specialities was their semi-porcelain, which was of fine
and durable quality. The marks,
ALCOCK AND CO.,
HILL POTTERY,
BURSLEM,
or S. ALCOCK & CO., either printed along with the name of the pattern
or some device, or impressed in the ware. In 1860 the works and general
estate were purchased by Sir James Duke and Nephews, and continued by
them till 1865, when they sold the estate to Mr. Thomas Ford, who,
in the ensuing year, 1866, sold it to the Earthenware and Porcelain
Company, by whom (under the management of Mr. R. Daniel, once a noted
china manufacturer at Stoke, Hanley, and Burslem) it was carried on
under the style of the “Hill Pottery Company, Limited, late S. Alcock &
Co.”
[Illustration: Figs. 410 to 414.]
The productions of Sir James Duke and Nephews (Messrs. J. and C. Hill)
were of a high order of excellence, in ordinary earthenware services,
ranging from plain white and cream-coloured to the most superb styles
of decoration; in china, which was of remarkably good quality; and
in Etruscan wares. In the latter, some of the best forms of ancient
Etruscan vases were cleverly reproduced, and the decoration, both in
spirit and in style, artistically rendered. Some of the productions of
this firm, who received well-merited distinctions at the Exhibition of
1862, are shown by Figs. 408 to 428.
[Illustration: Figs. 415 to 417.]
The operations of the “Hill Pottery Company” were of short duration,
for in the next year, 1867, it was put in liquidation and sold up, when
the property again came into the hands of Mr. Ford. In the same year
the works were divided, the china department being taken by Messrs.
Alcock and Diggory, and the earthenware part by “Messrs. Burgess &
Leigh (late S. Alcock & Co.),” by whom it is still carried on under the
style of “Burgess, Leigh, & Co.”
[Illustration: Figs. 418 to 423.]
[Illustration: Figs. 424 to 428.]
Messrs. Burgess, Leigh, & Co. manufacture largely the commoner
and ordinary, as well as the higher and more artistic classes of
earthenware goods, both for the home and foreign markets, and their
productions rank high in point of excellence of body, manipulative
skill, and good taste displayed in decoration. The firm produce all
the usual services, and useful as well as many highly ornamental
articles. The mark used by the firm is a beehive on a stand, with bees,
with a rose-bush on either side, and a ribbon bearing the name of the
pattern (“Kensington,” for instance,) beneath, and under this the
initials of the firm, “B. L. & CO.” Many of these patterns are
registered.
* * * * *
_The Hill Pottery China Works_, on the division of the manufactory
as already stated, in 1867, were carried on by Messrs. Alcock, Diggory,
& Co. In 1870, the firm was altered into that of Bodley and Diggory,
but in the following year, Mr. Diggory having retired, the manufactory
was continued by Mr. Edward F. Bodley. In 1874, the style was again
changed to Bodley and Son, and in 1875 to that by which it is at
present carried on, viz., Edwin J. D. Bodley. The productions formerly
embraced china, earthenware, and Parian, but are now entirely confined
to china. A speciality of Mr. Bodley’s productions is that of pans
and vases for chandeliers and lamps. These are made of various forms,
and more or less highly decorated; they form an important branch of
manufacture. Services of all the usual kinds, more or less elaborately
decorated, are also made. The markets supplied are the home and the
South Australian, New Zealand, and Colonial.
The mark used by Messrs. S. Alcock and Co. at these works was a
beehive; and that of Sir James Duke and Nephews the dexter hand
denoting a baronet.
* * * * *
_Crown Works._--Established about 1867 by Messrs. Lea, Smith, and
Boulton, these works were next occupied by Mr. W. E. Withinshawe (see
“Churchyard Works,” page 244, vol. ii.), and then by the present
proprietors, Messrs. Gaskell, Son, and Co. The productions have always
been china door furniture and similar goods (and these are now made
of remarkably good quality, and in many cases of artistic design, by
the present firm), finger-plates, knobs, scutcheons for doors, roses,
caster bowls, and other fittings; scale plates and weights; stands
and bases for lamps; an infinite variety of articles for fittings of
many kinds--white, coloured, black, enamelled, gilt, &c., &c.; while
the imitations of marbles, malachites, and other stones are remarkably
clever and good. Another speciality of these works is umbrella,
parasol, and walking-stick knobs, many of which, whether in imitation
ivory or in dead black, evince great taste in design and skill in
execution. Messrs. Gaskell and Son have taken out patents for the
manufacture of caster bowls on an improved method, and another for
improvement in turning.
* * * * *
_Scotia Works._--This manufactory was originally the parish workhouse
of Burslem, and was calculated to accommodate three hundred inmates. On
the establishment of unions, under the Poor-Law Act, when the new union
workhouse was erected, this building was occupied as barracks, and so
continued for some years. It was then converted into a manufactory by
Mr. James Vernon in 1857, and he, in 1862, was succeeded by the present
firm of “Edward F. Bodley & Co.” At these works the usual descriptions
of earthenware, printed, enamelled, and gilt, and “ironstone china,”
for steamship and hotel use, are made. The bodies and glazes, which
have been considerably improved by the manager, Mr. Edward Beardmore,
of Rode Heath, are, through his attention and skill, of a very high
quality. The mark is the Staffordshire knot, with the words SCOTIA
WORKS.
* * * * *
_Queen Street Works._--Messrs. Tinsley and Bourne entered on these
works in 1874. They were formerly occupied by Mr. J. Edge and others.
* * * * *
_The Hill Works_, on the opposite side of the road to the “Hill
Pottery” already described, are of old foundation, and were, I am
informed, worked by Enoch Wood (see page 273); Mr. Wood here growing,
it is said, considerable quantities of “Siberian crabs,” which trees
he planted in successive terraces. The works were also, I believe, at
one time carried on by Ralph Wood, a member of the same family. He
was a master potter in Burslem in 1787, and a very interesting relic
connected with him is now in the hands of Mr. Thos. F. Wood, of this
present firm of Wood & Baggaley. It is an iron tobacco box, bearing,
engraved on its lid, the words, “_Ralph Wood, Potter, Burslem,
Staffordshire_, 1787.” This box was given by this Ralph Wood, whose
name appears upon it, to the grandfather of its present owner. About
1768, John Robinson, who before that time was with Sadler and Green, of
Liverpool, left their employ to commence here the making of enamelled
ware. In the Mayer Museum is a teapot made by him, and painted by
Letitia Marsh (afterwards Mrs. Brood), who worked for him. It is of
“squeezed ware,” and was given to Mr. Mayer by Dr. Simeon Shaw. After
Wood’s time the works were carried on by Mr. Taylor, and next by
Messrs. John & Richard Riley (who removed to them from the Nile Street
works), by whom they were rebuilt, in 1814, and who produced china and
earthenware and Egyptian black ware. They next passed to Messrs. Alcock
& Keeling; and, on the retirement of the latter, to Messrs. Samuel
Alcock & Co., who, having rebuilt and enlarged the “Hill Pottery,”
removed there as already detailed. About 1851, Messrs. Barker & Son
took the “Hill Works” for goods for the home and foreign markets. On
their failure they were, in 1860, succeeded by Messrs. Morgan, Wood,
& Co., which firm was afterwards altered to Messrs. Wood & Baggaley,
the present occupiers. The goods made by Messrs. Wood & Baggaley
are generally confined to the home market; they produce printed and
decorated goods in dinner, toilet, tea, and breakfast services, and
green glazed dessert ware, which, to some extent, they export. The mark
used by the firm is a bee, with wings expanded; beneath which is a
ribbon, with the initials, M W & CO, or W & B.
* * * * *
_Sylvester Pottery_, Nile Street, belonging to Charles G. Barker,
produces the ordinary white granite ware for the United States,
Canadian, and other foreign markets.
* * * * *
_High Street Pottery._--This manufactory, usually known as “Union
Bank,” through its having been for some time worked by the Potters’
Trades’ Union, belonged at one time to a family named Marsh; and was
also carried on by Messrs. Whittingham, Ford, & Co., from whom it
passed into the hands of the present proprietors, Messrs. Buckley,
Wood, & Co. The goods produced are ordinary earthenware for the common
home trade, and the mark used is simply the initials B W & CO.
* * * * *
_Sneyd Pottery_, Albert Street.--These works were formerly carried
on for the production of ordinary earthenware, by Messrs. Bennett.
About 1867 they came into the hands of Williams, Oakes, & Co., and in
1876 the firm was altered to Oakes, Clare, & Chadwick, who produce in
Rockingham, jet, majolica, and common earthenware, the ordinary classes
of articles. They also make chest of drawers feet in large numbers, of
various designs.
* * * * *
_Hadderidge Pottery._--These works, carried on by Mr. Thomas Heath,
and afterwards, successively, by Mr. John Wedgwood, Mr. Phillips, and
Messrs. W. & G. Harding, came into the hands of the firm of Heath &
Blackhurst in November, 1859, by whom they are still continued. The
productions are a middle-class quality of earthenware, both plain and
decorated, for the home trade. In this class all the usual table,
toilet, tea, and other services, and a variety of other articles, are
made. The mark is a garter, encircling the initials H & B.
* * * * *
_Navigation Road._--The works of Mr. Edward Corn, erected some time
back on what was a timber yard, and now carried on by Messrs. W. & E.
Corn, are exclusively devoted to the production of white graniteware
for the United States and other foreign markets.
* * * * *
_Bleak Hill Works._--Messrs. Beech & Podmore, of the _Bell Works_
(which see), entered upon this manufactory in 1876. The works formerly
belonged to Messrs. Moore Brothers, who produced the white graniteware
for the American Markets, then successively to M. Isaacs and Son,
Beech and Podmore, and Podmore alone. The goods now produced, besides
tea and other services, are the ordinary marketable china and Parian
chimney ornaments and toys, which are produced in large quantities
both for home sale and for exportation to the United States, the East
Indies, the Netherlands, and Australia. In Parian and “ivory body,”
besides flower-vases and other small ornaments, some tolerably large
groups have been produced; the “ivory body” possesses great softness
in appearance, and is capable of being made largely available for
ornamental purposes.
* * * * *
_Sytch Pottery._--Of very old foundation, this was, many years ago
worked by Messrs. Keeling. The “Sytch Pottery” passed successively
into the hands of Mr. R. Hall and Messrs. J. Hall & Sons. About 1832,
Messrs. Barker, Sutton, & Till took to the works; but at subsequent
periods, Mr. Barker and Mr. Sutton withdrew from the partnership;
and from 1850 it remained in the hands of Mr. Thomas Till, who has
been joined in partnership with his sons, and the firm is now “Thomas
Till & Sons.” The wares usually produced have been good middle-class
earthenware; but the present proprietors have greatly improved
the ware, and added other branches to their manufacture. Besides
earthenware of the usual average quality--in which services and
innumerable useful articles are made by them--Messrs. Till produce
coloured bodies of various kinds (cane, sage, drab, and lilac);
stoneware of a hard and durable kind for jugs, &c.; jet glazed ware;
terra cotta; enamelled ware; and various coloured lustres. These are
principally intended for the home trade. At the Paris Exhibition of
1855 the firm received a certificate of merit. The mark used is the
name of the firm.
* * * * *
_Kiln Croft Works._--These works are of old establishment. In or about
1800 they were carried on by a Mr. Handley, and in 1825, by Messrs.
James and Thomas Edwards, who were succeeded by Messrs. Willett &
Marsh. They were then continued by Mr. Marsh alone, and next by Messrs.
T. & R. Boote, who were succeeded by the present owner, Mr. Henry
Burgess. The goods produced are the usual quality of white graniteware,
in services and various articles, for the United States and Canadian
markets. The mark is the Royal Arms, with the name or initials of the
firm.
* * * * *
_The Albert Pottery_ was built in 1860, by Mr. William Smith, of
Tunstall; on whose failure in 1862 it was taken by Messrs. Dix &
Tundley, of Silverdale, for the production of foreign-trade goods. In
1864 the works were purchased by the late Mr. Charles Hobson (who had
originally been apprenticed to Mr. Williamson, the predecessor of the
Davenports, at Longport), and successfully carried on by him until his
death, in 1875. Mr. Hobson was then succeeded by his two sons, George
and John Hobson, by whom they are continued. By Mr. Hobson the works
were considerably enlarged. New biscuit ovens were added, and flint and
colour mills, steam slip-house, pug mills, and sagger makers’ mill,
built. The productions of the firm are now confined to the home trade,
and consist of the usual services and other articles, in ordinary
earthenware, both white, printed, lined, enamelled, and gilt.
* * * * *
_Waterloo Works._--These works were established about 1846 by Mr. James
Vernon; then continued under the style of James Vernon & Son; and are
now carried on by the son, Mr. James Vernon, jun., for the manufacture
of ordinary earthenware for the South American and Italian markets. On
this same site a manufactory was at one time carried on by Mr. Jonathan
Leak, a clever potter, who after some strange vicissitudes went to
Sydney, where, after a time, discovering a valuable bed of clay, he
established the first pottery in Australia. He married a niece of Enoch
Wood.
* * * * *
_Central Pottery._--These old-established works, the property of Mr.
Alcock, of Bradwell Lodge, and carried on by his son, Mr. Richard
Alcock, were formerly worked by Messrs. Hopkin & Vernon, next by
Messrs. Hulme & Booth, next by Thomas Hulme, and then by Messrs.
Burgess & Leigh, who were succeeded by Mr. Richard Alcock, by whom they
have been considerably enlarged, rebuilt, and remodelled. Earthenware
for the home markets was formerly made, but the operations are now
confined to white graniteware for the United States.
Other manufacturers in Burslem have been, Joseph Machin & Co.; Thomas
Heath (probably of the same family as the Heaths formerly of the
Cock-pit Hill Pottery, Derby); John Hall & Sons; J. R. Marsh; T. & B.
Godwin; J. Cormie; Messrs. Phillips, Dale Hall.
* * * * *
_Longport._--(Davenport & Co.) The famous works of Messrs. Davenport
& Son date back more than a hundred years, the centenary of their
establishment having taken place in 1873. In 1773 a manufactory was
erected at Longport by John Brindley (brother of the celebrated James
Brindley, the engineer, both of whom were natives of Tunstead, in
Derbyshire), who also built for himself a handsome residence near at
hand. This house was purchased in 1843 for a parsonage for St. Paul’s,
Burslem, and was again, in 1858, sold to Mr. W. Davenport. Shortly
after 1773 Mr. Edward Bourne built another manufactory, and this was
followed by a third, erected by Mr. Robert Williamson, who in 1775
married Anne (_née_ Henshall), widow of James Brindley, the engineer.
In 1793 the first-named manufactories passed into the hands of Mr.
John Davenport, who greatly extended their operations. In 1797 Mr.
John Davenport added to his other operations “the chemical preparation
of litharge and white lead for the use of potters,” which, however,
was afterwards discontinued. In 1801 the business of glass-making was
added and is still carried on. In 1803 Mr. Davenport, supported by his
neighbours at Longport, offered to raise, clothe, and equip, free of
expense to Government, except arms, a volunteer corps of 500 men, and
his offer was accepted, the number being limited by Government to four
companies of 80 rank and file each. Mr. Davenport became Major of this
force, and raised it to a high state of discipline. In connection with
this it may be well to note that one of Mr. Davenport’s workmen at
that time, and a member of his volunteer corps, was William Clowes, a
nephew of Aaron Wedgwood, to whom he had been apprenticed. This William
Clowes was a co-founder with Hugh Bourne of the now wide-spread sect
of Primitive Methodists. About 1830 Mr. Davenport retired from active
business, and chiefly resided at Westwood Hall, near Leek, where he
died in 1848. The business was then carried on by the second son, Mr.
Henry Davenport (who died in 1835), and the youngest son, Mr. William
Davenport. Mr. Henry Davenport purchased the manufactory of Mr. Robert
Williamson, and also his residence; these he enlarged and improved
and added to his other works. In 1832 Mr. John Davenport was elected
M.P. for the borough of Stoke-upon-Trent, being one of the first two
members for that newly enfranchised borough. After the death of Mr.
Henry Davenport the manufactories were carried on by his youngest
brother, Mr. William Davenport, under the style of “W. Davenport & Co.”
This gentleman died in 1869, and the entire business is now carried
on by his only son, Mr. Henry Davenport, who fully sustains the high
character of the works and of their varied productions.
King George IV., while Prince of Wales, in 1806 visited Messrs.
Davenport’s works in company with his brother, King William IV., at
that time Duke of Clarence. On the accession of William IV. to the
throne his Majesty gave the order to this firm to manufacture for him
a superb service, to be used at his coronation banquet. This Royal
Service was completed in a very satisfactory manner, and was the
subject of high commendation from the king and his noble guests on that
occasion. On this service the crown was first used by the firm.
In the earlier years of the Longport manufactory, earthenware alone
was produced, but no pieces of Brindley’s make are known. Mr.
Davenport at first confined his operations to the manufacture of
white, cream-coloured, and blue-printed wares, and these were of good
substantial quality; his blue-printed plates with open-work rim of the
same general character as those of the Herculaneum Works at Liverpool,
are to be seen in most collections. Later on china was commenced, and
at the present time this forms an equally extensive branch of the
business with the earthenware. In both these, all the usual services
and miscellaneous articles are produced, from the plain to the most
elaborately decorated, both for the home, the continental, and the
Brazilian markets; warehouses having been many years ago established by
Mr. Davenport, M.P., at Hamburg and at Lubeck.
The china produced by Messrs. Davenport at the present time is of
remarkably fine and good quality, both in body, in glaze, and in make,
and in all these particulars ranks among the best produced in the
district. Their tea and dessert ware is of extreme excellence, and many
of the patterns are unsurpassed for richness of colouring and gilding
by any other house. Among these specialities, their adaptations of
the fine old Indian patterns, and such designs as gave so important a
character to the productions of the old Derby works in their palmiest
days, are especially good. The deep blues, the rich gradations of red,
and the other colours employed, are in some of the patterns laid on
with a lavish richness, and being combined with the most elaborate and
delicate as well as massive gilding, produce intricate patterns of
great beauty and of sumptuous appearance when “set out.” Some of the
cups (notably those with sunk panels, and others which are bowl-shaped
and supported upon gilt feet) are of elegant form, and are as faultless
in manipulation as they are in decoration. In blue and white, whether
in pencilled, ordinary transfer printing, or “flown” patterns, Messrs.
Davenport are highly successful; and the blues they introduce have all
the delicacy and purity of the best Oriental. The same remark as to
purity and cleanness of tone will apply to their ground colours--the
celadon and the rose du Barry--in both of which they produce charming
but simple services, as they do also in white; in the latter the
“potting” of some--approaching closely to egg-shell--is remarkably
delicate and clever.
Another striking speciality of design in Messrs. Davenport’s china is
the clever and artistic way in which they have adapted the old Willow
pattern to the modern requirements of déjeuner services and menu
holders. The forms of the various pieces composing the service are of
quaint and striking elegance, and, being heightened by massively gilt
handles, and by strictly appropriate gilding of borders, rims, feet and
raised ornaments, an effect is produced which is surpassingly “taking.”
The déjeuner of which I have thus briefly spoken is one of the most
successful adaptations of the Willow pattern yet achieved.
In “stone china,” Messrs. Davenport’s dinner and dessert services,
as well as jugs and other articles, are of faultless quality, and
the styles of decoration, especially those which are adaptations--not
servile imitations--of old Indian patterns, are remarkably good and
effective. In some of these the spirit of the foreign artist has been
so thoroughly caught, that, to the casual observer, they might well
pass for genuine foreign pieces. The services in ordinary earthenware
are extremely varied in pattern, in amount of decoration, and in
variety of shapes; they are of good quality.
[Illustration: Figs. 429 to 431.]
The marks used by Messrs. Davenport have been various, but almost in
every instance the anchor has been the distinguishing characteristic;
it is the trade mark of the firm. The crown was first used by them,
on the Royal Service for William IV., and is now generally used on
porcelain services. Figs. 429 to 436 are impressed marks.
[Illustration: Figs. 432 to 436.]
The printed marks are, a circular garter, bearing the words DAVENPORT
LONGPORT STAFFORDSHIRE, surrounding an anchor and the words “Stone
China” in script. Another is a shield, with the words 30 CANNING PLACE
LIVERPOOL 82 FLEET STREET LONDON encircled by a garter bearing the
words DAVENPORT LONGPORT STAFFORD^{RE} and surmounted by the crest, an
anchor on an heraldic wreath. Another has a circular garter, bearing
the words DAVENPORTS & CO. surrounding the address, 82, FLEET STREET
LONDON.
* * * * *
_Longport Terra Cotta._--At the 1851 Exhibition Mr. W. Marsh, (modeller
at Davenports’) of Longport, exhibited a very successful example of
terra cotta produced by him. It was a wine-cooler of bold and good
design. It is engraved on Fig. 414. In the early part of this century
Messrs. Samuel Marsh & Co. were manufacturers at Brownhills.
[Illustration: Fig. 437.]
* * * * *
_Brownhills._--About 1782 Mr. John Wood (son of Ralph Wood, of
Brownhills, and Mary Wedgwood) built a manufactory, with house
adjoining, on property originally belonging to the Burslem and Wedgwood
families, which he had purchased of Thomas Lovatt. Here he carried on
the potting business until his death in 1797, when he was succeeded by
his son, Mr. John Wood, who continued it until 1830, when he took down
the manufactory, enlarged the house, and extended the grounds.
* * * * *
_Littler._--William Littler, of Brownhills, whose father had carried
on a business as potter there, was the first man in Staffordshire who
attempted the making of china ware. “He commenced business about 1745
when he attained his majority, and a few years afterwards removed
the seat of his manufacture to Longton Hall, where he prosecuted
his experiments with very good success, as regarded the beauty and
delicacy of his china, but with disastrous results to himself, for he
soon sacrificed his patrimony in the speculation, and was obliged to
abandon it. The specimens we have seen of Mr. Littler’s china exhibit
great lightness and beauty, and would certainly have won their way
in after times. Mr. Littler had the merit of first making use of the
fluid glaze which Mr. Enoch Booth afterwards improved upon.”--(_Ward._)
Littler’s pot-works have long disappeared. Some specimens of Littler’s
porcelain are preserved in private collections, and one or two are in
the Hanley Museum; to one of these is attached the following note in
Enoch Wood’s handwriting: “This was given to Enoch Wood by William
Fletcher, in January, 1809.”
* * * * *
_Marsh and Haywood._--This firm formerly carried on business here as
manufacturers of general earthenware, as did also Mr. John Wood, at
Highgate.
* * * * *
_Brownhills Works._--These works (formerly Marsh and Haywoods) were
for many years carried on by Mr. George F. Bowers, who attained a
fair reputation for china goods, and gained a medal at the Exhibition
of 1851. Subsequently he commenced the manufacture of earthenware,
which he continued until his death, when he was succeeded by his son,
Mr. Frederick F. Bowers. On his failure in 1871 the manufactory was
purchased by Mr. James Eardley, of Alsager, and it is now carried on
by his son and sons-in-law, Messrs. Alfred J. Eardley, Edwin Meir,
William H. Bratt, Robert H. Parker, and George Hammersley, under the
style of “The Brownhills Pottery Co.;” considerable alterations and
extensions have been made in the buildings. The goods produced by the
Company are of the usual useful classes of table, tea, toilet, and
other requisites, in fine earthenware, stoneware, buff, turquoise,
and cream-coloured ware; and in decorations of the fine earthenware
services improvements have been effected by which the printing of
enamel upon the glaze, and lining on the bisque, are effected. The last
is produced at considerable less cost than enamel lines, and while
making a tolerably near approach in point of colour, is more durable,
because protected by the glaze. The body and glaze are of good quality,
and the decorations, whether printed or painted, are of good average
character. In dinner services some of their more recent patterns,
are the “Premier,” “Pagoda,” and “Dragon,” which are produced both
printed and enamelled; their most successful shapes are the “Bulrush,”
“Laurel,” and “Boston.” In toilet ware their “Greek” shape, is
remarkably good, and is made in various degrees of decoration. In stone
ware, some excellent designs in tea-pots, jugs, &c., are produced, as
are also jugs and other useful articles in cream ware; the adaptations
of Japanese ornamentation in the former are highly successful. In jet
ware, which is of good quality, tea-pots, jugs, and other articles
are made, and some of those are highly decorated in enamel and gold;
the firm also have a process of printing in yellow upon the glaze of
their jet goods, which produces a cheap and somewhat effective class
of decoration. Another speciality is a rich full deep-red terra cotta,
highly glazed, and elaborately decorated in a variety of effective
patterns in enamel and gold; in this, toilet services of good design
and novel appearance are largely made. In ornamental goods the Company
produce vases of various forms (notably among which are the “Hindoo,”
“Milan,” “Pekin,” and other designs); scent jars, flower tubes, and
stands, and other articles. The productions are of a good useful
quality, decorated in a more than ordinarily artistic style; many of
the designs (notably the “Briony” pattern toilet services, “Lorne”
tea-pots, &c.) are good, and the colours faultless. The marks used,
besides the name of the pattern, “Minerva,” “Link,” “Laurel,” &c., bear
the initials B. P. CO., with ribbon, &c., printed on the ware.
* * * * *
_New Bridge Works, Longport._--This manufactory, spoken of on page
283 as one of those carried on by Messrs. W. Davenport and Son, in 1877
passed into the hands of Mr. Edward Clarke, formerly of the Church
Yard Works at Burslem, and of the Phœnix Works at Tunstall (both of
which see), who removed thither from the last-named place. In that year
Mr. Clarke took into partnership Mr. F. J. Emery, the inventor of the
process of crayon drawing and painting on the bisque surface, referred
to on page 295. Mr. Clarke, whose productions both at Burslem and at
Tunstall are spoken of in other parts of this volume, produces the
finest, hardest, and most durable earthenware in “white granite” for
the American markets, where it takes and maintains the highest rank. He
also produces all the usual services in various styles of decoration,
for the home trade. The mark used by the new firm is the name “EDWARD
CLARKE & CO.”
* * * * *
_Waterloo Road Works_, established in 1820 (on the site of a very
old pottery “on Bournes Bank,” afterwards worked by William Harrison)
by Mr. Thomas Hughes (grandfather, of the present owner), and carried
on by him and his successors, Stephen Hughes & Co., till about 1856,
since which time they have been continued solely by the present Mr.
Thomas Hughes, by whom the whole place has been enlarged, improved, and
modernised. The manufactory is now considered to be one of the best
arranged in the town. The goods produced are all the usual articles
in the hard durable “granite” or so-called “ironstone china” for the
American markets; they are of good quality, and are produced both light
and heavy to meet various requirements. Goods are also, to some extent,
produced for the home trade. The mark, stamped on the ware, is
THOMAS HUGHES
IRONSTONE CHINA
* * * * *
_Cobridge Works._--The manufactory of Messrs. W. Brownfield & Son was
erected in 1808, and from that time for a few years was worked by
Messrs. Bucknall & Stevenson, and afterwards by Mr. A. Stevenson alone.
In 1819 the works were closed, and afterwards passed into the hands of
Mr. James Clews, who continued them until 1829, when they were again
closed. His mark was a crown and his name, thus--
[Illustration: Fig. 438.
CLEWS
Warranted Staffordshire]
[Illustration: Fig. 439.]
In 1836 the premises were opened by Messrs. Robinson, Wood, &
Brownfield, and after Mr. Robinson’s death, in the same year, were
continued by Wood & Brownfield. In 1850 Mr. Wood retired, and the
business was continued solely by Mr. Brownfield (who died in 1873)
until 1871, when he was joined in partnership by his eldest son, Mr.
William Etches Brownfield, and from that time to the present the
firm has been carried on under the style of “W. Brownfield & Son.”
The goods produced during the earlier period of the works were the
ordinary white, blue printed, and sponged varieties of earthenware.
From 1850, when the works became the sole property of Mr. Brownfield,
rapid strides were made in the improvement of the wares, and under
the present firm they have become equal to any others produced. In
earthenware, which, both in body and glaze, is of more than average
quality, Messrs. Brownfield & Son produce white, printed, enamelled,
and gilt wares, from the simplest to the more elaborate and costly
patterns, in table, toilet, and dessert services, and all the usual
articles for household use. Many of the printed patterns are well
designed, and in the better classes of goods the enamelling and gilding
are very effective. Some of the most successful are imitations of
the grand old patterns adopted by Mason on his ironstone china. The
stoneware jugs produced are a speciality of this firm, and take a
foremost rank; in quality of body they are remarkably good; while in
form, in modelling, and in decoration they are of equal excellence.
The group Fig. 439 represents some examples from the Exhibition of
1862, where the firm, as well as at Paris in 1867, received a medal.
Tea services, tea-kettles, tea-pots, flower-pots, vases, jardinière,
trinket services, and other goods, are also produced in earthenware
in every style of decoration. Notably among these is a remarkably
well-designed and elegant strawberry tray, formed of shells and
strawberry leaves, with a seated Cupid in the centre at the back; it
is particularly artistic, both in composition, in execution, and in
colouring.
In 1871 the manufacture of china was added to that of earthenware (new
buildings being specially erected for the purpose), and the productions
in this department have made rapid strides towards perfection. In
china, dinner, tea, breakfast, dessert, and other services, jugs, and
a variety of useful articles, as well as vases and other fancy goods,
are produced. Messrs. B. & S. have, in this branch, produced some novel
and very effective designs in dessert services, centre-pieces, fern and
flower-stands, &c., and some of their vases are of the highest style
of excellence. Notably among these is a pair of magnificent vases,
exquisitely painted, with Etty-like subjects of “Morning and Mid-day.”
These are among the highest achievements of modern Art. Among the minor
pieces is an oviform vase representing the hatching of the egg. The
body of the vase is true to nature in colour--that of a sea-bird’s egg;
the handles are formed of the heads, and the bird’s legs and feet form
the stand.
[Illustration: Fig. 440.]
The mark of the firm upon the printed goods was formerly W & B, W B, or
W B & S, in addition to the name of the pattern. The present mark on
both earthenware and porcelain is--
[Illustration: Fig. 441.]
[Illustration: Fig. 442.]
The impressed marks are the Staffordshire knot (Fig. 442), enclosing
the initials W B; and the name BROWNFIELD.
The firm does a large home trade, as well as an export one to Denmark,
France, Germany, Holland, Russia, Italy, Spain, Portugal, United States
and other parts of America, Canada, Australia, New Zealand, India, and
other countries. The manufactory is very extensive; upwards of five
hundred persons being employed.
* * * * *
[Illustration: Figs. 443 to 446.]
[Illustration: Figs. 447 to 453.]
_T. Furnival & Sons._--This firm (who occupy two old manufactories,
viz., those formerly belonging to Adams and to Blackwell) has been
established about thirty years, and ranks high as manufacturers of
white granite and vitrified ironstone, and decorated toilet wares,
for the United States and Canadian markets, to which they ship large
quantities of goods, as they do also printed goods to the continental
markets. For the home trade Messrs. Furnival & Sons produce, in
their beautiful “patent ironstone,” dinner and other services of
various qualities in point of decoration. Among their more recent
“specialities” are dinner services, &c, of rich Italian design (made
for Pellatt & Wood), plain white, with a china-like surface and glaze;
the ornamentation, which is indented, is produced from an embossed
mould, the lines being as fine and delicate as if cut in by the graver,
so as to have the appearance of chasing; and the lines being filled
with glaze the surface is still even. Other noted patterns are the
“Dresden Flute” and “Lemon Knob” services. In crested services for the
home markets a large and satisfactory trade is done. Another noticeable
feature is the happy combination in services of transfer printing,
hand painting, enamelling and gilding; some of the services, those
decorated with grasses and insects especially, are of high artistic
order, and show how advantageously the two processes can be combined.
Our engraving shows a group of articles produced at that manufactory,
which are remarkable for their elegant forms and for the simple beauty
of their decorations. Another engraving exhibits a remarkably elegant
flower-pot and stand, with relief figures and other decorations. But
these are not a tithe of the beautiful articles produced by Messrs.
Furnival. Among the more successful of their productions are the “Swan”
and “Nautilus” toilet services, which are of great beauty. The body of
the former ewer is oviform, with bulrush decorations in relief; the
neck, mouth, and handle make a well-formed swan. These are produced in
white, heightened with gold, and enamelled in colours. The “Nautilus”
pattern has the mouth of the ewer formed of a nautilus shell and the
handle of coral, while the decorations are sea-weeds, true to nature,
both in modelling and in colour. The mark of the firm is simply
FURNIVAL impressed in the ware.
In connection with these works Mr. F. J. Emery, the then cashier to
the firm, introduced, a few years ago, a method of crayon drawing and
painting on the bisqué surface of earthenware and china. This beautiful
process, which is especially applicable to tiles for fire-places, &c.,
but is also admirably adapted for the decoration of ordinary articles,
has become much in repute, and exquisite drawings have been made in it
by some of the first artists of the time, as well as by lady and other
amateurs. The bisqué articles, and prepared crayons and colours, were
supplied by Mr. Emery, who afterwards became a partner with Mr. E.
Clarke at Longport.
[Illustration: Fig. 454.]
* * * * *
_Bates & Bennet_ (formerly John & Robert Godwin), are manufacturers
of general earthenware of ordinary quality, the principal productions
being what is called “Imperial measure ware” for the home markets.
* * * * *
_Abbey Pottery._--(H. Meakin, late Edward Pearson.)--These works
were, it is said, established in 1703. White granite ware, for the
American markets only, has of late years been produced.
* * * * *
_Villa Pottery._--This manufactory for general earthenware was carried
on at the beginning of the present century, by Mr. Warburton. From
about 1835 it was carried on by Messrs. Jones & Walley till 1850, from
which time, until 1865, Mr. Edward Walley continued it. In the latter
year it passed into the hands of Messrs. Wood, Son, & Co., its present
proprietors, who confine themselves to the production of plain white
granite ware for the American and other foreign markets. The mark is
the Royal Arms and name of the firm.
* * * * *
_Cobridge Works._--Established in 1836 by Messrs. Wingfield Harding
& Charles Cockson, under the firm of Harding & Cockson, who produced
ordinary china goods. In 1856, on the death of Mr. Harding, the
business was continued, until 1861, by his sons, W. M. and J. B.
Harding, in partnership with Mr. Cockson; and from 1862 to 1865 by
Mr. Charles Cockson alone, during the whole of which time china was
produced. In 1866 Elijah and David Chetwynd became partners, the firm
being then Cockson & Chetwynd. In 1873 Mr. Cockson died, and the
business was continued by his widow under the same style till 1876,
when the former retired, and it again changed to Cockson & Seddon. In
1866 the making of china was discontinued and the manufacture of white
granite ware, for the American trade, substituted. The mark is the
Royal Arms and the name “IMPERIAL IRONSTONE CHINA, COCKSON & CHETWYND,”
or “COCKSON & SEDDON.”
* * * * *
_Cobridge Works._--Messrs. Henry Alcock & Co., at these extensive
works, which were formerly carried on by John Alcock, manufacture white
granite ware exclusively for the American markets.
* * * * *
_Elder Road Works._--This pottery has been worked by Messrs. Meakin
& Co. since 1865, and is capable of turning out about 2,500 crates
of ware annually. The productions are entirely confined to the white
granite ware for the United States.
* * * * *
_Warburton._--Pot works were established here by John Warburton very
early in the last century; after his death they were continued by his
widow, Ann Warburton. They are stated to have made white stoneware
for Holland and the Continent, and to have ultimately brought over
some workmen from Delft. Jacob Warburton, the son, succeeded to the
business, and died in 1826, at the ripe age of eighty-four. His son,
Peter Warburton, was one of the partners of the New Hall China Works
(which see); to him is said by Shaw to belong the credit of printing
in gold, and to his mother that of first using soda. In 1810, Peter
Warburton took out a patent for “a new method of decorating china,
porcelain, earthenware, and glass, with native, pure or adulterated,
gold, silver, platina, or other metals, fluxed or lowered with lead or
any other substance, which invention or new method leaves the metals
after being burned in their metallic state.”
* * * * *
_Daniel._--Ralph Daniel, a potter at Cobridge, employed in the early
part of last century some workmen from Delft, and, to keep their
process secret, started works at Bagnall for them. About 1743 he
introduced the use of plaster of Paris moulds, such as he found were
being used in France.
The potters at Cobridge in 1843 were Wood and Brownfield, John and
George Alcock, Francis Dillon, Elijah Jones, Stephen Hughes and Co.,
Benjamin Endon Godwin, John Mayer Godwin and James Godwin, John and
Robert Godwin, George and Ralph Leigh, and Coxon, Harding, and Co.
Potteries also, early in last century, existed at Holden Lane, at
Milton, and at Sneyd Green.
Other potters at one time or other at Cobridge are N. Dillon, R.
Stevenson, Mansfield & Hackney, and Rathbone, Hill & Co.
Other manufacturers are W. E. Cartledge, Bournes Bank; W. Holdcroft;
Hope and Carter; Thos. Hughes; Maddock & Co., formerly Maddock and
Gater; C. Meakin; Oulsnam and Son; Pope and Co.; and Wade and Colclough.
In 1770 (Feb. 4th), the following Staffordshire potters signed an
agreement as to prices:--John Platt, John Lowe, John Taylor, John Cobb,
Robt. Bucknall, John Daniel, Thos. Daniel, junr., Richd. Adams, (Dr.)
Saml. Chatterley, Thos. Lowe, John Allen, Wm. Parrott, Jacob Warburton,
Warburton and Stone, Jos. Smith, Joshua Heath, John Bourn, Jos.
Stephens, Wm. Smith, Jos. Simpson, John Weatherby, J. and Rd. Mare,
Nicholas Poole, John Yates, Chas. Hassells, Ann Warburton and Son (T.
Warburton), Wm. Meir. Other potters were Chas. and Ephraim Chatterley,
W. Mellor, and Whithead.