,illustration3 ,,vicar ,,moses4 ,modelled by ,,ralph ,,wood4 ,about #agej4 ,marked ,r4 ,,wood1 ,,burslem4 ,at ,british ,museum4 ,,chats ,,on ,,old ,,earthenware ,,by ,,arthur ,,hayden ,,author ,,of ,,chats ,,on ,,old ,,china1 ,,chats ,,on ,,old ,,prints1 ,,etc4 ,,with ,a ,,coloured ,,frontispiece ,,and #aej ,,illustrations1 ,,and ,,tables ,,of ,,over #bjj ,,illustrated ,,marks ,,new ,,york ,,frederick ,a4 ,,stokes ,,company ,,publishers #aiji 7,all rights reserved47 ,,to ,,my ,,old ,,friend ,,walter ,,eassie ,,whose ,,fine ,,enthusiasm ,,has ,,been ,a ,,stimulant1 ,,and ,,whose ,,ever-,,ready ,,help ,,has ,,added ,,many ,,artistic ,,touches ,,to ,,this ,,volume4 ,,preface ,five years have now elapsed since the publication of my volume1 ,chats on ,english ,china1 and in the interval a great number of readers have written to me suggesting that ,i should write a companion volume dealing with old ,english earthenware4 ,it is my hope that this complementary volume will prove of equal value to that large class of collectors who desire to know more about their hobby but are fearful to pursue the subject further without special guidance4 ,it is a matter for congratulation in these days1 when so many books have only a short life for one season1 to know that1 owing to the enterprise of my publisher in making the ,chats ,series for collectors so widely known1 the volume dealing with old ,english ,china still retains its vitality1 and holds its place as a popular guide to collecting with profit4 ,as far as is possible in the limits of this volume1 the subject of old ,english earthenware has been dealt with in order to show how peculiarly national the productions of the potter have been4 ,the collection of old ,english earthenware1 in the main1 is still within the reach of those who have slender purses4 ,english china during the last decade has reached prohibitive prices1 and there is every likelihood that old ,english earthenware will in the near future become of unprecedented value4 ,i have carefully refrained from confining my treatment of the subject to rare museum examples which are unlikely to come under the hand of the average collector4 ,it is necessary to have the ideal in view1 but it must be borne in mind that such specimens must always be ideal to the larger number of collectors4 ,i have1 therefore1 without belittling the old potters' art1 given considerable attention to the golden mean in the realm of old earthenware to be collected4 ,the two volumes--,chats on ,english ,china1 which mainly consists of an outline history of ,english china1 with hints as to its collection1 and the present volume1 ,chats on ,english ,earthenware1 with a faithful rsum of the work of the old ,english potters--together form a record of what has been done by the potter in ,england1 and are intended to be practical working handbooks for the collector of old ,english china and ,english earthenware4 ,the illustrations in this volume have been carefully chosen to illustrate the letterpress1 and to enable readers to identify specimens that may come under their observation4 ,lists of ,prices accompany the various sections whenever it has been thought that they may be of practical value4 ,i am indebted for the accuracy of these prices to that useful and authoritative quarterly publication1 ,auction ,sale ,prices1 which is a supplement to the ,connoisseur1 and forms the standard record in the collectors' world of the prices realised at auction4 ,a ,bibliography of works on the subject has been given1 in order that those who may wish to delve deeper may consult special volumes dealing in detail with special sub-heads of old earthenware4 ,i must here record my thanks for the generous aid ,i have received from possessors of fine examples who have willingly placed their treasures at my disposal1 and by so doing have enabled me to present them as illustrations in this volume4 ,to ,colonel and ,mrs4 ,dickson ,i am especially indebted for many specimens from their interesting collection4 ,miss ,feilden has been good enough to select some typical examples from her fine collection of old earthenware of exceptional interest1 and they are here reproduced by her courtesy1 and to ,mr4 ,richard ,wilson ,i owe my gratitude for kindly allowing illustrations of some examples of ,leeds cream-ware from his remarkable collection4 ,mr4 ,robert ,bruce ,wallis1 with fine enthusiasm1 has spared no trouble to enable me to present some of his rare examples1 and ,mrs4 ,herman ,liebstein has kindly supplied some fine pieces from her collection4 ,mr4 ,w4 ,g4 ,honey has also kindly contributed several excellent illustrations of specimens in his collection4 ,the illustrations of specimens in the ,victoria and ,albert ,museum are reproduced by permission of the ,board of ,education1 and similar permission has been accorded me by the authorities of the ,british ,museum to illustrate some of the rare examples in that collection4 ,by a like courtesy ,i am enabled to give an illustration of an exceptional piece of marked ,wincanton ,delft1 and some other examples from the collection at the ,royal ,scottish ,museum1 ,edinburgh4 ,messrs4 ,josiah ,wedgwood and ,sons1 of ,etruria have afforded me the pleasure of illustrating some fine specimens in their museum1 including examples of the celebrated service made for the ,empress ,catherine ,,ii4 of ,russia4 ,i am especially indebted to their courtesy in giving me facilities for the reproduction of a fine series of photographs showing the various stages in the manufacture of earthenware1 which illustrations should be of practical advantage to the student and of no little interest to the general collector4 ,it should be mentioned that these illustrations have been specially selected to represent the stages through which a piece of old earthenware passed in the hands of the ,staffordshire potters4 ,in regard to the illustrations of the rare examples of ,leeds and other pieces decorated at ,lowestoft1 and for the latest details known of this class of ware1 ,i have to acknowledge the particular kindness of ,mr4 ,merrington ,smith1 fine art expert of ,lowestoft1 who is known in connection with the excavations conducted a few years ago on the site of the old ,lowestoft china factory1 and whose detailed research regarding that factory has dissipated many erroneous theories and thrown so much light on its history and achievements4 ,to ,mr4 ,rudd1 fine art dealer of ,southampton1 ,i am indebted for a considerable fund of information relating to some of the exceptional examples of old ,english earthenware which have passed through his hands1 and ,i am under a similar obligation to ,mr4 ,s4 ,g4 ,fenton1 who has contributed some fine pieces as illustrations to this volume4 ,mr4 ,james ,davies1 of ,chester1 has given me access to his collection1 and has added some fine examples which are here included as illustrations4 ,mr4 ,f4 ,w4 ,phillips1 of ,hitchin1 has from his fine collection made a generous selection of noteworthy specimens4 ,mr4 ,a4 ,duncan1 of ,penarth1 has included photographs of some especially fine ,swansea ware4 ,by the kindness of ,mr4 ,hubert ,gould1 ,i am reproducing some typical examples of transfer-printed jugs from his collection of old earthenware4 ,to other friends who have generously forborne with my inquiries1 and lent me their practical aid in various directions in assisting me to prosecute my researches in attempting to arrive at definite conclusions in regard to points not hitherto determined1 ,i tender my warm appreciation of their kindness4 ,i may say1 in conclusion1 that a good photographer is a treasure1 and no trouble has been spared by ,mr4 ,a4 ,e4 ,smith1 the well-known art photographer1 to render difficult subjects pictorially attractive in conditions exceptionally detrimental to his art4 ,,arthur ,,hayden4 ,march1 #aiji4 ,,contents ,,page ,,preface #i ,,list ,,of ,,illustrations #ag ,,bibliography #bc ,,glossary ,,of ,,terms ,,used #bg ,,chapter ,i4 ,,how ,,to ,,collect3 ,a ,,chapter ,,for ,,beginners #cc ,,ii4 ,,early ,,ware #hc ,,iii4 ,,english ,,delft #aja ,,iv4 ,,stoneware #acc ,v4 ,,early ,,staffordshire ,,ware--,,thomas ,,whieldon2 ,,his ,,contemporaries ,,and ,,successors #aei ,,vi4 ,,salt-,,glazed ,,ware1 ,,staffordshire #aie ,,vii4 ,,josiah ,,wedgwood #bba ,,viii4 ,,the ,,school ,,of ,,wedgwood #beg ,,ix4 ,,leeds ,,and ,,other ,,factories #bhg ,x4 ,,transfer-,,printed ,,ware #cag ,,xi4 ,,staffordshire ,,figures #cec ,,xii4 ,,swansea ,,and ,,other ,,factories #cie ,,xiii4 ,,lustre ,,ware #dbc ,,xiv4 ,,late ,,staffordshire ,,ware #ddc ,,index #dhe ,,list ,,of ,,illustrations ,,frontispiece4 ,staffordshire ,group1 ,vicar and ,moses4 ,modelled by ,ralph ,wood about #agej4 ,marked ,r4 ,,wood1 ,,burslem4 ,at ,british ,museum4 ,,page ,,chapter ,i4--,,how ,,to ,,collect4 ,exterior of ,works1 ,etruria #cg ,a ,corner of ,old ,etruria ,works #da ,mill for ,grinding ,raw ,materials #de ,the ,thrower 7showing the ,potter's ,wheel7 #di ,the ,oven #ec ,the ,dipping ,house #eg ,the ,enamel ,kiln #fa ,,chapter ,,ii4--,,early ,,ware4 ,medival ,tiles #he ,toft ,dish1 dated #afga2 ,posset ,pot1 dated #afhe #hi ,earthenware ,jug 7late #agth century7 #ic ,,chapter ,,iii4--,,english ,,delft4 ,lambeth ,delft ,jar 7with ,arms of ,apothecaries' ,company7 #ajc ,lambeth ,delft ,sack ,bottle1 dated #afeb #ajg ,bristol ,delft ,plate1 representing ,balloon ,ascent #ajg ,lambeth ,delft ,candlestick1 dated #afdh #aaa ,old ,dutch ,brass ,candlestick #aaa ,bristol ,delft ,plate and ,bowl #aae ,bristol ,delft ,dish1 dated #agdj #aai ,title-page and ,illustration1 from volume dated #afch #abc ,wincanton ,delft ,dish #abg ,,chapter ,,iv4--,,stoneware4 ,stoneware ,jugs1 ,bellarmine and other forms #ace ,dwight ,bust of ,james ,,ii41 and ,figures of ,children ,reading #aci ,elers ,coffee ,pot1 ,mug1 and ,teapot #adc ,astbury ,teapots #adi ,fulham ,stoneware ,mug 7dated #agbe7 and ,jug #aec ,,chapter ,v4--,,early ,,staffordshire ,,ware4 ,whieldon ,ware ,cauliflower ,teapot #afa ,tortoiseshell ,ware ,plate #afa ,tortoiseshell ,ware ,teapot and ,bowl and ,cover #afg ,group of ,astbury ,ware #aga ,agate ,cat and ,salt-glazed ,bear ,jug #aga ,whieldon ,tortoiseshell ,animals #age ,whieldon ,group4 ,st4 ,george and the ,dragon #age ,whieldon ,toby ,jugs #agi ,groups of ,early ,staffordshire ,jugs #ahc ,early ,staffordshire ,jugs #ahi ,,chapter ,,vi4--,,salt-,,glazed ,,ware1 ,,staffordshire4 ,salt-glazed ,teapots4 ,heart-shaped 7,lovers'7 and ,camel #aig ,group of ,salt-glazed ,ware #bja ,salt-glazed ,teapot enamelled in colours #bje ,salt-glazed ,vase and ,punch ,bowl enamelled in colours #bji ,salt-glazed ,jug enamelled in colours #bac ,,chapter ,,vii4--,,josiah ,,wedgwood4 ,cream ,ware ,dessert ,basket and ,centre-piece #bbe ,catherine ,,ii4 of ,russia ,service--,cream ,ware ,plates #bcc ,busts of ,rousseau and ,voltaire #bcc ,black ,basalt ,teapot and ,jasper ,ware ,tea ,set #bda ,jasper ,vase--,the ,apotheosis of ,virgil #bde ,,chapter ,,viii4--,,the ,,school ,,of ,,wedgwood4 ,turner ,jasper ,vase--,diana in her ,chariot #bfa ,adams ,blue and ,white ,jasper ,vase #bfa ,turner ,stoneware ,teapot and ,jug #bfg ,black ,basalt ,teapots by ,birch and by ,e4 ,mayer #bga ,stoneware ,jugs by ,spode and by ,davenport #bgg ,black ,basalt ,teapot 7early #aith century7 #bgg ,,chapter ,,ix4--,,leeds ,,and ,,other ,,factories4 ,leeds ,cream ,ware ,centre-pieces #bia ,leeds ,cream ,ware ,group4 ,basket1 ,candlesticks1 c4 #bie ,mug and ,jug4 ,leeds ,cream ,ware1 decorated at ,lowestoft #bii ,leeds ,cream ,ware ,plate and ,mug #cjc ,staffordshire ,jug1 decorated at ,lowestoft #cjc ,rockingham ,teapot #cjg ,castleford ,jug--,black ,basalt #cjg ,,chapter ,x4--,,transfer-,,printed ,,ware4 ,salt-glazed ,plate--,hercules and the ,waggoner #cai ,transfer-printed ,jug--,diana in her ,chariot #cai ,transfer-printed ,jugs--,duke of ,york and ,success to ,trade #cbc ,group of ,chinese ,blue and ,white ,porcelain ,plates #cbg ,spode ,under-glaze ,blue-printed ,plate and ,jug #cca ,turner ,dish with ,blue-printed ,willow pattern #cca ,spode ,blue-printed ,ware1 ,tower pattern #cce ,blue-printed ,dishes by ,rogers and ,adams #cda ,blue-printed ,dishes--one with ,claude landscape #cde ,,chapter ,,xi4--,,staffordshire ,,figures4 ,salt-glaze ,figure and ,figure of ,cock marked ,r4 ,,wood #cea ,diana and ,group1 ,birth of ,venus #cee ,group of ,staffordshire ,figures 7,,neale ,,co47 #cee ,eloquence1 or ,st4 ,paul ,preaching at ,athens #cei ,group ,bacchus and ,ariadne1 and ,figures of ,venus and ,adonis #cfc ,busts of ,bonaparte and ,alexander of ,russia #cfg ,figures of ,falstaff #cga ,staffordshire ,figure decorated by ,absalon1 ,yarmouth #cge ,staffordshire ,figures of ,musicians 7various7 #cgi ,group of ,toby ,jugs #chc ,cupid and ,figures of ,flower ,boys #chg ,figures of ,fishwife and ,mother ,goose #cia ,,chapter ,,xii4--,,swansea ,,and ,,other ,,factories4 ,swansea ,plates and ,swansea ,bulb-pots #cig ,cambrian ,vase1 painted by ,pardoe #dja ,swansea ,jug1 painted by ,evans #dja ,swansea ,transfer-printed ,ware1 ,group of #dje ,dillwyn's ,etruscan ,ware1 ,vase and ,tazza #dje ,portland ,vase in ,red ,ware 7,isleworth7 #dji ,liverpool ,plate and ,finely ,painted ,mug #dji ,brown ,stoneware ,jugs 7,isleworth7 #dac ,,chapter ,,xiii4--,,lustre ,,ware4 ,lustre ,goblets and ,gold ,lustre ,mugs #dbe ,silver ,lustre ,figures by ,wood and ,caldwell #dca ,silver ,lustre ,jugs #dca ,copper ,lustre ,mug and ,group of ,copper ,lustre ,ware #dcg ,,chapter ,,xiv4--,,late ,,staffordshire ,,ware4 ,dessert ,plates and ,dessert ,dish 7,mason's ,patent ,ironstone ,china7 #ddg ,granite ,china ,vase1 marked ,c ,j ,m ,co4 #dea ,transfer-printed ,plates 7,c4 ,meigh ,son7 #dee ,set of ,staffordshire ,earthenware ,vases1 richly decorated #dee ,group of ,nelson ,jugs #dei ,transfer-printed ,plate in ,colours1 subject--,steam ,carriage #dfc ,old ,print1 ,new ,steam ,coach1 dated #ahbg #dfc ,transfer-printed ,jug1 representing ,stephenson's ,rocket #dfg ,cyder ,mug1 ,transfer-printed1 representing ,railway ,train #dfg ,doulton ,stoneware ,jug1 with ,bacchanalian subject #dga ,,bibliography ,,general4 ,catalogue of ,british ,pottery and ,porcelain4 ,by ,t4 ,reeks and ,f4 ,w4 ,rudler4 #ahgf4 7,out of print477,formerly in the ,museum of ,practical ,geology1 ,jermyn ,street47 ,marks and ,monograms on ,pottery and ,porcelain4 ,by ,w4 ,chaffers4 #abth ,edition4 #aijh4 ,ceramic ,art of ,great ,britain4 ,by ,llewellyn ,jewitt4 #b vols4 #ahgh4 #bnd ,edition4 #a vol4 #ahhc4 ,english ,earthenware 7made during the #agth and #ahth centuries74 ,by ,professor ,a4 ,h4 ,church1 ,f4 ,r4 ,s4 #aije4 ,history of ,pottery and ,porcelain4 ,by ,j4 ,marryat4 #aheg4 ,history of ,english ,earthenware and ,stoneware 7to the beginning of the #aith century74 ,by ,william ,burton1 ,f4 ,c4 ,s4 7,cassell ,co47 #aijd4 ,catalogue of ,british ,pottery1 c41 at the ,british ,museum4 ,by ,r4 ,l4 ,hobson4 #aijc4 ,art of the ,old ,english ,potter4 ,by ,m4 ,l4 ,solon4 ,folio4 #bnd ,edition4 #ahhe4 ,old ,english ,pottery4 ,by ,mr4 and ,mrs4 ,frank ,freeth4 7,morgan1 ,thompson1 ,jamison47 #b #abs4 #f;d4 net4 ,catalogue of ,pottery and ,porcelain4 7,willett ,collection1 at ,brighton ,museum47 #aije4 ,pottery and ,porcelain4 ,a ,guide to ,collectors4 ,f4 ,litchfield4 #aijj4 ,english ,pottery and ,porcelain4 ,by ,e4 ,a4 ,downman4 #ahif4 ,history of the ,staffordshire ,potteries4 ,by ,s4 ,shaw4 7,hanley47 #ahbi4 ,reissue by the ,pottery ,gazette4 #aijj4 ,the ,chemistry of ,pottery4 ,by ,s4 ,shaw4 7,london47 #ahcg4 ,reissue by the ,pottery ,gazette4 #aijj4 ,catalogue of ,english ,pottery and ,porcelain4 7,alexandra ,palace47 ,by ,r4 ,h4 ,soden ,smith4 ,destroyed by fire4 #ahgc4 ,transfer ,printing on ,enamels1 ,porcelain1 and ,pottery4 ,by ,william ,turner4 #aijg4 ,examples of ,early ,english ,pottery4 ,by ,j4 ,e4 ,hodgkin and ,e4 ,hodgkin4 #ahia4 ,staffordshire ,pots and ,potters4 ,by ,g4 ,w4 ,rhead and ,f4 ,a4 ,rhead4 #aijf4 ,catalogue of a ,collection of ,english ,pottery ,figures deposited on loan by ,messrs4 ,frank ,falkner and ,e4 ,j4 ,sidebotham at the ,royal ,museum1 ,peel ,park1 ,salford4 7,manchester47 #aijf4 ,chats on ,english ,china4 ,by ,arthur ,hayden4 7,t4 ,fisher ,unwin47 #dth ,edition4 #aiji4 7,the concluding chapters contain an outline history of ,english ,earthenware47 ,,particular4 ,staffordshire4 ,pre-,wedgwood ,english ,pottery4 7,solon ,collection47 ,connoisseur1 ,december1 #aija2 ,february1 #aijb4 ,william ,adams1 an old ,english ,potter4 ,edited by ,w4 ,turner4 #aijd4 ,josiah ,wedgwood4 ,by ,miss ,e4 ,meteyard4 #b vols4 #ahfe-f4 ,wedgwood and his ,works4 ,by ,miss ,e4 ,meteyard4 #ahgc4 ,memorials of ,wedgwood4 ,by ,miss ,e4 ,meteyard4 #ahgd4 ,the ,wedgwood ,handbook4 ,by ,miss ,e4 ,meteyard4 #ahge4 ,josiah ,wedgwood1 ,master ,potter4 ,by ,professor ,a4 ,h4 ,church4 #aijc4 ,old ,wedgwood 7#agfj-agie74 ,by ,f4 ,rathbone4 ,folio2 #fe plates in colour4 #ahif4 ,catalogue of ,loan ,collection of ,wedgwood ,ware1 ,liverpool ,art ,club4 7,liverpool47 #ahgi4 ,josiah ,wedgwood4 ,by ,llewellyn ,jewitt4 #ahfe4 ,handbook to the ,tangye ,collection of ,wedgwood ,ware4 7,birmingham47 ,by ,f4 ,rathbone4 #ahhe4 ,wedgwood1 ,josiah--his ,catalogue of ,cameos1 ,intaglios1 ,bas-reliefs1 ,busts1 and ,small ,statues1 with a ,general ,account of ,tablets1 ,vases1 ,escritoires1 and other ,ornamental and ,useful ,articles4 7,london47 #aghg4 ,wedgwood1 ,josiah--his ,catalogue 7as above74 ,edited by ,miss ,e4 ,meteyard4 #ahgc4 ,john ,wesley ,busts in ,staffordshire ,pottery4 ,by ,c4 ,s4 ,sargisson4 ,connoisseur1 ,september1 #aijg4 ,catalogue of the ,museum at the ,etruria ,works1 ,messrs4 ,josiah ,wedgwood ,sons1 ,ltd4 ,by ,frederick ,rathbone4 #aiji47,mr4 ,rathbone has arranged the collection of ,flaxman's designs1 ,wedgwood's original pattern models and experimental trials47 ,bristol4 ,two ,centuries of ,ceramic ,art in ,bristol4 ,by ,h4 ,owen4 #ahgc4 ,derby4 ,the ,pottery and ,porcelain of ,derbyshire4 ,by ,a4 ,wallis and ,w4 ,bemrose4 #ahgj4 ,liverpool4 ,the ,art of ,pottery1 with a ,history of its ,progress in ,liverpool4 ,by ,j4 ,mayer4 7,liverpool47 #ahgc4 ,the ,liverpool ,potteries4 ,by ,c4 ,t4 ,gatty4 7,liverpool47 #ahhb4 ,leeds4 ,old ,leeds ,pottery4 ,by ,j4 ,r4 and ,f4 ,kidson4 7,leeds47 #ahib4 ,catalogue of ,exhibition of ,works of ,art in the ,cartwright ,memorial ,hall1 ,bradford4 #aijd4 ,old ,leeds ,ware4 ,by ,henry ,b4 ,wilson4 ,connoisseur1 #aijd4 ,swansea4 ,the ,ceramics of ,swansea and ,nantgarw4 ,by ,william ,turner4 ,,glossary ,agate ,ware4--,earthenware made either solid or in surface decoration to resemble the veinings of agate and other natural stones4 ,the solid agate ware is produced by layers of different coloured clays being twisted together and cut transversely4 ,the surface agate ware is splashed and grained decoration on an ordinary cream body4 ,astbury ,ware4--,a generic term applied to specimens in the manner of the ,astburys1 with raised floral decoration of white on a red unglazed body4 ,basalt4--,black ,basalt1 or ,egyptian ware1 is a solid black stoneware of great hardness1 made by ,wedgwood and by his school of followers4 ,biscuit4--,this term is applied to earthenware and porcelain when it has been fired once4 ,it is after the biscuit stage that decorations in colour are applied1 and the specimen goes to the oven a second time 7see ,chapter ,i474 ,body4--,the body of a piece of earthenware is the clay of which it is composed irrespective of the nature or colour of decoration applied to its surface4 ,china4--,this term is applied to porcelain of all classes1 whether true porcelain of hard paste1 e4g41 ,chinese1 ,japanese1 ,meissen1 ,plymouth1 ,bristol1 c41 or artificial porcelain of soft paste1 e4g41 ,svres 7pte tendre71 ,worcester1 ,chelsea1 ,bow1 ,lowestoft1 c4 ,china ,clay4--,the whitest clay known4 ,obtained in ,england from ,devon and ,cornwall4 ,used for porcelain1 and also for light-coloured earthenware4 ,china ,stone4--,known also as ,cornish stone2 used in conjunction with the china clay for porcelain1 and employed for stoneware bodies4 ,cream ,ware4--,this term applies to all light-coloured ,english earthenware from about #agej to the present day4 ,it varied in character from the ,queen's ,ware of ,josiah ,wedgwood1 #agfj1 to the chalk body used by ,wilson at the end of the eighteenth century4 ,cream ware of later date when broken shows a pure white body--a puzzling fact to beginners in collecting4 ,delft ,ware4--,a generic term given to earthenware with tin enamelled surface4 ,true ,delft ware was made at ,delft in ,holland after #afjj1 but it was successfully imitated at ,lambeth1 ,bristol1 ,liverpool1 c4 ,earthenware4--,all ware may be termed earthenware which when in the biscuit state is too porous for domestic use but requires a coating of glaze4 ,as a rule1 earthenware is opaque1 differing in this respect from porcelain1 which is translucent4 ,enamel ,colours4--,the colours applied either in painted or printed decoration over the glaze4 ,elers ,ware4--,a generic term used in regard to unglazed red stoneware with applied decoration in the style of the ,elers brothers4 ,glaze4--,the glassy coating applied to earthenware and porcelain4 ,lead-glaze4--,the earliest form used in ,england was known as galena glaze1 when sulphide of lead was in powder form dusted on the ware4 ,later liquid lead glaze was used1 into which the vessels were dipped4 ,salt-glaze4--,common salt was thrown into the kiln1 and the resultant vapour deposited a fine layer of glaze on the ware4 ,over-glaze4--,this term applies to painted or printed decoration done after the glaze has been applied to the object--i4e41 over the glaze4 ,under-glaze4--,this applies to decoration1 painted or printed1 done before the glaze is applied to the object--i4e41 when completed the decoration is under the glaze4 ,ironstone ,china4--,an earthenware for which ,mason took out a patent in #ahac4 ,the body contains a large proportion of flint and slag of ironstone4 ,jasper ,ware4--,a fine hard stoneware used by ,wedgwood1 and imitated by his followers4 ,it is unglazed4 ,lustre ,ware4--,earthenware decorated by thin layers of copper1 gold1 or platinum 7see ,chapter ,,xiii474 ,marbled ,ware4--,ware of a similar nature to agate ware1 having its surface combed and grained to imitate various natural marbles or granites4 ,marks4--,in earthenware these makers' names or initials or trade marks were usually impressed with a metal stamp4 ,obviously this must have been done when the ware was in plastic state2 therefore it is impossible to add such marks after the ware is made1 and when present on old ware they are a sign of undoubted genuineness4 ,of course a copy can be made bearing an impressed mark4 ,painted or printed marks sometimes occur on earthenware usually of a later date4 ,such marks may be under-or over-glaze2 the former are not likely to have been added after the piece has been made4 ,modern4--,english earthenware may be termed modern when it is of a later date than #ahej4 ,though1 as is indicated in ,chapter ,,xiv41 the modern renaissance in earthenware should be of especial interest to collectors4 ,over-glaze4--,see ,glaze4 ,oven4--,the oven1 as the potter terms it1 is a specially-built furnace in which the saggers containing the ware are placed during the firing 7see ,chapter ,i474 ,paste4--,this is another term for the body of the ware4 ,resist ,pattern4--,a term in silver lustre ware4 ,for detailed description see ,chapter ,,xiii4 ,sagger4--,a fire-clay box in which the earthenware is placed when being fired in the oven 7see ,illustration1 ,chapter ,i474 ,salt-glaze4--,see ,glaze1 and see ,chapter ,,vi4 ,semi-china4 ,semi-porcelain4--,terms applied to early nineteenth century earthenware having a very white or chalk body1 and having the outward appearance of china or porcelain4 ,strongly imitative and false to the true qualities of earthenware4 ,it is always opaque4 ,sometimes it is navely termed opaque china4 ,slip4--,a thick semi-solid fluid composed of clay and water4 ,spurs4 ,spur mark4--,during the glazing of earthenware spurs or stilts of fire-clay are used to support the articles and keep them from touching each other4 ,spur or cockspur marks are found on the ware where it has rested on these supports 7see ,chapter ,,ix41 p4 #bih74 ,stoneware4--,a variety of pottery distinct from earthenware1 and more nearly approaching porcelain in its characteristics4 ,earthenware1 as has been shown1 needs a coating of glaze to protect its porous defects4 ,stoneware is a hard body needing no glaze4 ,glazed stoneware is frequently found1 and the glaze employed is usually salt4 ,throwing4--,the art of fashioning shapes on the potter's wheel 7see ,illustration1 ,chapter ,i474 ,transfer ,printing4--,printing employed as a decoration on ware by means of paper which had received a design from a copper-plate1 and was transferred to the surface of the ware 7see ,chapter ,x474 ,under-glaze4--,see ,glaze4 ,wedgwood4--,this has become a generic term for one or two classes of ware--e4g41 jasper and black basalt1 which were made by most of the potters succeeding ,josiah ,wedgwood4 ,the word has1 in common with ,boule and ,chippendale become popularly and erroneously used4 ,whieldon ,ware4--,a generic term covering all classes of ware of a mottled1 cloudy1 or splashed character--e4g41 tortoiseshell plates1 vases1 figures1 c4 ,i ,,how ,,to ,,collect3 ,a ,,chapter ,,for ,,beginners ,chats on ,old ,earthenware ,,chapter ,i ,,how ,,to ,,collect3 ,a ,,chapter ,,for ,,beginners ,reasons for collecting--,what is earthenware8--,how earthenware is made--,what to collect--,method of studying old earthenware--,forgeries--,table for use in identifying old ,english earthenware4 ,to attempt to advance reasons for collecting old ,english earthenware is seemingly to commence this volume with an apology on behalf of collectors4 ,but there are so many persons ready to throw a stone at others who betray the possession of hobbies differing from their own1 that it is necessary to state that the reasonable collection of old earthenware is based on sound premisses4 ,similar reasons may be given for the collection of old ,english earthenware to those that may be advanced for the collection of old ,english china4 ,earthenware may be approached mainly from the sthetic side and studied with a view to show the development of decorative art in this country and the foreign influences which have contributed to its evolution4 ,the art of the old ,english potter is of especial interest to students of ceramic art1 as many processes were invented in this country1 and1 in spite of periods of decadence1 ,english earthenware has won for itself a considerable reputation on the ,continent from a technical point of view4 ,it may be collected as an adjunct to old furniture by lovers of old furniture who are precisians in regard to harmony in schemes of decoration4 ,they prefer to see china and earthenware of the same period as the furniture4 ,a modern set of vases adorning a ,georgian cabinet is like putting new wine into old bottles4 ,so that concomitant with the love for old furniture1 old pictures1 and old prints is the accompanying regard for contemporary china and earthenware4 ,the drum and trumpet history relating the personal adventures of princes and nobles1 and the pomp of courts1 or the intrigues of favourites1 sets no store on the apparent trivialities which mark the social and intellectual progress of a nation4 ,but the scientific student of history cannot afford to ignore the detailed study of social conditions which are indicated by the china-shelf4 ,the due appreciation of the development of costume1 of furniture1 and of the domestic arts gives life and colour to the written records of byegone days4 ,a mug or a jug with an inscription may tell a story of popular party feeling as pointedly as a broadsheet or a political lampoon4 ,illustration3 ,,exterior ,,of ,,works1 ,,etruria3 ,,the ,,marl ,,bank4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,the ordinary man sees in the collection of china and earthenware an interesting hobby4 ,he reads of the prices remarkable specimens bring under the hammer1 and he begins to think that his education has been partly neglected since he knows little or nothing concerning these art treasures1 which seemingly are attractive to other men of culture and means4 ,collecting for profit is a phrase that tickles the ears of many others4 ,undoubtedly there have been many who have entered the field of collecting and regarded their purchases solely as investments4 ,it must be borne in mind that this class of collector is not to be despised1 inasmuch as when he has mastered his subject 7and as there is money in it he very speedily sets to work to do this7 he is a very formidable rival4 ,it is absurd to imagine that an amateur1 after having given especial study to a subject such as old earthenware1 is not in a better position to enter the market as a buyer or a seller than he who comes with little or no training4 ,it is only reasonable that a man should take an intelligent interest in the evolution of the ware in everyday use4 ,but it is to be feared that long rows of cases at the museum with specimens of earthenware behind glass doors must necessarily be a valley of dry bones to the spectator unless he bring the seeing eye and the understanding heart to quicken these dry bones into life4 ,enough1 perhaps1 has been said as a prelude to this volume to show that various reasons may be advanced to account for the new spirit of collecting which has become so infectious4 ,it is the hope of the writer that the following chapters1 as an outline of the subject of collecting old ,english earthenware1 may point the way to a better appreciation of what is really of value in this field1 and will enable the collector in his search to sift the wheat from the chaff1 and him who already possesses lares et penates of uncertain age to identify them4 ,what is ,earthenware8--,to know what is earthenware always puzzles the beginner4 ,a rough-and-ready means of determining the difference between earthenware and porcelain is to apply the light test4 ,porcelain more nearly approaches glass and is translucent--that is1 it clearly shows the shadow of the hand holding it when placed up to the light4 ,but there are occasions when this test fails2 for instance1 a block of porcelain may1 as in a heavy figure1 be so thick as to render this experiment impossible4 ,on the other hand1 fine stoneware may be partly translucent in the thinner parts4 ,in early nineteenth-century days a class of ware1 such as that of ,mason1 is stamped ironstone china or stone china4 ,this is earthenware of a peculiar nature1 having certain of the properties of porcelain4 ,similarly1 at various times earthenware has been made which nearly approaches porcelain in its constituents4 ,dwight with his stoneware busts and ,wedgwood in his jasper ware produced earthenware of such character as to come close to the border line dividing earthenware from porcelain4 ,the potter's art is divided into two sub-heads--porcelain and earthenware--which latter1 for purposes of simplification1 includes stoneware4 ,illustration3 ,a ,,corner ,,of ,,old ,,etruria ,,works4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,earthenware is of soft body1 is opaque--that is1 it cannot be seen through4 ,its thinness or its thickness has nothing to do with its title4 ,stoneware is equally opaque1 but it is as hard as porcelain4 ,it may be as thick and heavy as a ,german beer-mug or a stone ginger-beer bottle1 or it may be cream in colour1 and thin as a ,passover cake1 as in salt-glazed ,staffordshire ware1 or white and heavy1 as in later stone china4 ,porcelain may be hard or soft and possesses properties equally its own1 but is outside the scope of this volume4 ,practically earthenware is of such porous clay that when fired in the kiln it is unfit for use1 as it is still too porous until it receives a coating of glaze4 ,unglazed stoneware1 ,egyptian black1 and ,wedgwood's jasper ware differ from earthenware in this respect1 as they do not receive any glaze1 since they are of dense enough body to be used in biscuit or unglazed state4 ,its appearance4 ,in colour earthenware may be brown or white in exterior1 or brown or white in body as shown when broken4 ,at its best its style to the beginner may not be suggestive of great difference between earthenware and porcelain4 ,similar figures were attempted in the one material as in the other4 ,in ,france at ,niderviller1 at ,marseilles1 and at ,scieux the potters deliberately set themselves to make objects in earthenware as delicate and fanciful as were produced in hard porcelain at ,dresden or in soft porcelain at ,vincennes4 ,clocks1 vases1 sweetmeat-boxes1 and elaborate dinner services lavishly decorated in over-glaze enamels and gilded1 emulated the best work of the porcelain factories4 ,in ,staffordshire the story has been repeated4 ,so that form is no guide as to what kind of ware a piece may be4 ,in weight earthenware is lighter than porcelain as a general rule1 though variations in the body make this rule an elastic one4 ,in stoneware1 and ware approximating to this in character1 the weight is heavier than porcelain4 ,all ironstone ware is exceedingly heavy4 ,reasons for its appearance4 ,the earlier earthenware was brown in body4 ,the ,dutch potters in the seventeenth century covered their ware with an opaque white tin enamel to conceal the dark earthen body and to enable them to paint on its surface in imitation of ,chinese porcelain4 ,stoneware1 such as the jugs of early type known as ,bellarmines1 is of very vitreous earthenware fired so hard as to resist acids or the use of a file when applied to the surface4 ,when glazed this class of ware has salt glaze4 ,dwight1 of ,fulham1 introduced white1 or nearly white1 stoneware into ,england in his statuettes1 which induced him to claim that he had discovered the secret of making porcelain4 ,cream ware followed later1 and1 perfected by ,wedgwood1 it was adopted as the standard earthenware of ,staffordshire4 ,it was the last note in earthenware till the beginning of the nineteenth century1 when the ,staffordshire potters invented an earthenware with a white body more nearly approaching porcelain in appearance4 ,for fifty years experiments had been carried on1 and this cream ware was whitened by a process called blueing by the use of cobalt to whiten the lead glaze4 ,but the final invention was by ,mason with his patent ironstone china1 in which he produced a hard1 white body4 ,how ,earthenware is made4--,a good deal of theory has found its way into print1 but it is not every one1 even among collectors1 who has actually seen the various stages through which a lump of clay passes before it finally takes its place on the table as a teapot or a breakfast cup4 ,illustration3 ,,mill ,,for ,,grinding ,,raw ,,materials4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,it has1 therefore1 been thought of interest to illustrate a few steps in the process of this transformation of clay into vessels of utility and beauty4 ,by the kindness of ,messrs4 ,josiah ,wedgwood and ,sons1 of ,etruria1 this series of illustrations appears1 and the subjects have been chosen with a view to showing those processes of the potter which are practically the same as in the days of the great ,josiah4 ,the first illustration 7p4 #cg7 shows an ,exterior ,view of the ,etruria ,works1 with the ,cornish stone and the ball clays from ,dorset and ,devon and the flints lying in heaps exposed to the sun and frost in order to weather4 ,this exposure is considered advantageous1 as the longer the clay is in the open the better it will work when required for use4 ,the second illustration 7p4 #da7 shows a ,corner of the old ,etruria ,works4 ,the structure is practically the same as in the early days1 and the bottom windows on the right have remained unaltered4 ,the farthest at the bottom corner on the right was the room of old ,josiah4 ,the third illustration shows the ,mill for grinding raw materials4 ,the clays are put into this vat and crushed between two stones4 ,there is nothing different now from the early days4 ,the old oak beams tell their story4 ,it is true that steam is now used1 but that is all to make this process differ from that employed a century and a half ago--first when wind-power was used1 as in flour mills1 and later when a horse was substituted4 ,this grinding is done with water1 and the mixture comes out a thick liquid4 ,the mixing-tank is the next stage4 ,these liquid constituents1 such as ball clay1 china clay1 flint1 c41 according to the formula of the pottery1 are carefully admitted into the tank in correct proportions and thoroughly blended together4 ,the body is now in its slip state1 and is pressed and dried to make it more malleable when not required for casting4 ,in its later stage1 in more solid form1 it is ready to be thrown on the potter's wheel4 ,the ,potter's ,wheel4--,we illustrate 7p4 #dj7 the ingenious potter who is known as ,the ,thrower4 ,it is he who1 on a little revolving table between his knees pressed with his hands1 magically transforms the lump of clay into beautiful shapes4 ,unfortunately1 modern methods are eliminating the work of the thrower1 whose art dates back to the remotest past in the ,east when man first made clay into objects of beauty4 ,we find the prophet ,jeremiah saying1 ,then ,i went down to the potter's house1 and behold he wrought a work on the wheel4 ,and the vessel that he made of clay was marred in the hands of the potter1 so he made again another vessel as seemed good to the potter to make it4 ,old ,omar ,khayyam brings a moral to bear on the potter and his wheel3 ,surely not in vain ,my substance from the common ,earth was ta'en ,that ,he who subtly wrought me into shape ,should stamp me back to common ,earth again4 ,and ,shakespeare1 not to miss a good simile1 makes one of his characters say1 ,my thoughts are whirled like a potter's wheel4 ,illustration3 ,,the ,,thrower4 ,showing the ,potter's ,wheel4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,the ,pottery ,kilns4--,the next stage is to convert the vessel thrown in soft clay1 and put aside to dry1 into being as a piece of pottery4 ,there are three ovens1 termed the biscuit1 the glost1 and the enamel4 ,in the illustration 7p4 #ec7 it is seen how the vessels are put into saggers1 which are boxes of fire-clay piled upon one another4 ,the doorway is bricked up and plastered1 and gradually the furnace is heated4 ,practically this oven illustrated is typical of the biscuit or the glost oven1 the difference being in the temperature applied1 the latter being at a much lower temperature4 ,it may be interesting to mention that a quick oven is three days in firing and three days in cooling before the ware is removed4 ,for ornamental and important specimens of a very special nature as long a period as a month may be taken to fire and half that time to cool4 ,but of course this is only in exceptional circumstances4 ,it conjures up a picture of the awful anxiety of some of the great master potters at the critical moment when the doorway is pulled down and the contents of the oven are drawn4 ,it is here where the triumph or the failure of the potter manifests itself4 ,when taken out of the first oven the ware is termed biscuit4 ,it is now ready for glazing4 ,of course1 in such ware as jasper or unglazed stoneware1 basalt1 and similar kinds1 the biscuit state is the final one1 the object being completed4 ,the ,dipping-house4--,in the illustration 7p4 #eg7 it will be seen that the ware in its biscuit state is dipped in liquid glaze in a very deft manner1 after which it proceeds to the glost oven to harden this glaze on its surface4 ,it is here that great care has to be exercised in keeping the pieces from coming in contact with each other2 spurs and tripods are placed between each piece to obviate this4 ,the saggers in which this newly-glazed ware is placed are dusted with material infusible at the lower heat to prevent the pieces adhering to these saggers4 ,in fact1 as is readily seen1 a fine specimen may be easily ruined at any stage4 ,in undecorated ware1 as in the cream-ware examples illustrated 7p4 #bbe71 this ends the process1 and they are complete4 ,but in ware that is to be decorated over the glaze there is yet another stage before they are finished4 ,it will be observed that we are alluding to over-glaze decoration4 ,but ware may be painted before being glazed1--that is under-glaze4 ,in order1 however1 not to confuse the beginner at the outset1 this has been described in a later chapter 7p4 #cbf74 ,the ,enamel ,kiln4--,after the decorations have been painted upon the glazed ware it has to be fired in the enamel kiln4 ,a far lower heat than that of the glost oven is required2 the flames do not pass inside the kiln1 as in an oven1 but are led in flues all round the kiln4 ,we give an illustration 7p4 #fa7 of this for firing colours or gold over the glaze4 ,as will be seen1 the pieces are carefully protected from contact with each other1 and at this last stage it is quite possible to undo all the patient labour previously employed and irretrievably ruin a piece4 ,in this hasty outline of the various processes of the potter much has been omitted2 but1 in the main1 these illustrations should serve to kindle a more intelligent interest1 even among collectors1 in the earthenware and china which has passed through so many critical periods in its life-history4 ,illustration3 ,,the ,,oven4 ,showing the saggers containing ware ready for firing4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,what to ,collect4--,this is largely a question of personal predilection4 ,in general the field of ,english earthenware may be divided into nine classes1 and the collector who wishes to specialise will have his individual taste for one or more of these1 according as its technical or artistic qualities appeal to him4 ,this arrangement is mainly chronological1 but obviously one class will overlap others in point of time4 ,these classes are further summarised in detail in the table intended for use in identifying old earthenware given at the end of this chapter4 ,i4 ,early ,english pottery4 ,,ii4 ,delft ware4 ,,iii4 ,stoneware 7including ,staffordshire salt-glaze ware74 ,prior to the inventions of ,josiah ,wedgwood4 ,,iv4 ,variegated ware--agate and clouded ware4 ,v4 ,cream ware-- 7#a7 ,plain4 7#b7 ,decorated by painting4 7#c7 ,transfer-printed4 ,by far the largest variety of ,english earthenware1 including domestic ware and figures4 ,made by all potters4 ,,vi4 ,classic ware--the school of which ,josiah ,wedgwood is the founder4 ,,vii4 ,figures 7mainly ,staffordshire74 ,,viii4 ,lustre ware4 ,,ix4 ,opaque china ,semi-porcelain ,nineteenth century4 ,ironstone china ,method of studying old ,earthenware4--,to those readers who peruse this volume without any definite idea of the standpoint of the collector it should not be left unsaid that the proper study and collection of old ,english earthenware require a considerable amount of reading and1 what is of much greater importance1 a very practical examination of some hundreds of specimens4 ,it is this practical experience which alone can give the beginner the training he requires4 ,it is a complex subject bristling with unexpected difficulties in regard to technical points and crowded with apparent contradictions4 ,the bibliography given on pp4 #bc-be will enable readers to pursue special studies in greater detail4 ,the next best thing to handling the actual specimens is to see them4 ,it cannot here be impressed upon the beginner too strongly that it is absolutely necessary1 in order to educate his eye1 that the finest known examples in the particular classes should be frequently seen4 ,the national museums1 the ,victoria and ,albert and the ,british1 in ,london1 both contain splendid collections classified in a very thorough manner4 ,in the provinces1 the following museums among others contain fine collections1 often of richer interest in special subjects than the aforementioned4 ,for instance1 the ,public ,museum at ,liverpool contains the most representative collection of the various classes of ,liverpool ware4 ,the fine ,art ,gallery at ,leeds is rich in typical examples of the finest productions in ,leeds earthenware4 ,at the ,royal ,scottish ,museum1 ,edinburgh1 and at the ,science and ,art ,museum1 ,dublin1 there are finely arranged collections of pottery4 ,at the ,castle ,museum1 ,nottingham1 at ,york1 at ,norwich1 at ,bath1 at ,bristol1 at ,swansea1 at ,cardiff1 at the ,weston ,park ,museum1 ,sheffield1 at the ,pitt-,rivers ,museum1 ,farnham1 ,north ,dorset1 at the ,grosvenor ,museum1 ,chester1 at ,maidstone1 at ,bury ,st4 ,edmunds1 and at ,saffron ,walden1 there are collections which can be studied4 ,illustration3 ,,the ,,dipping ,,house4 ,showing how the ware is glazed4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,in the district of the ,potteries itself the following museums have representative collections of special varieties of ,staffordshire ware4 ,at ,hanley1 at ,tunstall1 at ,burslem1 at ,stoke-on-,trent1 and at ,etruria1 with its ,wedgwood ,museum1 there is material enough to be seen1 so that it may be said that there is little need for the beginner to be starved for want of opportunities to see fine examples4 ,hints as to ,prices4--,it is impossible in such a complex subject as old earthenware to lay down any hard and fast rules as to prices to be paid4 ,specimens vary very considerably in quality1 and according to demand prices fluctuate as in other markets4 ,if the beginner will make a point of learning his subject and will keep in touch with a few dealers1 he will find that they will readily assist him to identify his own specimens and systematically aid him in adding judiciously to his collection4 ,a great deal of offensive nonsense has been written by fashionable lady journalists1 declaiming against the professional dealer and crediting him with every conceivable trick under the sun4 ,but the greatest and the wisest of collectors number a host of dealers as personal friends4 ,a continuous stream of good things passes through the hands of the dealers who1 by incessant handling and practical study1 are able and willing to help the collector and to solve his difficulties4 ,dealers' prices are in many cases surprisingly low considering the great trouble they have taken to acquire the pieces4 ,it is far better to procure bargains in this manner1 with one's personal knowledge supplemented by the friendly suggestions of one's favourite dealer1 than to attempt to obtain through private sources great bargains from amateur dealers whose possessions would not1 in many cases1 bear the light of day in the open market4 ,forgeries4--,there are many faked pieces in existence1 and there are many copies and a great quantity of productions of factories of to-day who reproduce their old patterns made a century or more ago4 ,some of this is made with intent to deceive1 and much is merely a trade movement to supply a known want on the part of the public4 ,but it is exactly here that the dealer who has a respect for his clients1 and being a business man naturally does not wish to ruin his reputation1 may be of inestimable value in advising the collector4 ,mr4 ,solon1 the eminent authority and a practical worker in artistic pottery1 tells in his ,art of the ,old ,english ,potter how1 when he was searching for fine specimens to make his collection1 he was deceived by some sham old slip ware bought at a high figure in a lonely cottage in a remote district4 ,if the fabricator could lure so studious a collector into his net1 it goes without saying that especial precautions should be taken by the beginner not to give large prices unless he has a guarantee or knows the seller's reputation4 ,buyers of old delft ware should be careful in examining the decoration of their purchases4 ,plain ware1 which is not so valuable and is comparatively common1 is decorated in blue1 or a coat-of-arms and a date added1 giving a fictitious value to the piece4 ,in fact1 such genuine dated pieces are worth ten times the plain ones4 ,plain jars and jugs worth #b or #c1 with the fraudulently added word ,sack and the initials ,c4 ,r4 in blue1 may tempt the unwary collector to give #bj4 ,it will thus be seen that this is the most dangerous of frauds1 and difficult to detect unless the collector has handled many decorated pieces1 for the delft itself is absolutely genuine4 ,illustration3 ,,the ,,enamel ,,kiln4 ,showing the ware after being enamelled stacked ready for firing4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,similarly1 plain pieces of genuine ,staffordshire salt glaze are enamelled in colours in order to enhance the value1 owing to the fashionable demand for coloured examples4 ,as much as #ej has been paid by an unfortunate collector for a teapot quite worth this if genuine old colour work1 but unhappily it was1 although fine old salt glaze1 quite recently coloured1 evidently with fraudulent intentions4 ,staffordshire figures that are modern tell their own story1 or should do so1 to the collector who has ever carefully examined the potting and the glaze of fine old examples4 ,nor is there much excuse for the blundering collector who cannot readily distinguish between the crude modern ,toby jug with its blatant colouring1 so smudgy and smeary with black stains to impart age1 and its genuine prototype4 ,there are some fairly modelled ,toby jugs1 of modern origin1 one in particular seated in a corner chair1 with a salt-glaze surface4 ,another fake appeals to the lover of the ,whieldon style1 and has a mottled base and hat4 ,but they are1 as the expressive term goes1 hot from the oven4 ,the ,vicar and ,moses was so well modelled by ,ralph ,wood that it shared the fate of ,george ,morland's pictures which were copied by his contemporaries4 ,ralph ,wood's ,vicar and ,moses was copied all through the late eighteenth and early nineteenth centuries1 and to-day modern fabrications repeat the same model ad nauseam4 ,sham ,voyez ,fair ,hebe jugs1 made for foolish collectors1 are frequently to be seen and avoided4 ,leeds ware has engaged the attention of the imitator4 ,some of the ware is made in ,germany and is unmarked4 ,but other modern productions exist stamped ,leeds ,pottery1 and are imitations of the old ,leeds patterns4 ,there is a tobacco jar in pewter having a shield with the ,leeds coat-of-arms1 and raised medallions of a ship and of the patron saint of the woolcombers4 ,this jar has been of late years copied in cream ware1 and with its lid with twisted handle it has passed as genuine old ,leeds4 ,but it is nothing of the sort4 ,in general1 earthenware comes off better in regard to forged marks than porcelain4 ,in the latter1 of course1 it is the easiest thing in the world to add the marks1 especially when most of them were painted4 ,but in earthenware the majority of marks were impressed in the ware and this cheats the faker of his quarry4 ,as a matter of fact1 the mark should not lead the collector by the nose4 ,before seeing any mark a collector should begin to know his subject so well that the mark is an additional piece of information which serves to confirm his previous conclusions as to the specimen under examination4 ,an unmarked example may show every evidence in modelling1 in paste1 in colour1 and in glaze1 of having been made by a certain potter at a particular date4 ,the only confirmation lacking is the mark4 ,it is here that marked ware becomes of paramount importance for purposes of comparison4 ,and it is better to have a genuine marked piece in one's cabinet1 from a business point of view1 than a genuine piece equally fine that bears no signature or trade-mark4 ,but this craving on the part of collectors for marks has led in the field of china to a disastrous state of things2 marks of one potter have been added to the productions of another1 and no fabricated ,worcester china is worth its salt as a correct piece of forgery unless it bears the square mark or the crescent4 ,happily1 in earthenware the question of marks only affects the ware from ,wedgwood's day onwards4 ,the finest specimens of earthenware in the noted collections throughout the country1 of ,elers1 and ,dwight and ,astbury1 and ,whieldon1 and the whole salt-glaze school bear no mark1 for the very simple reasons that the old potters had no marks4 ,but they signed their pieces all over1 and the touch of these old masters is immediately intelligible to the trained eye of the collector4 ,how to identify old ,earthenware4--,the following ,table roughly summarises the field under which ,english earthenware may be classified4 ,it is the hope of the writer that possessors of earthenware which they are unable to identify will1 by the help of this ,table1 be able to place their pieces under the sub-head to which they belong4 ,the references given to the chapters dealing with the classes in detail are intended to point the way to a more extended examination of specimens4 ,a good general rule for beginners in attempting the proper identification is to commence by eliminating all the classes of ware to which the piece obviously cannot belong4 ,gradually the field becomes limited to one period1 and finally it is narrowed to two or three factories4 ,but it is only by practice that definite and accurate conclusions can be arrived at4 ,,table ,,for ,,use ,,in ,,identifying ,,old ,,english ,,earthenware4 ,i4 ,,early ,,pottery4 ,early examples of green glazed pitchers and jugs of crude form1 ,medival4 #acth1 #adth1 and #aeth centuries4 ,domestic ,vessels4 ,costrels 7i4e41 pilgrims' bottles71 flasks with holes at shoulders for use of cord in carrying4 ,ecclesiastical ,tiles ,ecclesiastical tiles4 ,incised or 7#aeth-#afth centuries74 impressed patterns1 raised1 inlaid1 or with slip decoration4 ,floral1 geometrical1 heraldic ornamentation4 ,figures of men and of animals 7see illustration1 p4 #he74 ,slip ,ware4 ,loving-cups1 or tygs1 with several 7#agth century47 handles1 posset pots with spouts4 ,lead-glazed1 greenish in colour1 with tones varying from purplish-brown to black 7see illustration1 p4 #hi74 ,wrotham ,ware ,wrotham1 in ,kent1 the seat 7#afab-agag74 of this ware of red body with slip stamped decorations or incised ornamentation4 ,a great number of pieces of this class bear dates covering a century4 ,toft ,ware ,dishes and posset pots of ,staffordshire 7,latter half of origin1 ,thomas ,toft1 #affj1 #agth century74 ,ralph ,toft1 ,ralph ,turnor1 ,william ,chatterly1 ,robert ,shaw1 ,william ,tabor1 ,john ,wright1 ,joseph ,nash1 ,john ,meir and other names appear on this ware1 some being those of the potters1 and others the owner's name4 7,these varieties of ,early ,pottery are described in ,chapter ,,ii47 ,,ii4 ,,delft ,,ware4 ,general ,characteristics of ,delft ,ware4 ,in appearance it cannot be mistaken for any other ware4 ,it has a brown or grey body1 showing at crumbled edges where the glaze is chipped off4 ,the surface is white1 and the painting upon it is more coarse than ,dutch examples4 ,english decorations are mostly painted under glaze in blue1 yellow1 or dull purple4 ,lambeth4 ,dishes1 plates1 salt-cellars1 puzzle-jugs1 sack bottles1 pharmacy jars ,early examples1 #afcj4 and candlesticks are most ordinarily found4 ,the enamelled surface of ,van ,hamme1 potter of ,lambeth delft has a pinkish tint4 ,lambeth1 #afga4 ,plates with portraits and dates 7#afcg-agjb71 ,adam and ,eve dishes1 of large size1 painted in blue with this and other ,biblical subjects1 ,the ,journey to ,emmaus1 ,jacob's ,ladder1 or with ,oriental designs4 ,earlier specimens have a purplish or dull yellow lead glaze at back of dish4 ,bristol4 ,election and other plates dated #agdj-aghd4 ,painted tiles and plates with landscape subjects--,chinese figures1 parrots4 ,bianco sopra bianco white enamel on greenish ground4 ,bowls with purple ground and white reserved panels with blue decoration4 ,liverpool4 ,prior to #agfb all ,liverpool delft1 including tiles1 was printed4 ,early in #ahth century1 the principal trade ,delft dishes decorated in ,chinese of the city4 style4 ,bowls with ships as decoration4 ,druggists' jars4 ,transfer-printed tiles by ,sadler ,green1 or later by ,zachariah ,barnes4 ,wincanton4 ,similar to ,bristol in character4 ,up to the present very little is known of this factory4 7,see illustration1 p4 #abg47 7,these varieties of ,delft ,ware are dealt with in detail in ,chapter ,,iii47 ,,iii4 ,,stoneware4 ,mottled red-brown colour1 mostly salt glazed1 pitted surface like orange skin4 ,early ,bellarmine ,jugs4 ,having dates and coats-of-arms in foreign examples2 coarser style probably ,english4 ,fulham4 ,white busts and figures4 ,red1 unglazed ware4 ,brown jugs and mugs4 ,marbling on ,john ,dwight vases and bases1 and stamped ornaments 7#afga-agjc74 in relief on teapots4 ,staffordshire4 ,a generic name for all unidentified red 7unglazed7 ware4 ,teapots1 c41 ,elers ,ware4 with stamped ornament similar to ,dwight4 ,john ,philip ,elers1 ,prunus blossom and ,chinese ornament1 ,david ,elers in relief4 ,turned on lathe and perfectly 7#afij-agaj74 finished4 ,spouts plain1 moulded by hand4 ,john ,astbury ,red1 buff1 orange1 and chocolate body4 7died #agdc74 ,similar ware to ,elers1 with the ornaments in relief in white pipe-clay4 ,made early salt-glaze crouch ware4 ,thomas ,astbury ,followed same style4 ,little to 7from #agbe74 distinguish his work from that of his father4 ,astbury is a generic term for all ware of this nature1 with white stamped ornaments in relief4 ,many ,staffordshire potters made this type of ware in latter half of eighteenth century1 and it was imitated at ,liverpool4 ,nottingham4 ,as early as ,dwight's day ,morley made stoneware mugs1 and ,nottingham ware ,early #ahth century holds a high place4 ,the jugs are sometimes with decorative pierced work1 showing an inner shell which holds the liquid4 ,the glaze is decidedly lustrous in appearance1 and the colour of the body is a warm reddish brown4 ,discontinued at end of #ahth century4 ,bear ,jugs were a feature of this factory1 and cruder examples were made at ,chesterfield and ,brampton4 7,these varieties are described in detail in ,chapter ,,iv47 ,staffordshire ,salt ,glaze ,finely potted thin stoneware1 surface like skin of orange1 almost as ,astbury and ,whieldon translucent as porcelain4 were the pioneers of this finer stoneware4 #a4 ,plain white or undecorated with ,most of the ,staffordshire raised stamped ornament4 potters from #agbe-aghj made salt-glaze ware4 #b4 ,plain white body with incised ,but this ware was ornament filled in with blue4 supplanted by ,wedgwood's cream ware1 which seized #c4 ,enamelled in colours on a white body4 the market in the last quarter of the #ahth #d4 ,body colour blue 7rare examples by century4 ,william ,littler71 enamelled decorations in black1 white1 or gold4 #e4 ,pierced ware with decorations in colour1 or undecorated4 #f4 ,ware decorated by transfer printing4 #g4 ,ware with raised ornament1 touched with colour4 ,some of this salt-glaze ware is in colour a slate grey4 ,the sharpest cut designs and the highest type of the undecorated ware belong to the period from #agbe-agdj4 ,the enamelling in colours was at its best from #agde-agfj4 ,salt-glaze ware1 in imitation of the ,staffordshire potters1 was also made at ,swansea and at ,liverpool4 7,these varieties are described in detail in ,chapter ,,vi47 ,fulham4 ,fulham has been the seat of the 7,eighteenth century47 manufacture of stoneware since the days of ,dwight4 ,early #ahth century4 ,blue and grey stoneware jugs and mugs1 with initials of ,queen ,anne or those of ,george ,i41 often dated4 ,late #ahth century4 ,the following are typical--brown stoneware jugs and mugs with bacchanalian subjects1 or sporting scenes1 in relief1 inkstands1 brandy flasks of grotesque shape4 ,in #aith century days ,doulton ,watts1 ,lambeth ,pottery1 is impressed on similar examples1 and in middle #aith century days1 under the guidance of ,sir ,henry ,doulton1 a revival of artistic stoneware took place1 which traditions ,messrs4 ,doulton carry on at the present day4 ,,iv4 ,,variegated ,,ware4 ,marbled or agate wares 7#agdj-agef71 ,dwight 7of ,fulham71 ,john ,astbury4 ,the earlier ,usually known under surface marbling or combing supplanted by the generic term of solid agate ware--a blending of layers ,whieldon ware4 of different coloured clays4 ,early tortoiseshell plates made by ,whieldon4 ,tortoiseshell and mottled ware also made by ,philip ,christian at ,liverpool1 at ,leeds1 and at ,castleford4 ,wedgwood4--,later developments of this ware--vases and important classic pieces in imitation of coloured marbles4 ,the imitators of ,wedgwood4--,palmer1 ,neale1 and others made this marbled ware4 ,neale employed with great success sprinkled marbling1 touched with gold1 on a cream body4 ,both ,wedgwood and his successors made solid agate and also surface-decorated ware of cream body4 7,this ware is described in ,chapter ,v4 7,whieldon71 and in ,chapters ,,vii4 and ,,viii4 in regard to ,wedgwood and later developments47 ,v4 ,,cream ,,ware4 ,experimental ,stage4--,astbury 7#agbe71 ,whieldon 7from #agdj71 ,warburton 7,hot ,by far the largest ,lane71 ,baddeleys 7,shelton74 variety of ,english earthenware4 ,made ,queen's ,ware perfected by ,wedgwood by all potters4 ,the 7#agfe74 ,wedgwood1 ,turner1 ,warburton1 standard type of all 7,leeds7 ,messrs4 ,hartley1 ,greens ,co41 subsequent domestic ,liverpool1 ,swansea1 ,derby4 ware4 ,in colour creamy or yellowish white4 ,in weight light4 ,plain or undecorated4 ,many of ,wedgwood's finest cream ware pieces are undecorated1 and ,leeds1 at first largely imitative1 developed a fine quality in design and potting1 especially in designs after silversmiths' models4 ,decorated by painting4 ,at first painting was sparely used4 ,the style of enamelling used on salt-glaze ware was modified to suit the new cream ware4 ,later the colours began to emulate those of porcelain4 ,spode1 in particular1 copied the latter in earthenware1 and cream ware became richly painted and gilded4 ,transfer-printed4 ,as the invention of transfer-printing and the perfection of cream ware by ,wedgwood were contemporaneous1 the ,liverpool printers decorated all the early cream ware4 ,but cream ware was subsequently made as well as printed at ,liverpool1 and printed as well as made in ,staffordshire and elsewhere4 ,early ,cream ,ware4 ,wedgwood4 ,enormous variety of domestic ware1 plain or undecorated1 as in perforated or basket patterns1 fruit dishes1 c41 painted in simple border designs1 and transfer-printed in red1 black1 or puce1 at ,liverpool1 for ,wedgwood4 ,warburton1 ,william ,adams1 ,john ,turner1 ,spode1 and many others made similar cream ware4 ,leeds4--,great variety of dishes1 fruit baskets1 centre-pieces1 c41 made of undecorated cream ware4 ,in addition painted and transfer printed decorations were also employed4 ,transfer-printing ,liverpool made cream ware punch bowls in blue4 finely decorated in blue4 ,in imitation of ,chinese ,caughley produced for a few years styles1 and in earthenware of cream body decorated1 in competition with the characteristic style1 by ,thomas ,turner1 porcelain of ,worcester1 who introduced the willow pattern in #aghj1 ,bow1 ,plymouth1 c4 which appears together with similar ,chinese subjects in his early ,salopian porcelain4 ,staffordshire4 ,john ,turner 7of ,lane ,end7 first introduced 7,see ,chapter ,x47 under-glaze blue into ,staffordshire4 ,josiah ,spode introduced willow pattern into ,staffordshire1 #aghd4 ,william ,adams 7of ,greengates71 #aghg1 fine under-glaze blue4 ,thomas ,minton1 #agic1 fine under-glaze blue4 ,apprenticed to ,thomas ,turner 7of ,caughley74 ,adams1 ,warburton1 ,spode1 and other ,staffordshire potters engaged largely in this deep blue printed ware4 ,swansea had a similar cream ware1 which had painted designs or blue-printed in imitation of ,chinese style1 with pagodas1 c4 7,see illustration1 p4 #dje47 ,,vi4 ,,classic ,,ware4 ,wedgwood4 ,red ware in imitation of ,elers ware1 chocolate ware with black ,josiah ,wedgwood 7born1 ornamentation in relief4 ,white fine #agcj2 died1 #agie74 stoneware used as plinths of marble ware and agate vases2 this was the experimental ,thomas ,bentley1 stage of ,wedgwood's celebrated jasper in partnership with ware4 ,black basalt1 or ,egyptian ware1 ,wedgwood 7#agfh-aghj74 fine unglazed stoneware1 sometimes used for tea services1 but mainly for busts1 medallions1 and vases4 ,jasper ware4 ,wedgwood's crowning invention4 ,a fine1 unglazed stoneware1 white throughout4 ,produced either solid or jasper dip1 in blue 7various tones71 sage green1 olive green1 lilac1 pink1 yellow1 and black4 ,used in classic vases1 and on cameos1 plaques1 c41 with a ground of one of these colours and relief ornament in white4 7,see ,chapter ,,vii47 ,william ,adams 7or ,contemporaries of ,wedgwood4 ,adams1 ,tunstall71 pupil of ,turner1 ,palmer1 ,neale and ,mayer1 all made ,wedgwood 7#aghg-ahje74 ware of a similar nature to above2 all of fine quality4 ,benjamin ,adams ,john ,turner's jasper was really a 7#ahje-ahbj74 semi-porcelain4 ,john ,turner 7of ,lane ,end7 ,other potters whose stoneware in jugs and 7#agfb-aghf74 ,pottery vases1 c41 carried on the traditions of continued by sons4 ,wedgwood 7though in the second flight71 ,h4 ,palmer 7of ,hanley71 were ,birch1 ,keeling1 ,clews1 ,hollins1 from #agfi4 ,steel1 ,myatt1 and many others1 whose names ,neale 7#aggf-aggh7 are found impressed on ware1 betraying the ,r4 ,wilson 7#aggh7 influence of ,wedgwood4 ,neale ,co4 7#aggh-aghg74 7,see ,chapter ,,viii4 for detailed list47 ,jacob ,warburton 7of ,the ,castleford ,pottery1 near ,leeds ,cobridge7 7#aghf-ahbf74 7#agij-ahbj71 ,david ,dunderdale 7,d4 ,d4 ,co47 made black basalt ware in similar style4 7,see ,chapter ,,ix4 for details47 ,at ,swansea 7#agij-ahag7 basalt figures of fine style were made4 ,etruscan ,ware 7,dillwyn ,co471 #ahde4 7,see ,chapter ,,xii4 for marks47 ,,vii4 ,,figures4 ,the body of ,staffordshire figures by ,ralph ,wood1 ,neale and ,palmer1 ,walton1 ,enoch 7,mainly ,staffordshire47 ,wood1 ,salt1 and other potters1 is of cream ware4 ,leeds figures are similar1 and are of the same body as the dessert centre-pieces and other cream ware4 ,most of the ,staffordshire figures are unmarked1 but they can be identified as belonging to one of the following schools1 by comparison with similar marked examples4 ,salt-glazed ,figures4 ,a class by themselves4 ,mainly small in size1 and no marked specimen is known4 ,bears1 cats1 birds1 and miniature figures of men1 chief designs1 and the kneeling camel modelled as teapot4 ,whieldon ,school4 ,artistic blending of colourings and 7#agdj-aghj47 glazings4 ,animals1 birds1 sometimes classic figures1 e4g41 ,diana1 ,venus1 and ,madonna and ,child4 ,miniature musicians1 and satyr head moulded in form of cup4 ,early form of ,toby jug4 7,see illustration1 p4 #agi47 ,ralph ,wood ,school4 ,this represents the high-water mark of ,staffordshire figures4 ,vicar and ,moses ,ralph ,wood 7died #aggb74 group1 ,toby ,jug1 ,st4 ,george and ,dragon1 ,haymakers1 ,charity1 ,ralph ,wood1 jun4 7born1 ,neptune1 ,summer1 ,old ,age1 c41 all #agdh2 died1 #agie74 remarkable for fine modelling and delicate colouring4 ,wedgwood ,school4 ,many large figures1 such as ,ceres1 ,diana1 ,juno1 ,prudence1 ,fortitude1 ,josiah ,wedgwood4 ,charity1 ,venus and ,cupid1 c41 in ,neale and ,palmer4 cream ware delicately coloured4 ,wilson4 ,neale ,co4 ,other subjects of less classic taste were produced at ,etruria1 e4g41 ,voyez1 as a modeller1 ,sailor with ,cutlass1 employed at ,etruria1 and ,girl playing ,mandoline1 ,sailor's by ,neale and ,palmer4 ,farewell and ,return 7a pair71 ,the ,lost ,piece 7after the ,ralph ,wood model71 and ,lakin and ,poole4 ,elijah and the ,widow1 a popular scriptural subject 7a pair74 ,fair ,hebe group modelled as a jug4 ,wood and ,caldwell ,eloquence 7or ,st4 ,paul preaching at ,school4 ,athens71 ,descent from the ,cross1 and ,enoch ,wood other fine pieces display the powers of 7#aghc-ahdj74 ,enoch ,wood at his best as a fine modeller4 ,wood and ,caldwell ,other figures1 some marked1 are 7#agij-ahah74 ,st4 ,sebastian1 ,britannia1 ,quin as ,falstaff1 ,antony and ,cleopatra1 ,enoch ,wood and ,sons reclining figures 7pair71 ,fire1 ,earth1 7#ahah-ahff74 ,air1 ,water 7set of four71 ,diana 7similar to ,wedgwood72 group1 ,the ,tithe ,pig 7parson1 farmer1 and his wife and baby and pigs71 with tree and foliage as background2 ,leda and ,swan1 ,jolly ,traveller 7man1 dog1 and donkey71 ,hurdy-,gurdy ,player1 ,sportsman and ,dog1 ,old ,age 7pair71 ,lovers on garden bench1 tree background1 ,tailor and his ,wife1 riding on goats 7after the ,dresden model74 ,busts were also a noteworthy production of this ,school4 ,wesley1 ,whitfield1 ,wellington1 ,emperor of ,russia1 ,napoleon1 ,miss ,lydia ,foote1 and several marked silver lustre busts and figures1 e4g41 ,mater ,dolorosa1 ,boys ,reading1 c4 ,the ,vicar and ,moses group and other earlier models were duplicated by this school1 and many ,toby ,jugs were produced of bright colouring4 ,walton ,school4 ,continuing the traditions of the ,wood ,school1 ,walton and others produced a great ,john ,walton 7of ,burslem7 number of ,toby ,jugs1 following the ,ralph 7#agij-ahci74 ,wood model1 but growing more debased in form and colouring4 ,girl with lamb1 ,boy with dog1 and simple figures largely made for popular markets4 ,ralph ,salt ,school4 ,great fondness shown for village groups1 with figures with tree background ,ralph ,salt 7of ,hanley7 7imitation of ,chelsea style74 ,in character 7#ahab-ahdj74 the work of this ,school differs little from that of ,walton4 7,see ,chapter ,,xi4 for detailed description47 ,leeds ,school4 ,some of the ,leeds figures are marked1 7#agfj-ahbe47 e4g41 ,venus1 delicately coloured1 slight oil gilding4 ,busts were made such as ,wesley1 and ,rhytons1 or drinking cups1 in form of fox's head4 ,rustic figures of ,children1 and other miscellaneous subjects4 ,lion couchant1 ,snuff bottle in shape of ,lady's head4 ,liverpool ,school4 ,largely imitative of ,staffordshire figures4 ,some excellent busts and figures ,herculaneum were produced4 ,busts of ,wesley1 7#agid-ahda47 ,admiral ,duncan1 and ,mask ,cup moulded with portrait of ,admiral ,rodney4 ,toby ,jug1 man standing upright holding jug of ale4 ,lady with bulldog at her feet4 ,salopian4 ,earthenware figures of fine modelling are attached to ,caughley1 but are unmarked4 ,thomas ,turner ,prudence and ,fortitude 7large size71 7of ,caughley71 ,antony and ,cleopatra 7recumbent71 about #aggd4 ,ceres and ,apollo1 and others4 ,a figure of ,jacobin ,pigeon sitting on nest in shape of sauceboat has the impressed mark ,s4 ,swansea4 ,cows and other small figures were typical of ,swansea1 but a recumbent figure of ,antony is marked ,g4 ,bentley1 ,swansea1 #bb ,may1 #agia4 ,sunderland ,school4 ,figures of ,seasons1 set of four female figures marked ,dixon1 ,austin ,co4 ,shepherds and ,shepherdesses and ,bull ,baiting groups were also made here4 ,the potting and colouring are crude1 and the figures are of no artistic interest4 ,,viii4 ,,lustre ,,ware4 ,early ,copper ,lustre4 ,richard ,frank at ,brislington1 near ,bristol1 crudely decorated in simple ornament4 ,gold ,lustre4 ,gold-purple or pink in colour4 ,wedgwood used this lustre in mottled and veined ware with rich effect4 ,as an adjunct to other decoration this lustre has been widely used1 crudely as at ,sunderland1 and with fine effect by ,spode and other ,staffordshire potters4 ,swansea employed it with great artistic skill4 ,silver ,lustre4 ,plain4 ,late #ahth century4 ,thomas ,wedgwood1 ,e4 ,mayer1 ,spode1 and others in imitation of silver designs4 ,decorated4 #a4 ,silver lustre decorations painted on other coloured grounds in combination with subjects in colours1 birds1 foliage1 c4 #b4 ,silver lustre as a background with white1 blue1 or canary-coloured design4 ,this unlustred ground1 used as a pattern1 is known as the resist style1 and some of the most artistic effects are found in this1 and in combination with painting in colours4 ,copper ,lustre4 ,plain4 ,early #aith century4 ,early and best style thin and well potted4 ,decorated4 ,red or blue or green in embossed floral design in combination with copper lustre frequently found4 7,for details of makers and marks see ,chapter ,,xiii47 ,,ix4 ,,nineteenth ,,century ,early ,experiments4 ,,developments4 ,wedgwood's semi-porcelain1 used at first for the plinths of his variegated vases4 ,his ,pearl ,ware4 ,spode's ,felspar ,china1 ,nineteenth ,century4 #ahje4 ,spode's ,stone ,china4 ,josiah ,spode the ,second in #ahje introduced an opaque porcelain of ironstone body1 which he termed ,haynes' ,opaque ,china ,felspar ,china1 ,stone ,china1 and on 7,swansea71 invented some of his marks1 ,new ,fayence4 end of #ahth century4 ,spode's new ware received rich decorations ,mason's ,patent ,ironstone in colour1 in imitation of ,derby and other ,china1 #ahac porcelains4 ,riley's ,semi-,china4 ,haynes1 of the ,cambrian ,pottery1 ,swansea1 invented a similar opaque china at the end ,minton's ,stone ,china4 of the #ahth century4 ,meigh's ,stone ,china4 ,at the ,cambrian ,pottery in this new hard white earthenware1 floral painting by trained artists was done in excellent style on enamelled grounds of chocolate4 ,mason1 with an earlier softer body1 had followed the ,japanese colours in his jugs1 but when ,charles ,james ,mason1 in #ahac1 patented his ironstone china1 the jugs took a new form1 becoming octagonal1 and their corners were not easily broken as in the chalkier body4 ,long dinner services of a great number of pieces were made in this ironstone china richly decorated4 ,other ,staffordshire makers made stone china1 including ,minton1 ,meigh1 ,riley1 ,clementson1 ,ridgway1 ,adams1 ,davenport1 and many others4 ,by the time the middle of the century had been reached1 ,english earthenware had cast off its own characteristics and become what so many people to-day believe it to be--a poor imitation of porcelain4 7,for details and marks see ,chapter ,,xiv47 ,,ii ,,early ,,ware ,,chapter ,,ii ,,early ,,ware ,medival ,tiles 7thirteenth to sixteenth centuries7--,slip ,ware--,wrotham 7,kent7 7#afef-agjc7--,staffordshire ,makers 7#affj-agjj7--,prices of ,early ,ware4 ,as will be seen from the table at the end of the preceding chapter1 the main body of ,english earthenware to which collectors can give their attention1 belongs chiefly to the eighteenth and early nineteenth centuries4 ,the beginnings of pottery and the first steps towards perfection in art are always interesting1 but in the realm of ,english pottery the beginner had better push forward as the subject is a very complex one1 and the general collector is perforce obliged to confine attention to the later periods4 ,it will therefore suffice if a hasty survey be made of the chief earthenware prior to the eighteenth century4 ,medival ,tiles4--,from the thirteenth century to the dissolution of the monasteries the ecclesiastical tiles used in ,england were of a particularly noticeable character4 ,the tiles vary in size1 the earlier ones1 as at ,chertsey ,abbey1 were not more than three or four inches square4 ,the earlier the tile1 as a rule1 the smaller is its area4 ,the tiles were ornamented in various ways4 ,they had incised1 raised1 inlaid1 or painted patterns4 ,the incised and relief tiles are the most uncommon1 probably being the earlier4 ,the designs are very numerous1 and vary in character in the different abbeys at which they originated4 ,specimens have been found at ,great ,malvern1 ,denny ,abbey in ,norfolk1 ,castle ,acre ,priory1 ,jervaulx ,abbey1 ,lewes ,priory1 ,st4 ,alban's ,abbey1 and at ,chertsey ,abbey1 which latter had one of the finest1 if not the finest1 inlaid tile pavement in existence 7,hobson74 ,the ,chertsey tiles are of different shapes1 sometimes being round or half-circular to meet the exigencies of the design1 and in general they are very quaint and original in their conception4 ,the ,british ,museum has some fine examples of these ,chertsey tiles in composite pictures made up of many tiles4 ,the designs found on medival tiles consist of the figures of animals1 mythical and heraldic1 of birds1 of human heads and grotesques1 as well as conventional1 floral1 and geometric patterns4 ,they are highly artistic and of great technical excellence4 ,it is generally believed that the monks made these tiles themselves in the great religious houses1 and possibly some of them may have had foreign inspiration or have been made here by foreigners4 ,but as the tiles at ,malvern and at ,chertsey are finer than any found on the ,continent it opens up a field for conjecture4 ,mr4 ,solon says1 ,i have often thought that considering the ,french pavements of the earliest periods have mostly been found in the provinces then under ,english domination1 it would be worth while inquiring whether the art of tile-making had not been imported from ,england--a point which has never yet been sifted4 ,illustration3 ,,medi,,val ,,tiles4 ,,tile ,,from ,,chapter ,,house1 ,,westminster4 ,probably of the reign of ,henry ,,iii4 7,thirteenth century74 ,,tile ,,from ,,verulam ,,abbey4 ,bearing arms and initials of ,sir ,nicholas ,bacon 7#aeaj-aegi74 7,by the courtesy of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,,tile ,,from ,,malvern ,,abbey4 7,english1 fifteenth century47 ,,tile ,,from ,,whitmore ,,park1 ,,near ,,coventry4 7,early fourteenth century47 ,so here1 then1 is a subject ready to hand for the collector willing to specialise in a branch of ceramic study and collecting not greatly inquired into1 and the way has already been pointed out by experts4 ,there is every reason why these ecclesiastical tiles should be studied with as much assiduity as are the ,bristol delft painted tiles and those of ,liverpool4 ,slip ,ware4--,this ware is peculiarly ,english and owes little or nothing to any foreign influences1 as no ware like it has ever been made on the ,continent4 ,white or light-coloured clay was used in the form of slip1 that is1 a mixture of water and clay of such consistency as to be dropped in fanciful pattern upon the darker body of the ware much in the same manner as the confectioner ornaments his wedding-cakes with sugar4 ,candlesticks1 cups1 tygs 7drinking vessels having several handles for use in passing round71 posset-pots1 jugs1 besides the large ornamental dated dishes by ,toft and others were all made of this slip-decorated ware4 ,wrotham1 in ,kent1 claims superiority in the manufacture of this ware1 of which many pieces exist4 ,the earliest ,wrotham specimen is dated #afef 7,maidstone ,museum74 ,there are other dated pieces1 one as early as #afba1 of red clay with more elaborate slip decoration than is found in ,staffordshire and elsewhere1 and in some cases with fine incised decoration cut through the white dip and exposing the red body beneath4 ,but considerable doubt exists as to whether to ascribe some of this slip ware to ,kent or to ,staffordshire4 ,it is probable that it was made at many other places1 certainly in ,derbyshire1 in ,wales1 and in ,london4 ,as some undoubted ,wrotham pieces betray a slightly advanced type of decoration although prior in date to other pieces made elsewhere1 it has been fairly conjectured that the style originated in ,kent1 and was brought thither by some foreign refugees from the ,continent4 ,but as it became practised more generally in ,england it assumed a national character entirely its own1 and took to itself a quaint humour racy of the soil4 ,illustration3 ,,toft ,,dish1 ,,dated #afga4 7,in the ,grosvenor ,museum1 ,chester47 ,by permission of the ,proprietors of the ,connoisseur4 ,illustration3 ,,posset ,,pot1 ,,staffordshire1 ,,dated #afhe4 ,decorated in slip ware1 yellow ground1 with brown ornament4 ,inscribed ,william ,simpson4 ,his cup4 7,in the collection of ,dr4 ,w4 ,l4 ,glaisher1 ,cambridge47 ,toft ,ware4--,the names of ,ralph ,toft and ,thomas ,toft appearing on certain large dishes1 usually about eighteen inches in diameter1 decorated in slip in a somewhat crude manner1 have given the name to this class of ware1 which at best is peasant pottery4 ,the ,tofts had their works near ,shelton in ,staffordshire4 ,similar dishes were made at ,derby and at ,tickenhall4 ,the following names occur on examples in the ,national and other collections with dates1 ,ralph ,toft1 ,thomas ,toft1 #afga2 ,robert ,shaw1 #afib2 ,william ,chaterly1 #afif2 ,ralph ,turnor1 #afha2 ,william ,talor1 #agjj2 ,john ,wright1 #agjg2 initials ,s4 ,m41 #agbf1 ,dublin ,museum 7possibly ,samuel ,mayer1 of ,derby72 ,john ,wenter1 #afhf2 ,i4 ,w41 #agjf4 ,the manufacture of this slip ware continued1 in more or less spasmodic manner1 throughout the eighteenth century4 ,pots and jugs had illiterate inscriptions on them in halting verse1 or pious mottoes4 ,toft ware1 that is1 the large dish form1 apparently was made solely for ornament4 ,there is a remarkable ,toft dish in the ,grosvenor ,museum at ,chester1 having the inscription in ,toft's peculiar orthography1 ,filep ,heues1 ,elesabeth ,heues 7,philip and ,elizabeth ,hughes71 signed ,thomas ,toft and dated #afga4 ,this is evidently a marriage plate4 ,there is the royal arms above1 a favourite design in ,toft ware1 probably copied from some of the more elaborate foreign ,bellarmine jugs4 ,the slip potters had a fondness too for royal portraiture which ended lamentably in becoming dreadful caricatures of the subject4 ,as many as nine crowned heads are found on one dish by ,ralph ,toft1 signed ,ralalph ,to4 ,these have as much art as the ,stuart stump-work pictures in needlework1 which were contemporary with them1 in which kings and queens were represented in no more pleasing manner than on a pack of cards4 ,in speaking of ,toft's portrait dishes in general1 and of the ,grosvenor ,museum example in particular1 ,mr4 ,frank ,freeth1 no mean connoisseur1 says1 ,it must not be forgotten that these dishes were ornamental1 and intended to occupy a conspicuous place in the homes of loyal citizens1 just as oleographs of the ,king and ,queen1 that one often sees in country cottages1 are made for the purpose in the present day4 ,the same idea has remained2 but the form of its expression has changed4 ,looking at slip ware as a whole1 one must not be too critical in regard to its somewhat inartistic appearance4 ,it certainly has a charm about it which cannot be denied4 ,it is native to the soil1 and this peasant industry 7if one can appropriately term it such71 is chiefly to be regarded from the standpoint of what might have been if it had been allowed to develop on natural and untrammelled lines4 ,but it was pressed on the one side by stoneware1 such as the ,bellarmine jugs and mugs imported from ,germany1 and it finally succumbed to foreign delft1 which was largely used here prior to the ,englishman's determined attempt1 at ,lambeth1 at ,bristol1 and at ,liverpool 7where it was the staple industry for some time7 to make his own wares4 ,it is the same story with the fine stoneware1 the salt glaze of ,staffordshire1 which was a magnificent outburst of ,english art of the highest order1 which fell before the cheapness of ,wedgwood's and other cream ware1 after a heroic struggle in its enamelled stage with the coloured ware of the new ,english china factories4 ,these precedents might be continued further up to the present day1 when ,german1 ,austrian1 and ,japanese competition have driven ,english potters into the position of attempting to hold their own against foreign art4 ,it is the opinion of the present writer that the coats-of-arms on the ,toft dishes were a deliberate attempt to copy those frequently found on the belly of the ,rhenish stoneware jugs4 ,from the days of ,elizabeth coats-of-arms and heraldic devices were a feature in these jugs used in this country4 ,among those at the ,british and the ,victoria and ,albert ,museums1 and in the fine collection at the ,guildhall1 the use of crests is seen to be a striking characteristic 7see illustration1 p4 #ace74 ,as a conclusive proof that the maker of earthenware had his eye on these stoneware models1 we give as an illustration a jug in earthenware 7not stoneware7 of ,bellarmine form made in ,england1 undoubtedly by an ,english potter4 ,the arms on it are those of the ,earl of ,dorset1 not improbably those of the sixth ,earl1 ,charles ,sackville1 who lived from #afcg to #agjf1 and was the author of the well-known song1 running-- ,to all you ladies now on land ,we men at sea indite2 ,but first would have you understand ,how hard it is to write-- written in #affe1 when he attended the ,duke of ,york as a volunteer in the ,dutch war1 and this song he composed when with the fleet on the eve of battle4 ,illustration3 ,,earthenware ,,jug4 ,copy of ,rhenish ,bellarmine or ,greybeard form4 ,with the arms of the ,earl of ,dorset4 7,late seventeenth century47 7,at the ,british ,museum47 ,there is a sort of heraldic touch about some of these ,staffordshire dishes of the ,toft class4 ,the same idea seems to have possessed the workers of the ,stuart stump-pictures in needlework1 which were contemporary with these dishes4 ,coins and medals and ,stuart marriage-badges are evidently the source from which ,toft and his school on the one hand1 and the gentle needlewoman on the other1 derived their inspiration in design4 ,various animals and birds are used symbolically with great freedom4 ,the caterpillar and butterfly nearly always accompany needlework portraits of ,charles ,i41 and the unicorn was the device of his father ,james ,i4 ,there seems some similarity to this idea in the use of the ,mermaid in the dish by ,thomas ,toft4 ,another dish of his1 entitled ,the ,pelican in her ,piety1 depicts that bird with her young1 the idea being that the pelican used to feed her brood with her own blood4 ,the ,latins called filial love piety1 hence ,virgil's hero is always termed pius ,aeneas4 ,ralph ,simpson is another name found on this pelican dish4 ,we give an illustration of a fine posset-pot of ,staffordshire origin1 dated #afhe1 in slip ware1 with yellow ground and conventional ornament in brown1 with dotted work4 ,it is inscribed1 ,william ,simpson1 ,his ,cup4 ,it has three handles and three loops1 and is quite a typical piece of this class of ware4 ,it recently sold for fifty-five pounds 7p4 #hi74 ,metropolitan ,slip ,ware4--,there is a slight distinction between pieces made in ,london and found during excavations1 and those discovered elsewhere4 ,the slip decoration is lightly done and there is a tendency to incised decoration of conventional floral design4 ,one noticeable feature in this type of ware is its inscriptions1 written in doggerel1 always of a pious nature4 ,when this you see1 ,remember me1--,obeay ,god's word2 or ,drink faire1 ,don't sware2 or ,be not hyminded but feare ,god1 #afch4 ,this class of ware savours strongly of the ,puritan influence1 and it is evident that the potters who made these pieces were of the ,praise ,god ,barebones order of visionary1 not uncommon at a time when books with titles like the following appeared1 ,some fine ,baskets baked in the ,oven of ,charity1 carefully conserved for the ,chickens of the ,church1 the ,sparrows of the ,spirit1 and the sweet ,swallows of ,salvation4 ,it seems absurd in regarding the productions of this school of ,english slip workers1 from middle ,stuart days down to the early years of the eighteenth century1 to consider that ,vandyck had painted his galleries of beauties2 that ,hollar1 with his etching needle1 had drawn a long procession of figures in costume1 thousands of etchings which surely must have caught the eye of some ,toft or some ,simpson4 ,there was ,grinling ,gibbons working his artistic profusion in wreaths of flowers and fruit carved in wood1 and there were the treasures of the silversmith1 to say nothing of the sumptuous furniture that was beginning to make its way in ,england4 ,but these slip ware dishes seem to stand somewhat like the ,jacobean chairs made in ,yorkshire and ,derbyshire1 of the same date1 apparently unaffected by any of the sthetic movements of the period4 ,simply and naturally1 and1 be it said1 crudely representing the artistic aspirations of the ordinary craftsman when he was left to himself1 it is nave1 standing as it does for ,english native art at a time when ,bernard ,palissy1 the ,french potter1 had been dead a hundred years4 ,,early ,,ware ,,prices4 ,,wrotham ,,ware4 s4 d4 ,loving cup1 four handled1 fine specimen1 decorated in slip2 initials ,w4,l4,r4 and ,h4,i42 dated #afef4 ,sotheby1 ,january1 #aijf #ef #j #j ,wine jug1 brown with yellow slip1 inscribed ,samuel ,hugheson and dated #afah2 #h in4 high4 ,sotheby1 ,june1 #aijf #aj #j #j ,cradle1 with inscription1 ,mary ,overton1 ,her cradle1 #agbi4 ,puttick and ,simpson1 ,may1 #aijh #ag #j #j ,,toft ,,ware4 ,plate 7#ag in4 diameter71 with figure of soldier1 in relief1 with sword in each hand2 trellis border2 dated #afgg4 ,warner1 ,leicester1 ,march1 #aijf #hf #j #j ,,slip ,,ware4 ,brown posset-pot1 two handled with lid1 inscribed ,william and ,mary ,goldsmith1 date incised ,june ye #gth1 #afig2 #i in4 high4 ,bond1 ,ipswich1 ,april1 #aijf #ae #j #j ,dish1 bearing royal arms of ,england1 inscribed ,g4 ,r4 #agdh2 #ah-a_/b in4 diameter4 ,sotheby1 ,june1 #aijf #ba #j #j ,posset-pot1 three handled1 inscribed ,robert ,shaw4 ,sotheby1 ,june1 #aijf #ce #j #j ,posset-pot1 larger1 inscribed ,god save the ,queen #agaa4 ,sotheby1 ,june1 #aijf #bf #j #j ,posset-pot1 two handled1 inscribed ,iohn ,taylor1 #afij4 ,sotheby1 ,november1 #aijg #ab #ae #j ,dish1 slip decorated and salt glazed1 inscribed on rim1 ,joseph ,mosson1 the ,best is not too good for ,you #agbg4 ,sotheby1 ,may1 #aijh #ac #aj #j ,dish1 trellis pattern1 on rim in brown and yellow slip1 portraits of ,charles ,,ii4 and ,catherine of ,braganza2 inscribed with maker's name ,george ,taylor2 #ag-a_/b in4 diameter4 ,sotheby1 ,may1 #aijh #ec #j #j ,posset-pot1 yellow ground1 conventional ornament in brown1 with dotted work1 inscribed ,william ,simpson1 ,his ,cup4 ,dated #afhe4 ,sotheby1 ,december1 #aijh 7see illustration1 p4 #hi7 #ee #j #j ,,iii ,,english ,,delft ,,chapter ,,iii ,,english ,,delft ,what is ,delft8--,its foreign origin--,introduction into ,england--,lambeth ,delft--,bristol ,delft--,liverpool ,delft--,delft ,tiles printed at ,liverpool by ,sadler and ,green--,wincanton 7,somerset7--,prices of ,english ,delft ,delft1 of all earthenware1 is1 so to speak1 the most earthen1 and presents an object lesson to the student4 ,it accurately conforms to the technical definition as to what constitutes the difference between earthenware and porcelain4 ,it consists of a porous body 7in the case of ,dutch delft very porous1 as we shall see later71 covered by a thick coating of white1 opaque enamel4 ,the porous nature of its body makes it light in weight1 and the tin enamel which covers the brown body enables the potter to paint upon this white surface designs1 usually in blue4 ,this decoration is over the enamel1 if it were under this opaque enamel1 that is1 on the brown underneath body of the ware1 the coating of this white enamel would obliterate the designs4 ,after a piece has been fired to the biscuit state and dipped in white enamel and painted upon when dry1 it is1 to preserve the painting1 fired a second time1 when it receives a thin surface of transparent lead glaze4 ,its ,foreign ,origin4--,its name is derived from the town of ,delft in ,holland4 ,it was about the year #afjb that ,dutch potters invented this class of ware in their attempts1 in common with all the other ,european potters1 to produce some ware as decorative as the porcelain which had been brought to ,europe long before by the ,portuguese traders1 and now was being largely imported by the ,east ,india ,dutch merchants4 ,this first employment of a white enamel on a brown earthenware was clearly due to the very natural desire on the part of the potter to procure some surface upon which his decorations in colour would show well in contrast4 ,all primitive potters have passed through several stages of evolution4 ,brown ware was at first plain1 then it received scratched or incised decoration4 ,searching for greater contrast the potter applied his ornament in relief in white1 as in slip ware1 or he added coloured glazes1 as in the ,tudor miniature jugs4 ,but it seems that sooner or later the light background for the painted decoration must have become an ideal to strive for4 ,it is1 in effect1 the same necessity which induces the signboard painter to cover his brown panel with a white background prior to painting in letters of red or blue some attractive announcement4 ,but with the models of the ,chinese potter now constantly before him the ,dutch potter commenced at once to imitate them4 ,illustration3 ,,lambeth ,,delft ,,jar4 ,painted in blue1 with arms of ,apothecaries' ,company with crest mantling and supporters4 ,motto--,opifer3 ,qu3 per3 orbem3 dicor2 oval shield below with arms of ,city of ,london4 7#aa inches high1 #bg-a_/d inches greatest circumference47 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,but pleasing as is the ,dutch delft in its fine colours1 incorporated as they are with the enamel and glaze and giving the rich tone so much admired by collectors1 and faithfully copying the form of the ,nankin models1 it falls short of these ,oriental prototypes in many important respects4 ,it is admittedly an imitation of the appearance of porcelain1 and not an imitation of the qualities peculiar to porcelain4 ,the ,dutch potter in his delft did not1 as in the case of other ,european potters1 essay to copy the body of porcelain1 and arrive at true hard white paste1 as did ,meissen4 ,apparently he took his earthenware1 and with the limitations in technique in its working he produced a colourable imitation1 in appearance only1 of his blue and white ,chinese models1 and very fine some of these early seventeenth century ,dutch delft pieces are1 and highly prized by collectors4 ,but delft in comparison with porcelain may be said to be very similar to veneered furniture in relation to solid specimens4 ,the veneer in the one case and the enamel in the other disguises something inferior beneath4 ,introduction into ,england4--,there is no doubt that1 prior to its manufacture in this country1 a great quantity of ,dutch delft was imported and in general use in the middle years of the seventeenth century4 ,in dealing with delft ware1 in connection with the various types of earthenware at different periods of the history of the potter's art it must be borne in mind that delft was entirely of foreign origin4 ,it owed everything to the inventiveness of the ,dutch potters1 and it gained very little when it became acclimatised in ,england1 although it was manufactured here until the closing years of the eighteenth century1 when ,wedgwood's cream ware drove it off the market as a cheap and serviceable ware4 ,naturally the close connection of the royal house of ,england with ,holland accelerated the fashion of storing delft in closets and making considerable use of its rich colours as a decorative effect on sideboards and buffets4 ,the lac cabinets and the fine blue and white delft jars at ,hampton ,court testify to the influence that the advent of ,william of ,orange had on the taste of the country from the memorable year of #afhh1 when he landed at ,torbay4 ,delft was presumably being made in this country fifty years before that by ,dutch refugees1 but the thirties of the seventeenth century was not a very happy time to inaugurate the birth of a new branch of art in ,england4 ,the rumblings of the civil war were in the air4 ,it was in #afdb that ,charles precipitated matters by going with an armed force to the ,house of ,commons to arrest five members2 and seven years later he lost his head in ,whitehall4 ,it is not until the last years of ,charles ,,ii4 that there appears to be any documentary evidence connected with the actual manufacture of delft in ,england4 ,john ,ariens van ,hamme1 evidently a ,dutch refugee1 a potter working at ,lambeth1 took out a patent for making tiles and porcelain after the way practised in ,holland4 ,the word porcelain was used somewhat indiscriminately at this date and apparently meant anything having the appearance of the wares coming over in large numbers from the ,east1 imported by our ,east ,india ,company4 ,illustration3 ,,lambeth ,,delft ,,wine ,,bottle4 ,inscribed ,,sack ,,wke #afeb4 7,at ,british ,museum47 ,illustration3 ,,bristol ,,delft ,,ware4 7,about #aghd47 ,representing balloon ascent1 two figures in car1 with ,union ,jack flying4 7,in the possession of ,mr4 ,w4 ,l4 ,yeulett47 ,lambeth ,delft4--,to ,lambeth must be accredited the best results of ,english delft ware4 ,the glaze is thinner and whiter than is used elsewhere and the tone of the blue is less crude4 ,it is difficult to differentiate between the work of ,dutch refugees and of ,english born potters4 ,drug pots and sack bottles formerly imported from ,holland began to be made at ,lambeth4 ,some of these bottles are dated and the dates upon them range from #afdi1 the year of the execution of ,king ,charles ,i41 to #affd1 during the early years of the reign of ,charles ,,ii41 the year in which ,new ,york1 then ,new ,amsterdam1 a ,dutch settlement1 was surrendered to the ,english4 ,there are not a great number of these authentic dated sack bottles known4 ,lambeth must also be credited with the series of plates having dates and initials1 and with some of the blue dash chargers or dishes4 ,these are usually decorated with blue dashes clumsily applied round the edge1 sometimes brown is used instead of blue4 ,in the centre of the dish is generally a figure1 often on horseback1 and the foliage of the trees in the background is done with a sponge hastily applied4 ,the range of colours used is not great--blue1 green1 orange1 puce1 and brown4 ,sometimes four colours are found on one dish1 but not infrequently the decorator has been content with two1 in addition to blue1 which is nearly always present4 ,the following are among the subjects found on these dishes1 which are usually about thirteen inches in diameter3--,charles ,i41 ,charles ,,ii41 ,james ,,ii41 ,william and ,mary1 ,william on foot or on horseback1 ,queen ,anne1 the ,old ,pretender1 ,duke of ,marlborough1 ,duke of ,monmouth1 and the celebrated ,adam and ,eve dishes1 in which ,eve was represented as ,queen ,mary giving a kingdom to her husband1 represented by an orange as a pun on his royal house4 ,although portraits of ,charles ,i4 appear in this series1 they are not contemporary1 and were probably not made at ,lambeth until after about #afgj1 and their manufacture continued for a little over a quarter of a century1 that is1 until the opening years of the reign of ,george ,i4 ,that delft was made in ,england a little earlier than #afgb is proved by the fact that in that year a royal proclamation forbade the importation of painted earthenware to compete with the same production but lately found out in ,england4 ,here is an instance of trade protection1 but it should be borne in mind at that date we were at war with the ,dutch1 who were in that year defeated off ,southwold ,bay4 ,something should be said about the characteristics of this ,lambeth delft4 ,the body is fairly hard and the tin enamel or glaze is often found on the back of the piece2 when this is not the case the back has received an application of yellowish lead glaze4 ,the ,english clay being less spongy than that of ,holland1 did not take the enamel well1 and often shows the colour of the body in pink lines through the glaze4 ,english delft1 owing to the glaze not being incorporated1 is crazed on the surface4 ,in regard to dated sack bottles1 great caution should be exercised in buying them1 as genuine examples of plain undated bottles have been skilfully redecorated by fraudulent hands1 and the words ,sack or ,canary1 together with a date1 added4 ,there is an element of doubt about much of the ,lambeth delft ware1 as it is certain that some of the patterns were copied by the ,staffordshire potters1 and some of these copies are so faithfully done as to puzzle experts1 but many of the cruder dash series of dishes and platters may safely be attributed to ,staffordshire4 ,illustration3 ,,candlestick1 ,,lambeth ,,delft4 ,inscribed ,w ,e #afdh4 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,old ,,dutch ,,brass ,,candlestick4 7,seventeenth century47 7,in the collection of the ,author47 ,in the illustration of a dated candlestick1 with the initials ,w4,e4 and coat of arms1 and dated #afdh1 from the ,national collection at the ,victoria and ,albert ,museum1 it will be seen that the authorities attribute an earlier date to the manufacture of delft at ,lambeth than the above-mentioned royal proclamation in #afgb would seem to warrant4 ,but so learned an authority as ,professor ,church is of the opinion that a considerable manufactory existed there at least as early as #afca4 ,it is interesting to compare the style of this delft candlestick with a brass one of early ,dutch manufacture1 which at any rate shows that the design1 as well as the method of manufacture1 was derived from ,holland4 ,pharmacy jars1 decorated in blue and plain white delft1 were also made at ,lambeth2 of this latter there are many small jugs and puzzle jugs1 and a variety of fancy pieces4 ,we give an illustration of a very interesting ,pharmacy ,jar with the arms of the ,apothecaries' ,company1 and with motto inscribed4 ,a shield below has the arms of the ,city of ,london4 ,bristol ,delft4--,there is no doubt that the delft of ,bristol has not yet been thoroughly exploited4 ,farther removed from the influence of a constant stream of ,dutch examples1 the potters took some of their designs straight from ,oriental models4 ,richard ,frank and ,joseph ,flower are two potters who had works at ,bristol4 ,they are known to have manufactured delft as early as the opening years of the eighteenth century1 contemporary with ,lambeth1 when the industry at this latter place was in full swing1 and delft was made at ,bristol until the middle of the reign of ,george ,,iii41 after which delft was no longer fashionable4 ,it is not easy to distinguish between the productions of ,frank and ,flower1 nor is it less difficult in some instances to state definitely whether a piece is ,bristol1 or ,liverpool1 or ,lambeth1 and we might add ,staffordshire4 ,there is a very interesting delft plate decorated in blue1 representing a balloon ascent4 ,in date this is about #aghd and it may be attributed to ,bristol or ,liverpool 7see illustration1 p4 #ajg74 ,but as a rule it is held that ,bristol delft is bluish in tint1 and has a more brilliant and even surface4 ,the ware is decorated with ,oriental landscapes1 and a considerable number of tiles were made and painted for use as pictures in the fireside in old ,bristol houses a century and a half ago4 ,bowen1 ,john ,hope1 ,michael ,edkins1 and ,thomas ,patience are some of the painters who worked at the ,frank pottery4 ,there is one subject picture representing ,hogarth's ,march to ,finchley1 and it was certainly executed more than once as there is one set consisting of forty-two tiles and another of seventy-two tiles of the same subject4 ,a peculiarity of some of the ,bristol delft is the ground of powdered purple or brown with white panels1 having a decoration in blue4 ,we illustrate a bowl of this type of ware1 which1 although not having the white panel1 is representative of this class as the fish is on a white ground with outline decorations in blue 7see p4 #aae74 ,another fine style of decoration is that known as bianco sopra bianco1 that is1 a pattern of foliage or sprays of flowers enamelled in white upon a dull1 greenish-white ground 7see illustration1 p4 #aae74 ,illustration3 ,,bristol ,,delft ,,plate4 ,decorated in blue in middle and bianco sopra bianco around border4 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,bristol ,,delft ,,bowl4 ,ground of powdered purple4 ,decorated with fishes in white and blue4 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,there are many dated pieces of ,bristol delft with initials1 bowls1 marriage and election plates1 and sometimes tile pictures4 ,at the ,victoria and ,albert ,museum there is a fine plate with the initials ,e4,m4,b41 and dated #agfj1 the initials being those of the painter1 ,michael ,edkins1 and his wife ,betty4 ,this was made at the factory of ,richard ,frank1 and was presented to the ,national collection by the grandson of the painter4 ,in the collection of pottery at the ,bristol ,museum there is an example attributed to ,brislington which in colouring is slightly duller than the ,bristol examples4 ,connoisseurs of ,bristol delft divide the ware into the earlier period prior to #agce1 when the decoration followed ,dutch prototypes1 and they attribute much of the thinner or finer potted examples to ,joseph ,flower1 but after that the ,bristol potters struck out for themselves1 and imparted more originality in their ware4 ,landscapes appeared on the ware1 but not seen through ,dutch eyes1 and a slight variation was given to the form of the bases of the bowls and plates1 falling into line with typical shapes employed by other ,english potters4 ,we illustrate a very remarkable piece of ,bristol delft which is dated #agdj1 and bears the initials ,i4,f41 which may probably stand for ,joseph ,flower1 whose factory was on the quay at ,bristol4 ,this plate1 which is #ac-a_/b inches in diameter1 has a painted illustration with the inscription in a medallion1 ,a ,voyage to the ,moon1 by ,domingo ,gonsales from the ,ile of ,tenerife4 ,we do not know what is the particular story connected with the making of this plate1 nor why such a subject should have been chosen4 ,but there is no doubt that the painter of the plate took his design from a book entitled ,the ,man in the ,moone1 or a ,discourse of a ,voyage thither1 ,by ,domingo ,gonsales1 ,the ,speedy ,messenger4 ,we give a facsimile of the title-page4 ,this was a romance written by ,francis ,godwin1 bishop of ,hereford1 and in the second edition of #afeg1 the title-page has the addition1 ,by ,f4,g4--,b4 of ,h4 ,there were many editions of this book1 which became very popular4 ,a ,french edition under the title of ,l' ,homme dans ,la ,lune1 is dated #afga1 and has the same illustration as the first ,english edition1 with the exception of the inscription on the medallion4 ,this is not the place to give details of this interesting volume1 which describes in language as faithful as that of ,defoe1 the voyage of ,domingo ,gonsales1 a shipwrecked ,spanish adventurer1 from ,teneriffe to the ,moon in a car he invented1 which was carried by a flock of wild geese he had trained in his solitude4 ,after a stay of a year in that country1 and meeting with adventures with the inhabitants of that kingdom1 he sets sail for the earth and lands in ,china4 ,he by great fortune hears of some ,jesuit fathers hidden away in ,far ,cathay1 who welcomed him1 much wondering to see a lay ,spaniard there1 and by them his story is committed to writing4 ,written in #afch1 the following sentence in the ,preface sounds quite modern1 ,that there should be ,antipodes was once thought as great a paradox as now that the ,moon should be habitable4 ,but the knowledge of this may seem more properly reserved for this1 our discovering age4 ,there is no doubt that the book had a very considerable circulation1 and it is not improbable that ,swift knew of it and incorporated some of the ideas of the author in his ,gulliver's ,travels1 which appeared in #agbf4 ,but it is not easily explained why this delft plate1 dated #agdj1 bears the inscription and illustration of a volume published nearly a century earlier4 ,illustration3 ,,bristol ,,delft ,,dish4 ,inscribed ,a ,voyage to the ,moon by ,domingo ,gonzales from the ,ile of ,tenerife4 ,illustration3 ,,reverse ,,of ,,delft ,,dish4 ,marked ,i ,f and dated #agdj4 7,diameter #ac-a_/b inches47 7,in the collection of ,mr4 ,w4 ,c4 ,wells47 ,liverpool ,delft4--,collectors of ,liverpool delft would like to ascribe many pieces to that city4 ,but1 unfortunately1 the difference between this and the other ,english delft is not so defined4 ,one has to take the style of subject largely as a guide for the origin4 ,there is a large punch bowl at the ,victoria and ,albert ,museum which may certainly be attributed to ,liverpool4 ,it was painted by ,john ,robinson at ,seth ,pennington's factory4 ,a similar bowl is in the ,mechanic's ,institution at ,hanley4 ,it is painted in blue with a three-masted man-of-war inside the bowl4 ,the flag is touched with red4 ,the exterior shows an array of military trophies4 ,it is somewhat confusing to collectors to know that the fine punch bowls of ,seth ,pennington1 with his renowned blue colouring1 are of delft1 earthenware1 and of china4 ,these latter are of great rarity and value4 ,another maker of delft punch bowls was ,shaw1 but it is not easy to determine with exactitude to which factory to ascribe some of these delft bowls1 and there is room for considerable inquiry and exhaustive research to be made into the early history of the ,liverpool potteries in general1 as much information is needed to settle controversial points4 ,delft ,printed ,tiles4--,it is here that ,liverpool stands pre-eminent in the transfer printed delft tiles4 ,as early as #agej ,sadler and ,green discovered the transfer printing by means of adhesive paper placed on previously inked copper-plates and laid on the earthenware as a decoration in black or in red1 and sometimes puce4 ,the signature of the engravers appears on some specimens1 ,j4 ,sadler1 ,liverpool2 ,j4 ,sadler1 ,liverpl42 ,sadler1 ,liverpool2 ,green1 ,liverpool2 or ,green4 ,the invention was invaluable as a decoration for china and earthenware in lieu of painting4 ,the following affidavit was made in #agef by ,john ,sadler and ,guy ,green that they without the aid of or assistance of any other person or persons1 did1 within the space of six hours1 to wit1 betwixt the hours of nine in the morning and three in the afternoon of the same day1 print upwards of #a1bjj tiles of different patterns at ,liverpoole aforesaid1 and which1 as these deponents have heard and believe1 were more in number1 and better and neater1 than one hundred skilled potmakers could have painted in the like space of time in the common or usual way of painting with a pencil1 and these deponents say that they have been upwards of seven years in finding out the method of printing tiles1 and in making tryals and experiments for that purpose1 which they have now1 through great pains and expense1 brought to perfection4 ,there is no doubt that this invention revolutionised the decoration of all wares4 ,in regard to the controversy which has arisen as to the prior claims of ,battersea for its transfer decorated enamels1 and of ,worcester for similar decorations by ,hancock1 the whole matter has been exhaustively dealt with by ,mr4 ,william ,turner in his ,transfer ,printing on ,enamels1 ,porcelain1 and ,pottery1 in which the case for each claimant is minutely analysed4 ,illustration3 ,,title ,,page ,,and ,,illustration4 ,from volume1 ,the ,man in the ,moone1 published in #afch4 7,in ,library at ,british ,museum47 ,sadler and his partner ,green conducted a large business in this transfer printing for other factories as well as1 of course1 for the ,liverpool delft and other wares4 ,sadler apparently left the partnership somewhere between #agfi and #aggd1 so that the signature on the tiles by him gives the date of their printing4 ,green carried on the business until #agii1 and so great was the fame of the firm that cream ware was sent from ,etruria and by other ,staffordshire potters to be printed at ,liverpool1 and up till #agii ,wedgwood's successors still continued the practice of having their cream ware printed by ,green4 ,liverpool tiles obviously differ from ,bristol tiles inasmuch as the former were printed after #agef1 but of course before that date ,liverpool delft tiles must have been painted as they were elsewhere4 ,there are many series of the ,sadler and ,green period1 one notable one being a number of actors and actresses1 including ,garrick1 ,foote1 ,mrs4 ,abington1 ,mrs4 ,yates1 and others1 in character4 ,fable illustrations from sop and others were largely printed1 and some of ,wedgwood's plates have been decorated in red1 with fable subjects some five inches square1 which1 in spite of the festoons in which they are set1 cannot escape from seeming what they are--square tile-subjects applied to the decoration of a round plate--and the result is not pleasing4 ,among the signed pieces of ,sadler and of ,green1 if any difference in style can be discerned in the results1 it is indicated by the subjects they chose4 ,sadler's name appears on pastoral subjects with luxurious foliage and with dainty rustic scenery1 while ,green seems to have had a fondness for ,oriental groups with a framework of fantastic furniture4 ,the best collection of ,liverpool delft in this country is in the museum at ,liverpool4 ,at this museum may be seen the printed work on delft tiles of a later ,liverpool potter1 ,zachariah ,barnes1 who was only twelve years of age when ,sadler and ,green commenced their tile printing1 but who lived till #ahbj1 and had a considerable business in printing wall tiles of fine character4 ,wincanton ,delft4--,a delft factory existed at ,wincanton 7,somerset71 and recent excavations have brought to light material proving the class of ware made there4 ,nathaniel ,ireson is believed to have started the works about #agcj4 ,there are examples of this delft bearing the name ,wincanton1 and dated #agcg4 ,one specimen has the name ,nathaniel ,ireson1 and is dated #agdh4 ,one of these dated plates is in the ,national ,scottish ,museum at ,edinburgh1 which we are enabled to reproduce as an illustration4 ,it is decorated in blue1 with the arms of the ,masons' ,company1 and inscribed ,js4 ,clewett1 and dated #agcg4 ,at the back of the dish are painted sprays of blossom1 and it is marked ,wincanton4 ,this is a remarkable specimen4 ,tudor ,jugs4--,though earliest in date1 we mention this last1 as the ware is not true delft4 ,this is a class of ,elizabethan ware1 mostly small jugs some five or six inches in height1 of brown-and-blue mottled surface4 ,the exterior has all the appearance of ,cologne stoneware1 but the pieces bear a closer relationship to delft2 they have a tin glaze1 whereas the stone ,cologne ware has a salt glaze4 ,they are exceedingly rare and valuable1 and some of them are mounted with silver bearing ,elizabethan hall-marks4 ,they are disclaimed by continental authorities1 who refuse to acknowledge them as belonging to their factories1 and they apparently were made in ,england4 ,a great deal of mystery surrounds their origin1 and no doubt further research will at some future date determine the history of these specimens which1 under various fancy names1 such as ,tiger pattern1 due to their peculiar mottling1 bring considerable prices under the hammer4 ,illustration3 ,,wincanton ,,delft ,,dish4 ,with arms of ,masons' ,company4 ,inscribed ,js4 ,clewett #agcg4 ,,back ,,of ,,delft ,,dish4 ,showing the mark ,wincanton4 7,at the ,royal ,scottish ,museum1 ,edinburgh47 ,to bring the story of ,english delft to a conclusion1 it may be said that it had an ephemeral life as a ware for domestic use1 until it was dethroned by ,staffordshire salt glaze ware1 which held the field until ,wedgwood's cream ware drove this latter from the market4 ,,delft ,,prices4 ,,lambeth4 s4 d4 ,dish1 octagonal1 decorated in blue and white1 bearing arms of ,routledge family1 with motto1 ,verax atque probus1 dated #afcg4 ,sotheby1 ,february1 #aijf #g #j #j ,coronation mug1 #c-a_/b in4 high1 portrait of ,charles ,,ii41 inscribed and dated ,c4 #bnd ,r41 #affj4 ,bond1 ,bristol1 ,april1 #aijf #ch #j #j ,set of six plates inscribed ,what is a ,merry ,man1 c41 all dated #agcd4 ,sotheby1 ,june1 #aijf #da #j #j ,vessel modelled in form of cat1 painted in blue1 dated #afeg4 ,sotheby1 ,june1 #aijf #bj #j #j ,plaque1 with arms of ,apothecaries' ,company in blue4 ,christie1 ,november1 #aijf #i #ai #f ,wine bottle1 inscribed ,sack1 #afej1 in blue4 ,sotheby1 ,may1 #aijh #ae #ae #j ,plate with blue decoration on border1 and ,c initials ,a ,e1 #afih4 ,sotheby1 ,april1 #aijh #c #c #j ,,staffordshire4 ,delft dish painted with tulip and with blue dash border1 #ac in4 diameter2 another with head of ,charles ,,ii41 and inscribed ,the ,royal ,oak2 another inscribed ,g ,l4 #afhj4 ,sotheby1 ,december1 #aijh #a #ab #j ,,bristol4 ,plates1 small1 ordinary style1 from #gs4 #f;d4 to #a #j #j ,dishes1 larger size1 ordinary style1 from #a to #b #j #j ,plates1 small1 with initials and dated1 from #a #ajs41 upwards4 ,dishes1 larger size1 with initials and dates1 or of especial interest1 from #b to #e and upwards4 ,,liverpool4 7,similar prices to those of ,bristol47 ,puzzle jug painted in blue1 with verse4 ,puttick and ,simpson1 ,december1 #aije #c #ab #f ,,tudor ,,jugs4 ,these jugs vary in character1 but are always of some rarity1 and range in value from #aj1 as a minimum price1 upwards4 ,with hall-marked silver mounts1 in date from #aecj-afjj1 they are greatly sought after4 ,the ,west ,malling ,jug is the most famous specimen that has been sold of recent years4 ,the description is as follows1-- ,fulham delft or stoneware1 splashed purple1 orange1 green1 and other colours4 ,with silver mounts1 having ,london hall-mark1 #aeha4 ,height1 #i-a_/b in4 ,strong probability that it is nothing more than an old sack-pot4 ,sold at ,christie's1 ,february1 #aijc #a1ebb #aj #j ,,iv ,,stoneware ,,chapter ,,iv ,,stoneware ,cologne ,ware and ,bellarmines--,john ,dwight of ,fulham 7#afch-agjc7--,the ,brothers ,elers1 working in ,staffordshire 7#afij-agaj7--;,john ,astbury 7#afgi-agdc7--,thomas ,astbury--,fulham ,stoneware--,nottingham ,stoneware--,prices of ,stoneware4 ,stoneware in point of date is prior to delft in its beginnings1 and it had in its subsequent development a longer life than delft4 ,it has already been shown 7,chapter ,,ii47 how broken is the history of the evolution of the potter's art in ,england in the ,middle ,ages4 ,there are great gaps which divide the period of the medival tiles from the more or less peasant pottery known as slip ware4 ,it is not until the seventeenth century had well advanced that the manufacture of stoneware took its place as an industry4 ,to the beginner it should be explained that stoneware is coated with a glaze by means of common salt4 ,it is extremely hard1 and has a surface in old and admired specimens like the skin of an orange being pitted with minute depressions1 or in finer and thinner ware being like the surface of leather or chicken skin4 ,the ordinary ginger-beer bottle is stoneware1 and although serving in a humble capacity1 is often found to be perfect in the technique of salt glazing4 ,in old jugs of seventeenth-century manufacture1 the mottled colouring and distinctly pleasing surface varying in tone from warm brown to reddish-yellow1 is exceptionally attractive to collectors who import a love for technique into their hobby4 ,undoubtedly the ,bellarmine1 or ,greybeard1 jug was in use in this country for a considerable period4 ,references abound in old plays4 ,ben ,jonson1 in his ,bartholomew ,fair 7,act ,,iv471 makes ,captain ,whit say1 ,he has wrashled so long with the bottle here1 that the man with the beard hash almosht streek up hish heelsh1 in simulation of the speech of a man who has well drunken4 ,but it must be concluded that this stoneware1 or ,cologne ware1 was largely imported1 and was never greatly made in this country until ,john ,dwight1 of ,fulham1 took out his patent in #afga4 ,there are pieces bearing ,elizabethan dates and coats of arms1 as1 for instance1 the small brown cruche in the ,schreiber ,collection at the ,victoria and ,albert ,museum1 with the initials ,e4 ,r4 and the date #aeid2 and the fine ,bellarmine jug in the ,british ,museum1 with the arms of ,queen ,elizabeth1 and dated #aeid4 ,we illustrate a fine stoneware ,bellarmine jug1 of the late sixteenth century1 having a coat of arms with crown and ,tudor roses4 ,the character of some of these jugs differs from continental examples4 ,this may have been due to a desire on the part of the consumer for vessels of that type1 but there seems some likelihood that the commoner sorts were made here1 and it is conjectured that ,fulham was the chief place of their manufacture4 ,illustration3 ,,stoneware ,,jug4 ,,bellarmine ,,or ,,greybeard4 ,having arms with ,tudor roses4 7,late sixteenth century47 7,at ,british ,museum47 ,illustration3 ,,stoneware ,,jugs ,,with ,,royal ,,arms ,,and ,,portrait ,,medallions ,,of ,,william ,,and ,,mary4 ,the left-hand jug with portrait of ,queen ,mary is attributed to ,dwight4 7,in the collection of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,in the group of fine ,bellarmine jugs illustrated1 the characteristics of the ware are shown4 ,the decorations begin to assume a national feeling1 and the jugs differ in form from the continental type4 ,the fine specimen of grey stoneware with the portrait medallion of ,queen ,mary is attributed to ,dwight4 ,the inscription runs ,maria4 ,d4 ,g4 ,mag4 ,brit4 ,franc1 et4 ,hib4 ,regina4 ,the right hand jug in the group has a raised medallion portrait of ,william ,,iii4 ,the ,bellarmine1 or ,greybeard or ,longbeard1 is so called from the head which appears on the neck of the jug1 which mask is always referred to in a satirical manner as being the likeness of ,cardinal ,robert ,bellarmin1 who rendered himself obnoxious by his opposition to the reformed religion in the ,low ,countries4 ,these old examples of foreign stoneware1 miscalled grs de ,flandres1 are known to have been made at ,raren1 at ,siegburg1 at ,grenzhausen1 near ,coblenz1 and later in the seventeenth century they were made at ,namur4 ,the fact that they were imported and not made here appears from the petition of ,william ,simpson1 merchant 7,lansdowne ,,mss47 to ,queen ,elizabeth3 ,whereas one ,garnet ,tyne1 a strainger living in ,acon1 in the parte beyond the seas1 being none of her ,majestie's subjects1 doth buy up all the pottles made at ,culloin called ,drinkynge ,stonepottes he onlie transporteth them into this realme of ,england selleth them2 ,it may please your ,majestie to graunt unto the sayd ,william ,simpson full power only license to provyde1 transport1 bring into this realme1 the same or such like ,drynkynge pots2 the petitioner adds that no ,englishman doth transport any potte into this realme1 he also gives a promise as in him lieth to attempt to drawe the making of such like potte into some decayed town within this realme1 whereby many a hundred poore men may be set a worke4 ,thirty years later ,letters ,patent were granted to ,thomas ,rous and ,abraham ,cullyn in #afbf for the sole making of the stone pottes1 stone juggs1 stone bottles1 for the terme of fourteene years for a reward for their invention4 ,here1 then1 are sufficient facts to show how largely the importation and manufacture was in foreign hands1 and the finer specimens must undoubtedly be assigned to foreign potters4 ,john ,dwight4--,in #afga a patent was taken out by ,john ,dwight for the mistery of transparent earthenware1 commonly knowne by the names of porcelaine or ,china and ,persian ware1 as alsoe the misterie of the stoneware vulgarly called ,cologne ware4 ,it appears from this patent that he had invented and sett up at ,fulham1 several new manufactories4 ,there is no doubt that ,john ,dwight was one of the greatest1 if not the greatest of ,english potters4 ,his magnificent life-size bust in stoneware of ,prince ,rupert1 now in the ,british ,museum1 excites the wonder and admiration of modern potters4 ,the technical excellence he displays in his fine stoneware1 which is of a grey-white or pale fawn colour1 and is salt glazed1 is as remarkable a triumph of modelling as it is of skill in potting4 ,to quote ,professor ,church in regard to ,dwight's busts and figures1 ,they stand absolutely alone in ,english ceramics4 ,they are the original and serious work of an accomplished modeller4 ,the best of them are instinct with individuality and strength1 yet reticent with the reticence of noble sculpture4 ,illustration3 ,,stoneware ,,bust ,,of ,,james ,,ii4 ,by ,dwight1 of ,fulham4 7,about #afhf47 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,dwight ,,stoneware ,,figures4 ,children reading4 7,at ,british ,museum47 ,the illustration of the bust of ,james ,,ii4 7p4 #aci7 is not so well known as the famous ,prince ,rupert1 nor is it of the same superlative power2 but it is a fine example of stoneware4 ,the two figures illustrated of ,children ,reading have just been added to the national collection1 and exhibit the mastery of ,dwight over his medium4 ,there is no doubt that ,john ,dwight is coming into his own4 ,among the fathers of ,english pottery there are ,dwight and ,elers1 and ,astbury and ,whieldon1 and ,josiah ,wedgwood1 and the greatest of these is unquestionably ,dwight4 ,dr4 ,plot1 in his ,history of ,oxfordshire1 published in #afgg1 passes this eulogy upon him3 ,he has so advanced the ,art ,plastick1 that 'tis dubious whether any man since ,prometheus have excelled him1 not excepting the famous ,damophilus and ,gorgasus of ,pliny4 ,and yet this ,dwight is reported to have destroyed most of his formul and many of his papers connected with his inventions in the hope that his descendants would not engage in so unprofitable a business4 ,it is not known when ,dwight was born2 #afch is the conjectured date4 ,he was ,m4,a4 and ,b4,c4,l4 of ,christ ,church1 ,oxford1 and was secretary to the ,bishop of ,chester4 ,between #afga and #afgf he settled at ,fulham4 ,it appears that he had previously established a factory at ,oxford with considerable success4 ,he died in #agjc1 and the pottery was continued by his son ,samuel1 who died in #agcg4 ,the works were carried on by his widow1 and subsequently by ,william ,white1 who married her1 and the pottery remained in the hands of the ,white family until #ahfb4 ,of his portrait busts and statuettes1 the ,victoria and ,albert ,museum and the ,british ,museum have about thirteen examples1 and there is a fine statuette of ,jupiter in the ,liverpool ,museum4 ,besides this class of ware1 he certainly made stoneware jugs of the ,cologne type1 and red-ware teapots4 ,he was known to use small raised ornaments on this ware1 produced by the use of metal stamps4 ,his vases have marbled decorations1 and he was fully aware of the use of pounded flint1 which gave his ware a porcellanous character1 a discovery which was not apparently known to the ,staffordshire potters until about #agbj4a ,note3 #a ,guide to ,english ,pottery and ,porcelain in the ,british ,museum1 ,r4 ,l4 ,hobson4 ,in relation to ,dwight and his patents1 new light has been thrown upon the originality of the work of the ,brothers ,elers in their secretly-guarded factory at ,bradwell ,wood4 ,all earnest students are indebted to ,professor ,church for his recent researches to establish ,dwight's reputation1 which go a great way towards dethroning the two ,dutch brothers ,elers1 who have been hitherto regarded as the pioneers of ,staffordshire fine pottery4 ,illustration3 ,,coffee ,,pot1 ,,elers ,,red ,,unglazed ,,ware4 ,,mug1 ,,red ,,unglazed ,,ware1 ,,probably ,,made ,,by ,,elers ,,or ,,dwight4 7,at ,british ,museum47 ,illustration3 ,,elers ,,red ,,ware ,,teapot4 7,in the collection of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,elers ,ware 7#afij-agaj74--,there is a great deal of mystery surrounding the name and fame of the two ,dutchmen1 ,john ,philip ,elers and ,david ,elers4 ,they came to this country as did so many of their countrymen in the latter part of the seventeenth century4 ,earlier1 ,dutch refugees had fled hither on account of religious persecution1 and later1 when ,william of ,orange came over1 his court attracted many of his countrymen of distinguished birth4 ,martin ,elers1 the father of our two ,dutchmen1 had been ambassador to several ,european courts4 ,john ,philip his son was the godson of the ,elector of ,mentz1 after whom he was named1 and was held at the baptismal font by ,queen ,christina of ,sweden4#b ,note3 #b ,staffordshire ,pots and ,potteries1 ,g4 ,w4 and ,f4 ,a4 ,rhead4 ,there is no reason to believe that they had any patronage from the court themselves1 but their sister was granted a pension of #cjj a year by ,william1 and she subsequently became the second wife of ,sir ,william ,phipps1 founder of the house of ,mulgrave1 the title of ,earl of ,mulgrave is now borne by the ,marquis of ,normanby1 whose family name is ,phipps4 ,however aristocratic they were1 it is certain that they had considerable practical knowledge in order to embark in business and carry on a pottery4 ,they prepared the red clay of ,bradwell in a far more scientific manner than had any ,staffordshire potters prior to that date1 and by the lathe they turned forms far thinner than could be done on the wheel4 ,wherever they had gained their technical skill1 they placed for the first time the wares of ,staffordshire on the same plane as ,bttcher's work of ,meissen1 or the models of the old ,chinese potters4 ,we have already shown that they engaged some of ,dwight's workmen from ,fulham1 and that they infringed ,dwight's patents in respect to the ,cologne jugs and red teapots4 ,this does not accord with the fables hitherto industriously repeated in every succeeding volume dealing with china1 that the ,elers employed imbeciles in their factory1 in order that their trade secrets might be jealously guarded4 ,it is true that ,twyford and ,john ,astbury learned all that they wanted to know by gaining employment at the ,elers pottery at ,bradwell1 and there is little doubt that in so doing they simulated a stupid indifference as to the new methods of stamping china ornaments by metal stamps and of the lathe work employed on the red teapots4 ,both black and red teapots were made by ,elers and ornaments in ,chinese style added in relief4 ,these ornaments were stamped with a metal die and laid on the vessel1 several dies were used for portions of the same teapot4 ,the connecting portions such as the stalks between two sprigs were finished by hand4 ,this red ware was unglazed4 ,as most people are familiar with ,wedgwood's black1 basaltes ware1 it is useful to know that1 except in colour1 the wares are almost identical in point of external appearance and to the sense of touch4 ,some of this red tea and coffee ware or old china1 as it was called1 is marked with a seal in imitation of ,chinese marks4 ,the red teapots of small dimensions sold for ten to twenty-five shillings apiece1 and ,david ,elers had a shop in the ,poultry in ,cheapside1 where he sold them4 ,the ,elers left ,staffordshire in #agaj1 so that their pottery lasted only twenty years4 ,in view of the fact that ,dwight complained about their manufacture of stoneware jugs and mugs as being subsequent to his1 it would seem doubtful if they can still be accredited with the invention of this old ware or with the introduction of salt glaze into ,england4 ,undoubtedly this early class of hard red stoneware1 almost approaching porcelain in character1 will have to be thoroughly reviewed with the object of assigning to ,dwight what is his1 and to the ,elers1 and to ,aaron1 ,thomas1 and ,richard ,wedgwood what is theirs1 to say nothing of ,richard ,garner1 and of ,john ,morley1 of ,nottingham1 who confessed to copying ,dwight's browne muggs4 ,the subsequent history of the ,elers may be interesting in passing4 ,john ,philip is believed to have been in some way connected with the foreign glass works at ,chelsea1 established by ,italian workmen1 under the patronage of the ,duke of ,buckingham1 as early as #afgf4 ,he afterwards1 with the assistance of ,lady ,barrington1 set up as a glass and china merchant in ,dublin1 and became successful4 ,david ,elers remained in ,london4 ,john ,astbury4--,we have seen that the ,elers' secret became known in ,staffordshire to ,twyford1 and to ,john ,astbury1 and this latter together with his son carried on the same style of manufacture4 ,as a general rule it is held that the ware of the earlier ,astbury is not so sharp in its details as was the careful work of the ,elers4 ,his ware is of red1 fawn1 chocolate1 and orange colour4 ,his ornaments followed the style of ,elers in being stamped1 but he made them of ,devon or pipe-clay1 which has a cruder effect in white upon the darker grounds4 ,he died in #agdc4 ,his son ,thomas ,astbury commenced potting in #agbc1 and his work is so similar to that of his father1 that considerable doubt exists as to which pieces may safely be attributed to the father4 ,it is certain that the son experimented with the bodies of clays until he produced a cream colour1 afterwards improved by ,josiah ,wedgwood in his renowned cream ware4 ,we illustrate 7p4 #adi7 an ,astbury teapot in date about #agdj1 with an orange-coloured glaze body having design in relief in white4 ,the other ,astbury ware teapot is of slightly later date1 and has a coffee-brown body with white and green floral ornaments in relief4 ,the ,porto ,bello bowl in the ,british ,museum1 of red clay with white stamped ornaments in relief of a group of miniature ships in battle array1 made to celebrate the capture of ,porto ,bello by ,admiral ,vernon in #agci1 is held to be a typical example of the work of the elder ,astbury4 ,as a rule1 black or red specimens having the name of ,astbury impressed upon them are attributed to ,astbury the second4 ,but it must be borne in mind that for want of more exact knowledge1 all red ware with stamped ornaments applied in relief and with indications of plain engine turning has been generically termed ,elers ware1 and it is quite certain that later than ,astbury junior's day red ware with wavy lines was made4 ,similarly the type of ware with white applied ornament in relief has been termed ,astbury ware4 ,the elder ,astbury1 in addition to the stoneware1 made crouch ware1 a term employed for the earlier forms of the fine delicate stoneware known as salt glazed4 ,the younger ,astbury introduced the use of flint into his ware in or about #agbc4 ,collectors should be cautioned not to assign plates and dishes marked ,,astbury1 to ,thomas ,astbury4 ,they are cream ware1 and decorated in blue with ,chinese patterns1 and belong to a much later period4 ,mention should be made of ,ralph ,shaw1 of ,burslem1 who made brown or chocolate ware dipped in white pipe-clay1 which afterwards was worked upon with a tool to display the dark body beneath4 ,there is a jug in the ,british ,museum 7,franks ,collection7 which is thus decorated with birds and foliage4 ,twyford1 the colleague of ,astbury the elder1 when with the ,elers1 seems to have applied himself to the use of white decoration1 sometimes the red and brown ware is wholly coated inside with pipe-clay1 and this is supposed to be his work4 ,illustration3 ,,astbury ,,teapot4 ,orange glazed body1 pattern in relief4 7,about #agdj4 ,height #d inches47 7,at ,british ,museum47 ,illustration3 ,,astbury ,,ware ,,teapot4 ,coffee brown body1 white and green floral ornament in relief4 7,about #agej47 7,at ,british ,museum47 ,with the advent of ,josiah ,wedgwood came the strong classic influence upon his plastic art1 and in his various classes of stoneware 7dealt with in ,chap4 ,,vii47 considerable variety was introduced both in design and in colouring4 ,among the most notable of the contemporaries and successors of ,wedgwood who successfully produced high-class stoneware1 the following may be mentioned3 ,william ,adams1 ,turner1 ,elijah ,mayer1 ,neale1 ,palmer1 ,birch1 ,keeling1 and ,toft1 ,hollins1 ,wilson1 ,spode1 ,davenport1 and ,dunderdale of ,castleford1 and the ,leeds ,pottery and the ,swansea ,pottery both made basalt in black ware 7see ,chap4 ,,viii41 ,the ,school of ,wedgwood74 ,fulham ,stoneware4--,in the eighteenth century ,fulham became noticeable for a type of mug similar to that illustrated 7p4 #aec71 bearing the initials ,w4,g4 and the date #agbe4 ,another series made at ,fulham are the jugs usually marked with the initials ,a4,r4 and ,g4,r4 belonging to the days of ,anne and of ,george ,i4 ,a great many exist of the fuller-bodied shape1 with initials inscribed ,g4,r4 ,formerly on museum shelves these were attributed to ,fulham1 but it is now generally held that this form was imported from the ,continent1 and belongs to the ,grs-de-,flandres class4 ,the true ,fulham contemporary form is that which we illustrate 7p4 #aec74 ,the manufacture of stoneware continued for a century1 and in the nineteenth century many fine specimens were being made by various potters1 and ,messrs4 ,doulton1 of ,lambeth1 still continue to make stoneware vases and jugs and other vessels of an ornamental character4 ,nottingham ,stoneware4--,john ,morley1 of ,nottingham1 was cited in #afic1 as one of the persons who infringed ,dwight's patent for stoneware4 ,evidently the same family of potters carried on the business1 for in #agbf1 ,charles ,morley was a maker of brown stoneware jugs and mugs4 ,there is a brown bowl at the ,victoria and ,albert ,museum bearing this date4 ,the ,castle ,museum at ,nottingham possesses some fine examples of brown stoneware4 ,the dates of jugs and mugs vary from as early as #agjj to the last quarter of the eighteenth century4 ,nottingham ware is smoother in its surface than old ,staffordshire1 only slightly showing the orange skin texture so noticeable in the other stoneware4 ,it is rich warm brown1 sometimes inclining to red and sometimes to yellow in colour4 ,bear jugs are a feature of ,nottingham stoneware1 but they are not peculiar to that pottery1 as they were also made in ,derbyshire and ,staffordshire4 ,the ,nottingham stoneware is excellently potted and1 of course1 is salt glazed1 the glaze having a slightly lustrous appearance4 ,the examples most familiar to collectors belong to the late eighteenth and early nineteenth centuries4 ,the bear jugs may be either of plain surface or may have the rough grained exterior formed by minute particles of clay4 ,they frequently have a collar around the neck1 and a chain to which is attached a rattle4 ,a rarer form represents a ,russian bear hugging ,bonaparte1 who wears a big plumed hat4 ,puzzle jugs with incised ornament1 and tall loving-cups of large size1 are another noticeable production2 many of these are inscribed with names and dates4 ,illustration3 ,,fulham ,,stoneware ,,mug4 7,dated #agbe4 ,period of ,george ,i47 ,with embossed ornament of dogs1 c41 and medallion portraits4 ,illustration3 ,,fulham ,,stoneware ,,jug4 ,raised medallion with crown and ,g4,r4 7,period of ,george ,i47 ,incised decoration filled with blue4 ,,stoneware--,,prices4 ,,bellarmines4 s4 d4 ,the prices of this class vary in ordinary examples1 plain1 or of slight decoration1 from #aes4 to #a #aj #j ,bellarmines with ,english arms of especial interest are of considerably greater value1 though not always of ,english origin4 ,exceptional pieces bring exceptional prices4 ,,dwight4 ,all specimens of ,dwight are extremely rare4 ,it is impossible to say what a ,dwight stoneware figure or bust would realise at auction1 but certainly a very high figure4 ,,elers4 ,elers teapots1 c41 are rare4 ,the smaller lighter coloured teapots of the true ,elers ware are worth as many half-sovereigns as the later coarser examples are worth shillings4 ,,astbury4 ,a similar difficulty arises in attempting to state prices for ,astbury stoneware4 ,fine examples rarely come into the market4 ,,fulham4 ,g4 ,r4 jugs ascribed to ,fulham may be bought from #aes4 to #a #ajs41 according to condition and decoration4 ,the large jugs and mugs with medallion busts of ,william and ,mary1 inscribed and dated1 vary in price from #c to #e and upwards4 ,,nottingham4 ,bear jugs of coarse type may be procured from #a #ajs4 to #b #aj #j ,tall ,loving ,cups1 inscribed with name and date1 vary from #b to #e #j #j ,the ,russian ,bear model hugging ,bonaparte is worth #e or more4 ,nottingham ale jugs1 dated and inscribed1 have realised #ab under the hammer4 ,v ,,early ,,staffordshire ,,ware ,,thomas ,,whieldon3 ,his ,contemporaries and his ,successors ,,chronological ,,table4 ,,xviiith ,,century4 ,anne #agjd ,gibraltar taken by ,sir ,george ,rooke4 7#agjb-agad7 ,marlborough gained victory of ,blenheim4 #agaa-agad ,addison published the ,spectator4 ,george ,i4 #agae ,rebellion in ,scotland4 7#agad-agbg7 ,the ,old ,pretender landed at ,peterhead4 #agae-agai ,pope translated ,homer's ,iliad into ,english verse4 #agai ,defoe's ,robinson ,crusoe published4 #agba ,the ,south ,sea ,bubble burst2 thousands of families ruined4 ,george ,,ii4 #agdb ,fielding's ,joseph ,andrews published4 7#agbg-agfj7 #agdh ,richardson's ,clarissa ,harlowe4 #agdi ,gray's ,elegy in a ,country ,churchyard4 #agej ,fielding's ,tom ,jones published4 #agee ,dr4 ,johnson's ,dictionary published4 #ageg ,clive laid the foundation of the ,indian ,empire4 ,george ,,iii4 #agei-fg ,sterne's ,tristram ,shandy4 7#agfj-ahbj7 #agff ,goldsmith's ,vicar of ,wakefield4 #agfh ,sir ,joshua ,reynolds first president of the ,royal ,academy4 #agge ,the ,american ,war4 #aggg ,sheridan's ,school for ,scandal4 #aggi ,gainsborough at the height of his fame4 #aghb ,the ,independence of the ,united ,states recognised4 #aghf ,gillray's caricatures commenced to appear4 #agij ,burke's ,reflections on the ,french ,revolution4 #agia ,burns's ,tam ,o' ,shanter4 #agib ,thomas ,paine's ,age of ,reason4 #agie ,war with ,holland4 ,capture of the ,cape of ,good ,hope4 #ahja ,union of ,great ,britain and ,ireland4 ,,chapter ,v ,,early ,,staffordshire ,,ware ,,thomas ,,whieldon3 ,,his ,,contemporaries ,,and ,,his ,,successors ,the forerunners of ,whieldon--,the position of ,staffordshire ,ware--,whieldon as a potter--,early ,staffordshire ,art--,the rivalry with salt glaze--,form versus ,colour--,the last years of the ,eighteenth century--,the ,english spirit--,prices4 ,early ,staffordshire is a generic term used to include much of the unknown ware of the early period between about #agbj to #agfj4 ,it is not early enough to go back to the butter-pot days of ,charles ,,ii4 nor to include the school of ,toft and his contemporaries1 with their quaint native humour4 ,but it is an important period when earthenware was in a transitional stage4 ,it is1 in fact1 the period when ,staffordshire may be regarded as the great nursery of potters in swaddling clothes who came into their majority later with full honours4 ,the chronological table at the head of this chapter shows the great events that were shaping the destiny of this country1 and1 in politics1 in art1 and in letters1 it must be admitted that the age of ,anne and the first two ,georges was prolific enough in incident4 ,it was during the greater portion of the first half of the eighteenth century that ,english earthenware was finding itself4 ,attempts at classification nearly always leave the borders overlapping4 ,in trying to gather in our net a band of representative potters with work peculiarly illustrative of this period which was essentially ,english--as ,english as ,toft--but progressing towards something that should stand as worthy of our art1 several great potters1 such as the ,woods1 have escaped1 and will be treated separately later4 ,it must be granted that the influence of the ,whieldon school was not obliterated even by the great rise of the classic school of design as exemplified by ,wedgwood1 ,turner1 and ,adams4 ,the strong ,english robustness and the national insularity of design never wholly died out in the eighteenth century4 ,it was eclipsed by classic frigidities from across the ,alps1 and it suffered discomfiture from the rococo insipidities from ,france first naturalised at ,chelsea and at ,derby4 ,but it lingered in the hearts of the common people like the tunes of some of the old ballads in spite of the fashions of ,gluck and of ,handel4 ,thus it comes to pass that1 side by side with the ,iphigenias1 the ,andromaches1 the ,venuses1 the ,minervas1 and the other esoteric personages from among the gods and goddesses of ,olympus1 with their accompaniment of foreign fauns and satyrs1 there were the very ,english 7founded on ,gillray and ,rowlandson71 almost ,rabelaisian1 grotesques in the army of ,toby ,jugs and the sporting1 rural1 nautical1 historic1 commemorative1 and satiric jugs and mugs and figures1 with ,english doggerel and with idiosyncrasies enough to make our earthenware essentially national4 ,illustration3 ,,whieldon ,,ware ,,cauliflower ,,teapot4 ,with vivid green and yellow colouring4 ,,tortoiseshell ,,ware ,,plates4 ,richly glazed1 producing clouded and mottled effects4 7,at ,victoria and ,albert ,museum47 ,unfortunately in the early days it is impossible with any degree of certainty to assign many of these older pieces to any particular potter4 ,the collector can only lament the iniquity of oblivion blindly scattering her poppy1 as ,sir ,thomas ,browne puts it4 ,it is without doubt rightly believed that ,thomas ,whieldon had a great and lasting influence upon the potters of his generation1 but his own actual work has been swallowed up by the covering phrase ,whieldon ware1 which1 like ,elers ware and ,astbury ware1 has come to mean a good many things1 and these are names of types rather than persons4 ,the forerunners of ,whieldon4--,it is necessary briefly to recapitulate the events immediately from the commencement of the eighteenth century to the day when ,whieldon established his status4 ,there was a continuous chain of potters working in ,staffordshire from the days of the ,elers 7#afij-agaj71 to the period when ,josiah ,wedgwood became a master potter on his own account in #agfj2 he was then thirty years of age4 ,wedgwood's own estimate of the ,elers is interesting4 ,speaking of what ,elers did for ,staffordshire he says1 ,it is now about eighty years since ,mr4 ,elers came amongst us 444 the improvements made 7by him7 in our manufactory were precisely these--glazing our common clays with salt which produced ,pot d'grey or stoneware1 and this after they had left the country was improved into white stoneware by using the pipe clay of this neighbourhood and mixing it with flint stones calcin'd and reduced by pounding in to a fine powder4 ,there is not a word about ,dwight in all this2 evidently ,josiah seems not to have known of the legal action against ,elers and one of his own kinsmen amongst others4 ,the invention of flint is an allusion to ,thomas ,astbury about #agbj1 but ,dwight also knew of this formula as his recorded notes prove4 ,to continue1 ,the next improvement by ,mr4 ,elers was the refining of our common red clay by sifting and making it into tea and coffee ware in imitation of the ,chinese red porcelain by the casting it in plaster moulds and turning it on the outside upon ,lathes1 and ornamenting it with the tea branch in relief1 in imitation of the ,chinese manner of ornamenting the ware4 ,for these improvements--and very great ones they were--we are indebted to the very ingenious ,messrs4 ,elers1 and ,i shall gladly contribute all in my power to honour their memories and transmit to posterity the knowledge of the obligations we owe to them4 ,this is in respect to a jasper medallion portrait of ,john ,philip ,elers4 ,wedgwood is wrong in one or two particulars4 ,the salt glaze question is open to doubt1 and most certainly ,elers never used moulds for their ware4 ,we give this as showing the continuity which existed between ,elers and ,wedgwood1 the latter certainly owed his application of the ornamentation in relief to the method which ,elers had introduced into ,staffordshire4 ,we do not say invented1 because there is always ,dwight standing in the background4 ,to give ,elers his due he certainly set ,staffordshire talking and wondering1 and he unwittingly filled ,twyford and ,astbury with new ideas which they were not slow to adopt4 ,astbury comes as the echo which ,elers left behind in ,staffordshire1 a substantial enough echo1 for ,astbury took his master's ideas and created a ware with white stamped ornaments in relief1 to which his own name is given as a generic term4 ,john ,astbury the elder died in #agdc1 and ,thomas1 his son1 commenced potting as early as #agbc4 ,and the ,astburys rub shoulders with ,thomas ,whieldon1 whose apprentice and sometime partner 7#ageb-ageh7 was ,josiah ,wedgwood4 ,it will thus be seen that ,thomas ,whieldon 7#agdj-aghj7 came upon the scene in the history of the ,staffordshire potteries when the art was in a somewhat transitional stage4 ,new fields were opening and new ideas developing that were shortly to bring ,english pottery into line with that on the ,continent4 ,the position of ,staffordshire ,ware4--,it is necessary to show the stage at which ,english pottery had arrived in order to place ,whieldon aright and to show the various impulses which led to the outburst of potting which stirred ,staffordshire4 ,stoneware in crude form or in highly finished foreign style in ,cologne ware had been gaining ground since ,tudor days4 ,later the use of delft had won favour and was still in full swing at ,lambeth1 at ,bristol1 and at ,liverpool when ,whieldon commenced potting4 ,it had also become acclimatised in ,staffordshire4 ,toft's and other slip ware was contemporary with delft as a native art4 ,and now1 looking forward1 we see the oncoming triumph of stoneware1 in its finely potted and highly artistic ,staffordshire form1 which was to overthrow delft and slip ware1 and in turn be stamped out by the utilitarian cream ware of ,whieldon's apprentice1 ,josiah ,wedgwood1 who built up his fortune at ,etruria on this domestic ware4 ,the ,whieldon period 7#agdj-aghj7 was an important one in ceramic events4 ,in #agdd ,bow commenced to make porcelain4 ,in #agde is the earliest dated piece of ,chelsea porcelain1 the year that the ,pretender won the battle of ,preston ,pans1 near ,edinburgh1 and invaded ,england1 bringing his army as far as ,derby4 ,in #agej1 ,derby made earthenware1 and in #agea commenced to make porcelain1 which is the same year in which ,worcester commenced a glorious record in the making of porcelain4 ,longton ,hall1 ,bristol1 and ,liverpool continued the same story1 and transfer-printing was practised at ,worcester by ,hancock on porcelain1 and at ,liverpool on delft tiles by ,sadler and ,green4 ,lowestoft opened a kiln in #agef4 ,leeds ware was made in #agfj1 and1 finally1 ,wedgwood's queen's ware in #agfb1 and four years before ,whieldon gave up his work ,wedgwood had invented his jasper ware4 ,whieldon as a potter4--,not a great deal is known of ,whieldon's personality4 ,he must have commenced in a small way of business as he tramped from place to place with specimens of his wares on his back in pedlar fashion4 ,but he became of considerable importance as he held the office of ,high ,sheriff of ,staffordshire in #aghf1 some six years after he retired from his pottery4 ,whieldon numbered among his apprentices some young men who afterwards became famous4 ,there was ,josiah ,wedgwood1 who became his partner from #agec to #agei1 ,josiah ,spode1 and ,william ,greatbach1 ,edge1 ,heath1 ,marsh1 and there was ,aaron ,wood1 who was employed at ,little ,fenton for some time4 ,on account of his apprentices having become famous1 it has been suggested that he was probably indebted to them for much of his fame4 ,on reflection it may possibly be seen that the opposite conclusion may very well be true1 and it is not improbable that ,wedgwood and ,spode and ,greatbach and the others owed a considerable debt to ,whieldon for having received a highly technical training at his hands4 ,illustration3 ,,teapot1 ,,tortoiseshell ,,ware4 ,embossed with hawthorn pattern4 7,at the ,royal ,scottish ,museum1 ,edinburgh47 ,illustration3 ,,bowl ,,and ,,cover1 ,,tortoiseshell ,,ware4 ,embossed with floral pattern4 7,at the ,victoria and ,albert ,museum47 ,in regard to cream ware1 undoubtedly this was in an experimental stage1 and ,whieldon in common with ,astbury made those queer little figures with yellow heads and red or yellow bases1 but the tortoiseshell flown colouring apparently denotes some of the specimens made by ,whieldon4 ,he made salt glaze1 he made tea and coffee pots with the ,astbury decorations1 but with a strong leaning to the earlier ,elers style in his avoidance of too strong contrast between white pipe-clay ornament on a dark body4 ,whieldon toned his ornaments with touches of his own in green and yellow and brown4 ,his solid agate ware and his tortoiseshell and clouded wares1 and his cauliflower ware have become so memorable in the cabinets of collectors that they have won him fame1 and he has in consequence been credited with all specimens of these classes of ware4 ,we illustrate 7p4 #afa7 an example of the ,whieldon ,cauliflower ,teapot with vivid green and yellow colouring4 ,of this early period1 the fine group we illustrate 7p4 #aga7 with a coffee-pot of glazed red ware1 a kaolin of deep cream colour decorated in red1 may not unreasonably be attributed to ,john ,astbury1 while the little ,figure of flown colouring1 with red base and brown shoes1 may be either by ,whieldon or possibly by ,thomas ,astbury4 ,the solid agate of ,whieldon is something far more artistic than the combed ware of earlier days or the very rough attempts at solid agate made by clumsier hands than his own prior to his experiments4 ,surface decoration in imitation of agate had been produced by employing two different coloured clays on the surface of a vessel1 and when in a wet state combing them to represent the desired veining of the stone to be simulated4 ,solid agate is another process of placing layers of clay of different colours and cutting them in section to show the bands of colour4 ,in ,whieldon's hands the layers were thin and the waves and twists1 cut off the clay with a wire like cheese is cut1 showed in the finished result something more artistic than had ever been attempted before4 ,he made jugs and sauceboats1 teapots1 teapoys1 and other table utensils of this ware1 including knife handles4 ,no two pieces are exactly alike1 and there is a considerable variety in the breadth of the veining and in the ware1 some being intentionally coarser in order to suit the subject potted4 ,there is no doubt that this ware1 standing in a measure in a cul de sac of ceramic art1 is highly effective1 and ,wedgwood used with great skill both the solid agate and the surface colour for his ornamental pieces and vases of classic type1 in imitation of granite1 ,egyptian pebble1 jasper1 porphyry1 and several kinds of agate4 ,his range of colour was more extended than that of ,whieldon1 but there is little doubt that he gained his first knowledge of the properties and possibilities of this variegated ware when he was with ,whieldon4 ,casting about for something equally effective with possibly less technical difficulties1 ,whieldon evolved his celebrated clouded wares4 ,here he took advantage of the new cream ware as a body1 the surface of which is splashed or sponged with various tints in imitation of tortoiseshell1 although many of the colours introduced depart from tortoiseshell tones and introduce something fresh and original in earthenware decoration4 ,illustration3 ,,group ,,of ,,astbury ,,ware4 ,,kylin4 ,chiefly red and deep cream colour4 ,,coffee ,,pot4 ,glazed red ware4 ,,figure4 ,flown colouring1 red base and brown shoes4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,illustration3 ,,agate ,,cat4 7#d inches high47 ,grey1 with brown solid marbling1 and splashed with blue on body and ears4 ,,salt-,,glazed ,,bear ,,jug4 7,height #c-a_/h inches47 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,there is the patent taken out by ,redrich and ,jones1 ,staffordshire potters in #agbd1 for staining1 veining1 spotting1 clouding1 or damasking earthenware1 to give it the appearance of various kinds of marble1 porphyry1 and rich stones1 as well as tortoiseshell4 ,and ,ralph ,wood1 of ,burslem1 made variegated ware of a particular kind which may well be termed tesselated1 as small pieces of tinted clay were affixed or inlaid on the surface of vessels to be decorated1 and subsequently glazed4 ,this mosaic work in imitation of granite was employed also at ,leeds4 ,to return to ,whieldon4 ,there is no doubt that he found this variegated ware in a somewhat inchoate state in regard to technique1 and the more scientific exactitude which he employed has gained for his wares their fame4 ,we illustrate 7p4 #afg7 two fine examples of tortoiseshell ware1 a ,teapot embossed with hawthorn pattern design1 and a finely decorated ,bowl and ,cover having a running floral pattern in relief4 ,the many coloured dessert plates1 sometimes of octagonal shape1 made by ,whieldon in this later mottled manner1 in which the surface only is decorated1 are well known to collectors4 ,in ,whieldon's own examples the potting is more perfect than in those of other potters4 ,his plates are to be recognised not only by their colour1 but in the very subtle way he has handled it4 ,the deft touch of blue or yellow or green1 has in other hands become a patch of obvious crudity1 striking a discordant note at once4 ,the deep grey octagonal plates by him are loved by connoisseurs as exhibiting his subtlety at its best4 ,we illustrate two examples of this class of ,whieldon tortoiseshell plates with rich brown colouring flecked with green and yellow 7see p4 #afa74 ,the mechanical mottling by his imitators1 seemingly dabbed on in spots by a sponge1 should not be easy to distinguish after having seen one of his best examples4 ,in regard to the potting1 ,whieldon ware plates have a flat broad rim1 which almost invariably has a border of applied strips laid crosswise4 ,but it must not be forgotten that1 when once the fashion for ,whieldon ware became general1 other potteries came into line4 ,at ,liverpool this class of mottled and clouded ware was made1 and also at the ,castleford pottery1 near ,leeds1 and consequently many unmarked examples may be attributed to these potteries4 ,some of the ,castleford tortoiseshell plates are impressed ,d4,d4 ,co4 ,early ,staffordshire ,art4--,among the earlier figures of the ,astbury pottery the elder ,astbury worked from #agcf to #agdc1 and his son continued his traditions later4 ,there are a number of quadrupeds and birds which are assigned by collectors to the elder ,astbury1 which are1 although crude1 extremely interesting as showing the experiments in coloured clays and in lead glazing4 ,agate figures of cats of intermingled clays1 and diminutive figures of men1 some six inches in height1 with splashed or clouded decoration1 all come into this indeterminate period4 ,the figure in the group 7p4 #aga7 already referred to is a case in point4 ,in the illustration of a fine specimen of an agate cat1 in height only #d inches1 the body colour is light grey with dark brown solid marbling1 and the front and ears are splashed with blue4 ,another miniature animal figure belonging to this period is the salt-glaze jug in form of a bear1 only #c-a_/h inches high 7see illustration1 p4 #aga74 ,illustration3 ,,whieldon ,,tortoiseshell ,,animal4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,,splashed ,,cream ,,ware ,,elephant4 7,staffordshire1 about #agej4 ,height #c-c_/d inches47 7,at ,british ,museum47 ,illustration3 ,,whieldon ,,group4 ,,st4 ,,george ,,and ,,the ,,dragon4 ,knight in green and cream2 horse and base tortoiseshell4 ,,early ,,staffordshire ,,figures4 ,old ,women ,hucksters4 7,in the collection of ,mr4 ,james ,davies1 ,chester47 ,we illustrate two animals1 one of the tortoiseshell variety1 a beast of formidable appearance and having considerable power in the modelling and strongly suggestive of the jaguar1 but it must be remembered that beasts as depicted in contemporary books have an inclination towards heraldic monsters such as never were on land or sea4 ,the splashed cream ware elephant1 only #c-c_/d inches in height1 is fairly well modelled4 ,but these1 in common with the many diminutive figures of a like nature1 belong to a period when ,staffordshire was endeavouring to found an ,english school of potters1 blindly groping along in almost untutored fashion--lame in design and feeble in inventiveness4 ,from out of this chaos it seems impossible that there should arise soul enough to set the fashion later--nearly fifty years later--to the continent of ,europe1 and make ,english earthenware the formidable rival in point of cheapness1 and often in point of beauty1 to anything produced on the ,continent4 ,but the earthenware of ,staffordshire was able to teach new points in technique concerning body and glaze to the continental potter4 ,in the illustration showing the group of ,st4 ,george and the ,dragon it will be seen that the modelling begins to assume a more pretentious character4 ,the prevailing colours of the knight are green and cream1 the horse and the base of the group are of the familiar tortoiseshell colouring4 ,beside this ,st4 ,george are two early ,staffordshire figures representing two old women as hucksters4 ,here the feeling is instinctively ,english1 as national as are the ,dutch beggars of the seventeenth-century ,dutch etchers4 ,pity it is that this class of figure1 recording national and local types1 did not develop on uninterrupted lines4 ,it is true1 and of these we shall speak later1 that the family of ,wood in their types carried on the tradition1 but the unfortunate classic influence monopolised the talents of the best modellers4 ,we illustrate two fine examples of ,toby ,jugs belonging to the ,whieldon period4 ,there is a strong family likeness between the two4 ,the left-hand one is richly glazed and mottled in tortoiseshell markings4 ,the other has the fine translucent colouring and glazing so noticeably prominent in this school4 ,they are both remarkably good specimens of the ,whieldon manner1 and of unusual interest1 as they represent the ,toby jug in its earliest form4 ,the rivalry with ,salt-glaze4--,this ,whieldon ware 7of course it must not be forgotten that ,whieldon made salt-glaze too7 was contemporaneous with undecorated salt-glaze ware1 which at its best exhibited in no small degree a complete knowledge of the strength and beauty of form unaided by colour4 ,but in this school of ,whieldon there is a distinct appeal to colour as a leading feature of the ware as opposed to form4 ,there is a fine artistic blending of the colours and the variation of the glazes which palpitate with life and give extraordinary power to pieces possessed of the ,whieldon touch4 ,not only on flat surfaces such as the well-known octagonal plates1 but in figures and groups such as we have illustrated1 these colour effects were employed with considerable dexterity4 ,so that1 in the contemplation of black-and-white illustrations of ,whieldon ware1 everything is lost which gave the beauty and richness and mellowness which have an irresistible charm to those collectors who confine themselves to this early school of colourists4 ,illustration3 ,,whieldon ,,toby ,,jug4 ,richly mottled and glazed4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,illustration3 ,,whieldon ,,toby ,,jug4 ,fine translucent colouring and glazing4 7,in the collection of ,mr4 ,a4 ,h4 ,baldwin47 ,form versus ,colour4--,the salt-glaze potters1 when they left their ideals of form and essayed to become colourists as well1 made this attempt chiefly for two reasons4 7#a7 ,they had a very laudable desire to emulate the coloured porcelain made at ,worcester1 ,bow1 ,chelsea1 and ,derby1 which had become a serious competitor in their markets4 7#b7 ,they recognised a certain weakness in their ware in regard to its inapplicability to figures and groups4 ,unless the modelling is of the highest order the salt-glaze figures are insipid4 ,with regard to enamelled salt-glaze in general this is dealt with in another chapter1 but it may here be remarked as touching the second point--the salt-glaze figure--that the salt-glaze potter brought himself directly in comparison with the figures and groups of earthenware of the later ,whieldon school4 ,realising that if he must stand at all as a figure potter his modelling must be superlative1 we find the salt-glaze figures1 which are mainly small in size1 taken direct from the antique or from porcelain models4 ,but feeling the lack of colour he added touches here and there by applying reliefs of different coloured clays to heighten the effect4 ,the salt-glaze potter rarely enamelled his figures in colours4 ,in the illustration of a salt-glazed figure 7p4 #cea7 there are slight touches of blue4 ,so that in the contest between salt-glaze 7the pre-eminent art of the ,staffordshire potter in early eighteenth-century days7 and its two great rivals1 ,english porcelain and ,staffordshire coloured earthenware1 in other words--,form versus ,colour--the first fall it received was at the hands of ,whieldon ware4 ,the coloured and exquisitely clouded tortoiseshell plate1 with its fine gradations of tone throbbing with colour1 more than holds its own with the salt-glaze plate1 even although its clear-cut arabesque designs and intricate patterns exhibit the excellence of its potting4 ,the ,last ,years of the ,eighteenth ,century4--,enough has been said to show that this typically ,english school had firmly established itself in ,staffordshire4 ,whieldon1 ,dr4 ,thomas ,wedgwood1 ,aaron ,wood 7block cutter to ,whieldon71 ,josiah ,spode the first1 ,greatbach1 ,enoch ,booth1 and many others1 firmly adhered to their love of colour and their desire to see cream ware triumphant4 ,the struggle for the supremacy of earthenware over ,english porcelain was still waging4 ,and ,wedgwood1 with his marvellous invention of jasper ware and his equally stupendous innovation in the introduction of severe classic ornament1 did not impose his style on all ,staffordshire4 ,we shall see in a later chapter how he had a crowd of followers and imitators1 but at the same time many1 very many1 productions were potted contemporary with him that owed nothing in design to him1 and on the face of them bear no traces of the classic influence4 ,it is this overlapping period1 during which so many examples are unmarked1 which is so puzzling to the collector4 ,old ,staffordshire1 they certainly are1 ,early ,staffordshire they may not be1 but they exhibit a national and original feeling which it is impossible not to recognise and value4 ,illustration3 ,,group ,,of ,,early ,,staffordshire ,,jugs4 #a4 ,jug4 ,pencilled floral decoration in blue4 ,inscribed ,william and ,mary ,harrison4 ,one ,nother and ,then4 #b4 ,jug4 ,panel with ,miser each side in relief4 #c4 ,jug4 ,heart-shaped panel in low relief1 ,children at ,play4 #d4 ,jug4 ,panels of ,peacocks in relief4 ,illustration3 ,,group ,,of ,,early ,,staffordshire ,,jugs4 #a4 ,finely mottled granite jug4 #b4 ,whieldon jug4 ,figures in coloured relief4 #c4 ,jug4 ,moulded in form of satyr's head4 7,the above groups are in the collection of ,mr4 ,james ,davies1 ,chester47 ,we illustrate two groups of jugs which belong to this period4 ,in the top jug of the upper group1 which is pencilled with blue floral decoration1 the spout betrays a trace of ,worcester and a tinge of classicism in the acanthus leaf ornamentation at its base4 ,but the inscription drops at once into the homely vernacular1 ,william and ,mary ,harrison ,one ,nother and ,then4 ,the quaint phonetic spelling tells its own story of the mission of the ale-house jug1 with its invitation to another burst of hospitality4 ,the three jugs below are of the same species4 ,the handles vary slightly1 showing the inclination to adopt silver models4 ,the left-hand one has a panel with figure of ,miser in relief each side4 ,the middle jug1 with the heart-shaped panel1 is decorated in relief with group of ,children at play4 ,such subjects had not appeared on jugs before ,wedgwood's day1 but the idea might easily have been derived from contemporary prints of the pretty school of ,bartolozzi and ,angelica ,kauffman4 ,the right-hand jug1 with its ,peacocks in relief1 is evidently derived from the exotic birds of ,worcester4 ,in the other group of jugs1 the uppermost betrays in the spout and neck distinct traces of its indebtedness to classic forms4 ,it is translucent green in colour1 and with coloured figures in high relief4 ,at the front is ,shakespeare1 with figures of ,miser and ,spendthrift each side4 ,between these 7one is just visible in illustration7 are classic medallions4 ,this is an incongruous style of decoration1 and shows how little the ,staffordshire potter who made it understood the meaning of ornament4 ,he realised that the classic style was becoming popular1 and so he half hesitatingly affixed two cameos to his otherwise harmonious production4 ,the granite-ware jug1 finely mottled1 with two black-and-white bands as ornament round body1 is the newer development of the early variegated ware4 ,the right-hand jug is1 in its gnarled and bulgy protuberances1 known as the crabstock variety1 the moulding1 in the form of satyr's head crowned with vines1 is an addition and is extraneous to the usual crabstock form4 ,obviously this is a welding together of the ,english and classic grotesque1 and the combination is not too harmonious4 ,the early ,staffordshire potters1 apart from the splashed and variegated ware associated with ,whieldon1 made a variety of ware in pre-,wedgwood days and in the late eighteenth century4 ,obviously such a jug as that illustrated 7p4 #ahi7 is an ,oriental design taken straight from the contemporary ,english porcelain1 or even from the actual ,chinese original4 ,but the ,staffordshire potter was conservative in his shapes4 ,similarly1 such jugs as that illustrated 7p4 #ahi7 with the rustic design in crude painting1 or seemingly in parts applied with a sponge1 must have been general in the latter half of the eighteenth century4 ,the scene is suggestive of ,herrick and maypoles and haywains and rustic junketings1 and such early cream-ware cider-mugs and ale-jugs are not uncommon4 ,the ,mug 7illustrated p4 #ahi7 shows distinctive qualities4 ,it is by ,enoch ,wood4 ,it is decorated with translucent bands at top and base1 and ornamented with a diaper-pattern stamped and coloured brown1 with alternate lines of grey4 ,these jugs and mugs are here illustrated to impress upon the reader the fact that in the ,whieldon period 7#agdj-aghj7 other forms than variegated ware were being made1 and much unidentified early ,staffordshire ware belongs to the later years of the eighteenth century4 ,the ,english spirit4--,these forms--and the field is a great one for detailed study--were growing up in spite of foreign and un-,english fashions1 and long after ,wedgwood's day they existed4 ,it seems as though it was a dogged and obstinate attempt on the part of the potter to ignore classic models1 and produce something understanded of the people4 ,obviously such ware did not rise to elaborate ornamental vases1 but confined itself to mugs and jugs and useful articles in common use4 ,so that1 in spite of the enormous influence of ,wedgwood1 both in technique1 but more especially in decoration1 upon his contemporaries and his successors1 it would seem that there was always an undercurrent of pottery which1 even if crude1 was extremely national4 ,it appealed to no cosmopolitan clientle1 and the potters who made it were not important enough to issue price lists in three or four languages4 ,their message--as conveyed by their quaint inscriptions1 ,one ,nother and ,then1 ,i drink to you with all my hart1 ,mery met and mery part1 and a host of other nave sentiments--comes direct from the heart of the potter to his friend and neighbour who bought his wares4 ,in a word1 we may say that much that is native1 much that is racy of the soil1 in the long line of queer ,staffordshire figures of animals and birds and of homely individuals1 grotesque in their diminutive personality1 owe direct kinship to ,whieldon and the pre-,wedgwood school of potters1 forgetful of the cold classic day1 and1 in the words of ,william ,blake1 snug by the glad sunshine of the ,alehouse so healthy and pleasant and warm4 ,illustration3 ,,cream ,,ware ,,jug4 ,painted decorations in under-glaze colours4 ,typical example of ,oriental influence on earthenware4 7,in the possession of ,mr4 ,w4 ,l4 ,yeulett47 ,illustration3 ,,staffordshire ,,cream ,,ware ,,jug4 ,crudely painted in colours with ,english subject4 ,typical of earthenware of latter part of eighteenth century4 7,in the collection of ,mrs4 ,m4 ,m4 ,fairbairn47 ,illustration3 ,,barrel-,,shaped ,,mug ,,by ,,enoch ,,wood4 ,decorated with translucent green at top and base4 ,diaper pattern stamped and coloured brown1 and alternate lines of grey4 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,,prices--,,early ,,staffordshire ,,ware4 ,,whieldon4 s4 d4 ,teapoy1 square1 cream coloured1 splashed with green1 having female embossed figures1 and inscribed ,abraham ,randell1 ,alice ,randell #aggi1 #e-a_/d in4 high4 ,bond1 ,ipswich1 ,april1 #aijf4 #g #aj #j ,plates1 pair1 foliage in blue on mottled ground1 inscribed ,,lbc #agci4 ,christie1 ,june1 #aijf #ad #c #f ,teapot1 agate ware1 modelled with shells4 ,christie1 ,june1 #aijf #ab #a #f ,figures of musicians 7three74 ,christie1 ,november1 #aijf #ac #b #f ,plaque4 ,portrait of ,sarah ,malcolm ,saunders1 executed in #agcc 7very rare71 taken from picture by ,hogarth4 ,sotheby1 ,november1 #aijf #b #aj #j ,teapot and cover and milk ewer and cover1 mottled4 ,puttick ,simpson1 ,november1 #aijf #d #d #j ,figure of ,hope1 with splashed and mottled base4 ,sotheby1 ,february1 #aijg #a #ae #j ,toy ,teapot and cover1 with vine-leaves and grapes in relief1 decorated in rich translucent colours4 ,sotheby1 ,february1 #aijg #b #ah #j ,teapot and cover1 agate ware1 modelled with shells4 ,christie1 ,april1 #aijg #e #ae #f ,teapot1 with roses in colours on blue ground1 and another with rosebuds and strawberries on pink ground4 ,christie1 ,april1 #aijg #bg #f #j ,teapot1 teacup1 and two saucers1 with flowers in colours in ,chinese style4 ,christie1 ,april1 #aijg #aa #j #f ,group of two birds in tree1 translucent colours4 ,sotheby1 ,july1 #aijg #b #ah #j ,teapot and cover1 with peasant figures in colours4 ,christie1 ,july1 #aijg #ac #ac #j ,figure of ,stag at rest1 mottled brown and white1 on green pedestal 7#aj-a_/b in4 high74 ,christie1 ,november1 #aijg #aj #aj #j ,group of ,lovers1 pair1 with birdcage1 lamb1 and dog 7#aj in4 and #aa in4 high74 ,christie1 ,january1 #aijh #bb #a #j ,st4 ,george and ,dragon figure 7#aa in4 high71 and group nearly similar4 ,christie1 ,january1 #aijh #aj #aj #f ,figures1 pair1 ,peasant ,boy and ,girl1 emblematic of ,autumn and ,winter1 on octagonal plinths 7#g-a_/d in4 high71 and a ,figure of ,man with ,bagpipes 7#h-a_/d in4 high74 ,christie1 ,january1 #aijh #ac #ac #j ,king ,david ,figure 7#ab-a_/b in4 high71 and ,neptune 7#aa-a_/b in4 high71 on square pedestals1 with medallions in relief4 ,christie1 ,january1 #aijh #ad #c #f ,cauliflower-pattern ,teapot1 cream-jug1 and canister4 ,christie1 ,february1 #aijh #aa #j #f ,teapot and cover1 solid agate ware1 very large size4 ,sotheby1 ,may1 #aijh #aj #j #j ,teapot and cover1 formed of leaves1 with rabbit on cover4 ,sotheby1 ,may1 #aijh #d #d #j ,,astbury ,,ware4 ,teapot and cover1 dark buff body1 decorated in relief with grapes1 tendrils1 and leaves in cream colour4 ,sotheby1 ,november1 #aijg #c #aj #j ,teapot and cover1 brown hexagonal shape1 with panels of ,chinese subject in relief1 lid surmounted by rabbit4 ,sotheby1 ,november1 #aijg #c #ae #j ,astbury and early ,whieldon figures1 which are of small size as a rule1 range in price from #d to #aj4 ,exceptional examples command much higher prices4 ,,vi ,,salt-,,glazed ,,ware--,,staffordshire ,,chapter ,,vi ,,salt-,,glazed ,,ware--,,staffordshire ,the originality of ,english ,salt-glazed ,ware--,what is ,salt glaze8--,early ,salt-glaze--,the classes of ,salt-glaze--,its decadence and its extinction--,prices of ,salt-glazed ,ware4 ,the fine salt-glazed stoneware of ,staffordshire which was made during the greater part of the eighteenth century is something in art of which the ,english potter may very justly be proud4 ,it is remotely derived from the fine ,flemish and ,rhenish decorated stoneware1 but the connection ends with the common qualities of being glazed with salt and of being extremely hard1 almost so hard as to resist a file4 ,but in the ,staffordshire salt-glazed ware the body became almost of a porcelain-like quality4 ,it was able to be made as thin as stamped silver1 and in the thinnest portions of the pieces it is translucent like porcelain4 ,indeed1 since the days of ,elers 7whom ,dwight termed a silversmith7 earthenware1 or rather stoneware1 took some of its details in form and in ornament from the worker in silver4 ,the applied ornament of ,elers stamped with a brass die suggests the metal worker1 and1 with the models of the school of ,astbury before them1 ,staffordshire potters followed the same methods4 ,it is not astonishing to find the moulded designs with their intricate patterns in the newer school of potters of salt-glaze ware--which in its best period 7#agbj-agdj7 relied solely on form and not on colour1 being a dull1 creamy white--emulating the fine work of the silversmith4 ,it was only a natural striving in the new generation of potters of the ,whieldon school1 with fresh inventions in clays and glazes and moulds1 to cast about them for better and worthier ideals than ,toft had1 and fresher models than stoneware ,bellarmines which had been in circulation in the country since ,tudor days4 ,silver models provided many a fine shape for ,wedgwood1 his cream ware and his basalt teapots are bodily taken from ,sheffield4 ,but imitativeness has always been the curse of ,english potters4 ,wedgwood copied in jasper ware the cameo work of the classic world1 and the whole of ,staffordshire to a man commenced to pot on similar lines4 ,through the last decades of the eighteenth century1 and well into the nineteenth1 thousands of vases and jugs were turned out as echoes of ,etruria in ,staffordshire which1 as its name denotes1 was but an echo of something centuries earlier4 ,bow called itself ,new ,canton1 and ,worcester slavishly copied ,chinese mandarins and exotic birds1 coined in the brain of some ,oriental potter4 ,chelsea copied ,dresden1 and ,lowestoft copied the ,bow and ,worcester copies of ,chinese originals1 and the list could be prolonged ad nauseam4 ,illustration3 ,,salt-,,glazed ,,lovers' ,,teapot4 ,in the shape of a heart4 ,floral decoration slightly gilded4 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,salt-,,glazed ,,teapot4 ,in the form of a camel4 7,in the possession of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,indeed1 this curse lies very heavy on the collector who has to devote a great portion of his energy to research in order to determine who first made certain models4 ,this1 unfortunately1 tends to divert the study of old earthenware1 its artistic qualities and its technical triumphs1 into channels more or less contentious4 ,the literature of ,english ceramics is rapidly becoming like many of the editions of ,shakespeare1 where a few lines of text stand as an oasis in a desert of commentators' controversial opinions4 ,it is1 therefore1 refreshing to find1 as one does undoubtedly find in ,staffordshire salt-glazed ware1 one of the most remarkable and original outbursts in ,english art pottery that has taken place4 ,this delicate stoneware is as thin as some of the ,oriental porcelain1 and possesses a grace and symmetry peculiarly its own4 ,in some of its decorations it bears a likeness to ,chinese work4 ,this does not detract from its high place as a ceramic record4 ,on the contrary1 this similitude is a tribute to pay to its artistic excellence1 for there is very little earthenware that came out of ,staffordshire that will bear comparison with the work of the ,chinese potter4 ,what is ,salt glaze8--,we know that many of the stoneware ,bellarmines and ,rhenish jugs were glazed with salt4 ,it was a process known on the ,continent at a very early date1 some authorities place it as early as the twelfth century4 ,but it was not until the second half of the sixteenth century that ,german and ,flemish potters used this salt glaze to any great extent4 ,we have seen1 in the chapter on stoneware1 that the appearance in the mottling and in the orange-skin-like surface is due to the action of salt glaze4 ,to cover pottery with an outer surface has been practised from earliest times either by the use of some glassy material or by powdered lead4 ,glazing with common salt was quite a new departure by the ,english potters4 ,in order for this salt glaze to be used there must be a very high temperature1 so high1 as a matter of fact1 that it would melt or soften in the kiln most ,english earthenware4 ,this is where stoneware in its body differs from earthenware2 it is what is termed refractory1 that is to say1 it is not readily fusible4 ,stoneware is not always glazed4 ,elers did not glaze his red ware1 and ,wedgwood did not glaze his basalt or black ware4 ,stoneware can also be glazed with other processes than the salt glaze1 but1 as a rule1 stoneware is associated with salt glaze4 ,without entering too tediously into the exact steps by which salt glazing is performed1 it may be roughly described as follows4 ,other glazes1 such as lead1 are applied to the surface of the ware prior to its entry into the kiln for firing1 but in salt glaze the glaze is incorporated with the ware while it is actually in the kiln4 ,towards the end of the firing common salt 7chloride of sodium7 is thrown into the kiln1 which is packed with the ware1 through apertures in the kiln which has to be specially designed for salt-glaze use4 ,at the high temperature of the kiln 7about #b1aij ,fahr47 the salt is volatised and its vapour penetrates the saggers 7that is1 the earthen vessels containing the pieces being made71 which have perforated sides to enable this vapour to form on the surface of the pieces being fired4 ,this vapour chemically unites with the silica largely present in the body of the stoneware1 and forms a silicate on the surface of the ware4 ,that is to say1 the stoneware becomes coated with a thin layer or glaze of sodic silicate or soda-glass4 ,illustration3 ,,group ,,of ,,salt-,,glazed ,,ware4 ,jug enamelled in colours4 ,teapot blue enamel by ,littler4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,this chemical action taking place simultaneously with the final firing of the ware before its removal from the kiln incorporates the glaze with the body of the ware itself4 ,it is this combination which causes the minute depressions or tiny pin-holes in all stoneware from ,bellarmines down to the finely and nearly translucent salt-glazed ,staffordshire ware which has a surface like that of leather4 ,the same multitudinous pin-hole surface is characteristic of ,oriental porcelain1 which like stoneware is fired at a very high temperature1 and the glaze and the body completed at one firing in the grand feu4 ,though1 of course1 this is not salt glaze1 nor is the surface other than as smooth as glass to the touch1 although under a strong glass or even to the naked eye these pin-holes are easily discernible4 ,at the present day salt glaze is mainly used for such ware as ink-pots1 drain pipes1 insulators for telegraphic instruments1 and common ginger-beer bottles4 ,the connection between ,john ,dwight1 of ,christ ,church1 ,oxford 7,master of ,arts71 the creator of the magnificent bust of ,prince ,rupert1 the glory of the ceramic collection at the ,british ,museum1 and between ,john ,philip ,elers1 godson of ,queen ,christina1 and this sad array of utilitarian nondescripts1 is not a pleasing subject for reflection4 ,it is sad to think that these triumphs have been won in vain by the genius of the old potters over the plastic clay4 ,what an ignoble ending to the long chain of experiments6 ,when ,dwight destroyed his secret memoranda it is as though he foresaw the era of the drainpipe4 ,early ,salt-glaze4--,the early stages of the manufacture of salt-glazed ware were crude and experimental4 ,there is some connection between the finely potted lustrous stoneware of ,nottingham and ,crouch ware1 the undeveloped form of the later phase of finely-potted ,staffordshire salt-glaze ware4 ,this ,crouch ware represents the transitional stage between the ordinary brown stoneware and the later drab or greyish white examples4 ,crouch ware at its earliest was not made in ,staffordshire till #afij1 and there is presumptive evidence to show that salt-glaze brown ware was made at some pot-works at ,crich1 near ,matlock1 ,derbyshire2 and that the same or similar clay was used by the ,staffordshire potters who gave it that name1 and there is proof that the ,crich pottery existed as early as #agag1 and ,nottingham has dated pieces as early as #agjj4 ,on the face of it1 in spite of ,josiah ,wedgwood's letter in connection with the medallion to ,john ,philip ,elers1 there is little evidence to go upon to credit the ,elers with having made salt-glaze ware at all4 ,excavations on the site of their factory at ,bradwell ,wood have only resulted in the discovery of fragments of their unglazed red ware1 red porcelain as it was called1 and experts have pronounced their oven as being unfitted for salt-glaze operations4 ,on the whole1 therefore1 in accordance with the latest research1 one is inclined to come to the conclusion that the ,brothers ,elers did not invent ,staffordshire salt-glazed ware4 ,if they made it at all1 they made very few examples4 ,the red ware is theirs as far as ,staffordshire is concerned1 although ,dwight had something to say on that score when he charged them and ,nottingham potters and others with infringing his patents4 ,illustration3 ,,salt-,,glazed ,,teapot4 ,enamelled in colours4 ,marked ,john ,toft4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,among the early makers of salt-glazed ware were ,astbury and ,twyford1 and ,thomas ,astbury1 son of the former1 being associated with the introduction of ground flint into the body in #agbj4 ,thomas ,billing in #agbb1 and ,ralph ,shaw in #agcb1 made further improvements in the body4 ,dr4 ,thomas ,wedgwood and ,aaron ,wood1 and ,thomas ,whieldon and ,ralph ,daniel1 of ,cobridge1 were all well-known makers of this ware1 the latter having introduced plaster-of-paris moulds in lieu of alabaster1 and being further notable for his enamelled decorations in colour1 in the period #agdc to #agej1 which attempted to vie with the contemporary coloured porcelain4 ,william ,littler1 of ,longton1 used a similar blue to that which he used on the porcelain at ,longton ,hall4 ,at this date the ware became white in colour1 and took its pleasing forms so dear to connoisseurs4 ,the ,classes of ,salt-glaze4--,in its various styles salt-glazed ware may be roughly divided into periods4 ,the experimental stage was over in #agbj4 ,from #agbj to #agdj the undecorated or white examples were made1 depending on form for their beauty4 ,these had applied ornamentation stamped with metal dies1 or made in separate moulds and affixed to the body to be decorated 7similar to the ,elers style74 ,it is during this period that some of the finest pieces were made with sharp1 clear-cut designs4 ,later1 when moulds were made of plaster-of-paris in place of alabaster1 the design became blurred4 ,among the most beautiful designs in this plain white ware having raised ornament are sauceboats1 pickle trays1 sweetmeat dishes1 teapoys or tea canisters1 and teapots2 these latter are of a great variety of shapes1 many having shell ornament1 very exquisitely moulded1 and others being of hexagonal shape divided into compartments4 ,there is1 too1 a trace of the grotesque discernible in some of these teapots and a subtle humour too rarely found in ,english pottery4 ,there are those of the camel form1 such as the specimen illustrated 7p4 #aig74 ,the peculiar handle made by hand is very noticeable1 usually such handles are snipped off at the end4 ,others are of the shape of a house1 and many types of this design occur4 ,some are in the form of a squirrel4 ,then there are the heart-shaped teapots with the spout incongruously representing an arm resting on the neck of a swan4 ,these teapots were supposed to have been made for lovers4 ,we give an illustration 7p4 #aig7 of one of these heart teapots1 and it will be seen how a slight touch of gilding has been added to heighten the effect on the embossed portions showing the fruit4 ,of course the cauliflower teapot exhibits a touch of humour1 too1 but this form is rarely found in salt glaze4 ,the bright natural colours of that interesting vegetable were reproduced by ,whieldon1 who made this type as well as melon and pineapple teapots and coffee-pots4 ,the vivid green and yellow glaze of this cauliflower ware is of the period when ,josiah ,wedgwood was with ,whieldon and is held to be young ,josiah's invention4 ,he afterwards made similar ware himself4 ,the next stage was the slight use of colour in what is termed scratched blue4 ,this style of decoration is the opposite of the relief ornaments4 ,the pattern was incised with a sharp instrument on the piece1 in the lines thus cut cobalt blue was applied with a sponge4 ,birds and foliage are the typical form of decorations to pieces of this style from #agdj to about #agej4 ,from #agde to #agej ,william ,littler introduced his cobalt blue ware over which decorations in black or white were enamelled or gilded1 and such pieces are rare4 7,see illustration p4 #bja47 ,illustration3 ,,salt-,,glazed ,,vase4 ,enamelled in colours--turquoise blue1 yellow4 7,height #e-c_/d inches47 ,illustration3 ,,salt-,,glazed ,,punch ,,bowl4 ,enamelled in colours1 with portrait of the ,young ,pretender4 7,diameter #aj inches47 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,then comes the period in which colour was in full swing4 ,from #agdj to #agfj enamelling in colours was extensively used4 ,it was employed on plain surfaces1 or as a touch of colour to ornaments in relief4 ,there is no doubt that some of these coloured examples are very beautiful4 ,it is not necessary to dethrone the plain white ware from its place of honour4 ,with later developments it was found that colour could be used with artistic advantage1 nor is there any deterioration of the ware from an sthetic point of view in this colour work when in the hands of skilled craftsmen4 ,similarly transfer-printing was recognised as a suitable means of decoration1 and pieces are found with printed designs of black or red or puce4 ,the head of the ,king of ,prussia is found on some specimens of this type4 ,of course this is later in date1 and must have been subsequent to #agfj1 when ,sadler and ,green invented transfer-printing at ,liverpool4 ,doubtless these pieces entered into competition with the new colour ware then in vogue1 which drove the salt-glaze ware from the market1 and killed the most artistic and original productions the ,english potter had ever made4 ,the industry had by this time grown to great dimensions1 and apparently the ,staffordshire potters were turning out this salt-glazed ware as fast as they could1 no very good sign that good work was to last much longer4 ,nor is all the enamel work ,english2 two ,dutchmen were secretly employed at ,burslem to do this enamelling in colour4 ,but the secret spread1 and we find two ,leeds painters1 ,robinson and ,rhodes1 doing enamelling on the salt-glazed ware for the ,staffordshire potters4 ,we are enabled to reproduce a very fine example of enamelled salt-glaze ware having the inscription ,james and ,martha ,jinkcuson1 and dated #agfd4 ,it stands as a fine specimen of its class4 ,the colours of the flowers and insects are very rich1 being1 as is usual1 enamelled over the salt-glaze ground4 ,dated salt-glazed ware is always uncommon1 and an example of such fine colouring in such perfect condition stands as a rare and splendid specimen4 ,there is yet another style in salt-glaze in which the whole surface of the piece to be decorated is coated with a slip of another colour1 and the decoration cut through it to show the white body beneath4 ,this belongs to the last period1 #agfj to #aghj1 as also does the basket work for which ,aaron ,wood1 and ,r4 ,j4 ,baddeley1 of ,shelton1 are noted for their fine patterns4 ,incised work in imitation of ,japanese work was also prevalent during the last period of salt-glaze work4 ,we illustrate another very important salt-glazed piece1 a teapot enamelled in colours having what is known as a crabstock handle1 spout1 and lid4 ,it is remarkable as being incised with the name ,john ,toft 7see p4 #bje74 ,undoubtedly this is a member of the celebrated ,toft family1 whose dishes1 marked ,ralph ,toft and ,thomas ,toft in slip-ware1 gave the generic name to a class of ware4 ,it is not improbable that one of the ,tofts modelled the celebrated salt-glaze pew group in the ,victoria and ,albert ,museum4 ,it exhibits the peculiarly quaint doll-like faces with beady eyes associated with ,toft dishes4 ,illustration3 ,,salt-,,glazed ,,jug4 ,richly enamelled in colours1 and inscribed ',james ,martha ,jinkcuson #agfd4' 7,in the collection of ,mr4 ,frederick ,rathbone1 ,south ,kensington47 ,in the group illustrated 7p4 #bja7 there is one enamelled jug4 ,the two dishes show another type of plain salt-glaze4 ,the teapot shows incised work on the broad band around it1 but no indication of colour4 ,the coffee-pot is the well-known squirrel form1 and the dark teapot on left is enamelled in blue by ,thomas ,littler1 and is a rare example4 ,in colouring the salt-glazed vase in bright turquoise blue and pink and green1 with its ,oriental design1 strongly suggests the enamel work of ,limoges 7see p4 #bji74 ,it stands in the eighteenth century in the same relationship to the metal enameller as does a modern ,french factory at ,bordeaux1 ,messrs4 ,viellard ,cie41 whose work in coarse earthenware simulates the cloisonn enamel4 ,the punch bowl illustrated has a portrait of the ,young ,pretender4 ,in date it is1 of course1 not earlier than #agde1 the year of the ,rebellion in ,scotland on behalf of the ,pretender1 and when his son ,charles ,edward landed and defeated the royal forces near ,edinburgh4 ,this punch bowl tells its story of stirring days1 when ,jacobites secretly met at night in quiet manor houses and drank a toast to the ,stuart claimant4 ,in public by a kind of subtle jest when they were driven to drink the health of the king1 they by a specious mental reservation flourished their glasses over any water on the table1 the hidden meaning being the ,king--over the water4 ,but here is a punch bowl which was probably brought out for the sworn partisans to drink to the pious memory of the exiled ,stuarts4 ,there was always1 even when the ,stuart cause was a lost one1 a tender recollection of ,prince ,charlie1 the ,young ,chevalier4 ,the lilting lines of ,bobbie ,burns in the last quarter of the eighteenth century1 always awaken romantic associations1 and bowls such as this were relics of something that had been1 and without doubt in its day this same bowl has filled the glasses of a loyal company who drank the health of his ,gracious ,majesty ,george the ,third4 ,as we have pointed out in the introductory note there are many monuments in clay on the collector's shelf which punctuate the sonorous phrases of the historian4 ,such pieces are exceptionally interesting in aiding the reflective mind to recreate the events of a former day which touched the life roots of the nation4 ,,prices4 ,,salt ,,glaze4 s4 d4 ,teapoy1 square shaped1 decorated with scratched flowers in blue4 ,with female half-length figure 7within a ,chippendale frame71 inscribed ,martha ,saymore ,september ye #beth #aggj 7#e-a_/d in4 high74 ,bond1 ,ipswich1 ,april1 #aijf #aa #j #j ,bowl and cover and milk jug decorated1 rich blue ground4 ,sotheby1 ,june1 #aijf #bf #j #j ,teapot1 brilliantly enamelled in colour with roses1 auriculas1 c41 with turquoise handle and spout4 ,sotheby1 ,june1 #aijf #ej #j #j ,teapot1 crimson ground1 with white panels with flowers in colour4 ,sotheby1 ,june1 #aijf #bf #j #j ,teapot and cover1 modelled as house with royal arms over door4 ,sotheby1 ,february1 #aijg #e #ab #f ,teapot and cover1 modelled as a camel4 ,sotheby1 ,february1 #aijg #f #f #j ,jug and cover1 hexagonal1 with subjects in relief4 ,sotheby1 ,february1 #aijg #d #d #j ,teapot1 enamelled in colours1 with portrait of ,frederick ,king of ,prussia2 on reverse1 spread eagle holding ribbon with inscription1 ,semper ,sublimis4 ,sotheby1 ,march1 #aijg #ba #aj #j ,milk jug and cover1 enamelled in colours in a continuous landscape with castle1 obelisk1 and other buildings4 ,sotheby1 ,march1 #aijg #g #ae #j ,vessel1 modelled as a ,bear1 head forming cup4 ,sotheby1 ,march1 #aijg #d #d #j ,basin with raised subjects in panels4 ,sotheby1 ,july1 #aijh #ac #e #j ,teapot and cover1 enamelled in colours1 with roses1 c4 ,sotheby1 ,july1 #aijh #h #j #j ,teapot and cover1 dark blue ground4 ,sotheby1 ,july1 #aijh #h #e #j ,coffee-pot and cover 7small71 decorated in enamel colours with ,chinese figures4 ,sotheby1 ,july1 #aijh #ad #ae #j ,,vii ,,josiah ,,wedgwood ,,chapter ,,vii ,,josiah ,,wedgwood #agcj-agie ,josiah ,wedgwood's place in the ceramic world--,his business abilities--,josiah ,wedgwood's wares--,cream ,ware and its invention--,jasper ,ware and its imitation--,the influence of ,josiah ,wedgwood--,wedgwood ,marks--,the ,prices of ,wedgwood4 ,the time is now ripe to form a mature judgment as to the exact niche in the temple of fame which ,josiah ,wedgwood is to occupy permanently4 ,his immediate successors were in too close proximity to his own day to form an opinion as to his life-work in relation to what had gone before and what has succeeded him4 ,the inquiry into the origins of certain inventions attributed to him have been pursued of late years with a scientific thoroughness1 and many facts have come to light which tend to raise the reputation of other lesser known potters who immediately preceded him or were his contemporaries4 ,john ,dwight 7of ,fulham7 has come into his own4 ,the ,elers 7of ,staffordshire7 have been dethroned from the unique position they occupied as pioneers of salt-glaze ware4 ,in regard to the ,astburys1 father and son1 credit has been given them for great work1 and ,whieldon is held to have had an immense influence on his contemporaries4 ,during the great outburst in salt-glazed ware1 cream ware1 its later rival and conqueror1 was in a transitional stage4 ,this transitional period embraces a great field of pioneer workers who experimented unceasingly with clays and glazes4 ,the days of salt-glaze were drawing to a close1 it had many obvious defects2 the ware would not readily stand hot liquids--and this in an age when tea drinking was becoming fashionable4 ,the artistic side for the moment was cast aside in these experiments1 the uppermost question in the ,staffordshire potters' minds was the invention of some ware that could hold its own against the competition of the new ,english porcelain factories4 ,it thus came about that this period of great technical activity 7#agbj-agdj7 was immediately succeeded by an almost simultaneous exhibition of work1 suggesting a renaissance of earthenware in ,england 7#agdj-ahjj7 and establishing the ,european reputation of ,staffordshire4 ,josiah ,wedgwood with ,john ,turner1 of ,lane ,end1 and ,william ,adams1 of ,greengates1 stand as a trio of master potters who developed the classic spirit in jasper and kindred ornamental ware4 ,in regard to developing the manufacture of cream ware and stone ware for domestic use1 and in building up a continental and ,american trade which won for ,british earthenware the supremacy of the world's trade in pottery1 ,josiah ,wedgwood takes an equal prominence together with ,warburton and the ,baddeleys and the ,adamses and ,turner4 ,in roughly detailing the stages which led up to the manufacture of the main classes of ware for which ,wedgwood was famous1 it will be shown how with a masterly mind for realising broad results he combined the patient industry of a practical potter4 ,he commenced with a capital of twenty pounds and died worth half a million4 ,in spite of his ill-health and the loss of his leg1 his unflagging energy and his keen foresight enabled him to build up an important business which is still carried on by his descendants4 ,his love of organisation and the system of control which he exercised over his own enormous output had a lasting effect on the methods of the ,staffordshire potteries4 ,the genius of ,josiah ,wedgwood has won the continued admiration of succeeding generations4 ,it may be that he has somewhat overshadowed many of his contemporaries1 and his successors have been termed imitators4 ,in order to adjust matters there is a tendency in some quarters to belittle the work of the great ,josiah4 ,but surely the pendulum has swung too far the other way when it is advanced that ,wedgwood himself was no artist1 he was a tradesman pure and simple4 ,this is not the opinion of critics with nicer balanced judgment and of cosmopolitan taste4 ,the epitaph upon his monument in the parish church of ,stoke-upon-,trent1 which bears the inscription that he converted a rude and inconsiderable ,manufactory into an elegant ,art1 has been assailed in order to prove it to be a travesty of the fact1 and to state that what he really did was to convert an ,art--rude it may be1 and inconsiderable1 but still an ,art--into a manufacture4 ,in other words1 he inaugurated an entirely new order of things in the production of pottery1 and a less desirable one4 ,the truth is that it is not necessary to belittle ,wedgwood in order to put his great contemporaries in the order of their merit4 ,the later and more corrected opinion may be arrived at quite judicially by crediting them with some of the artistic impulses he possessed4 ,while he lived he worked harmoniously and in close friendship with his fellow potters1 and a century after his death it should not be difficult to determine their relative positions without bespattering his epitaph with mud4 ,wedgwood's business abilities4--,he was undoubtedly a keen man of affairs4 ,when in partnership with ,whieldon he had travelled to ,london1 to ,manchester1 to ,birmingham1 to ,sheffield1 and to ,liverpool1 which brought him into touch with silversmiths and metal workers in connection with the agate knife-handles and similar ,whieldon ware4 ,he evidently realised that ,staffordshire was behind other districts in many respects4 ,although only a young man1 he interested the influential people in the neighbourhood of the potteries and the roads were improved and water transit provided as an outlet for goods4 ,he cut the first sod of the ,trent and ,mersey ,canal4 ,in #agei he was master potter1 but he made most of his own models1 prepared his own mixtures1 superintended firing1 and was his own clerk and warehouseman4 ,less than ten years afterwards1 on the advice of the ,duke of ,marlborough1 ,lord ,gower1 and ,lord ,spencer1 he opened showrooms in ,london in ,newport ,street4 ,a year after this the demand for his fine jasper ware and expensive ornamental productions had so increased that he found the greatest difficulty in finding sufficient workmen4 ,illustration3 ,,wedgwood ,,cream ,,ware ,,dessert ,,basket4 ,showing fine pierced work4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,illustration3 ,,wedgwood ,,cream ,,ware ,,dessert ,,centre-,,piece4 ,designed from ,josiah ,wedgwood's collection of shells4 7,in ,museum at ,etruria47 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,his catalogues were printed in several languages1 and he had the shrewd common sense to add some forewords of his own to indicate the lines on which he was working as a potter and to bring the attention of likely buyers to his ware4 ,wedgwood as a potter4--,there is no doubt that ,wedgwood always had in view the improvement of whatever ware he engaged to make4 ,when with ,whieldon he perfected the green glaze in the cauliflower and kindred ware1 and when he became a master potter in #agei1 he produced pieces which were eminently remarkable for their fine technique4 ,there is no doubt that his connection with silversmiths induced him to follow their designs4 ,some of his early ware1 such as teapots1 have punched perforated ornament in the rims for which he invented tools4 ,in the museum at ,etruria are some six thousand trial pieces1 some few inches in length1 covering a wide period when ,josiah was pursuing his way towards his crowning achievement1 the invention of his jasper ware4#c ,note3 #c ,these have been recently arranged and catalogued by ,mr4 ,frederic ,rathbone4 ,he claims credit for great improvements1 both as an inventor and as a ready and masterly adapter1 quick to seize the salient points of a half-perfected ware and by a few touches of genius make it his own4 ,he was made a ,fellow of the ,royal ,society for his invention of a pyrometer1 an instrument for registering high temperatures in the kilns4 ,his experiments led him into new fields in connection with bodies1 glazes1 and colours1 and he introduced for the first time in pottery certain minerals such as barytes in his pastes4 ,josiah ,wedgwood's wares4--,it will be seen1 in the enumeration of the various classes of ware which were produced by him1 in what respect he added improvements which in their turn were improved upon by later potters1 and to what extent his productions were entirely original1 adding a new note in ,english pottery1 creating an entire school1 and leaving the mark of his genius on his successors for nearly a century4 ,variegated ware4--,the agate1 the cauliflower1 and melon ware1 the clouded and mottled glaze1 and the various imitations of marbling1 came into vogue in the days of ,whieldon4 ,but ,wedgwood was more ambitious in his designs4 ,we have already seen1 in dealing with ,whieldon ware1 how the solid agate ware was produced by means of fine layers of clays of different colours1 which after careful manipulation produced a series of waves resembling the natural ornamentation of the stone4 ,wedgwood also employed surface colouring for this variegated ware1 the body being of the common cream-coloured earthenware and the veining and mottling being applied to the surface4 ,in such pieces the handles and the plinths were usually oil gilded2 later he used a white semi-porcelain for plinths of such ware4 ,two agate vases and ewers marked ,wedgwood and ,bentley belong to the period #agfh to #aghj4 ,the plinths of the agate vases show the white undecorated body4 ,wedgwood imitated ,egyptian pebble1 jasper1 porphyry1 and various kinds of granite speckled with grey1 black1 white1 or green4 ,much of this is a flight higher than the agate ware4 ,black basalt ,ware4--,in this ware1 which was termed ,egyptian black1 ,wedgwood triumphed over his predecessors4 ,we know the black ware made by ,elers and by ,twyford 7two fine black ,twyford teapots are in the ,hanley ,museum71 but the ware into which ,wedgwood infused his genius is worthy to be called what he termed it--black porcelaine4 ,with its rich black1 smooth surface it was capable of varied use1 including useful as well as ornamental ware4 ,in the former1 we find tea services and coffee or chocolate pots strictly adopting the severe ,queen ,anne silver shapes1 and in vases he followed bronze prototypes4 ,see illustration 7p4 #bda7 of two ,black basalt ,teapots4 ,it was used in fine manner for life-size busts and for medallion portraits of illustrious ,ancients and ,moderns4 ,this basalt ware ,wedgwood further used in combination with other processes4 ,he imitated the ancient ,greek vase paintings by decorating the black surface with unglazed colours1 or he had ornaments in relief in red4 ,another replica of classic art was his simulation of bronze1 and this black ware formed the groundwork to which he added the bronze metallic colouring in his rare bronze examples4 ,the two black basalt ewers1 entitled ,wine and ,water1 designed by ,flaxman1 are well known4 ,it is at once evident that they owe no inconsiderable debt to the metal worker4 ,it requires no great stretch of imagination to believe them to be in bronze4 ,technically1 as specimens of earthenware1 they are perfect1 but it is open to question whether the potter has not trespassed on the domain of the worker in metal4 ,there are canons which govern the art of pottery2 form and ornamentation strictly appropriate in metal are utterly unfitted for the worker in clay4 ,branched candelabra are false in porcelain though extremely beautiful in silver4 ,in passing this criticism1 which applies to some of ,wedgwood's work1 we are incidentally brushing aside the contention of those critics who find him unoriginal4 ,as a matter of fact he was so original and so responsive to the suggestion of allied arts that he often undertook the creation of pieces in his kilns the like of which no potter had ever attempted before4 ,red ,ware4--,it is not to be supposed that ,wedgwood would allow the fine red ,elers ware to stand as representative of the uttermost that ,staffordshire had produced without attempting to emulate this early ware4 ,accordingly1 we find in what he terms his rosso antico1 a red ware of extraordinary beauty4 ,some of the engine-turned pieces of this red ware are exceptionally fine4 ,there is in the ,hanley ,museum a coffee-pot of great technical and sthetic value4 ,wine-coolers and other useful creations1 with classic ornamentation in relief1 show the wide range of this red terra-cotta or unglazed ware4 ,the ,elers style was simple1 with applied stamped ornament of small dimensions and ,oriental rather than classical in motif4 ,the red stoneware of ,bttcher1 of ,dresden1 was by this time fairly well known1 and ,wedgwood had both ,elers and ,bttcher to serve as models1 although he does not seem to have employed this red ware to any great extent4 ,nor did ,wedgwood confine himself to red in this type of ware2 he made chocolate-coloured examples1 and in his cane-coloured and bamboo ware he made articles for domestic use1 such as tea and coffee services as well as mugs and jugs of this type1 which differed from the black basalt inasmuch as the basalt was an especially hard body1 whereas these others were porous and soft4 ,as was usual with ,wedgwood1 not only did he have a series of wares of different colours1 but he often worked with a combination of these colours in the same piece4 ,cream ,ware4--,something must be said concerning the development of cream ware before it can be accurately determined how much ,staffordshire was indebted to ,wedgwood for its development4 ,at the outset it must be granted that he did not invent the ware4 ,but he improved it4 ,similarly it was further improved subsequent to his day by other potters who made it finer and whiter4 ,but to this day1 a hundred and fifty years after the introduction of this cream ware1 his descendants1 still trading under the name of ,messrs4 ,josiah ,wedgwood and ,sons1 produce this cream ware exactly as it was then produced4 ,dinner services are made with ,flaxman's designs on the border1 essentially ,english in character and feeling4 ,last year ,messrs4 ,james ,powell and ,sons1 of the ,whitefriars ,glass ,works1 near the ,temple1 which were flourishing in #agaj1 and still continue to produce the finest glass in ,england1 held an exhibition of ,wedgwood ware4 ,considerable interest was drawn to the subject of this revival of the old patterns of #agge from the designs of ,josiah ,wedgwood's band of artists4 ,those connoisseurs who love old furniture and old eighteenth-century glass ware1 as made by ,messrs4 ,powell1 welcomed the ,wedgwood queen's ware designs as being something eminently fitted to strike the right note of harmony1 and accordingly1 by arrangement with the firm at ,etruria1 some of the finest patterns of the old ware are exclusively made for ,messrs4 ,powell4 ,the ,english dinner table may now be as ,english as it was in ,georgian days1 and1 happily1 this sthetic revival has met with a warm response by the patronage of the royal family1 the nobility1 and by all those who love the old-world charm of the domestic art of our forefathers4 ,before ,wedgwood's day cream ware was made4 ,astbury used an addition of white clay and flint to his bodies about #agbj4 ,in #agbf the grinding of flint stones into powder for the potters' use became so important that ,thomas ,benson took out a patent for a machine to do this4 ,in #agej we find cream ware being largely made4 ,aaron ,wedgwood and ,william ,littler introduced about this time a fluid lead glaze instead of the old manner of using powdered galena 7native sulphide of lead74 ,body and glaze were at this period fired at one operation4 ,enoch ,booth improved this by revolutionising the method of glazing4 ,he fired the pieces to a biscuit state and then dipped them in this fluid lead glaze 7ground flint and white lead71 and refired them at a lower temperature4 ,at this date two other potters1 ,warburton 7of ,hot ,lane7 and ,baddeley 7of ,shelton71 followed ,booth's practice1 and cream ware may be said to have been in a fairly flourishing condition4 ,these facts are all important and cannot be ignored in arriving at a satisfactory conclusion4 ,wedgwood commenced as a master potter in #agei1 that is1 about nine years after the latest inventions in cream ware had brought the ware into something more than an experimental stage4 ,in #agfa ,wedgwood's cream ware1 both by its variety of beautiful form and its finer glaze and body1 had surpassed that of his rival potters4 ,in #agfb ,wedgwood presented to ,queen ,charlotte a caudle and breakfast service of the ware2 this was painted by ,thomas ,daniel and ,david ,steele4 ,the ,queen and the ,king were so pleased with the ware that complete table services were ordered1 and ,wedgwood received the ,queen's command to call himself ,potter to ,her ,majesty in #agfe1 and from that date he termed the ware ,queen's ,ware4 ,illustration3 ,,wedgwood ,,cream ,,ware ,,plates4 ,painted with ,english scenery4 ,from service made for ,catherine ,,ii4 of ,russia1 #aggd4 ,having green frog in reserve on each plate4 7,in ,museum at ,etruria47 7,at ,british ,museum47 ,illustration3 ,,wedgwood ,,busts ,,of ,,rousseau ,,and ,,voltaire4 ,enamelled in colours4 7,height #f-a_/b inches and #f inches47 7,at ,victoria and ,albert ,museum47 ,though the invention of cream ware may not be his1 there must have been something essentially more pleasing in his productions to have made such strides in so short a time4 ,perhaps ,wedgwood1 the tradesman pure and simple1 had something to do with this achievement1 but we prefer to think it was the master hand of ,wedgwood the potter and ,wedgwood the artist4 ,we cannot leave this cream ware question without referring to an old legal controversy4 ,this brings us down to the year #agge when ,wedgwood1 in company with ,john ,turner 7of ,lane ,end7 journeyed to ,cornwall and jointly leased some clay mines4 ,the reason for their visit was that the whole of the ,staffordshire potters were up in arms4 ,salt glaze was coming to an end in spite of the enamelling in colours in emulation of ,english porcelain4 ,and now ,cookworthy1 the potter of ,plymouth1 the maker of the first hard porcelain in ,england1 had sold his patent rights to ,champion of ,bristol1 who1 in #agge1 applied for a further patent for fourteen years to use certain natural materials for making porcelain4 ,the ,staffordshire potters elected ,josiah ,wedgwood and ,john ,turner as their representatives and petitioned against the granting of this patent1 and ,wedgwood urged that the manufacture of earthenware in ,staffordshire has of late received many essential improvements1 and is continually advancing to higher degrees of perfection2 that the further improvement of the manufactory must depend upon the application and the free use of the various raw materials that are the natural products of this country4 ,he further adds that the natural productions of the soil ought to be the right of all4 ,incidentally1 this controversy throws light on the position of ,wedgwood as a maker of cream ware1 and it had a lasting effect1 as we shall show in the improvement of cream ware itself and upon the class of ware turned out in ,staffordshire4 ,champion1 in his reply to the ,staffordshire outburst in petitioning parliament not to grant his patent1 pays ,wedgwood a great compliment3 ,mr4 ,champion most cheerfully joins in the general praise which is given to ,mr4 ,wedgwood for the many improvements which he has made in the ,staffordshire earthenware1 and the great pains and assiduity with which he has pursued them4 ,he richly deserves the large fortune he has made from these improvements4 ,champion goes on to make a most vital point in upholding his claim to protection that he has no objection to the use which the potters of ,staffordshire may make of his or any other raw materials provided earthenware only1 as distinguished by that title1 is made from it4 ,here1 then1 is the reason of the visit of ,wedgwood and ,turner to the ,west1 in search of the natural earths that half the potters in ,europe had been hunting for since ,bttcher1 of ,dresden1 made his great discovery of white clay4 ,but the story of cream ware is not ended4 ,wedgwood to this printed ,reply by ,champion entered the lists with some printed ,remarks1 which he circulated to members of parliament4 ,in this--and we must bear in mind that he was holding a brief on behalf of all the ,staffordshire potters--we find the following statement3-- ,when ,mr4 ,wedgwood discovered the art of making ,queen's ,ware1 which employs ten times more people than all the china works in the kingdom1 he did not ask for a patent for this important discovery4 ,a patent would greatly have limited its public utility4 ,instead of one hundred manufactories of ,queen's ,ware there would have been one2 and instead of an exportation to all quarters of the world1 a few pretty things would have been made for the amusement of the people of fashion in ,england4 ,in spite of the opposition of ,staffordshire1 the ,bill enabling ,champion to obtain his patent rights passed both houses of parliament1 and in the last stage a clause was inserted throwing open the free use of raw materials to potters for any purpose except for the manufacture of porcelain2 practically this patent was to be enjoyed by ,champion for nearly twenty-two years4 ,two extraordinarily important effects upon the pottery industry in ,staffordshire were the result of this controversy3 7#a7 ,the ,staffordshire potter confined himself to earthenware4 7#b7 ,growan stone and ,cornish ,kaolin were added to the cream ware body1 which enabled earthenware to compete successfully with china4 ,it may have struck an inquiring spirit as singular that the ,staffordshire potters as a body were content to imitate ,english porcelain and compete with it4 ,at first1 of course1 the remoteness of the ,potteries from the ,west accounted for this1 but clay was brought by sea from ,bideford to ,chester and carried overland to ,staffordshire1 but not the growan stone nor ,cornish kaolin4 ,chelsea and ,bow did not have natural earths to hand4 ,but the additional reason seems to be the one we have given--that practically ,champion's patent precluded them from making porcelain4 ,when1 in or about #agfi1 cream ware was perfected there was no need to cast about for new bodies4 ,staffordshire earthenware had found itself1 and all other improvements after that date1 for fifty years1 until early nineteenth-century days1 mainly concerned enamelling1 printing1 glazing1 and the exterior1 or developments in mechanical production1 or attempts at higher artistic effects4 ,in the illustrations we give of cream ware it will be seen that it was of varying form and it received a variety of decoration4 ,it was plain or undecorated1 relying chiefly on its symmetry of form as an artistic asset4 ,the cut and pierced designs and many other shapes followed those of the silversmith1 and in dessert dishes and centre-pieces considerable beauty was exhibited in modelling--a style which was closely followed by the ,leeds potters1 who made excellent cream ware4 ,a beautiful example of the perforated basket ware is illustrated 7p4 #bbe74 ,it is a dessert dish of most pleasing shape1 and is a rare specimen of the pierced work in ,wedgwood's cream ware4 ,wedgwood1 as early as #agge1 still experimenting with a view to make his cream ware better1 determined to make a whiter body by the addition of more china clay and flint and to kill the yellow tone by the use of blue 7oxide of cobalt74 ,this later white ware he termed ,pearl ware4 ,among the most noticeable productions in this whiter ware are the dessert services modelled from shells4 ,we know that ,wedgwood had a collection1 although he was not a conchologist1 yet it is not improbable that the contemplation of these beautiful forms suggested ideas and he derived many of his artistic shapes from the forms of shells4 ,the use of shell forms was not unknown4 ,salt-glaze pieces repeatedly show the pecten shell design1 and ,plymouth porcelain had adopted shell designs in salt cellars and similar pieces4 ,we illustrate 7p4 #bbe7 a remarkable example of a centre-piece in the form of a nautilus shell4 ,some of the shell dishes have a faint wash in pink1 and yellow radiating bands1 hardly perceptible1 but conveying the suggestion of the interior of the shell4 ,queen's ware1 when decorated1 was of two classes3 7#a7 painted2 7#b7 transfer-printed in red or puce or black4 ,it is not necessary to go into details in regard to these two forms of decoration4 ,it is interesting in regard to the enamelling in colour to know that ,wedgwood sent his ware to ,mrs4 ,warburton's factory at ,hot ,lane to be painted4 ,he also employed a band of enamellers at ,chelsea who had been trained in the china factory4 ,we reproduce an illustration 7p4 #bcc7 of two painted queen's-ware plates from the celebrated service executed for ,catherine ,,ii4 of ,russia4 ,the enamel painting of the views and borders cost ,wedgwood over #b1jjj4 ,in the centre of each piece is a scene representing some place of interest in the country4 ,each view in this series of ,british scenery is different1 and there are some twelve hundred4 ,the body is in pale brimstone and the view painted in a brownish purple2 the border was a wreath of mauve flowers and green leaves1 and1 as will be seen in the illustrations1 each plate has a green frog in a reserve4 ,this design has puzzled many writers1 but as the ,messalina of the ,north intended to place this service in her palace of ,la ,grenouillre1 near ,st4 ,petersburg--,grenouillre meaning a marshy place full of frogs--explains the whimsical design of the frog on each plate4 ,this dinner and dessert service was completed in #aggd at a cost of about #c1jjj4 ,it was exhibited in ,london1 and set the town agog with amazement4 ,the rooms in ,greek ,street1 ,soho1 were thronged with fashionable people1 and1 as may be imagined1 it gave a great impetus to the manufacture of ,wedgwood's ware4 ,the other decoration employed by ,wedgwood on his cream ware was transfer printing4 ,he availed himself at once of the new style of printing by ,sadler and ,green on the glazed surface of his ware1 which was periodically sent to ,liverpool to be so decorated4 ,in the earlier pieces the tile design is evident1 quite unsuitable for a round plate1 in spite of ,wedgwood's addition of wreaths and ribbons in enamel painting to help out the incongruity4 ,in early books illustrated by ,bewick with square woodcuts a similar use of garlands and ribbons as an ornamental border is observed4 ,nor was the cream body confined to strictly domestic ware4 ,among his multifarious productions ,wedgwood made some fine coloured figures1 remarkable for strong modelling and subdued and harmonious colouring4 ,the large figures1 such as ,fortitude1 ,charity1 ,ceres1 ,juno1 ,prudence1 and many others1 are not always marked4 ,fortitude and ,charity both bear the impressed mark ,,wedgwood1 the latter belonging to the series ,faith1 ,hope1 and ,charity designed for ,wedgwood by ,mrs4 ,landr1 and a marked example is in the ,willett ,collection4 ,many small coloured cream-ware busts were made4 ,we illustrate two typical examples 7p4 #bcc7 of ,rousseau and ,voltaire4 ,they were evidently intended for the ,french market1 and are very dainty though somewhat highly-coloured likenesses of two great ,frenchmen4 ,jean-,jacques is portrayed in ,armenian costume1 after the well-known portrait4 ,the coat is a chocolate brown and the stand is marbled4 ,voltaire has a blue surcoat1 a terra-cotta cloak1 and lilac vest4 ,illustration3 ,,wedgwood ,,black ,,basalt ,,teapots4 ,,wedgwood ,,jasper ,,ware ,,diced ,,pattern ,,tea ,,set4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,jasper ,ware4--,as early as #aggc ,wedgwood was experimenting with a view to producing jasper body4 ,it is here that his greatest triumph in the ceramic art was won4 ,nothing like it had ever been seen in pottery before1 and the ware he produced in an endless variety of forms which were termed ornamental by him to distinguish them from the queen's ware1 or useful ware4 ,about #agge--;a great date in ,wedgwood's history--the jasper ware was perfected1 and from #aghj to #agie is the period when it was at its best1 when he poured forth from ,etruria1 then filled with a highly-trained body of workmen and artists1 his jasper ware1 exquisite with grace and beauty of form and fascinating in its charm of dainty and subtle colour4 ,the spirit of classicism was in the air in the days of ,wedgwood4 ,dr4 ,johnson had imposed his ponderous latinity on the world of letters4 ,alexander ,pope was still writing when ,josiah was apprenticed and known already as a fine thrower4 ,homer's ,iliad and ,odyssey had appeared in many editions just prior to ,wedgwood's manhood4 ,the statues of naval and military commanders in ,westminster ,abbey were in ,roman costume4 ,the ,brothers ,adam were in the heyday of their popularity4 ,from sedan chairs to silver-plate their style was the vogue4 ,the classical mouldings1 capitals1 and niches1 the shell flutings and the light garlands in the ,adam style are welcome sights in many otherwise dreary streets in ,london4 ,in furniture1 the ,adam style is as severe as the ,french prototypes which had absorbed some of the ancient spirit of ,rome and ,greece4 ,as early as #agfc ,grimm wrote1 ,for some years past we are beginning to inquire for antique ornaments and forms4 ,the interior and exterior decorations of houses1 furniture1 materials of dress1 work of the goldsmiths1 all bear alike the stamp of the ,greeks4 ,the fashion passes from architecture to millinery2 our ladies have their hair dressed la ,grecque4 ,men of thought joined in clamouring for simplicity1 and ,diderot lent his powerful aid in heralding the dawn of the revival of the antique long before the ,france of ,revolution days4 ,but eyes other than ,french were fixed on the remote past4 ,the excavations of ,herculaneum and ,pompeii had given a new stimulus to archological research4 ,in this country ,sir ,william ,hamilton1 as early as #agfe1 promoted the publication of the magnificent work1 ,greek1 ,roman1 and ,etruscan ,antiquities1 illustrated from his collection4 ,it was a specially valuable exposition of the system and methods and sthetic value of classic art1 especially plastic art2 and in promulgating this sumptuous illustrated disquisition on the ancient potter's art ,sir ,william ,hamilton laid modern workers in the same field under a heavy debt4 ,incidentally it may be mentioned that ,sir ,william was the husband of the beautiful ,lady ,hamilton4 ,so that in the midst of this eighteenth-century classic revival ,josiah ,wedgwood was but the child of his age1 and1 associated in partnership with ,bentley1 a man of refined and scholarly tastes1 he entered into the new spirit with willing mind4 ,adroitly seizing classic models1 ,wedgwood in his art adapted all that was most suited to modern requirements4 ,pope translated ,homer into ,english verse1 and ,wedgwood translated classic designs into ,english pottery4 ,illustration3 ,,wedgwood ,,jasper ,,vase4 ,subject--representing the ,apotheosis of ,virgil2 surmounted by ,pegasus cover4 ,by the courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,wedgwood's jasper ware is of various colours--blue in various tones1 sage-green1 olive-green1 lilac1 pink1 yellow1 and black1 and1 of course1 white1 which is its natural body without the addition of metallic oxides4 ,it is capable of taking a polish on the lapidary's wheel4 ,in use it was mainly employed for ware of a highly ornamental character1 though it was also employed for utilitarian objects1 such as tea and coffee services1 dishes1 and flower vases1 and in plaques it was used as interior decorations in fireplaces and in furniture4 ,we illustrate 7p4 #bda7 a jasper ware diced pattern ,tea ,set1 which shows how wide a field ,wedgwood covered with his new ware4 ,it is usually found with a ground of one colour1 such as blue1 lilac1 et cetera--one of the seven--and the ornament applied in relief is1 as a rule1 white4 ,it was ,wedgwood's appreciation of antique gems that suggested the idea of reproducing them in earthenware1 and in the period prior to ,bentley's death1 in #aghj1 cameos1 portrait medallions1 and plaques were mostly made4 ,there are two classes of jasper ware--solid jasper and jasper dip4 ,the difference is similar to that between solid agate and surface agate4 ,solid jasper is coloured throughout4 ,that which is coloured only on the surface is jasper dip4 ,this latter gives more delicate effects1 and was employed1 after #aghj1 in the important series of classic vases which required translucency and greater delicacy in the white reliefs1 which is especially effective in the filmy garments and flowing draperies of the classic figures4 ,considerable progress had been made in ,staffordshire since ,elers left in #agaj1 but it is the ,elers method of stamping the ornaments and applying them to the body of the ware that ,wedgwood adopted4 ,but there was more than enough originality of invention in this jasper ware to carry his fame to the confines of ,europe4 ,blue and white porcelain in imitation of his jasper was made at ,svres1 and other continental factories1 such as ,meissen1 ,furstenburg1 and ,gros ,breitenbach1 made similar echoes of this wonderful ,english jasper ware of ,josiah ,wedgwood4 ,no illustrations can do justice to the charm and tender colour of some of the finer examples of this ,wedgwood jasper ware1 varying from pale lemon colour to delicate mauve as a ground1 and having translucent diaphonous draperies in white standing in relief in the groups of figures4 ,to the sense of touch fine old specimens of this jasper ware are as soft as satin4 ,usually the dull matt surface of this ware is left without polish1 though it is so dense and hard as to receive a high polish1 which was occasionally employed in the inside of basins and cups and on the bevelled edges of some of his cameos4 ,his classic subjects were no feeble echoes of ancient art1 but were executed from designs by a band of great artists working together and saturated with the spirit of the new classic revival4 ,john ,flaxman1 ,james ,tassie1 ,john ,bacon1 ,william ,hackwood1 ,thomas ,stothard1 ,george ,stubbs1 ,william ,greatbach1 were all employed by ,wedgwood4 ,and distinguished amateurs such as ,lady ,diana ,beauclerk and ,lady ,templeton supplied him with designs1 and it is interesting to note that ,mrs4 ,wilcox1 an accomplished painter of figures and borders on his ,etruscan ware1 was a daughter of ,fry1 the mezzotint engraver and founder of the ,bow porcelain factory4 ,we illustrate 7p4 #bde7 a fine jasper vase representing ,the ,apotheosis of ,virgil1 the cover surmounted by a ,pegasus4 ,the square pedestal has griffins at the corners4 ,a companion vase1 ,the ,apotheosis of ,homer1 changed owners at eight hundred guineas1 and is now in the possession of ,lord ,tweedmouth4 ,wedgwood himself regarded his copy of the celebrated ,barberini vase1 which was lent to him by the ,duke of ,portland1 as his masterpiece4 ,this vase is a cameo glass vase1 which was discovered in the middle of the seventeenth century in a marble sarcophagus on the road to ,frascati1 two miles from ,rome4 ,this vase belongs to the early part of the third century4 ,it was bought by ,sir ,william ,hamilton for #a1jjj1 and subsequently purchased by the ,duke of ,portland4 ,this vase1 of rich dark blue glass1 almost black1 is decorated with opaque white enamel cameos in relief cut with the most extraordinary skill1 and it stands as a superb example of classic art4 ,strictly speaking1 ,wedgwood's copy of this was at best a copy in one material of the technique of another4 ,but if it be not the highest art to copy thus in intricate detail1 yet it must be admitted that such masterly elaboration had never before been attempted by the potter1 and the early copies of ,wedgwood 7he set out to make only fifty7 stand unequalled as specimens of potting by the hands of trained workmen directed by genius4 ,wedgwood and his influence4--,as a final word on ,wedgwood and his influence1 something should be said as to the charge laid against him that he inaugurated the factory system as applied to pottery4 ,there is no doubt that he organised what was before his day a somewhat chaotic industry4 ,and it is certain that he trained his workmen to become specialists1 and that the system of the division of labour was the order of the day at ,etruria4 ,but how else could such an output as his be handled8 ,it has been advanced that the quaintness of the peasant potter and his later development was submerged1 and that all individuality was lost under the new system4 ,there was a growing tendency to develop mechanical perfection and to introduce labour-saving appliances1 but this was the spirit of the oncoming modern age4 ,other factories1 his contemporaries1 were adopting the same principles1 and those who think ,wedgwood unoriginal or uninventive are quite willing to credit him with all the inventiveness and originality necessary to overturn the old system4 ,the truth lies between these two extremes4 ,wedgwood1 in common with his contemporaries1 not unwillingly embraced all the newest devices known4 ,it was ,sadler and ,green1 of ,liverpool1 who together in one day by their invention printed as many tiles as it would have taken a hundred painters to do in the same time4 ,similarly all over the country artisans in the china trade were becoming specialised4 ,there were the enamellers at ,chelsea and other places1 and a little examination will show that ,wedgwood did not inaugurate this modern factory method1 but without doubt1 in common with all other master potters1 he had to go with the times4 ,trade rivalry was very strong1 and competition was not unknown when every potter in ,staffordshire was jealously watching the latest improvement of his neighbour4 ,but to saddle ,josiah ,wedgwood with the responsibility of stamping out original talent is beside the mark4 ,his life-work stands impregnable against petty assault4 ,in a word1 no other potter of modern times has so successfully welded into one harmonious whole the prose and the poetry of the ceramic art4 ,,wedgwood ,,marks4 ,illustration3 wedgwood #a4--,this mark occurs upon a very early specimen of ,queen's ,ware1 a teapot1 painted with flowers1 c41 supposed to have been made by ,wedgwood at ,burslem3 each letter apparently stamped singly with printers' type4 ,illustration3 ,,wedgwood ,,wedgwood ,wedgwood #b1 #c1 #d4--,these marks1 varying in size1 were1 it is thought1 used by ,wedgwood up to the accession of ,bentley as his partner1 #agfh-i1 and are found upon specimens said to have been purchased about that period4 ,illustration3 ,,wedgwood ,,bentley #e4--,the circular stamp1 without the inner and outer rings1 and without the word ,etruria1 is doubtless the earliest form of the ,wedgwood and ,bentley stamp1 and is found upon a set of three early painted vases1 in imitation of natural stone1 with gilt serpent and scroll handles4 ,no other example of this mark is known3 it may have been an experimental one1 afterwards changed for ,no4 #f1 and never in general use4 ,illustration #f4--,this mark1 with the word ,etruria1 is made upon a wafer1 or bat1 and fixed in the corner1 inside the plinth of old basalt vases1 reversing for candelabra and some large specimens2 it is sometimes found on the pedestal of a bust or large figure4 ,illustration #g4--,the well-known circular stamp1 with an inner and outer line1 always placed round the screw of the basalt1 granite1 and ,etruscan vases1 but is never found upon the jasper vases of any period4 ,illustration3 ,,wedgwood ,,bentley ,,wedgwood ,,bentley ,wedgwood ,bentley ,wedgwood ,bentley #h1 #i1 #aj1 #aa4--,these marks1 varying in size1 are found upon busts1 granite1 and basalt vases1 figures1 plaques1 medallions1 and cameos1 from the largest tablet to the smallest cameo for a ring 7the writer has one1 only half an inch by three-eighths of an inch1 fully marked72 also found upon useful ware of the period4 ,illustration3 ,wedgwood ,bentley #cef #ab4--,marks upon the ,wedgwood and ,bentley intaglios1 with the catalogue number1 varying in size4 ,very small intaglios are sometimes marked ,w4 ,b4 with the catalogue number1 or simply with number only4 ,illustration3 ,wedgwood ,bentley4 #ac4--,this rare mark is found only upon chocolate and white seal intaglios1 usually portraits1 made of two layers of clay2 the edges polished for mounting4 ,it may be noted that the word and in every ,wedgwood and ,bentley mark is always contracted 1 that no punctuation or other points1 excepting those in marks ,no4 #e1 #f1 #g1 and #ac1 are ever used4 ,illustration3 ,wedgwood ,wedgwood ,wedgwood ,,wedgwood ,,wedgwood ,,wedgwood ,,wedgwood #ad1 #ae1 #af1 #ag1 #ah1 #ai1 #bj4--,marks1 varying in size1 attributed to the period after ,bentley's death1 and probably used for a time after ,wedgwood died4 ,these marks and others were used by chance--a small piece often bearing a large stamp1 and a large one a minute stamp4 ,illustration3 ,,wedgwood ,,sons #ba4--,this rare mark exists upon some large square plateaux in cane-coloured jasper4 ,it may have been one adopted upon the change of partnership in #agij1 but little used4 ,the circular announcing the change says3 ,the mark ',,wedgwood' will be continued without any addition4 ,illustration3 ,,wedgwood ,,etruria ,,wedgwood ,,etruria ,wedgwood ,etruria #bb1 #bc1 #bd4--,these marks rarely found upon pieces of very high character--usually upon dark blue stoneware1 vases1 and glazed ware4 ,adopted about #ahdj1 but soon disused4 ,illustration3 ,,wedgwood 7in red1 blue1 or gold7 #be4--,the mark upon ,wedgwood ,,porcelain made from #ahje-ahae4 ,always printed either in red or blue1 sometimes in gold4 ,an impressed mark cannot be used with certainty upon soft-paste porcelain1 being so apt to diffuse out in firing4 ,illustration3 ,,wedgwood ,,wedgwood #bf1 #bg4--,these marks1 varying in size1 are still used at ,etruria for the modern jasper and useful ware of all varieties4 ,illustration3 ,,wedgwood #bh4--,the manufacture of fine porcelain was revived at ,etruria1 #ahgh1 and is still continued4 ,this mark1 printed in black and other colours1 is used4 ,illustration3 ,,england #bi4--,the word ,,england was added to the mark ,,wedgwood in #ahia1 to comply with the new ,american ,customs ,regulations1 known as the ,mc,kinley ,tariff ,act4 ,the occurrence of three capital letters1 ,,ano1 ,,rep1 c41 in addition to name appears on ware after #ahdj4 ,the first two letters are workmen's marks1 and the third is a date letter1 e4g41 ,o #ahee1 ,p #ahef1 and so on1 as in hall-marks on silver4 ,,prices4 ,,wedgwood4 s4 d4 ,oval4 ,ganymede feeding ,eagle 7#f-a_/d in4 by #e-a_/d in471 marked ,wedgwood ,bentley ,christie1 ,june1 #aijf #dj #ai #j ,oblong oval4 ,marriage of ,cupid and ,psyche 7#f in4 by #g-c_/d in471 marked ,wedgwood ,bentley4 ,christie1 ,june1 #aijf #ed #ab #j ,busts1 ,minerva and ,mercury1 black basalt1 #ah in4 high4 ,christie1 ,november1 #aijf #af #af #j ,oval portrait1 in jasper1 white on blue ground1 of ,captain ,cook 7#aj in4 by #h in471 marked ,wedgwood ,bentley4 ,sotheby1 ,february1 #aijg #af #af #j ,jasper vase1 blue1 with ,venus and ,cupid in relief1 handles coiled with serpents4 ,christie1 ,february1 #aijh #cc #ab #j ,a pair of splashed mauve ,nautilus ,shells1 marked ,wedgwood4 ,sotheby1 ,december1 #aijh #c #aj #j ,the above prices are for ordinary collectors' examples of old ,wedgwood4 ,but exceptional pieces bring exceptional prices4 ,the largest known example of a blue and white jasper plaque 7#aa in4 by #bf in47 sold for #dae at ,christie's in #ahhj1 and the fine jasper vase ,the ,apotheosis of ,homer 7now in the ,tweedmouth ,collection7 realised #hjj guineas4 ,,viii ,,the ,,school ,,of ,,wedgwood ,,chapter ,,viii ,,the ,,school ,,of ,,wedgwood #agfj-ahaj ,william ,adams 7of ,greengates7 7#aghi-ahje7--;,john ,turner 7of ,lane ,end7 7#agci-aghf7--,the plagiarists of ,wedgwood--,the ,wedgwood influence--,the passing of classicism--,table of ,marks--,prices4 ,potters who followed ,wedgwood may be divided into three classes4 ,men such as ,john ,turner and ,william ,adams1 who were competitors with him in friendly rivalry1 each striving to emulate the successes of the other1 and each doing original and independent work4 ,indebted1 and greatly indebted to ,wedgwood as these potters were1 they produced work equal with his in technique4 ,the blue jasper of ,william ,adams1 if anything1 is rather finer than that of his master4 ,john ,turner1 of ,lane ,end1 made jasper from a different formula to ,wedgwood1 being more porcellanous in character4 ,these men1 his friends and intimates1 and ,palmer1 of ,hanley1 who was first to apply bas-reliefs to his black vases1 in #agfi1 may be said to represent original research1 as compared with uninventive copying4 ,the second class1 which includes contemporaries such as ,elijah ,mayer1 and ,palmer1 of ,hanley1 who must be included here 7in spite of his streak of originality above alluded to1 and his fine use of gilding to granitic ware71 and ,neale1 his brother-in-law1 and ,voyez1 the modeller1 and ,hollins1 may all be said to be plagiarists who lived largely on ,wedgwood's jasper and basalt ware1 as well as several schools such as ,hartley ,greens 7of ,leeds71 and ,swansea and ,spode1 and many others who followed his cream-ware designs4 ,in regard to ,palmer and ,neale and ,voyez the case is very strong1 as they are stated to have forged the mark ,wedgwood ,bentley in some of their medallions2 but against the others the case must not be pressed too closely1 as they undoubtedly displayed a fertility of invention and an originality after they had once learned the ,wedgwood manner4 ,leeds1 in particular1 having caught the spirit that ,wedgwood had transplanted from the silversmith to his dessert services1 produced cream-ware rivalling that of ,etruria4 ,tennyson had a set of verses which illustrate this situation4 ,he tells of him who cast to earth a seed which grew so tall it wore a crown of light4 ,but thieves from o'er the wall ,stole the seed by night4 ,sown far and wide in every town1 it won universal admiration1 and1 says the poet--who1 by the way1 was thinking of plagiarists of his own style-- ,most can raise the flowers now1 ,for all have got the seed4 ,we must make one other point2 it was ,wedgwood who lighted the way even to his source of inspiration4 ,he made no secret of his indebtedness to the art of the silversmith1 and in recognising in the antiquarian works of ,count ,caylus and ,sir ,william ,hamilton a new field1 he left it open for others to go to the same original sources1 nor were his contemporaries slow in doing this4 ,so that1 in a measure1 this second class of potters may be exonerated from the charge of plagiarism when we find them striking out for themselves4 ,chippendale1 when he promulgated his ,director giving designs for furniture1 straightway started a school of cabinet-makers1 who worked after his designs in every locality in ,england4 ,these early pioneers in art--,chippendale1 the masterly adapter of all that was best on the ,continent1 and ,wedgwood1 translator of classicism into ,english pottery--worked with broad and generous spirit1 and their contemporaries and those who came immediately after them helped themselves liberally to the overflowing profusion of ideas4 ,the third class is the great crowd of lesser men1 potters who claim little attention for original work1 but who are remembered as producing1 as an echo to the great classic revival1 designs and shapes and copies of ,wedgwood's ware1 sometimes in stoneware for jugs1 and more often in cream-ware1 without an added touch of originality4 ,in this decadent period1 when not only in ,staffordshire but in other parts of the country this was being largely done1 and not always done well1 though there are exceptions to which we shall allude later1 one is reminded of the pregnant words of ,goethe3 ,there are many echoes1 but few voices4 ,william ,adams 7#agde-ahje74--,the ,adams family are renowned in ,staffordshire as being among the oldest potters in the country4 ,in connection with classic ware ,william ,adams1 of ,greengates1 is pre-eminent4 ,at his death1 in #ahje1 the works were carried on by ,benjamin ,adams till #ahbj4 ,there is considerable confusion between contemporary members of this family1 both of the same name1 ,william ,adams 7of ,cobridge71 ,william ,adams 7of ,greenfield71 and the subject of the present remarks1 ,william ,adams1 of ,greengates1 who commenced as master potter there in #aghi4 ,there were other firms1 such as ,j4 ,adams ,co41 or ,adams ,bromley1 who made jasper ware between about #ahgj and #ahhf1 and who stamped their ware ,,adams1 or ,,adams ,,co4 ,this1 of course1 does not come into the realm of collecting1 and this latter firm has nothing to do with the old-established family of ,adams4 ,but collectors cannot be too careful when auction catalogues describe such ware as ,adams4 ,the beautiful ,adams blue which is of a violet tone is much admired1 and in the finely-modelled classic reliefs the style is less frigid than ,wedgwood1 as ,william ,adams drew his inspiration more from ,latin than ,greek models4 ,as a rule his jasper is a trifle more waxen than that of ,wedgwood1 but never glossy4 ,william ,adams was a favourite pupil of ,wedgwood1 and was doubtless indebted to him for the guidance that set the young potter to work in friendly and amicable rivalry with his late master4 ,illustration3 ,,blue ,,and ,,white ,,jasper ,,vase4 ,impressed mark ,,turner4 ,subject--,diana in her ,chariot4 7,john ,turner1 of ,lane ,end1 #agfb-aghf47 ,,blue ,,and ,,white ,,jasper ,,vase4 ,impressed mark ,,adams4 7,about #agij47 7,william ,adams1 of ,greengates1 made jasper #aghg-ahje47 7,at ,british ,museum47 ,as a modeller he was of exceptional merit1 and it is known that he designed1 himself1 several of his finest pieces1 such as the ,seasons1 his ,venus ,bound1 and ,cupid ,disarmed1 his ,pandora1 ,psyche trying one of ,cupid's ,darts1 and the ,muses4 ,monglott1 a ,swiss artist1 was employed by him on jasper vases1 and it is believed that ,enoch ,wood is responsible for designing the hunting scenes which appear on the fine stoneware jugs and tankards similar in style to the ,turner jug illustrated 7p4 #bfg74 ,many of his jugs had silver mounts4 ,in regard to marks1 that usually found is ,,adams impressed4 ,sometimes1 though rarely1 the mark is ,,adams ,,co42 and later his son1 ,benjamin ,adams1 had the impressed mark ,b4 ,,adams1 which appears on stoneware and blue printed ware4 ,to those who desire to familiarise themselves with the genius of ,william ,adams1 there is a special volume by ,mr4 ,william ,turner1 entitled ,william ,adams1 an ,old ,english ,potter 7,chapman ,hall1 #aijd71 which is a full and learned monograph1 dealing in thorough manner with the productions of ,william ,adams and of his kinsfolk1 the ,adams family of potters4 ,we illustrate one of a pair of jasper vases in blue and white by ,adams1 in date about #agij4 ,the classic figure subjects1 as will be seen1 display a simplicity and exquisite grace of modelling and arrangement not surpassed even by ,wedgwood 7see p4 #bfa74 ,john ,turner1 of ,lane ,end 7#agci-aghf74--,wedgwood and ,turner were intimates1 and in considering ,turner we must regard him as a friendly neighbour1 as well as a rival potter4 ,he made some remarkably fine jasper1 though it differed in its body very greatly from that of ,wedgwood1 being more closely allied with porcelain4 ,it contained no barytes in its composition4 ,in design ,turner1 though not imitative1 followed the ,greek school and produced1 as a modeller himself1 some exquisitely proportioned pieces4 ,we illustrate a fine vase in blue-and-white jasper which is especially graceful in design1 the severity being relieved by the delicacy of the fine subject in relief of ,diana in her ,chariot drawing a pair of goats and accompanied by flying cherubs 7see p4 #bfa74 ,this subject1 it will be noticed1 is reproduced in a transfer-printed jug illustrated in a later chapter 7p4 #cai74 ,but it is in the unglazed stoneware that he surpassed anything his contemporaries had done4 ,it was about #aghj that he discovered1 after hunting for clay even so far afield as ,cornwall1 the precise earth he wanted in his own neighbourhood at ,longton4 ,in colour it was a warm biscuit tone1 and it was capable of being modelled with exactitude into fine sharp designs in relief4 ,in stoneware jugs with classic figures in relief he set the fashion for half a century4 ,his teapots and coffee-pots are models of graceful design4 ,we illustrate a fine example of a ,teapot 7p4 #bfg71 with the lid perfectly fitting1 made to slide in a groove1 and showing in clear relief the style of ornamentation for which ,turner became so renowned4 ,the other illustration1 on the same page1 of an equally perfect ,stoneware ,jug with metal mounts1 shows a slight departure from classic ornament4 ,the figures are in old ,english costume1 and are engaged in archery4 ,it will thus be seen that even in the early days there was exhibited a tendency to depart from classic figure design and turn to equally graceful but homelier subjects4 ,possibly this influence may have been due to ,enoch ,wood1 who is believed to have been employed by ,turner as a modeller2 but accurate information regarding ,turner's modellers is not known4 ,besides the above-mentioned wares1 ,turner also made black basalt of very high quality1 being preferred by some connoisseurs to that of ,wedgwood4 ,he also was the first to introduce under-glaze printing into ,staffordshire1 and although he did not introduce the willow pattern 7,spode brought that from ,caughley71 he made ware with this pattern printed in under-glaze blue1 and his plates and dishes have perforated borders4 ,we illustrate a fine example of this ware 7p4 #cca74 ,the ,plagiarists of ,wedgwood4--,we have seen that ,john ,turner1 of ,lane ,end1 that ,william ,adams1 of ,greengates1 came under the strong influence of ,wedgwood1 but were no more imitators1 in the broad sense1 than ,gainsborough and ,romney may be said to be imitators of ,sir ,joshua ,reynolds4 ,it must be allowed in art that a school may arise under the guidance of some remarkable genius who tinges the originality of his contemporaries with his own master mind4 ,wedgwood had the inspiration to transplant classic decoration into ,staffordshire--the rest was easy2 having shown the way1 crowds of lesser men seized the new ideas with avidity4 ,chief among the direct copyists was ,henry ,palmer4 ,he had a spark of originality1 as we have seen1 anticipating ,wedgwood by some five years in applying bas-reliefs to his black vases1 and the sprinkled marbled ware touched with gold was another success of his1 but here his ingenuity ended4 ,he must have been a great thorn in ,wedgwood's side1 for he is said to have procured every new pattern on its appearance and copied it4 ,voyez1 who was a modeller and not a potter1 assisted in this nefarious traffic2 but ,voyez1 in spite of his rascality1 was a clever modeller1 and struck out a new line in his rustic or ,fair ,hebe jugs4 ,he was employed at one time by ,wedgwood1 and probably by ,ralph ,wood4 ,voyez specialised on the intaglio seals1 and added ,wedgwood and ,bentley's names to his handiwork4 ,on other intaglios1 equally imitative1 and on vases is the name ,,palmer or the initials ,h4 ,p4 ,wedgwood himself--as do collectors nowadays--was obliged to acknowledge the fine quality of the work of ,palmer and of ,neale1 for he admitted to ,bentley that they were serious competitors1 and he evidently feared their activity1 as he says1 ,we must be progressing or we shall have them treading on our heels4 ,the sagacity of ,wedgwood's remark is obvious1 for an examination of the ,neale-and-,palmer jasper and other ware reveals an amazing mastery of technique4 ,it is finely potted and well balanced in ornament and design4 ,if it were not for the impressed mark such vases might readily pass as ,wedgwood4 ,it is not improbable that in the middle nineteenth century the names both of ,adams and ,palmer and ,neale were ground out of the bases of some of their finer vases by ingenious persons1 who passed them off as the work of ,wedgwood4 ,illustration3 ,,turner ,,stoneware ,,teapot1 ,,unglazed4 ,with ornament in relief and classic figure subjects4 ,mark impressed ,,turner4 7,height #d-a_/b inches47 7,in the collection of ,mrs4 ,l4 ,scott47 ,illustration3 ,,turner ,,stoneware ,,jug1 ,,unglazed4 ,with decoration in relief of archery4 ,silver lid and rim4 ,mark impressed ,,turner4 7,height #i inches47 7,in the collection of ,mr4 ,john ,watson ,bradley47 ,marks--,palmer1 ,neale1 ,wilson4--,in regard to marks1 ,h4 ,,palmer or ,,palmer4 ,,hanley is the earliest--sometimes only the initials ,h4 ,p4 ,about #aggf he entered into partnership with his brother-in-law1 and sometimes the mark ,,neale alone is found and often ,,neale ,,co4 ,these marks are usually in circles2 on one piece appears ,i4 ,,neale1 with the word ,,hanly 7spelt wrongly7 beneath4 ,about #aggh ,robert ,wilson joined the firm1 and after #aghh his name alone appears4 ,stoneware jugs--drab ground with cupids in relief--baskets1 and cream-ware are often found marked ,,wilson surmounted by a crown with the letter ,c above4 ,sometimes this is present without the name4 ,wilson1 too1 is remembered for having introduced chalk into the body of his cream-ware1 which was of exceptional value in whitening the ware and rendering it more adapted for under-glaze printing4 ,at ,wilson's death1 in #ahjb1 ,david ,wilson succeeded to the pottery1 and the firm shortly after became ,d4 ,wilson ,sons4 ,these ,wilsons made pink lustre1 similar to that of ,wedgwood1 and also silver lustre1 upon some of which the name of ,wilson is impressed4 ,this brings the factory down to #ahbj1 when it passed into other hands4 ,we have seen that ,adams and ,turner and ,palmer and ,neale came more or less into touch with ,wedgwood as contemporary rivals4 ,before coming to the crowd of lesser men1 or lesser-known men1 we must not omit ,josiah ,spode1 who was a colleague of ,wedgwood under ,whieldon2 ,elijah ,mayer1 whose black basalt was almost equal to that of ,wedgwood1 and whose enamel cream-ware stands artistically very high2 and ,samuel ,hollins1 of ,shelton1 with fine red or chocolate ware1 having as dense a character as ,wedgwood's imitations of the ,elers ware1 and ,hollins in his jasper produced some fine examples with original combinations of colours4 ,josiah ,spode the ,first 7there are three potters in succession of that name7 made1 in common with other potters1 the black basalt ware from #aggj1 when he commenced as potter1 and he produced stoneware jugs similar in character to those of ,adams and ,turner1 following the sporting subjects in relief and departing from the ultra-classical subjects of ,wedgwood4 ,this class of jug and mug was made by many potters--its character was ,english1 and it was evidently popular4 ,an illustration of the type appears on page #bgg4 ,davenport1 of ,longport1 made the same pattern2 it was made at ,castleford1 near ,leeds1 and ,hollins and others adopted the design in relief of a fox-hunt1 with horsemen dismounted preparing to join others at the kill1 which is shown on the reverse4 ,in fact1 it was almost as much copied in stoneware as the willow pattern was in blue-printed ware4 ,but ,josiah ,spode is best known as devoting considerable skill in the improvement of under-glaze blue-printing cream-ware4 ,in #aghc he brought two workmen into ,staffordshire from ,caughley1 where under-glaze blue-printing under ,thomas ,turner was in full swing4 ,spode was not the first to introduce under-glaze blue-printing into ,staffordshire2 this is due to ,john ,turner1 of ,lane ,end 7whom we have described1 maker of the fine jasper-ware and stoneware teapots and jugs71 not to be confounded with ,thomas ,turner1 the maker of porcelain at ,caughley1 who introduced the willow pattern in #aghj1 which same design was introduced into ,staffordshire in #aghd by ,spode--a year after his two men came over from ,caughley4 ,but this and blue transfer-printing is dealt with in a subsequent chapter4 ,something should be said of ,josiah ,spode the ,second 7#agig-ahbg71 who continued the blue-printed ware1 and produced a great number of stoneware jugs with decoration in relief similar to those we have alluded to1 and produced jasper ware in blue and white with the familiar subjects of ,wedgwood's day4 ,to him must be given the credit of introducing colour into ,staffordshire earthenware1 colour such as it had never before attempted4 ,his fine imitations of the ,derby-,japan porcelain designs mark a new era in ,staffordshire earthenware4 ,illustration3 ,,black ,,basalt ,,teapot1 ,,unglazed4 ,impressed mark ,e4 ,,mayer4 7#aggj-ahac47 7,about #aghf47 7,at ,british ,museum47 ,illustration3 ,,black ,,basalt ,,teapot1 ,,unglazed4 ,impressed mark ,,birch4 7,about #ahjb47 7,in the possession of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,these illustrations show the imitativeness of this school of potters and the difficulty of identification4 ,the ,spodes brought something new into ,staffordshire earthenware4 ,the elder ,spode evidently had a strong love for ,oriental subjects1 as in the willow pattern1 which he lifted from ,caughley porcelain4 ,he broke away--and others followed him readily enough--from the cupids and psyches and gods and goddesses of the old world1 and followed the newer-imported ideas in ,chinese taste1 now the fashion at ,worcester1 ,bow1 and other china factories4 ,leeds and ,swansea were not slow in snatching at this new ,oriental style of decoration4 ,in the ,staffordshire cream-ware jug we previously illustrated painted in under-glaze colours1 somewhat brown owing to the imperfect knowledge of the ,staffordshire potter in under-glaze work submitted to great heat1 we see an example of painted design in ,oriental style1 which came shortly to be more perfectly done in under-glaze blue1 as in the painted plate of ,leeds ware illustrated 7p4 #cjc74 ,but much in the same manner work such as the painted scenery on services like that made by ,wedgwood for ,catherine ,,ii4 was shortly supplanted by black and purple and red transfer-printing done at ,liverpool1 so the short-lived under-glaze blue painting on earthenware was quickly killed by ,spode and the other ,staffordshire potters when they rapidly developed the under-glaze transfer-printing in blue4 ,it was quite an original departure1 and owed nothing to ,josiah ,wedgwood 7who never employed transfer-printing in blue71 though it was adopted very successfully by the firm after his death4 ,and ,josiah ,spode the elder most certainly had a strong influence in the potters of his day in acclimatising the willow pattern in ,staffordshire1 and in assimilating the best efforts of ,chinese decoration as applied to blue-and-white ware4 ,and ,josiah ,spode the ,second1 with equal originality1 took up the next stage in adopting the gorgeous colouring of ,japan4 ,this brings the story of the development of ,wedgwood's cream-ware up to modern times4 ,and the same chain of development might be traced in the history of some of the other great potters whose descendants still carry on the manufacture4 ,cream-ware at first painted1 then transfer-printed in black or red1 then painted in blue under-glaze--which was killed by the blue under-glaze printing--finally emulated the rich colours and gilding of porcelain4 ,to return to ,elijah ,mayer 7#aggj-ahac74 ,from #aghf he appears to have produced black basalt tea ware2 his fine teapots with the seated figure at the apex are well known1 and his unglazed cane-coloured ware is much prized1 with its simple decorations in lines of green and blue4 ,we illustrate 7p4 #bga7 an example of a ,black ,basalt ,teapot1 and beneath it an illustration of a similar model by ,birch1 showing the imitativeness of this school of potters and how difficult it is to identify specimens4 ,his cream-ware deserves especial attention1 as his enamelling was in very artistic manner1 and it stands out prominently among a crowd of imitators of ,wedgwood's cream-ware borders4 ,every maker not only took the body of the ware1 but in so doing he followed the designs by ,flaxman or some of ,wedgwood's other artists1 still found in the old pattern-books to-day at ,etruria4 ,as an example of this imitation in detail1 see the ,swansea cream-ware plate illustrated 7p4 #cig74 ,mayer made black glazed tea ware1 and this1 when unmarked1 is very commonly attributed by beginners to ,turner4 ,the marks impressed are ,e4 ,,mayer1 and after #ahbj ,e4 ,,mayer ,,son4 ,at a later period the mark was ,,joseph ,,mayer4 ,samuel ,hollins 7#aggd-ahaf71 with his red and chocolate unglazed ware decorated with ornament in the ,elers manner and made from the clay at ,bradwell ,wood1 is deservedly noteworthy as well as for several important departures in colour in the stoneware teapots and coffee-pots which he made of green1 with touches of applied ornament in blue jasper4 ,he followed silver designs1 and avoided the cold1 classic forms of ,wedgwood4 ,he departed from the straight lines of the ,turner teapot4 ,he loved ornament1 and there is a touch of elaboration in his design1 as though attempting to shake off the severe formality of the ,brothers ,adam style of design1 and he strongly loved colour4 ,samuel ,hollins was one of the proprietors in the ,new ,hall china works1 and his successors were ,t4 and ,j4 ,hollins1 who continued to make jasper ware in the style of ,wedgwood4 ,their names are impressed on many examples4 ,the ,wedgwood influence4--,in the latter days of the eighteenth century and the early days of the nineteenth1 the direct influence of ,wedgwood became something more remote4 ,but even in early nineteenth-century days there were undeniable traces of the old models and the old form of ware4 ,take1 for example1 the unmarked early nineteenth-century ,black ,basalt ,teapot in the form of a barrel1 with the grape-vine ornament in relief1 and the pine cone at top of lid 7illustrated p4 #bgg74 ,undoubtedly this has left all classic form1 but it has retained the technique of ,wedgwood4 ,in some of the buff-coloured1 unglazed stoneware jugs which are unmarked1 there is the inclination to follow the sporting subjects in relief1 which ,adams and ,turner and ,spode so successfully adopted1 and the twisted snake-handle and reptilian-modelled mouth become original in treatment4 ,in general1 it may be said1 that the classic influence remained for a considerable time in the stoneware of various kinds1 but in the cream-ware which is the main stream of ,english earthenware1 the forms and the ornamentation more rapidly departed from the styles of ,wedgwood's queen's ware4 ,hence we find two opposing influences working against each other in the ,staffordshire potters' minds4 ,the best of them in their highest flights essayed to make jasper1 or to copy or emulate ,wedgwood's classic style in vases and important ornamental pieces4 ,most of them largely made the stoneware of various colours1 and also the black basalt4 ,all of them made cream-ware1 which was the staple ware of ,staffordshire1 in a thousand different forms4 ,as time went on all except cream-ware began to deteriorate from the earliest prototypes1 and the later forms are debased in design and inferior in potting4 ,illustration3 ,,spode ,,stoneware ,,jug4 ,rich blue glazed ground with decoration of hunting scene in white relief4 ,,davenport ,,stoneware ,,jug4 ,same design as adjacent jug1 but having white ground with subject in relief4 7,in the possession of ,mr4 ,hubert ,gould47 ,illustration3 ,,black ,,basalt ,,teapot4 ,in the form of a barrel1 with grape-vine decoration in relief4 7,early nineteenth century47 ,the passing of classicism4--,from the first there were those who were classic only by compulsion4 ,wedgwood was regarded as too classic for vulgar tastes4 ,the cream-ware and the coloured figures display a ready appreciation of public wants4 ,even ,voyez descended to rusticity in his jugs4 ,spode had a leaning for ,oriental subjects in his blue printed ware1 which was quickly adopted by ,leeds4 ,adams leaned to landscape subjects after ,claude and ,english scenery4 ,nor was this all4 ,the cream-ware figures and the mugs and jugs provided full scope for the potter's fancy in political1 satirical1 patriotic1 and humorous and fancy subjects4 ,from ,sunderland to ,swansea the cream-ware took to itself more homely sentiments and more characteristic design4 ,it became1 during the last quarter of the eighteenth century and the first quarter of the nineteenth1 as ,english as if the gods and goddesses had never descended into ,staffordshire1 and as though ,wedgwood had never been4 ,most of this cream-ware was transfer-printed1 the ,caxtons of ,staffordshire had found blank spots enough to fill on their white ware1 and in filling them they have left us a permanent record of popular feeling which was at the time strong enough to induce them to rush into print on every conceivable subject with queer engraved decoration and whimsically illiterate verse4 ,marks4--,the following are some of the names1 mostly found as impressed marks1 on ware of the ,wedgwood school1 in date from #agfj to #ahce1 a period of three-quarters of a century4 ,in many cases in addition to ware bearing traces of a classic influence1 the potters made cream ware with blue-printed decoration1 a style which was not employed at ,etruria until the second ,wedgwood period1 on the death of ,josiah ,wedgwood in #agie4d ,note3 #d ,compare this with the ,list of ,marks on ,transfer-printed ,ware1 pp4 #cdg-ce4 ,the names are arranged alphabetically1 and1 where of interest1 the class of ware associated with the potter is given4 ,william ,adams #aghg-ahje ,fine jasper ware of the highest 7of ,greengates7 quality4 ,stoneware and blue-printed ware4 ,j4 ,aynsley #agij-ahbf ,silver lustre4 ,transfer-printed ware4 ,melon- and barrel-shaped teapots4 ,batty ,co4 ,vases and jugs1 classic figures as frieze1 printed in under-glaze blue touched with vermilion4 ,e4 ,j4 ,birch ,black basalt ware of good quality 7sometimes marked with ,e4,i4,b4 impressed74 ,bott ,co4 ,busts painted in colours4 ,vases transfer-printed4 ,j4 ,clementson #ahcb-ahfg ,white ware blue-printed with foreign scenery4 7,marked with name and phoenix47 ,clews #ahad-ahcf ,stoneware jugs4 ,blue-printed cream ware4 ,picturesque views and subjects after ,wilkie's pictures1 ,rowlandson's ,dr4 ,syntax1 ,don ,quixote1 c4 ,close ,co4 from #ahdc ,cream ware with printed decoration 7,successors to ,w4 in brown4 ,adams ,sons1 of ,stoke47 ,cookson ,harding #ahef-ahfb ,cream ware blue transfer-printed4 ,c4 ,h4 7late ,hackwood47 ,davenport 7,longport7 #agic-ahcd ,cream ware painted and printed4 7,firm continued ,handles in form of dolphins4 ,plates till #ahhf47 and dishes--dragons and fret border printed in blue2 ground pencilled in scale pattern4 ,eastwood #ahjb-ahcj ,vases small1 jasper1 ,wedgwood style2 stoneware blue and buff4 ,w4 ,baddeley1 of ,eastwood1 is believed to have used this mark1 frequently found4 ,hackwood #ahdb-ahef ,cream ware painted with knights and armed figures4 ,harding #ahfb-ahhj ,blue glazed earthenware1 white ornaments in relief4 ,brown glazed jugs and teapots in ,rockingham style4 ,harley about #ahji ,teapots1 white glazed stoneware2 cover surmounted4 ,heath #aggj-aggg ,heath ,bagnall #aggg-aghe ,heath1 ,warburton #aghf- ,co4 ,s4 ,hollins #aggd-ahaf ,jasper ware1 white ground cameo figures in blue4 ,t4 ,j4 ,hollins #ahjb-ahbj ,similar ware to above4 ,a4 ,e4 ,keeling #aghf-ahbh ,black basalt and cream ware4 ,lakin ,cream ware blue-printed with ,english landscape subjects1 c4 ,lakin ,poole #aggj-ahdf ,dishes and cream ware4 ,centres often finely painted with exotic birds in ,worcester style4 ,j4 ,t4 ,lockett #aghf-ahbi ,white stoneware and salt-glaze4 ,e4 ,j4 ,mayer #aggj-ahac ,black basalt tea services1 c41 with animals in relief2 silver lustre4 ,e4 ,mayer ,son #ahac-ahcj ,mayer ,newbold #ahbc-ahcg ,made porcelain as well as earthenware 7marked ,m4 ,n474 ,mayer ,elliott ,cream ware1 blue-printed4 ,f4 ,meir ,white glazed earthenware services1 ,english landscapes printed in blue1 dishes with pierced border4 ,morr ,smith ,moseley #ahjb-ahbe ,black basalt ware2 teapots1 c4 ,myatt #ahjb-ahdj ,unglazed red ware coffee-pots in ,elers style4 ,engine-turned with wavy patterns4 ,sometimes marked with an oval enclosing letter ,w4 ,h4 ,palmer #agfj-agge ,fine jasper ware1 granitic vases2 figures4 ,neale ,palmer #aggf-aggh ,jasper ware strongly imitative of ,wedgwood4 ,neale ,co4 #aggh-aghh ,jasper ware and classic figures4 ,phillips 7,longport7 #agfj-ahcj ,small dishes2 salt cellars1 cream ware1 ,oriental decoration1 blue-printed4 ,pratt ,vases and jugs1 white stoneware1 with blue figures in relief2 border of vine4 ,ridgway #agij-ahed ,various elaborate marks used4 ,w4 ,ridgway and ,w4 ,ridgway ,son4 ,in #ahcf the firm became ,w4 ,ridgway1 ,morley1 ,wear ,co4 ,riley ,rogers #aghf-ahbi ,blue-printed stoneware4 ,inferior imitations of ,wedgwood4 ,salt #ahbj-ahfd ,figures enamelled in colour4 ,shorthose #aghc-ahjb ,black basalt vases and flower jars4 ,shorthose ,heath #ahjb- ,white glazed earthenware1 transfer printed in red over-glaze4 ,subjects--children at play1 c4 ,cream ware embossed with wicker pattern pierced border4 7,mark printed in red1 also impressed47 ,sneyd about #ahej ,imitations of ,portland vase1 c4 ,josiah ,spode #aggj-agig ,black basalt ware4 ,stoneware 7the ,first7 jugs with sporting subjects in relief4 ,steel #aghj-ahbd ,jasper and ornamental ware1 white relief on blue1 dark blue figures in relief on pink ground1 c4 ,w4 ,stevenson about #ahbh ,white glazed ware1 classic figures in relief on pale blue ground2 impressed mark ,w4 ,stevenson1 ,hanley4 ,john ,turner #agci-aghf ,fine ,jasper ware of excellent 7of ,lane ,end7 quality4 ,stoneware jugs1 c41 of warm biscuit colour unglazed4 ,black basalt1 and under-glaze1 blue-printed ware4 ,walton #ahjf-ahci ,figures-classical ,lions1 ,fishwife1 ,gardener1 c4 ,warburton #agea-ahbh ,rarely marked4 ,mrs4 ,warburton1 of ,cobridge1 in #agea made great improvements in cream ware prior to ,wedgwood's queen's ware4 ,in #ahbh the firm was ,j4 ,warburton ,co4 ,wilson #aghh-ahbj ,stoneware jugs with classic figures in relief4 ,ornamental vases in ,wedgwood style4 ,copper lustre ware4 ,e4 ,wood #aghd-agij ,cream ware1 basket pattern1 c4 ,busts4 ,wood ,caldwell #agij-ahah ,white glazed earthenware4 ,figures1 coloured busts1 c4 ,enoch ,wood ,sons #ahbj-ahdf ,figures of classic form4 ,,prices4 ,school of ,wedgwood4 ,,adams4 s4 d4 ,jug 7with old ,sheffield plate lid71 chocolate band with ,bacchanalian subject4 ,escritt ,barrett1 ,grantham1 ,april1 #aijg #b #b #j ,jug1 blue jasper1 with figure subjects of ,seasons in white relief1 old ,sheffield plate cover4 ,sotheby1 ,may1 #aijh #f #e #j ,sucrier and ,cover1 marked ,,adams ,,co4 ,sotheby1 ,november1 #aijh #b #ad #j ,,turner4 ,female figure of a ,water ,carrier in black basalt1 marked ,,turner4 ,sotheby1 ,december1 #aije #c #e #j ,teapot and ,cover1 blue ground with classical subjects in high relief2 impressed mark1 ,,turner4 ,sotheby1 ,november1 #aijh #b #f #j ,teapot1 of different form1 similar decoration1 unmarked4 ,sotheby1 ,november1 #aijh #b #d #j ,sucrier and ,cover1 similar decoration2 impressed mark1 ,,turner4 ,sotheby1 ,november1 #aijh #c #ab #j ,cake ,plate with classic decorations in relief2 impressed mark1 ,,turner4 ,sotheby1 ,november1 #aijh #d #aj #j ,coffee ,pot and ,cover1 similar style2 impressed mark1 ,,turner4 ,sotheby1 ,november1 #aijh #d #j #j ,,neale ,,palmer4 ,vase and ,cover with medallions1 wreaths and masks in relief1 in gilt on mottled grey-blue ground1 marked ,,neale1 ,,hanley4 ,puttick ,simpson1 ,nov41 '#jh #d #aj #j ,vase and ,cover1 urn-shaped1 with medallion and figure subject in white relief2 ram's head handles1 wreaths and borders in gilt on mottled-blue ground1 marked ,h4 ,,palmer1 ,,hanley4 ,puttick ,simpson1 ,november1 #aijh #c #aj #j ,,ralph ,,wood4 ,figure of ,apollo with lyre4 ,sotheby1 ,may1 #aijh #b #e #j ,figures1 ,boy and ,girl ,harvesters1 square bases2 one marked ,r4 ,,wood4 ,sotheby1 ,may1 #aijh #aj #e #j ,e4 ,,wood4 ,bust of ,john ,wesley1 signed ,,enoch ,,wood4 ,sotheby1 ,june1 #aijf #b #j #j ,e4 ,,mayer4 ,four plaques of ,cupids in relief2 mark impressed1 ,e4 ,,mayer1 and dated #aghd4 ,sotheby1 ,november1 #aije #a #ah #j ,,heath4 ,plate of cream ware1 crudely decorated for the ,dutch market1 subject--,abraham offering up ,isaac 7,hodgkin ,collection74 ,sotheby1 ,december1 #aijc #j #c #j ,,lakin4 ,dish decorated with border of rose1 shamrock1 and thistle4 ,prince of ,wales' feathers and lion over crown in centre4 ,made for the ,prince ,regent 7,george ,,iv472 marked ,lakin4 ,sotheby1 ,february1 #aijf #b #j #j ,pair of ,lakin plates from above service4 ,sotheby1 ,november1 #aijg #c #j #j ,,lakin ,,poole4 ,mug1 with mask head on front1 marked ,lakin ,poole1 and four shell dishes4 ,sotheby1 ,june1 #aijf #a #f #j ,,ix ,,leeds ,,and ,,other ,,factories ,,chapter ,,ix ,,leeds ,,and ,,other ,,factories ,leeds ,marks--,the best period of ,leeds--,leeds ,cream ,ware--,blue and ,white ,ware--,leeds ,ware decorated at ,lowestoft1 ,castleford1 ,jackfield1 ,rockingham1 ,sunderland1 and ,newcastle--,table of ,marks--,prices4 ,leeds claims notice mainly on account of its fine cream ware that was produced in the period from #aghc to about #ahjj when the factory was at its zenith4 ,the date which commences its known history is the year #agfj1 a most pregnant year in the history of pottery4 ,before that there always exists some doubt as to the exact date or the particular maker4 ,early ,staffordshire or ,whieldon are as definite as most collectors dare go4 ,in #agfb ,wedgwood's cream ware was perfected1 and all ,staffordshire was aflame with the prospects of something that at last was to stand artistically side by side with ,bow and ,chelsea and ,worcester and ,derby and ,plymouth4 ,it did nothing of the sort1 but still it was the dream of the ,staffordshire potters that it should by reason of its cheapness smash the new china factories1 and it seems to have had no little share in doing this4 ,in #agge the ,leeds pottery was in the hands of ,humble and ,green4 ,in #aghc it was known as ,hartley1 ,greens ,co41 and for the next ten years some splendid examples of cream ware were produced rivalling the best productions of ,wedgwood1 at first imitative1 but later strikingly original1 and possessed of extraordinary artistic qualities4 ,down to the opening days of the nineteenth century the trade in cream ware was considerable4 ,pattern books and catalogues were issued in ,french and ,german and ,spanish1 and the output from ,leeds was very considerable1 and the continental trade very extensive1 especially with ,northern ,europe4 ,from #ahbe to #ahcb the firm was known as ,samuel ,wainwright ,co4 ,from #ahcb to #ahdj the name changed again to the ,leeds ,pottery ,company1 under the managership of ,stephen ,chapel1 who1 together with his brother ,james1 held the pottery till #ahdg4 ,in #ahej ,warburton1 ,britton ,co4 were proprietors until #ahfc1 and ,richard ,britton ,sons carried on the works until #ahgh when the factory closed4 ,forgeries of ,leeds ,ware4--,leeds ware has appealed1 on account of its artistic qualities1 to so wide a circle of collectors and admirers that it has had the honour of being forged with intent to deceive4 ,nearly all these pieces are marked either ,leeds ,pottery1 ,l4,p41 or ,leeds ,p4 ,in addition to being copied for sale to unwary collectors some of the basket and other patterns have been of recent years made in ,germany for sale in this country4 ,but to any one who has had the opportunity of handling genuine old ,leeds ware the lightness in weight1 the fine finish1 and the peculiar colour of the body1 especially the slightly green tinge in the old ,leeds glaze are never to be mistaken4 ,the modern copies lack the fine potting1 and they are slightly heavier in weight1 and always without exception have a thick white1 glassy glaze which fills the corners of the pierced work1 and shows the touch of modern haste4 ,leeds ,marks4--,the following marks occur on ,leeds ware1 largely on the blue-printed ware which was after #agia1 for many of the finest examples of cream ware are unmarked4 ,however1 these marks used may be a guide3 ,,leeds ,,pottery 7often printed twice over and crossing at right angles71 ,,hartley1 ,,greens1 ,,co41 ,,leeds ,,pottery 7either in two lines or in a semicircle71 also the initials ,l4,p4 ,in its latter stage 7#ahfc-ahgh7 ,r4 ,britton and ,sons marked their ware ,r4 ,b4 ,s4 with the initial ,l enclosed in a circle4 ,the ,don pottery at ,swinton near ,leeds1 established about #agij1 came in prominence about #ahjj1 when one of the brothers ,green1 of ,leeds1 became owner4 ,it passed through various vicissitudes of fortune1 a comparison of the old pattern books show that many pieces made at the ,don pottery were originated at ,leeds4 ,in #ahcd it was purchased by ,samuel ,barker1 and in #ahhb it was still known as ,samuel ,barker and ,sons4 ,the ,don ,pottery mark was both printed and impressed ,,don ,,pottery in its early days prior to #ahcd1 and sometimes the word ,,green appears above4 ,later in the ,barker rgime a demi-lion rampant holding in his paws a pennon with the words ,don ,pottery was used1 sometimes with the word ,,barker1 and sometimes with the initials ,s4 ,b4 ,s4 ,illustration3 ,,leeds ,,cream ,,ware ,,centre-,,pieces4 ,made to take into four parts4 7,height #d feet47 ,pierced baskets1 removable4 7,height #b feet #f inches47 7,in the collection of ,mr4 ,richard ,wilson47 ,the best period4--,but it is chiefly the best period1 that is1 ,hartley1 ,greens ,co41 from #agha to about #ahje1 which appeals to collectors of old ,leeds1 though a pattern book was issued as late as #ahad1 which still maintained the old traditions1 but when ,hartley died in #ahbj the factory practically went to pieces4 ,the two brothers ,green and ,william ,hartley nobly carried on the manufacture of cream ware4 ,at first they looked to ,wedgwood for inspiration1 but very shortly introduced a lightness of design in the exquisite and intricately pierced patterns in the borders1 and original touches in the feather edges in relief and twisted handles and the floral terminals4 ,the gadrooned or fluted edges of ,leeds plates were sometimes painted in blue4 ,the ware is extremely light in weight1 and varies in colour from a pale1 sometimes a very pale1 cream colour to a light buff4 ,we have seen how ,wedgwood invented punches at first for his pierced cream ware4 ,but he at a later stage had the perforations punched en bloc4 ,but in ,leeds ware each perforation is done separately by hand1 and the edges are sharp and clean-cut4 ,these are in the shape of diamonds1 squares1 ovals1 and hearts1 arranged in geometrical patterns4 ,the characteristic feature of ,leeds ware is the varied use of this pierced work in the rims of plates and dishes and trays and cups4 ,this work was carried into such unlikely portions of the ware such as bases of candlesticks or plinths of massive candelabra4 ,in conception no doubt it followed the work of the silversmith1 but as it developed it acquired the character of some of the finest ,oriental types of this class of ware1 and in particular the ,leeds potters achieved a ceramic triumph when they made1 in the delicately pierced work with small apertures1 something not dissimilar to the rice-grain form found on old ,chinese white ware which in the case of ,chinese wine-cups of white porcelain is filled with glaze4 ,this especially fine style is at the present day being carried out by the potters at the ,copenhagen porcelain factory4 ,when held up to the light this porcelain of ,china and of ,denmark is singularly beautiful1 and looks as though it is perforated--but is not4 ,if ,leeds at first copied ,wedgwood and the ,staffordshire cream-ware patterns the ,staffordshire potters were not slow to return the compliment when they saw that ,leeds had a note of originality1 consequently we find many salt-glaze pieces of identical shape to some of ,hartley1 ,greens ,co4's patterns4 ,it is improbable that salt-glaze ware was ever made at ,leeds1 though before salt-glaze was as well understood as it is now much of it was wrongly attributed to ,leeds4 ,we give an illustration 7p4 #cai7 of a salt-glaze plate which has the typical perforated edge of ,leeds cream ware1 and is decorated with a transfer-print of a fable subject1 illustrating ,hercules and the ,waggoner4 ,but ,leeds very early did its own printing1 and only the early examples were sent to ,liverpool to ,sadler and ,green4 ,at this time salt-glaze ware was in a bad way1 and every effort was being made to compete with cream ware its new rival1 and with porcelain which had struck the first blow at its supremacy as domestic ware4 ,when cream ware was decorated by transfer-printing salt-glaze followed the new fashion1 and leaving its lofty ideals of undecorated form it hastily assumed the enamel colouring of the ,english porcelain4 ,leeds ,cream ,ware4--,the various classes of ,leeds cream ware may be roughly divided into two classes3 7#a7 ,plain or undecorated1 in which 7especially by reason by the grace and lightness of structure imparted by the nicely balanced perforations7 artistic excellence is reached by form alone4 7#b7 ,decorated cream ware4 ,decorated with enamel colours1 green1 red1 lilac1 and yellow being usually found1 or transfer-printed in the early manner of ,liverpool--black1 puce1 or red1 or later by printing in blue4 ,in regard to the finer specimens of the cream ware dependent on form and exhibiting especial delicacy in the treatment of the pierced work1 the illustrations here given convey a pictorial representation of the great variety and fertility of the design4 ,the two magnificent centre-pieces represent ,leeds cream ware at its highest4 ,the favourite form of the centre-piece is that in which tiers of escallop shells are supported by dolphins or by ornamental brackets4 ,the left-hand centre-piece illustrated 7p4 #bia7 is in the form of the trunk of a tree1 supporting four tiers of leaf-shaped dishes4 ,the piece is surmounted by a classical draped figure4 ,it is noticeable that the brackets have every resemblance to metal design4 ,these large centre-pieces are made to take apart4 ,this example illustrated takes into four pieces1 which fit into each other with great accuracy1 showing great technical perfection in potting4 ,it is no less than #d feet in height1 and one of the largest pieces known4 ,its rich cream colour1 the perfection of the glaze1 and the graceful proportion in the structure1 and the modelled figure have won for this and similar creations of ,leeds the admiration of all connoisseurs4 ,illustration3 ,,chestnut ,,basket ,,and ,,candlesticks4 ,pierced ,,leeds cream ware4 7,in the collection of ,mr4 ,richard ,wilson47 ,illustration3 ,,leeds ,,cream ,,ware ,,candlesticks ,,and ,,kettle ,,and ,,stand4 ,with fine pierced work4 7,in the collection of ,mr4 ,richard ,wilson47 ,the other centre-piece illustrated is #cj inches in height1 and is constructed in the form of hanging baskets separate and removable4 ,these baskets1 which are of exquisite pierced work1 are in three tiers supported from the central column4 ,the top consists of a vase resting upon four winged figures4 ,the piece is surmounted by a classical draped figure of ,flora with a cornucopia4 ,such pieces as these hold the blue riband of ,leeds cream ware1 and collectors who wish to find specimens only approximating to them in grace and beauty have to search as far afield as ,russia and ,sweden before they can hope to gratify their desire4 ,another class typical of ,leeds cream ware in its highest moods is the large class consisting of handsome cruets1 baskets1 and a great variety of candlesticks4 ,the pierced work in these articles is of very fine character1 and the design is happily lightened by this style of decoration4 ,in regard to imitations of this cream ware1 as has already been mentioned1 they are heavier1 are thickly coated with white glaze1 whereas old ,leeds pieces are extremely dainty and light in weight1 and when the glaze is seen in the crevices where it may have run it is of a peculiar green1 due to the use of arsenic4 ,we illustrate two groups of ,leeds cream ware1 exhibiting the perfection of its pierced work4 ,the chestnut basket in the upper group is partly derived from ,wedgwood's model4 ,there is an indication in the use of the sphinx in the pair of candlesticks of one of ,wedgwood's models in basalt4 ,but the treatment here is more graceful1 and the character imparted by ,leeds to its cream ware is peculiarly its own4 ,leeds cream ware undecorated plates have a great variety of patterns in the pierced borders1 and are always attractive to collectors4 ,some of the ,leeds plates1 with blue painted feathered edge1 had either a crest or printed design in middle4 ,in regard to colour1 there are fine under-glaze blue plates in which there is as strong a leaning to ,oriental pagoda designs as at ,bow and ,worcester4 ,we illustrate a fine plate of this nature 7p4 #cjc71 similar in design to plates impressed ,,astbury of ,staffordshire4 ,under-glaze blue-printing 7black printing over-glaze was done1 but not to the same extent as in ,staffordshire7 was introduced about #agij4 ,the willow pattern1 among others1 was a favourite design1 and most of these printed blue plates are marked4 ,it may be of interest to the collector to know that there are marks on the old blue-printed ,leeds ware which tell their own story4 ,these marks were made by the cockspurs placed between each plate to keep them separate in the kiln4 ,there were three of these little tripods of earthenware placed between each plate4 ,they made1 as they had only one point at their apex1 only three spur marks on the front of the plates in the border1 and nine spurs at the back1 in groups of three4 ,illustration3 ,,leeds ,,cream ,,ware4 ,seascape1 and floral decoration in puce1 green1 red1 c4 ,painted by ,allen at ,lowestoft and refired there4 7,in the collection of ,mr4 ,merrington ,smith1 ,lowestoft47 ,in regard to subjects in colour it may be mentioned that a good many ,leeds jugs bear names and dates upon them1 from about #agfi to #aghf4 ,these enamel colours are green1 red1 lilac1 and buff1 and are not dissimilar to those employed at ,lowestoft4 ,we illustrate a fine ,leeds mug with the characteristic twisted handle 7p4 #cjc71 having ,oriental figure in colour and dated and inscribed4 ,the following curious and gruesome verses appear on it4 ,inside the mug is a modelled frog1 as found in ,sunderland examples4 ,in marriage are two happy things allowed ,a wife in wedding-sheets and in a shroud4 ,how can a marriage state be then accurs'd ,since the last days are happy as the first4 ,then follows ,i4 ,c4 ,u4 ,b4 ,,yy for me 7,i see you be too wise for me74 ,,samuel ,,cudworth1 #aggg4 99 99 99 99 99 ,leeds ,ware decorated at ,lowestoft4--,there is a connection between ,leeds and ,lowestoft4 ,it appears that some of the ,leeds ware was sent undecorated to ,allen1 of ,lowestoft1 who decorated it there and refired it1 disposing of it on his own account4 ,the fine ,leeds mug having the painted decoration1 over-glaze of course1 of a vessel1 and entitled ,homeward ,bound 7illustrated1 p4 #bii71 is typical of this work of ,allen at its best4 ,he appears to have procured ware from ,turner and other ,staffordshire potters for decoration and sale by himself4 ,we illustrate 7p4 #cjc71 a ,staffordshire jug painted by ,allen1 of ,lowestoft1 representing a local scene1 recognisable by the tower in the background4 ,he inscribed it ,a ,trifle from ,lowestoft4 ,this is enamel work over-glaze1 the key pattern at the rim is under-glaze and was done in ,staffordshire4 ,another ,leeds jug decorated by ,allen is that illustrated 7p4 #bii71 bearing the verses3-- ,from hence to the deep ,may division be tost ,and prudence recovre ,what folly have lost4 ,the have is a peculiarly ,suffolk idiom4 ,the floral scrolls are in the usual low tones of ,lowestoft colouring4 ,castleford 7#agij-ahbj74--,this factory1 some twelve miles from ,leeds1 was established about #agij1 contemporary with the establishment of the ,don ,pottery near ,doncaster4 ,this ,castleford factory1 under the proprietor1 ,david ,dunderdale1 commenced to make cream ware1 black basalt1 and the usual stoneware teapots with ornaments in relief4 ,the mark employed by this factory1 when it was used1 is ,d4 ,d4 ,,co41 ,,castleford4 ,this is impressed1 and is found on various imitative ware1 such as clouded tortoiseshell plates in the ,whieldon manner4 ,one of the characteristics of ,castleford teapots with raised figures is the use of a blue line at the edge and the tops of these vessels depart from the straight lines of ,turner and are scalloped1 as in the illustration 7p4 #cjg7 of a ,castleford black ware jug and cover1 having the impressed mark of the factory4 ,illustration3 ,,leeds ,,cream ,,ware ,,plate4 ,painted with ,oriental figures in under-glaze blue4 7,in the collection of ,miss ,feilden47 ,,leeds ,,cream ,,ware ,,mug4 ,with ,oriental figure and set of verses4 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,illustration3 ,,staffordshire ,,jug4 ,painted and inscribed by ,allen at ,lowestoft4 7,in the collection of ,mr4 ,merrington ,smith1 ,lowestoft47 ,rockingham4--,at ,swinton1 near ,rotherham1 as early as #aggh a factory was started by ,messrs4 ,thomas ,bingley ,co41 who began to manufacture cream ware4 ,the ,leeds factory1 apparently jealous of rivals1 as in the case of the ,don ,pottery1 soon had an active interest in this factory4 ,in #agij it became ,greens1 ,bingley ,co41 and the ware then made was blue printed and the highly glazed black pottery associated with ,jackfield1 of which we shall speak later4 ,at this time a brown glazed earthenware became widely known and appreciated4 ,it was cream ware which had received a heavy lead glaze richly and warmly coloured in brown4 ,from #agif to #ahjf this glaze became extensively used1 not only by ,swinton or1 as it afterwards came to be known1 as ,rockingham1 taking the name from the ,marquis of ,rockingham1 upon whose estate the works were situated4 ,this ,rockingham ware1 of smooth surface and fine reddish brown colour1 was very popular1 and a teapot was made1 known as the ,cadogan1 which was an imitation of the ,chinese puzzle teapot4 ,it was made without a lid and was filled by turning it upside down4 ,an opening1 very much in the manner of the safety glass inkpot1 admitted the tea1 and on reversing the vessel it could be poured out4 ,some of these teapots are marked ,rockingham1 or ,brameld1 or ,brameld ,co41 and sometimes ,mortlock1 a ,london dealer for whom they were made4 ,in #ahjf the ,leeds interest passed out of the firm1 and the factory remained in the hands of ,john and ,william ,brameld4 ,in #ahbf it assumed the name of the ,rockingham ,works1 and used the crest of the ,fitzwilliam family4 ,china was made there from #ahbj1 and the factory obtained considerable reputation and was still in the hands of the ,brameld family till the close of the works in #ahdb4 ,a gorgeous ,rockingham china dessert service made for ,william ,,iv4 costing #e1jjj4 ,we illustrate a ,cadogan teapot1 with its rich brown glaze1 and moulded in the form of a peach1 with smaller peaches applied at the top4 ,it is a remarkably un-,english design1 and it is singular that it became so fashionable4 ,jackfield4--,we mention ,jackfield here1 as it has become among collectors quite a generic term for all highly glazed black ware1 especially little teapots and cream jugs4 ,it is certain that ,elijah ,mayer and other ,staffordshire potters largely made this ware1 and ,bingley ,co4 7,swinton7 among a crowd of others4 ,jackfield is in ,shropshire4 ,its history as a pot works is as old as any in the country1 but it is chiefly in the period between #agfj and #agfe1 when ,maurice ,thursfield carried on the little factory1 that it became renowned for its black ware4 ,it is quite unlike black basalt4 ,it is red clay1 covered with a bright and highly lustrous black glaze4 ,this is ornamented with oil gilding1 which in use has almost disappeared4 ,some of the ware is decorated with raised ornaments of vine leaves4 ,the lids of teapots often have a bird1 with outstretched wings4 ,the designs were not original1 and are found in salt-glaze and in ,whieldon ware1 and some of this so-called ,jackfield ware may be attributed to him4 ,newcastle and ,sunderland4--,on the ,tyne1 the ,wear1 and the ,tees there were a group of potters working at ,gateshead1 at ,hylton1 at ,stockton-on-,tees1 but mainly at ,newcastle and ,sunderland4 ,there is nothing exceptionally artistic in any of these productions4 ,some of these transfer-printed mugs were made by ,dixon ,co41 of ,sunderland1 to commemorate the building of the ,iron ,bridge over the ,wear1 which was begun in #agic and completed in #agif4 ,illustration3 ,,rockingham ,,teapot4 ,known as the ,cadogan pattern4 ,in form of peach4 ,having no lid and being filled from bottom4 ,copied from ,chinese rice-spirit pot4 7,at ,victoria and ,albert ,museum47 ,illustration3 ,,black ,,basalt ,,jug4 ,castleford ,pottery4 ,impressed mark ,d ,d ,co4 7,height #f inches47 7,in the collection of ,mr4 ,f4 ,w4 ,phillips1 ,hitchin47 ,among the names found on this ware are impressed3 ,,sewell1 or ,,sewells ,,donkin1 or ,,sewells ,,co41 sometimes with the addition of ,,st4 ,,anthony',s4 ,these were made at ,st4 ,anthony's1 near ,newcastle1 in date about #aghj to #agij4 ,,fell1 or ,,fell ,,newcastle1 made at ,st4 ,peter's1 ,newcastle1 about #ahae4 ,,scott1 or ,,scott ,,bros41 made ware at ,southwick1 ,sunderland1 #aghi-ahjc1 when they were succeeded by ,,moore ,,co4 ,j4 ,,phillips1 ,,hylton ,,pottery1 appears on some ,sunderland pieces4 ,this firm was established as early as #agfe4 ,,ford is another name in connection with the ,south ,hylton works about #ahjj4 ,,dixon1 ,,austin ,,co41 sometimes with the addition of ,,sunderland1 is found at the beginning of the nineteenth century4 ,w4 ,s4 ,,co41 with the word ,,wedgewood 7having an additional e7 was the mark used by ,william ,smith ,co41 of ,stockton-on-,tees1 or even ,,wedgwood ,,co4 ,against this firm ,messrs4 ,josiah ,wedgwood ,sons1 of ,etruria1 obtained in #ahdh an injunction to restrain the use of their name4 ,another equally confusing mark to collectors is that of a firm near ,pontefract1 who marked their ware ,wedgwood ,co4 sometimes with the word name of the factory1 ,ferrybridge1 and sometimes ,tomlinson ,co4 ,their ware is mainly cream ware of an ordinary type4 ,in regard to the productions of ,newcastle and ,sunderland these are best known by the familiar mugs and jugs having a nautical flavour1 with ships in black transfer decoration1 and never without verses appropriate to the clientle of sailors1 for whom they were made4 ,these mugs and jugs are frequently decorated with pink lustre at the rims and in bands around the body4 ,a feature which associates these northern factories with ,leeds is the frequent use of a modelled frog crawling up the inside of the vessel1 which was intended as a practical joke on the person who was lifting the jug to his lips4 ,these frog mugs were previously made at ,leeds1 and the one illustrated 7p4 #cjc7 has a frog so affixed in the inside4 ,the ware1 as a whole1 is rather crude in its potting and slightly inferior to similar ,staffordshire ware1 but all these northern factories are now closed1 and the quaint doggerel1 the queer nautical allusions1 and the strain of patriotism found on much of this humble earthenware always appeal strongly to the collector4 ,,marks ,,used ,,at ,,leeds1 ,,castleford1 ,,rockingham1 ,,newcastle1 ,,and ,,sunderland4 ,illustration3 ,,hartley ,,greens ,,co ,,leeds 99 ,,pottery ,leeds4 ,from #aghc1 ,hartley1 ,greens ,co4 ,illustration3 ,,leeds ,,pottery ,,leeds ,,pottery #ahbe-ahcb1 ,samuel ,wainwright ,co4 #ahcb-ahdj1 ,leeds ,pottery ,co4 ,illustration3 ,,leeds 99 ,,pottery #ahdj-ahdg1 ,stephen and ,james ,chapel4 #ahej-ahfc1 ,warburton1 ,britton ,co4 ,illustration ,r ,b ,s ,printed #ahfc-ahgh1 ,richard ,britton ,sons4 ,after which the works closed4 ,illustration3 ,l ,impressed ,illustration3 ,,don ,,pottery ,don ,pottery 7at ,swinton near ,leeds74 ,illustration3 ,,don ,,pottery ,,barker #agij-ahcd1 at one time in hands of ,john ,green1 of ,leeds ,pottery4 ,illustration3 ,s ,b ,s #ahcd-ahej1 ,samuel ,barker1 and #ahea-ahhb1 ,samuel ,barker ,sons4 ,illustration3 ,,don ,,pottery ,late ,marks used by the ,barkers during above period3-- ,in addition to the lion with pennon the word ,,barker was added later1 when the mark was printed4 ,illustration ,another printed mark was an eagle and ducal coronet1 used when the firm became ,samuel ,barker ,sons in #ahea4 ,but was shortly discontinued1 and the lion-printed mark again used4 ,illustration3 ,d ,d ,co ,,castleford ,castleford 7near ,leeds71 #agij-ahbj4 ,david ,dunderdale ,co41 and the impressed mark in margin is found on some of the productions of the ,castleford ,pottery4 ,rockingham4 ,illustration3 ,,rockingham ,,brameld ,the name of the factory at ,swinton1 established #ageg4 ,came into the hands of the ,bramelds in #ahjg4 ,ceased1 #ahdb4 ,illustration ,the ,cadogan lower glazed teapots sometimes bear the impressed mark ,mortlock1 the ,london agent for whom some of them were made4 ,illustration3 ,rockingham ,works4 ,brameld4 ,the crest of the ,fitzwilliam family was printed as a mark after #ahbf1 and is also found printed on porcelain made at the ,rockingham factory4 ,newcastle-on-,tyne4 ,illustration3 ,,fell ,,newcastle #ae ,fell of ,newcastle 7about #ahae71 impressed cream ware mugs and jugs with this mark4 ,various figures appear underneath1 denoting the particular pattern4 ,illustration3 ,,fell ,sunderland4 ,illustration3 ,,sewell4 ,,st ,,anthony',s ,messrs4 ,sewell1 established about #aghj1 after ,sewell ,donkin1 used these marks4 ,illustration3 ,,sewell ,,donkin ,other ,sunderland makers--,,dixon1 ,,austin ,,co41 ,,dixon ,,co41 ,,scott ,,brothers ,,co4 7established #aghh71 ,,phillips ,,co4 7established about #ahjj71 ,j4 ,,phillips1 ,,hylton 7established1 #aghj71 ,,dawson 7about #ahaj7--;impressed their names on ware4 ,,prices4 ,,leeds4 s4 d4 ,coffee ,pot and ,cover1 with mask under spout1 twisted handles1 decorated in colours4 ,sotheby1 ,june1 #aijf #b #b #j ,basket dish1 with stand and covers with embossed and open work4 ,sotheby1 ,june1 #aijf #b #b #j ,jug1 painted with flowers1 inscribed ,john ,barnes1 ,chadlington1 #agfi4 ,sotheby1 ,july1 #aijg #b #aj #j ,teapot and cover1 painted with portraits of ,george ,,iii4 and ,queen ,charlotte4 ,sotheby1 ,november1 #aijh #b #h #j ,teapot and cover1 printed in red1 with lady and gentleman taking tea1 with negro servant at side2 on reverse1 a shepherd and sheep4 ,sotheby1 ,november1 #aijh #a #aj #j ,jug1 printed with transfer medallions of ladies seated in a garden1 blue and black bands at rim4 ,sotheby1 ,november1 #aijh #a #ad #j ,,castleford4 ,loving cup with handles1 painted with fruit and roses1 made for ,david ,dunderdale4 ,escritt ,barrett1 ,april1 #aijg #c #ae #j ,,jackfield4 ,figure of ,diana 7height #aj in474 ,escritt ,barrett1 ,april #aijg #c #e #j ,jugs1 brown glazed1 two4 ,sotheby1 ,november1 #aijg #a #a #j ,,rockingham4 ,small ,cadogan ,teapot1 marked ,brameld1 richly gilt upon brown1 and another without gilding4 ,sotheby1 ,june1 #aijf #a #ad #j ,milk jug modelled as cow1 brown glaze2 ,figure of ,horse2 ,jug1 brown glaze1 with twisted handles1 marked ,rockingham4 ,sotheby1 ,june1 #aijf #b #e #j ,cadogan ,teapot1 rich brown glazed2 impressed mark4 ,sotheby1 ,may1 #aijh #a #b #j ,,sunderland4 ,sugar ,basin and ,cover and six cups and saucers1 painted with figure subjects on yellow ground1 marked ,,sewell4 ,sotheby4 ,november1 #aije #a #ac #j ,,newcastle4 ,frog mugs and jugs vary in price from #ajs4 to #b1 according to the style of decoration4 ,x ,,transfer-,,printed ,,ware ,,chapter ,x ,,transfer-,,printed ,,ware ,its origin--,liverpool--,its adoption in ,staffordshire--,what is ,transfer-printing8--,over-glaze printing--,under-glaze printing--,the ,staffordshire ,transfer-printers--,other ,transfer-printers--,leeds1 ,swansea1 ,sunderland1 and ,newcastle--,the ,mission of black ,transfer-printed ,ware--,types of ,blue-printed ,ware--,the ,willow ,pattern--,table of ,marks--,prices4 ,before the year #agef1 all ware1 whether it be porcelain or delft or earthenware1 was painted1 or1 to follow the term used in popular phraseology1 it was hand painted4 ,it is an essentially ,english art1 and something which stands with salt-glaze and with ,wedgwood's jasper ware as being famous throughout ,europe4 ,the subject of transfer-printing is surrounded with a certain amount of conjecture in regard to its invention4 ,quite a dozen persons were credited with having originated it4 ,mr4 ,william ,turner1 in his volume1 ,transfer ,printing on ,enamels1 ,porcelain1 and ,pottery1 published by ,messrs4 ,chapman and ,hall1 in #aijg1 has thoroughly investigated the various claims set up for the discovery of transfer-printing and1 with no little research extending over a wide area1 has for the first time settled the relative position of the various claimants and factories for which this honour is claimed4 ,it is impossible1 covering the same ground as ,mr4 ,william ,turner1 to say anything new on transfer-printing1 and we must express our indebtedness to him in making use of his original investigations and embodying them in this chapter on transfer-printed ware4 ,in regard to over-glaze printing1 including copper enamels such as ,battersea1 porcelain such as ,worcester1 and earthenware such as ,liverpool delft--it was at ,battersea where enamels were first printed in #agec2 ,liverpool1 with ,sadler and ,green's invention1 comes second with printed delft tiles in #agef4 ,a year after1 in #ageg1 we have ,worcester with transfer-printed porcelain4 ,this ,worcester printed ware is well known from the early transfer-printed design known as ,hancock's ,tea party and the ,king of ,prussia jugs and mugs4 ,after ,worcester all the other porcelain factories followed with transfer-printed ware4 ,there was ,derby in #agfd1 and ,caughley in the same year4 ,it will be seen that1 so far as ,liverpool is concerned as representative of the earthenware factories 7cream ware being printed here to the order of the ,staffordshire potters71 earthenware over-glaze printing is slightly ahead of the porcelain factories4 ,but in under-glaze printing porcelain stands easily first4 ,worcester commenced under-glaze printing in the same year 7#ageg7 that over-glaze was employed there1 and ,derby is the second in the field in under-glaze printing in #agfd4 ,illustration3 ,,salt-,,glazed ,,plate4 ,transfer-printed in red4 ,fable subject--,hercules and the ,waggoner4 ,illustration3 ,,liverpool ,,transfer-,,printed ,,jug4 ,medallion representing ,diana in her ,chariot4 7,height #i-a_/d inches47 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,it has already been shown that ,liverpool did the printing on the ,staffordshire cream ware for the potters who sent it there to be printed1 and the same method was followed by ,leeds4 ,but there came a time when it was no longer necessary to ask ,liverpool to employ a secret process for the decoration of ,staffordshire or ,leeds work4 ,the secret known at ,worcester1 and ,derby and ,battersea1 was not many years a secret4 ,the ,staffordshire potters undertook to do their own printing1 and every pottery soon learned the new process of transfer-printing1 and it was not long before improvements were made and newer forms of printing adopted4 ,its adoption in ,staffordshire4--,allusion has been made to the awkward form of the square tile decoration of fable subjects at ,liverpool as applied to circular plates4 ,but ,staffordshire in its adoption of the new process made the transfer fit the object to be decorated4 ,in the illustration of the salt-glaze ,staffordshire plate with the black transfer-printed design of ,hercules and the ,waggoner from sop's ,fables 7p4 #cai71 the engraver has departed from the four corners of his circumscribed tile1 and we may put this piece down as of ,staffordshire printing4 ,it is often largely a matter of conjecture as to what was printed at ,liverpool and what was printed elsewhere 7with the exception of ,worcester1 where the engraving and printing were more delicate74 ,the ,staffordshire jug showing a full-length portrait of ,his ,royal ,highness ,frederick1 ,duke of ,york1 having on the reverse the ,dragoon in the uniform of the period1 tells its own story as regards date4 ,frederick was the second son of ,george ,,iii4 and was born in #agfc and died in #ahbg4 ,as this portrait represents him as being advanced into manhood and as at that date--say about #aghf--the ,liverpool printers had been at work twenty years1 the transfer-printing may very reasonably be attributed to ,staffordshire4 ,but it is not always easy to fix the date of the printing1 and determine whether by that time ,staffordshire had embarked on its own transfer-printing in black2 of course1 blue transfer-printing is later4 ,the difficulty usually arises in connection with black transfer-printed ware4 ,liverpool was still engaged in printing for ,staffordshire potters as well as printing cream ware of its own potting1 and ,leeds was producing similar transfer-printed over-glaze ware1 so that in unmarked pieces there must always be an uncertainty in coming to a definite conclusion4 ,in all probability the jug 7illustrated p4 #cbc7 and bearing the inscription ,success to ,trade and having a typical eighteenth century rural subject on the reverse entitled ,the ,faithless ,lover1 was actually printed by ,sadler and ,green at ,liverpool4 ,another finely decorated printed jug is that illustrated 7p4 #cah71 the subject representing ,diana on crescent moon driving a pair of goats in her chariot4 ,the date of this piece is about #aghj to #ahjj1 and is strongly suggestive of ,wedgwood cream ware4 ,it will be observed that the design is identical with that in the ,turner jasper vase 7illustrated p4 #bfa74 ,illustration3 ,,jug1 ,,transfer-,,printed ,,in ,,black4 ,emblems and inscribed ,success to ,trade4 ,subject on reverse--,the ,faithless ,lover4 7,height #g inches47 ,illustration3 ,,jug1 ,,transfer-,,printed ,,in ,,black4 ,portrait of ,duke of ,york1 and mounted dragoon on reverse4 7,height #g inches47 7,in the possession of ,mr4 ,hubert ,gould47 ,what is ,transfer-printing8--,a piece of pottery may be plain or undecorated1 it may be painted1 or it may be printed4 ,the process of printing consists of affixing an engraved print from a copper plate and transferring an impression to the pottery to be decorated4 ,it is this latter process which claims our attention in this chapter4 ,when transfer-printing was first used1 subjects such as portraits 7,king of ,prussia71 costume subjects 7series of actors and actresses on ,liverpool delft tiles71 fancy or pastoral scenes 7such as sop's ,fables1 c471 were produced in black1 puce1 or reddish brown4 ,these were at first culled from contemporary volumes with engraved copper-plate prints as illustrations4 ,we find ,wedgwood in quite early days searching ,london for suitable prints of views and similar small subjects for decorative purposes4 ,probably at first the copper plates which had been used in books were bought up by the potters1 and did service again for their ware4 ,later they employed engravers1 who no doubt copied or adapted other people's engraved work to suit their purpose1 and as the art advanced it gained in originality1 and a band of engravers worked for the potters in designing subjects strictly applicable to the limitations in the technique of earthenware4 ,this process of transfer-printing is roughly as follows4 ,the copper-plate is inked1 and a sheet of tough tissue paper1 wetted with a mixture of soap1 is applied to its surface and printed in a press4 ,the paper is taken off1 showing an impression or print1 which is carefully laid on the surface of the piece of earthenware to be decorated4 ,the inked design on the paper transfers itself to the earthenware4 ,over-glaze ,printing4--,the difference between over-glaze and under-glaze decoration always seems to puzzle the beginner1 but the explanation is simple enough4 ,a piece of pottery is produced by the following steps4 ,the clay is thrown1 that is1 it is spun into shape on the potter's wheel1 or it may be made in a mould4 ,when in this soft state1 say in the form of a basin1 it could be crushed by the hand into the shapeless mass of clay whence it sprung4 ,it is next put aside to dry sufficiently to allow handling4 ,it may receive some of its decoration at this stage as it is possible to paint on the more or less damp clay1 but as a general rule that is left till the next stage4 ,it is now placed in the biscuit oven and receives the most intense heat1 and is here stacked in fireproof saggers or boxes to protect it from the flames1 and it is fired for about three days before being taken out in the state known as biscuit4 ,wedgwood's jasper ware1 black basalt1 and all unglazed stoneware stop at this biscuit or unglazed stage4 ,it is next dipped in liquid glaze and goes again to be fired1 this time into the glost or glaze oven1 which is lower in temperature4 ,after coming from this second oven it is no longer biscuit in appearance1 but is covered with a skin or coating of glass or glaze1 which has amalgamated with the body underneath4 ,it is now ready for painting with enamel colours or for transfer-printing1 which obviously is over-glaze decoration4 ,lastly1 after this decoration has been made1 it goes to be fired for a third time1 and is put into the enamel or muffle kiln1 which is the lowest temperature of the three4 ,in effect1 then1 the over-glaze decoration is on top of everything1 and obviously1 when the piece is scratched in use1 this decoration wears away first4 ,this at once gives the reason for another process1 known as under-glaze decoration1 where the work receives the protection of the glaze4 ,as a postscript to this description of the three firings1 it may be noted in passing that1 in true porcelain1 such as ,chinese1 ,dresden1 and ,bristol 7all hard pastes71 the body and glaze are fired at one operation1 the glaze receiving as high a temperature as the body4 ,illustration3 ,,chinese ,,blue ,,and ,,white ,,porcelain ,,plates4 ,painted in dark blue under-glaze4 ,painted in light blue under-glaze4 ,the types from which ,english potters made their copies4 7,in the collection of the ,author47 ,illustration3 ,,chinese ,,blue ,,and ,,white ,,porcelain ,,plates4 ,painted in rich blue under-glaze4 ,the ,willow pattern and the ,aster pattern4 ,the types from which ,english potters made their copies4 7,in the collection of the ,author47 ,under-glaze ,printing4--,this is printing which is transferred to the ware1 either porcelain or earthenware1 when in its biscuit state prior to being dipped in glaze4 ,blue was the most frequent colour used in under-glaze transfer-printing1 as of course it was the earliest colour used in the painted under-glaze decorations at ,worcester and ,caughley4 ,there are other colours1 obtained from metallic compounds1 used both on porcelain and earthenware under the glaze1 and owing to the temperature required for firing in this manner the range is limited1 being usually confined to cobalt blue1 green1 brown1 lilac1 black1 and a few others4 ,but blue is the chief under-glaze colour to be considered in connection with under-glaze transfer-printing4 ,there was a great demand for deep blue and for a lighter blue1 both of which came to the ,staffordshire earthenware printers and potters from ,english porcelain factories such as ,caughley1 where ,thomas ,turner1 an apprentice at ,worcester under ,robert ,hancock1 made in #aghj his famous under-glaze blue ,willow-pattern2 or the idea may have been derived straight from the ,chinese blue porcelain under-glaze of ,nankin1 so much in vogue in middle eighteenth-century days4 ,staffordshire ,transfer-printers4--,it has been shown how the ,staffordshire potters at first turned to ,liverpool1 and readily sought the aid of ,sadler and ,green in the decoration of their salt-glaze and their cream ware1 in order to compete with the porcelain factories with ,worcester and ,caughley at their head4 ,but trade secrets found their way into ,staffordshire4 ,the over-glaze printing as practised by ,sadler and ,green was soon mastered1 and later the under-glaze blue printing was imported by workmen from ,caughley4 ,among the ,staffordshire potters the following are the principal pioneers in regard to transfer-printing in its various developments4 ,william ,adams1 of ,cobridge1 in #agge first introduced transfer-printing into ,staffordshire4 ,john ,turner1 of ,lane ,end 7not to be confounded with ,thomas ,turner1 of ,caughley7 was the first to print under-glaze blue in ,staffordshire4 ,josiah ,spode1 about #aghd1 introduced his under-glaze blue willow pattern1 a copy of the ,caughley pattern4 ,william ,adams1 of ,greengates1 in #aghg brought out his under-glaze blue1 which in richness and mellowness has never been surpassed2 and ,josiah ,wedgwood1 although he never deserted ,liverpool for some of his patterns1 had a press at work at ,etruria1 in #aghg2 and ,thomas ,minton1 now a master potter at ,stoke1 formerly an apprentice at ,caughley with ,thomas ,turner1 designed the celebrated ,broseley ,dragon pattern tea service for porcelain in #aghb 7following the willow pattern1 #aghj71 and produced in the late years of the eighteenth century1 about #agic1 some fine blue-printed ware at ,stoke4 ,these may be termed the earlier exponents of transfer-printing in ,staffordshire1 but there were others whose blue-printed ware was of great merit in ,staffordshire1 and ,leeds and ,swansea1 held no insignificant place4 ,illustration3 ,,spode ,,earthenware4 ,transfer-printed under-glaze blue4 ,bridge pattern ,plate and ,willow pattern ,jug4 ,illustration3 ,,cream ,,ware ,,dish ,,with ,,impressed ,,mark ,,turner4 ,with pierced border and band of embossed wickerwork4 ,centre printed in blue with ,willow pattern4 7,at ,victoria and ,albert ,museum47 ,other ,transfer ,printers4--,staffordshire did not long have the monopoly of under-glaze blue-printed ware4 ,leeds and ,swansea both produced similar work1 and in both cases there is a strong attachment to ,oriental design4 ,black transfer-printing was also executed at both these factories1 and at ,swansea some exceptionally fine engraved work was turned out 7see illustration of ,swansea plate1 p4 #cig74 ,at ,sunderland and ,newcastle the black transfer-printed mugs and jugs with the ,wear ,bridge and with nautical subjects became quite the vogue1 and in these two factories the jugs and mugs often had a frog modelled in the interior1 and pink lustre decoration was used in combination with the transfer design usually at the borders or at the rims4 ,the ,mission of ,black-printed ,ware4--,in the designs and inscriptions of the black transfer-printed ware the ,staffordshire potter used his jugs and his mugs as a medium to record events and to ventilate grievances1 not in imperishable verse1 but in the fickle body of the clay4 ,this class of ware from #agfj to #ahfj stands for a century as typically ,english in character4 ,it reflects the political1 social1 and religious events1 and in matter-of-fact1 humorous1 or satirical fashion4 ,the black transfer-printed or earlier period1 7though some of this class come down as late as the railway mugs of #ahcj71 may be said to depict events and chronicle popular sentiment in black and white4 ,the blue transfer-printer strove to be decorative1 and mainly represented scenery and topography1 and much of it was bound down to formal designs of ,oriental nature4 ,at first fable subjects1 as on ,wedgwood's cream ware1 were employed1 and it has been seen how the square tile form was discarded by the engraver who made his engraving fit the object to be decorated4 ,this perfect mastery of the technique of transfer-printing is shown very clearly in the old blue ,spode service of the ,tower pattern 7illustrated1 p4 #cce74 ,it will be seen how1 as the shape of each vessel differed1 the engraver has altered his bridge to fit the new circumstances4 ,at one time1 on a broad1 flat dish1 it appears as a wide bridge1 and in the circular plate the trees appear at greater height and the viaduct assumes a more circular form4 ,in the jug of the same design the bridge is narrow1 as though spanning a deep ravine4 ,to enumerate the classes of ware with black transfer-printing is to make a catalogue of the principal events which stirred the heart of the people4 ,it must be borne in mind that this school was working side by side with the makers of fine stoneware and of jasper ware with classic subjects1 but it is1 after all1 to the black-printed ware that one turns most lovingly as being more human4 ,it will suffice1 perhaps1 if we quote a few examples and stir the enthusiasm of the reader to pursue the collection of these really historic records which have something more endearing in them than the relics of ,napoleon or the shoestrings of some of the ,stuart monarchs4 ,there is a fine flavour of patriotism1 of conviviality1 and of homely sentiment in some of the following3-- ,on a bowl1 salt-glazed ware1 with ,admiral ,vernon and his fleet is inscribed ,the ,british ,glory revived by ,admiral ,vernon4 ,he took ,porto ,bello with ,six ,ships only4 ,nov4 ye #bb #agci4 ,a cream-ware jug printed1 with medallion portrait of ,earl ,howe1 is inscribed ,,long ,,live ,,earl ,,howe1 ,commander-in-,chief of the ,victorious ,,british ,,fleet4 ,in the ever memorable engagement on the ,glorious ,first of ,june1 #agid4 ,on a cream-ware jug about #ahjj with a view of ,greenwich ,hospital1 and entitled ,the ,sailor's ,adieu1 the following lines are inscribed3 ,what should tear me from the arms of my ,dearest ,polly but the undeniable calls of my country in whose cause ,i have engag'd my ,honour and my ,life4 ,this in date is the last year of the eighteenth century4 ,illustration3 ,,old ,,spode ,,blue ,,printed ,,ware4 ,tower pattern4 7,in the collection of ,mrs4 ,herman ,liebstein47 ,the ,sailor's ,farewell and ,return are rather frequent1 and ,charles ,dibdin's verses appear on some of these jugs and mugs4 ,there is one interesting jug in the form of a sailor seated on a chest1 coloured earthenware about #aggj1 with a breezy inscription1 ,hullo1 ,brother ,briton1 whoever ,thou be1 ,sit down on that chest of ,hard ,dollars by me1 and drink a health to all sailors bold4 ,another cream-ware jug1 partly printed and touched by colour representing a man-of-war towing a frigate1 has the inscription3 ,a sailor's life's a pleasant life2 ,he freely roams from shore to shore1 ,in every port he finds a wife1 ,what can a sailor wish for more8 ,a red earthenware mug with white slip may be mentioned here as having a characteristic motto3 ,from rocks and sands and barren lands ,good ,fortune sets me free2 ,and from great ,guns and ,women's tongues1 ,good ,lord1 deliver me4 ,a ,staffordshire blue-printed jug1 made in #agic1 shows the execution of ,louis ,,xvi4 ,at the beginning of the nineteenth century there was quite a burst of ,napoleonic jugs and mugs and busts1 and some of ,gillray's caricatures find themselves on earthenware4 ,there is one lustre earthenware jug printed and coloured with caricatures entitled ,jack ,frost attacking ',bony' in ,russia and ,little ',bony' sneaking into ,paris with a white feather in his tail4 ,this is in date about #ahac4 ,a cover of an earthenware jar has the inscription printed in violet within a wreath1 ,peace6 ,may its duration equal the years of ,war4 ,the relations between ,england and ,america received attention at the ,staffordshire potters' hands4 ,there are cream-ware mugs and jugs and plates with portraits of ,washington in date from #aghe to #agij4 ,on one the inscription runs1 ,success to the ,united ,states1 ,america4 ,prize-fighting1 bear-baiting1 cock-fighting1 racing1 coaching1 all received their records on the earthenware of the late eighteenth century4 ,stag hunting1 fox hunting1 coursing1 come as ready subjects to the transfer-printer4 ,cricket is recorded in earthenware on a printed mug representing the ,grand ,cricket ,match played in ,lord's ,ground1 ,mary-le-bone1 ,june #bj and following day between the ,earls of ,winchester and ,darnley for #a1jjj guineas4 ,the date of this is #agij4 ,even the velocipede and the balloon are not disregarded4 ,this list is but a rough outline of the mission of the transfer-printer in recording current events on his earthenware1 for the pleasure of his own contemporaries and for the information and delectation of succeeding generations of collectors who may be something other than connoisseurs of pastes and bodies1 and have learned to read aright the story of the china-shelf and enjoy to the full the secret pleasures in the byeways of collecting4 ,types of ,blue-printed ,ware4--,the black over-glaze transfer-printing came into ,staffordshire in imitation of the transfer-printed delft tiles of ,liverpool4 ,but it rapidly acquired a strength and originality of its own4 ,it lacked the delicacy of the transfer-printed black porcelain of ,worcester1 but its virility more than made up for its artistic defects4 ,under-glaze blue-printed ware was an imitation from the porcelain printed at ,caughley4 ,here again it may be said to have outstripped by new departures and broader effects the under-glaze blue-printing of the early china factories4 ,in common with them its inspiration was from the ,chinese4 ,we illustrate 7p4 #cbg7 four examples of ,chinese porcelain plates1 which are types of the ,oriental china designs which served as models both for the ,english porcelain makers and for the earthenware of ,staffordshire4 ,the lower left-hand plate is evidently the ,chinese design from which the ,english potters derived the well-known and favourite willow pattern4 ,after ,thomas ,turner1 of ,caughley1 had printed it on china in #aghj1 and ,josiah ,spode in #aghd had employed it on his earthenware in ,staffordshire1 all the other potters commenced to make the same design with slightly different details1 mainly in the fret border4 ,the other plate on the right hand is the well-known aster pattern1 so frequently adopted by ,english potters in blue-printed cream ware4 ,the two upper octagonal plates show the two styles of dark blue and light blue under-glaze painting employed by the ,chinese2 and the ,staffordshire potter1 true to his models1 followed in his under-glaze blue-printing these tones4 ,the period when the rich deep dark-blue-printed ware was in vogue is from the early nineteenth century to about #ahbe4 ,light blue printing was employed from #agij till the deep blue supplanted it1 and when the craze for deep blue had spent itself the light blue again became fashionable until printing in colour in the middle period of the nineteenth century came to be largely practised4 ,in the treatment of the border in the ,oriental example we illustrate1 it will be noticed how ,josiah ,spode and others1 including the fine school at ,leeds1 who were printing in under-glaze blue in #agij1 and the potters at ,swansea1 followed this decorative treatment4 ,spode in particular had a great fondness for ,chinese subjects4 ,we illustrate 7p4 #cde7 a blue-printed dish by him1 where1 as was his wont1 he introduced1 quite incongruously1 a ,gothic castle4 ,the fine1 rich colouring of this dish is most noticeable4 ,in the ,spode earthenware ,jug and ,plate illustrated 7p4 #cca71 it will be seen that the plate1 known as the ,bridge pattern1 closely follows the design of the ,chinese porcelain plate 7p4 #cbg71 and the jug is decorated with the familiar ,willow pattern4 ,another variation of the ,willow design is found on the ,turner ,cream-ware ,dish1 illustrated1 having a band of embossed wickerwork and a pierced border4 ,this piece has the impressed mark ,,turner4 ,a similar ,oriental influence is seen in the dark blue transfer-printed dish by ,william ,adams1 of ,greengates 7see illustration1 p4 #cda74 ,the inclination here is towards figure subjects1 and the decorative use of the exotic bird1 as shown in the centre panel of this dish1 finds a place on some of ,mason's early blue-printed dishes4 ,of the colour of the dishes of ,william ,adams1 of ,greengates1 it may be remarked that for richness of tone in the under-glaze blue he introduced in #aghg they have never been surpassed4 ,what is the ,willow pattern8--,the name willow-pattern has been so frequently mentioned in connection with the subject of old ,english earthenware and china that it will be of service to state something of the details of the history of this particular pattern1 which seems to have unaccountably seized hold of popular imagination4 ,illustration3 ,,dish1 ,,transfer-,,printed ,,in ,,deep ,,blue1 ,,by ,,rogers4 ,subject--the ,naval ,fight between the ,chesapeake and ,shannon4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,dish1 ,,transfer-,,printed ,,in ,,blue4 ,mark impressed ,,adams 7of ,greengates74 7,in the collection of ,mr4 ,russell ,allan47 ,by the courtesy of ,mr4 ,percy ,w4 ,l4 ,adams4 ,from ,william ,adams4 ,an ,old ,english ,potter4 ,the ,caughley pattern1 which some authorities believe was engraved by ,minton when he was an apprentice there1 was closely followed by ,spode1 ,adams1 ,wedgwood1 ,davenport1 ,clews1 ,leeds1 the ,don ,pottery1 and ,swansea4 ,the differences are slight mainly in the treatment of the fretted border1 either a lattice-work or conventional butterfly being used1 and details of the fence in the foreground differing4 ,the term ,willow is applied in a general way to many of the copies of the blue-and-white ,oriental porcelain imported from ,china during the last half the eighteenth century4 ,but the willow pattern1 to which a story is attached1 is of the same design as the ,chinese plate illustrated 7p4 #cbg71 which ,caughley copied4 ,this popular adaptation appears as a decoration on the covers of this volume4 ,whether the story was invented by some ingenious person to fit the plate we do not know2 but there is strong probability that this is so4 ,on ,chinese plates the dramatis person are missing4 ,the willow has ever been a sad tree1 whereof such as have lost their love make their mourning garlands4 ,i offered him my company to a willow-tree 444 to make him a garland1 as being forsaken1 says ,benedick in ,much ,ado about ,nothing4 ,this is the love-story that is told concerning the willow plate4 ,chang1 the secretary of a mandarin whose house is on the right of the plate1 dared to love his master's daughter1 ,li-chi4 ,but the mandarin had other designs1 and his daughter was promised to an old but wealthy suitor4 ,in order to prevent the lovers from meeting1 the mandarin imprisoned his daughter in a room in his house overlooking the water4 ,a correspondence ensued1 so the story goes1 between the lovers1 and the lady sent a poetical message1 in a cocoa-nut shell1 floating down the river1 that she expected ,chang when the willow-leaf commenced to fall4 ,by the connivance of a gardener1 who apparently lived in the small cottage on the left1 overshadowed by a fir-tree1 the lovers escaped1 and are depicted as fleeing over the bridge--the mandarin behind with a whip in his hand1 the lady in front1 and ,chang in the middle carrying her jewel-box6 ,the individual in the junk1 higher up1 is intended to denote that they fled to the island in the north-west of the plate4 ,they lived happy until ,fate1 in the shape of the wealthy lover1 overtook them and burned their house to ashes4 ,but the gods changed them into two doves1 which1 of course1 figure prominently in the design4 ,this tragic story of disastrous love has clung to the willow-pattern plates1 and nobody can shake the belief of owners of indifferent specimens of middle-nineteenth century days that these plates are of great value4 ,as a matter of fact1 apart from the eighteenth-century examples1 anything else is not worth the attention of the serious collector4 ,we have alluded to the historic character of the black transfer-printed ware1 but sometimes similar subjects were attempted in the blue ware4 ,we illustrate a dish known as the ,chesapeake and ,shannon dish1 depicting the famous naval encounter between these two vessels4 ,illustration3 ,,spode ,,dish4 ,transfer-printed in deep blue under-glaze4 ,illustration3 ,,dish ,,with ,,landscape ,,subject ,,in ,,style ,,of ,,claude4 ,transfer-printed in deep blue under-glaze4 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,at a time when the school of landscape engravers dearly loved a classic ruin or the broken arch of a temple in the composition of the scene1 it is only natural to find this class of subject on the printed ware4 ,we illustrate a typical under-glaze blue-printed dish with fine contrasts showing very accurately what excellent decoration was employed in this engraved work4 ,the school of ,claude landscapes found its votaries1 and some strong engraving by ,brookes and others was done for this old blue earthenware4 ,it is pictorial1 and betrays an attempt to break new ground and get away from the conventions of ,oriental design1 but the border in the dish we illustrate 7p4 #cde7 shows the strong ,japanese spirit which had inspired ,spode1 and this touch of incongruity makes it more than probable that this dish is of ,spode origin4 ,there are many other phases of printed ware that can only be alluded to in passing4 ,the transfer printing in outline1 the colour being added by hand1 was the beginning of the establishment of all the modern methods for china and earthenware as commonly in use4 ,something1 too1 should be said of bat printing4 ,this was the use of a block of glue instead of transfer-paper to receive the inked impression from the copper plate and transfer it to the body of the earthenware4 ,william ,adams1 of ,cobridge1 in #agge first introduced bat printing into ,staffordshire4 ,of the various types of engraving1 such as line1 and stipple1 and aquatint1 and1 later1 lithography1 there is no space to deal4 ,but enough has been said in connection with the various types of printed ware to show that when pursued in a special manner it may be found to be of exceptional interest to the collector4 ,,marks4 ,transfer-printed ,earthenware4 ,many printed examples are unmarked1 both of the early transfer-printing in black over the glaze1 and of the latter under-glaze blue-printed ware1 but over a wide period the following names are found as marks upon various transfer-printed specimens4 ,it will be observed that in addition many of these potters made stoneware1 following the ,wedgwood influence4#e ,note3 #e ,compare this with the ,list of ,marks of the ,school of ,wedgwood1 pp4 #bgi-bhb4 ,william ,adams #aghg-ahje ,blue-printed under-glaze 7marked 7of ,greengates7 ,adams74 ,benjamin ,adams #ahje-ahbj ,blue-printed under-glaze 7marked 7of ,greengates7 ,b4 ,adams74 ,william ,adams #ahjd-ahce ,dark blue-printed under-glaze and ,sons 7of ,stoke7 black over-glaze 7marked ,adams74 7,marked ,close ,co41 late ,william ,adams ,sons1 ,stoke on ,trent--after #ahdc47 ,william ,adams #ahcj-ahdj ,black over-glazed printing4 ,sons 7of ,burslem7 ,wedgwood #agie-ahde ,blue-printed ware introduced 7of ,etruria7 7,the second shortly after the death of ,josiah ,wedgwood ,wedgwood in #agie4 ,black period7 transfer-printed views after #ahcj4 ,wedgwood ,co #agij-agif ,ralph ,wedgwood4 ,black 7of ,burslem7 transfer-printing over-glaze4 ,josiah ,spode the #agih-ahbg ,blue under-glaze printing of great ,second 7of ,stoke7 variety4 ,thomas ,minton #agij-ahcf ,blue under-glaze printing1 ,oriental 7of ,stoke7 and other patterns4 ,john ,davenport #agic-ahcd ,under-glaze blue-printing 7marked 7of ,longport7 ,davenport1 ,longport74 ,henry and ,william ,davenport #ahce-ahfi ,john ,turner #agfb-aghf ,oriental patterns1 under-glaze 7of ,lane ,end7 blue 7impressed mark1 ,turner74 ,william ,john #aghf-ahjc ,turner 7sons of above7 ,john ,aynsley #agij-ahbf ,masonic plates printed in outline 7of ,lane ,end7 over-glaze and coloured4 ,t4 ,fletcher ,co #aghf-ahaj ,black transfer-printed sporting 7of ,shelton7 subjects1 sometimes under-glaze4 ,shorthose ,co #aghc-ahjb ,red over-glaze printed fancy 7of ,hanley7 subjects4 ,andrew ,stevenson #ahaj-ahah ,black over-glaze printing tinted 7of ,cobridge7 in colours 7marked ,a4 ,stevenson1 with crown in circle74 ,joseph ,stubbs #agih-ahbi ,dark blue under-glaze printing 7of ,longport7 7marked ,joseph ,stubbs in circle4 ,longport impressed74 ,james ,clews #ahad-ahcf ,black under-glaze after #ahbe4 7of ,cobridge7 ,american views of ,hudson ,river1 c4 ,john and ,richard #ahbj-ahbg ,blue under-glaze printing4 ,riley 7of ,burslem7 ,picturesque views4 ,miles ,mason #ahac-ahea ,rich blue under-glaze printing2 7of ,lane ,delph7 ,oriental subjects and birds4 ,enoch ,wood ,sons #ahbj-ahdf ,deep blue under-glaze printing4 7of ,burslem7 ,r4 ,j4 ,baddeley #aghj-ahjf 7of ,shelton7 ,j4 ,e4 ,baddeley ,transfer printing from the ,hicks ,meigh #ahjf-ahbj earliest date1 both over-glaze and 7of ,shelton7 under-glaze4 ,hicks1 ,meigh #ahbj-ahcf ,marked ,i4 ,e4 ,b41 or full names1 ,johnson 7of ,shelton7 or ,r4 ,m4 ,w4 ,co4 ,john and ,william #ahbd-ahcf ,deep dark blue under-glaze ,ridgway printing4 ,beauties of ,america1 7of ,shelton7 and other views4 ,ridgway1 ,morley1 #ahcf-ahed ,wear ,co4 7of ,shelton7 ,leeds #agij-ahgh ,over-glaze black printing 7little practised71 under-glaze blue1 ,oriental subjects 7marked ,leeds ,pottery74 ,don ,pottery #agij-ahcd ,under-glaze blue1 ,oriental subjects 7near ,doncaster7 7marked ,don ,pottery or ,barker--the latter after #ahcd74 ,liverpool #agif-ahda ,deep under-glaze blue-printed2 7,herculaneum7 ,oriental subjects 7marked ,herculaneum74 ,swansea #ahjb-ahgj ,under-glaze blue-printing and 7,cambrian ,pottery7 over-glaze1 black and brown printing 7marked ,dillwyn ,co47 7,see group illustrated1 p4 #cig47 ,derby #aghj-aghe ,over-glaze black printing of 7,cockpit ,hill figure subjects 7marked ,derby ,pot ,factory7 ,works74 ,caughley #aghj-agii ,under the management of ,thomas 7,salopian7 ,turner4 ,dark blue under-glaze printing2 ,oriental subjects 7marked in blue ,c74 ,sunderland and #agij-ahej ,black transfer-printed mugs and ,newcastle jugs of crude decoration4 ,various firms4 ,sunderland4--,scott ,brothers1 ,brunton ,co41 ,moore ,co4 7#ahjc71 ,phillips4 ,newcastle4--,dixon1 ,austin1 ,co41 ,dawson ,co41 ,fell ,co4 7#ahag71 marked with ,f and anchor1 ,sewells ,donkin4 ,middlesborough #ahca-ahej ,blue-printed ware 7marked with ,pottery impressed anchor and ,middlesbro' 7,yorkshire7 ,pottery1 or with the word ,london and anchor1 about #ahdh1 or ,m4,p4 ,co74 ,,prices--,,transfer-,,printed ,,ware4 s4 d4 ,transfer-printed ,jug with ship on one side and mariner's compass on reverse2 another ,jug with ,sailor and his ,lass4 ,sotheby1 ,november1 #aijd #a #ah #j ,transfer-printed ,jug with portrait of ,lord ,nelson on one side1 and plan of ,battle of ,trafalgar on reverse4 ,sotheby1 ,november1 #aijd #c #ae #j ,transfer-printed ,jug with ,britannia weeping over the ashes of ,her ,matchless ,hero1 ,lord ,nelson1 and a sailing ship on reverse1 with motto ,success to ,trade4 ,sotheby1 ,november1 #aijd #c #h #j ,transfer-printed ,jug with ,subject relating to the ,independence of ,america2 rare4 ,sotheby1 ,november1 #aijd #c #c #j ,twelve ,plates1 transfer-printed1 with farmyard scenes in blue1 and large dish similar4 ,sotheby1 ,may1 #aijg #a #aj #j ,illustration3 ,,staffordshire ,,figure1 ,,salt-,,glazed4 ,touched in parts with blue4 7,height #e-a_/h inches47 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,illustration3 ,,staffordshire ,,earthenware ,,figure ,,of ,,cock4 ,tail feathers enamelled in dark blue4 7,height #h inches47 ,marked ,r ,,wood4 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,,xi ,,staffordshire ,,figures ,illustration3 ,,old ,,staffordshire ,,figures4 ,,diana4 ,,birth ,,of ,,venus4 ,modelled from the ,plymouth porcelain group4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,group ,,of ,,staffordshire ,,figures4 ,,minerva4 ,,parson ,,and ,,clerk4 ,,toby ,,jug4 ,finely modelled4 ,all marked ,,neale ,,co4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,,chapter ,,xi ,,staffordshire ,,figures ,early ,period 7#afge-agbe73 ,slip1 ,agate1 and ,astbury ,figures--,best ,period 7#agbe-agfj73 ,fine ,modelling and ,reticent ,colouring1 ,ralph ,wood the elder1 ,aaron ,wood1 ,thomas ,wheildon--,classic ,period 7#agfj-aghe73 ,wedgwood1 ,neale1 ,voyez1 ,ralph ,wood1 junior1 ,enoch ,wood1 ,lakin and ,poole--,decadent ,period 7#aghe-ahcj73 ,walton1 ,scott1 ,bott1 ,lockett1 ,dale1 and imitative school4 ,in attempting to classify the great array of ,staffordshire figures and groups1 extending over a period of a century and a half1 no little difficulty has been experienced4 ,the number of unmarked specimens is very great1 and in many cases1 owing to trade rivalry1 models were so extensively imitated that it is impossible to say who was the first modeller4 ,these ,staffordshire figures1 except in the instances of the highest modelling and restrained under-glaze colouring of the best period1 cannot be regarded as ceramic triumphs4 ,but they are highly valuable1 although not from an artistic point of view1 as illustrative of the character of the common folk in ,england1 and exemplifying their tastes and their sentiments4 ,ornament1 even in the humblest articles of daily use1 has its meaning and can tell its story1 to those who read aright1 of the feeling of the man who produced it2 whether he took a pleasure in making the article1 or whether he was a machine1 human or other1 producing only a thin echo of art4 ,practically it may be asserted that from middle eighteenth-century days to middle nineteenth-century days ceramic art was steadily deteriorating4 ,applied art had practically ceased to exist in the early nineteenth century4 ,it is said that men's eyes were first opened to this fact by the cumulative hideousness of the ,great ,exhibition of #ahea1 and certainly a perusal of the illustrated catalogue of that ,exhibition is a saddening occupation4 ,in the study of the china shelf this decadence must always be considered1 and it is fully borne out by a close study of the subject of ,staffordshire figures4 ,practically1 the crude agate cat and the little mannikin of early days playing bagpipes found replicas in crudity and poverty of invention in the spotted poodle dog or the kilted ,scotsman1 the common cottage ornaments of a century later4 ,and between these two dates1 with the exception of an outburst which promised to develop into something really great and almost did so1 there was1 owing to want of artistic instinct and general lack of culture1 a fairly rapid degeneration into the hideous nightmare of the ,toby jug and all the awful insularities of the late ,staffordshire period4 ,illustration3 ,,staffordshire ,,figure ,,of ,,eloquence4 7,sometimes known as ,st4 ,paul ,preaching at ,athens47 ,in coloured earthenware4 7,height #ah inches47 ,similar to figure in ,schreiber ,collection by ,enoch ,wood4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,early ,period 7#afge-agbe74--,the method of slip decoration has already been described1 and to this period1 when ,toft and his school had implanted their quaint and original taste upon the common people1 these early figures belong4 ,among the best-known figures of this early date are small ,cats of stoneware or earthenware body1 coated with white and ornamented with spots in brown slip4 ,ducks are sometimes found similarly ornamented in spots and wavy lines4 ,these figures are only #c inches in height4 ,to these days belong the solid agate ,cats made of two or three clays of different colours intermingled1 and highly glazed4 ,these are some #e or #f inches in height4 ,we give an illustration of this type of ware 7p4 #aga74 ,bears in agate ware the same nature1 and small figures of doll-like individuals are also found4 ,the elder ,astbury 7#agcf-agdc7 has been credited with a series of figures of men1 some #f inches in height1 playing bagpipes or other instruments4 ,they are splashed with green and brown1 and have yellow slip ornament1 their lead glazing is warm and rich4 ,the beady eyes of some of these tiny figures is suggestive of the ,toft slip applied figure on some of his dishes1 and was produced by the use of manganese4 ,among early figures those of salt-glaze are rare and of exceptional interest1 and the figure illustrated 7p4 #cea71 stands as a typical example of a class not frequently met with1 and highly prized by collectors4 ,we have seen in the chapter dealing with ,whieldon and his influence that he commenced potting before #agdj and continued till #aghj1 and although none of his figures is marked it is tolerably certain that he produced some fine work in which he introduced the beautiful tortoiseshell glazings1 which characteristic is found on figures attributed to him4 ,obviously over a period of nearly half a century ,whieldon ware varies in quality4 ,the following class of figures may be attributed to the early ,whieldon period1 that is1 before #agfj4 ,actor1 with turban and flowing mantle1 hand resting on dagger2 tortoiseshell ware1 brown and green glazing2 height1 #e-a_/b inches4 ,diana1 with dog1 on square hollow pedestal made of buff clay2 brown and grey glazings1 eyes of brown clay2 height1 #g inches4 ,venus1 with bow1 on irregular base1 eyes brown clay2 height1 #e-a_/b inches4 ,figure of ,sphinx1 coloured with brown and green glazings2 height1 #c-a_/b inches4 ,monkey1 eyes1 black2 height1 #d inches4 ,other animals1 such as ,lion1 height1 #c-a_/d inches2 ,squirrel1 height1 #g inches2 ,cock1 height1 #g-a_/d inches2 ,cow1 in form of small jug with woman milking1 height1 #e-a_/b inches2 ,dog1 with brown glazing1 height1 #c-c_/d inches4 ,other figures of this early period are ,summer and ,winter1 each #d-a_/b inches high2 sauceboats in form of ,duck and ,drake1 coloured glazings1 height1 #d-a_/b inches4 7,we have illustrated several types of these figures1 pp4 #aga1 #age74 ,the ,best ,period 7#agce-agfj74--,this is known to collectors as the ,wood ,school4 ,briefly1 the history of the ,wood family is as follows1 and will be of interest to collectors of ,staffordshire figures4 ,so strong and original is the work of the modeller ,ralph ,wood the elder1 that connoisseurs recognise the class of face in his work4 ,aaron ,wood and ,ralph ,wood were the sons of the old ,ralph ,wood1 a miller4 ,they were both modellers of distinction4 ,aaron is mainly known as a block-cutter of salt-glaze moulds4 ,ralph ,wood 7#agej-aggb7 made figures and other rustic groups at his own factory at ,burslem4 ,his models are straightforward and homely and strongly ,english1 not greatly influenced by any extraneous classic models4 ,he modelled the celebrated ,vicar and ,moses1 which for quaint humour is inimitable4 ,it has been copied by all the potters1 and much of its strength and simplicity of modelling has been lost1 while its restraint in colouring disappeared in the copies upon which enamel colours were lavishly laid4 ,illustration3 ,,old ,,staffordshire ,,group1 ,,bacchus ,,and ,,ariadne4 ,by ,,enoch ,,wood4 ,enamelled in colours4 7,height #bd inches47 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,illustration3 ,,old ,,staffordshire ,,earthenware ,,figures4 ,,adonis 7after the antique74 7,height #bc inches47 ,,venus4 7,height #bd inches47 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,there was a strong ,quaker element in ,staffordshire1 and the ,established ,church was the subject of a good deal of satire by the potter4 ,the ,parson and ,clerk returning home after a carousal1 ,the ,tithe ,pig and other subjects exemplify this4 ,fielding published ,joseph ,andrews in #agdb1 and it appears that parson-baiting was a familiar form of amusement4 ,probably there were a good many abuses in the ,church that were evident4 ,the hunting parson was often the boon companion of the drinking squire4 ,at any rate the ,ralph ,wood group1 entitled ,the ,vicar and ,moses1#f showing the sleeping vicar1 with full-bottomed wig1 and ,moses1 the clerk1 seated underneath the pulpit exhorting the congregation with uplifted hand1 is a masterly piece of modelling4 ,in colour the original ,ralph ,wood examples are light purplish throbbing brown in the pulpit and desk1 and carved cherubs1 green in the canopy behind the vicar1 and who has a white cassock1 and the coat of ,moses is a slatey blue4 ,the flesh tints are low in tone4 ,note3 #f ,see coloured ,frontispiece4 ,to return to ,aaron ,wood1 the brother of ,ralph ,wood1 he was the father of ,william ,wood1 who became one of ,wedgwood's modellers1 and of ,enoch ,wood1 who went to ,palmer as modeller for some years4 ,in #aghd ,enoch ,wood commenced business for himself4 ,he produced cream ware and black basalt and1 what most interests us here1 he made some excellent figures1 including a bust of ,john ,wesley4 ,in #agij he entered into partnership with ,james ,caldwell4 ,the ware is marked ,wood and ,caldwell till #ahah1 when the firm became ,enoch ,wood and ,sons1 till #ahff4 ,in regard to ,ralph ,wood1 the elder1 he appears to have engaged his son in his pottery1 so that prior to his death1 in #aggb1 we do not know which ,ralph ,wood modelled some of the figures2 but from #aggb to #agig ,ralph ,wood1 junior1 was responsible for the factory1 and there seems to have been business connection1 about #aghf1 between him and his cousin ,enoch ,wood4 ,concerning the figures of ,ralph ,wood1 father and son1 it may be said that they were the first to impress their names upon ,staffordshire figures4 ,some of the pieces are marked with impressed mark ,r4 ,,wood1 ,,ra ,,wood1 ,,burslem 7impressed on ,vicar and ,moses74 ,this mark is found on some of the finest and earliest ,toby jugs4 ,it is believed1 though not proved1 that ,,ra ,,wood is the mark adopted by ,ralph ,wood1 junior4 ,that the ,woods reflected ,english feeling and sentiment and did not go to the classics for their inspiration is shown by their fine model of ,hudibras upon his horse1 in the act of drawing his sword4 ,the trenchant blade1 ,toledo trusty1 ,for want of fighting was grown rusty1 ,and ate into itself1 for lack ,of some body to hew and hack4 ,the horse of ,hudibras is as famed in story as ,rosinante1 the famous charger of ,don ,quixote1 and in fine satire ,butler enumerates his points4 ,illustration3 ,,bust ,,of ,,bonaparte4 ,coloured earthenware4 ,by ,,enoch ,,wood4 7,height #i-a_/b inches47 7,in the collection of ,mr4 ,robert ,bruce ,wallis47 ,illustration3 ,,bust ,,of ,,alexander1 ,,czar ,,of ,,russia4 ,coloured earthenware4 ,by ,,wood ,,caldwell4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,it is not too much to aver that1 if it were not known that the ,wood model bore the title ,hudibras1 the source of inspiration would go unknown4 ,similarly it may not be impossible1 since no title appears on the famous ,toby ,philpot jug1 that it may be derived from the character of ,uncle ,toby in ,sterne's ,tristram ,shandy1 which was published in nine volumes from #agei to #agfg4 ,the type of blunt1 jovial1 rubicund ,englishman was beginning to become as pronounced in ,bunbury and other caricaturists as it became later on the china shelf4 ,among other noticeable figures of the ,ralph ,wood period the pair of figures are the ,haymakers1 separate figures 7#g-a_/b inches high each1 impressed ,r4 ,,wood71 a youth and maiden leaning against tree trunks4 ,a bust of ,milton1 cream ware1 uncoloured1 is impressed ,,ra4 ,,wood1 ,,burslem2 height1 #i inches4 ,old ,age is represented by a rustic figure of an old man leaning upon a stick and a crutch4 ,neptune and ,venus and ,apollo betray the contemporary classic influence4 ,in examining the figures of the elder ,ralph ,wood they will be found in parts1 though hardly perceptible1 to be unglazed4 ,this is owing to the fact that he applied his glaze with a brush4 ,in the figures of the best period the colouring is extremely delicate1 and the flesh tints do not approach the rosy pink associated with other figure work4 ,it is difficult to describe them1 but they approximate to a biscuit-coloured grey4 ,but there are the usual exceptions to all rules4 ,in one case in particular the colouring is more pronounced--the bust of ,handel1 who died in #agei4 ,it is marked ,,ra4 ,,wood4 ,it is finely modelled and bright in colouring4 ,a figure of a ,cock1 marked ,r4 ,,wood1 is illustrated 7p4 #cea74 ,it is #h inches in height4 ,the body is light in colour1 with light and dark brown decoration about the neck4 ,the wings are yellow1 with brown stripes1 the tail brown and dark-blue enamel colours4 ,legs dark brown and green and splashed base4 ,this specimen is in one piece1 not having any joint at neck4 ,the fine coloured large figure 7#ah inches in height7 of ,eloquence1 known also as ,st4 ,paul preaching at ,athens1 is by ,enoch ,wood1 after a model by ,sir ,h4 ,cheere4 ,there is a similar figure in the ,schreiber ,collection at the ,victoria and ,albert ,museum4 ,but it must be admitted that some of these large figures bear a strong resemblance in technique and modelling to those of ,wedgwood4 ,the ,bacchus and ,ariadne group was most certainly reproduced by ,enoch ,wood1 who signed it4 ,so that the difficulty in such cases of determining which was the original model becomes very great4 ,the ,classic ,period 7#agfj-aghe74--;,it appears that ,josiah ,wedgwood1 when under the influence of ,whieldon and before he embarked upon his classic ornamentation under the guidance of ,bentley1 modelled some very fine figures which are unmarked1 but exhibit considerable strength and beauty4 ,there are three figures1 ,faith1 ,hope1 and ,charity1 in date about #aggj1 in the ,willett ,collection marked ,wedgwood4 ,other figures are the large ones of ,fortitude and ,prudence 7height #ba inches74 ,but these symbolistic figures betray the classic influence4 ,they are magnificent pieces of modelling4 ,then there is the fine group of ,bacchus and ,ariadne1 the same height4 ,the specimen at the ,british ,museum is cream colour1 but later imitators adopted the same modelling and added colour to the decoration4 ,a copy of this group so treated1 possibly by ,enoch ,wood1 is illustrated 7p4 #cfc74 ,other busts of ,wedgwood in coloured cream ware of ,voltaire and ,rousseau will be found illustrated on p4 #bcc4 ,illustration3 ,,staffordshire ,,earthenware ,,figure ,,of ,,falstaff4 ,shield decorated in silver lustre4 ,marked ,,wood ,,caldwell4 7,in the collection of ,mr4 ,f4 ,w4 ,philips1 ,hitchin47 ,illustration3 ,,derby ,,porcelain ,,figure ,,of ,,falstaff4 ,illustration3 ,,chelsea ,,porcelain ,,figure ,,of ,,falstaff4 ,neale ,co4 betray classic influence in much of their work1 and as ,voyez1 the ,frenchman1 was their modeller1 this is not hard to understand4 ,among their well-known figures are ,flora 7#ab-a_/b inches high7 and ,diana 7#e inches high71 and they were large makers of ,toby jugs4 ,we give an illustration 7p4 #cee7 of a group of finely modelled ware by ,neale ,co41 including a ,toby jug copied from the ,ralph ,wood model and impressed ,,naele ,,co41 and the familiar group of the ,parson and ,clerk copied by them after the well-known ,chelsea-,derby porcelain model of the same subject1 and reproduced as an earthenware group by many other ,staffordshire potters4 ,it is often attributed to ,ralph ,wood the younger4 ,it is interesting to compare the ,minerva with the ,diana illustrated above4 ,the same classic spirit was the inspiration of the two modellers1 and in the case of unmarked classic figures there always exists considerable difficulty in definitely assigning their origin4 ,in regard to all these coloured ,staffordshire figures it should be borne in mind that1 until well towards the close of the eighteenth century1 they were coloured by the use of pigments under the glaze1 which gave a low-toned effect of very delicate character4 ,later1 enamel colours were used with lurid effect1 and much of the beauty of the old school vanished4 ,enoch ,wood 7#aghc-ahdj71 ,wood and ,caldwell 7#agij-ahah74--,of this school there are several fine examples4 ,there is no doubt that the ease with which classic prototypes could be copied and porcelain figures imitated began to tell upon the originality of most of the modellers4 ,the ,bacchus and ,ariadne 7illustrated p4 #cfc71 with the vine leaf wreaths in green around the heads and the finely coloured drapery1 is by ,enoch ,wood4 ,there is a specimen in a private collection at ,eccles signed ,e4 ,,wood1 ,sculp4 and ,,hewitt ,pinxt4 7the height of this example is #bg inches71 in spite of the similar uncoloured group at the ,british ,museum marked ,wedgwood4 ,enoch ,wood is best known for his portrait busts of ,john ,wesley and of ,george ,whitfield4 ,the former who stayed at his house in the ,potteries sat for this bust1 which is a fine piece of portraiture4 ,this is marked ,e4 ,,wood1 and sometimes ,,enoch ,,wood1 ,sculp41 ,burslem #agha4 ,george ,whitfield was probably modelled at a later date4 ,there is a fine equestrian statuette of ,st4 ,george and the ,dragon1 sometimes signed ,e4 ,wood1 similar in modelling to the ,whieldon mottled tortoiseshell coloured specimen 7illustrated p4 #age74 ,there are other busts by ,enoch ,wood which are noteworthy4 ,there is the fine bust of ,bonaparte as ,first ,consul in coloured earthenware1 with blue coat with yellow border1 and having marbled base4 ,the height of this is #i-a_/b inches1 and it is marked ,e4 ,,wood4 ,this is in date about #ahjb4 ,a bust of ,alexander ,i4 of ,russia1 in highly coloured earthenware1 in military costume1 marked ,,wood ,,caldwell4 ,the date of this is later than the ,bonaparte1 an inscription on the back on some examples runs ,alexander ,aet4 #ce4 ,moscow burnt4 ,europe preserved #ahab4 ,another well-known figure by ,wood and ,caldwell is the figure of ,quin as ,falstaff4 ,by the illustrations we have given 7p4 #cga7 it will be seen that this model was in direct imitation of the similar figures in porcelain at ,derby and ,chelsea4 ,the colouring is different1 the shield is silver lustre1 the costume consists of red breeches1 striped yellow and white surtout2 but these colours are a feeble imitation of the finer enamel work on the china models from which they have been copied4 ,illustration3 ,,staffordshire ,,figure4 7,about #agij47 ,decorated and refired by ,absolon1 of ,yarmouth4 ,,base ,,of ,,figure4 7,enlarged47 ,showing painted mark ,absolon ,yarm4 7,in the collection of ,mr4 ,f4 ,i4 ,burwood47 ,the group of ,toby ,jugs illustrated 7p4 #chc71 exhibit the best known models of a much collected variety of earthenware4 ,these examples are collectors' specimens1 but later models may be said to be like-- ,the grand old name of gentleman1 ,defamed by every charlatan1 ,and soil'd with all ignoble use4 ,that it was not infrequent to take a model bodily from ,english porcelain is shown by the group entitled the ,birth of ,venus1 which is taken from a ,plymouth group of the same subject 7illustrated p4 #cee71 this apparently belongs to the ,enoch ,wood period4 ,in the figures of children we illustrate p4 #chg1 the figures of ,flower ,boys1 some #d-a_/b inches high1 are evidently inspired by some of the ,chelsea-,derby figures which in their turn were under strong ,french influence4 ,the middle figure of the trio is one of a pair by ,wood and ,caldwell4 ,the figure of ,cupid above is a fine specimen1 standing #ag-a_/b inches in height4 ,cupid is fully armed with his deadly bow and arrow1 which by the way are decorated in silver lustre1 suggestive of the ,falstaff shield of ,wood and ,caldwell1 and at his feet are two lions crouching in subjugation1 and he holds the torch of ,hymen in his hand4 ,this is a remarkably fine modelled figure representing this contemporary foreign influence upon ,staffordshire figures at its best4 ,in regard to the strong classic influence the two figures 7illustrated p4 #cfc7 are in white earthenware4 ,that on the left1 of ,adonis1 is obviously taken direct from the antique1 while the ,venus is a fine ,staffordshire adaptation of a well-known classic statue in the pose and in the dolphin by her side4 ,the only touch of colour is the darkening of the hair4 ,it is a magnificent piece of modelling something in the nature of the classic art seen through ,french eyes4 ,to find this in ,staffordshire is as though one found ,la ,source of ,ingres in the ,royal ,academy of the year #ahef4 ,the date of this ,staffordshire ,venus cannot be stated4 ,it is an important figure1 being #bd inches in height and exhibits something so strikingly realistic that it must be assigned a high place among the figures4 ,we illustrate a ,staffordshire figure belonging to this period1 which is signed ,absalon1 ,yarmouth4 ,towards the end of the eighteenth century1 as in the latter days of ,lowestoft1 a factory termed ,the ,ovens at ,yarmouth carried on a decorating business1 receiving the ware from ,leeds and from ,staffordshire1 and decorating and refiring it in the glost oven4 ,the date of the figure illustrated is about #agij4 ,on some of the pieces decorated by ,absalon1 the name of the ,staffordshire maker1 ,turner1 appears as an impressed mark4 ,turner1 who carried on an extensive trade with the ,baltic and ,northern ,europe1 no doubt readily came into touch with these ,east ,anglian decorators4 ,illustration3 ,,girl ,,with ,,tambourine4 ,coloured ,staffordshire figure4 ,illustration3 ,,coloured ,,staffordshire ,,figures4 ,,tambourine ,,player 7marked ,,salt7 ,,and ,,musicians4 7,in the collection of ,miss ,feilden47 ,the ,decadent ,period 7#aghe-ahcj74--;,it is impossible to keep exactly to dates in any of these periods of rough classification4 ,but in general the later period becomes more homely and a great number of mantel ornaments of a simple nature with rustic subjects were made for the homes of cottagers4 ,these have trees as background and are ,arcadian in subject4 ,they are1 when in this style1 of the finnicking school of the ,chelsea shepherds and shepherdesses known as of the boscage school4 ,john ,walton 7#agij-ahci71 made a great many figures in this manner1 accompanied by a lamb1 as well as a great number of ,toby jugs4 ,another potter is ,ralph ,salt 7#ahab-ahdj71 whose name appears on the little ,tambourine ,player 7p4 #cgi71 and probably the ,musicians of the adjacent group are by him too4 ,a larger figure of the ,girl with ,tambourine above is of the same period1 though its maker cannot be identified4 ,we illustrate 7p4 #cia7 two later figures1 ,the ,fishwife and ,mother ,goose4 ,both are well modelled1 and were evidently intended to meet the popular taste4 ,the days of gods and goddesses were over1 and figures and groups begin to grow commonplace4 ,in ,mother ,goose the nursery rhyme is substituted for the mythology of the ,greeks4 ,among other names found on these later figures are ,lakin and ,poole1 ,dale 7mark usually impressed ,i4 ,,dale ,,burslem71 and ,edge and ,grocott1 who made figures of boys partly draped holding baskets of flowers4 ,it is possible that they made the two outside figures of ,flower ,boys 7illustrated p4 #chg74 ,there is to lovers of the ultra-aesthetic something which appears to be trivial and insipid in this peasant pottery of the later date4 ,but in spite of its defects1 it holds1 to those who read between the lines and can add that necessary touch of human interest to their collecting1 a charm on account of its quaintness4 ,those who have sought these old cottage treasures high and low and secured from far-away habitations snug in the hills or lone huts on the wolds1 or from the dim-lit cabins of fisher folk these relics of byegone days1 read into their newly acquired possessions something of the life history in their old environment1 lying perdu these many years1 perched aloft on the high mantel or hidden in the cupboard recess silently listening to the old tales of the strange men and women who live apart from the hum of cities4 ,chelsea we know1 ,derby we know1 ,bow we know1 with their dainty china shepherdesses minding impossible sheep1 and with gallants prinked out in all the colours of the humming-bird4 ,these were the trifles in porcelain that my dear ,lady ,disdain in a waft of bergamot set apart in her glazed case by ,sheraton4 ,in the days of paint and patch and of the revels at ,vauxhall and ,ranelagh1 virtuosos drowsily passed comment on my lady's latest acquisition just to please her passing whim and wean her from the vapours4 ,these earthenware figures in homespun hose and russet brown suggest the old world nooks of other days4 ,give ,chelsea and ,bow to the town4 ,this homely art of ,staffordshire became ,english after all4 ,it was found in thatched cottages with breath of thyme and bees that hum4 ,these boscage shepherds and shepherdesses1 these rustic musicians1 lusty post-boys1 and the family of ,toby ,philpots1 found kinship in the miller and the farmer1 the herdsman and the milkmaid1 the gamekeeper and the woodman1 the ostler and the waggoner--simple1 kind-hearted folk1 the children of nature uncloyed by the subtleties of art4 ,red-cheeked lasses and wrinkled crook-backed old dames1 mother and daughter and granddaughter1 toilers and sufferers1 who chose the warm west window seat in the sun and the ingle nook by the fireside--these were the whilom owners of the old ,staffordshire figures4 ,somehow1 nor is the fancy a foolish one1 one likes to associate these diminutive figures with the old gardens of ,england set in sweet places where one ,can watch the sunlight fall ,athwart the ivied orchard wall2 ,or pause to catch the cuckoo's call ,beyond the beeches4 ,illustration3 ,,group ,,of ,,finely ,,coloured ,,toby ,,jugs4 7,date #agij-ahaj47 7,in the possession of ,mr4 ,s4 ,g4 ,fenton47 ,there seems to be something added to old ,staffordshire figures which have steeped themselves in somnolent repose these many years till they have become invested with a subtle human interest not easily disassociated from them4 ,the squire had his services of ,worcester and of ,crown-,derby1 and the nobleman relegated his cases of fine porcelain to the care of his housekeeper1 to dust and to safeguard till he came again to hunt and to shoot4 ,but the cottager's ,staffordshire figures were lovingly handled when the good wife furbished up her brass candlesticks1 and they insensibly became part of the environment of the cottage home4 ,here1 then1 is the key to the charm and magic which goes to the collecting of old ,staffordshire figures1 even of the decadent period4 ,there is within them and around them and about them something redolent of a sturdy peasantry1 something sad1 something tinged with autumn days and autumn mists because they belong to days that have faded1 and almost to a race that is extinct4 ,illustration3 ,,cupid ,large coloured ,staffordshire figure4 7,height #ag-a_/b inches47 ,bow and arrow in silver lustre4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,coloured ,,staffordshire ,,figures ,,of ,,flower ,,boys4 ,pair #d-a_/b inches4 ,centre figure one of pair by ,,wood ,,caldwell4 7,in the collection of ,miss ,feilden47 ,,prices4 ,,leeds ,,figures4 s4 d4 ,pair of ,leeds cream-ware ,figures of ,musicians1 ,youth and ,girl2 rare4 ,marked ,leeds ,pottery4 ,sotheby1 ,november1 #aijd #f #f #j ,,staffordshire ,,figures4 ,group of ,madonna and ,child 7probably ,wedgwood71 illustrated in ,english ,earthenware 7,professor ,church74 ,sotheby1 ,february1 #aijf #h #j #j ,staffordshire ,models of ,cottages 7some porcelain71 encrusted with flowers4 ,christie1 ,january1 #aijf 7#ei models74 #ca #aj #j ,vicar and ,moses1 group1 decorated in translucent colours4 ,sotheby1 ,june #aijf #ce #aj #j ,vicar and ,moses1 group1 decorated in translucent colours4 ,sotheby1 ,november1 #aijf #h #aj #j ,bacchus and ,ariadne1 large2 brown glaze2 #be in4 high4 ,christie1 ,november1 #aijf #ac #b #f ,toby ,philpot jugs 7four male and one female71 grotesque models4 ,christie1 ,november1 #aijf #cj #i #j ,falstaff1 two examples1 on plinths1 encrusted with flowers2 #i in4 high4 ,christie1 ,november1 #aijf #e #ae #f ,elijah1 ,the ,widow1 and ,virgin and ,child2 three figures4 ,puttick and ,simpson1 ,march1 #aijg #c #ab #f ,busts of ,milton and ,handel1 impressed mark1 ,ra ,wood ,burslem2 white3 #i in4 high4 ,sotheby1 ,july1 #aijg #f #j #j ,figure of ,gamekeeper3 white2 #h-a_/b in4 high4 ,sotheby1 ,july1 #aijg #b #j #j ,figure of ,lost ,sheep2 white2 #h-c_/d in4 high4 ,sotheby1 ,july1 #aijg #b #ah #j ,figure of ,girl ,haymaker2 white2 #g-c_/d in4 high4 ,sotheby1 ,july1 #aijg #c #j #j ,figures1 ,chaucer and ,sir ,isaac ,newton1 decorated in colours2 marked ,ra ,wood2 impressed ,burslem4 #ab-a_/b in4 high4 ,sotheby1 #aijg #ab #aj #j ,figures1 ,cobbler and his ,wife1 pair1 large1 seated2 #ab-a_/b in4 high4 ,christie1 ,january1 #aijh #ac #b #f ,figures1 reclining1 ,cleopatra1 #h-a_/b in4 high1 and ,antony1 #h in4 high4 ,christie1 ,january1 #aijh #ad #ad #j ,bacchus and ,ariadne1 #be in4 high2 ,female1 holding dove1 #be in4 high4 ,christie1 ,january1 #aijh #af #af #j ,figures1 pair1 ,boy and ,girl harvesting1 square base1 one marked ,r4 ,wood4 ,sotheby1 ,may1 #aijh #aj #e #j ,vicar and ,moses1 in ,whieldon colours 7attributed to ,r4 ,wood71 yellow1 green1 brown1 manganese purple1 c4 ,sotheby1 ,may1 #aijh #ae #j #j ,shepherd and ,shepherdess1 seated1 with dog1 lamb1 and goat2 shepherd playing flute2 ,whieldon colouring 7attributed to ,r4 ,wood74 ,sotheby1 ,may1 #aijh #ab #j #j ,st4 ,george and ,dragon in ,whieldon colouring 7attributed to ,ralph ,wood7 ,sotheby1 ,may1 #aijh #ad #j #j ,toby ,jug1 representing man seated with jug on knee 7attributed to ,r4 ,wood74 ,sotheby1 ,may1 #aijh #f #f #j ,illustration3 ,,figure ,,of ,,fishwife4 7,late ,staffordshire47 7,in the collection of ,miss ,feilden47 ,illustration3 ,,figure ,,of ,,mother ,,goose4 7,staffordshire1 early nineteenth century47 7,in the collection of the ,author47 ,,xii ,,swansea ,,and ,,other ,,factories ,,chapter ,,xii ,,swansea ,,and ,,other ,,factories ,swansea--,the ,cambrian ,pottery--,opaque china--,etruscan ,ware--,lowesby ,pottery 7,leicestershire7--,liverpool1 ,herculaneum 7#agid-ahda7--;,bristol1 ,joseph ,ring 7#aghd-ahbe7--;,caughley or ,salopian 7#agea-agge7--;,derby1 ,john and ,christopher ,heath 7#ageh-aghj7--;,isleworth1 ,shore ,goulding 7#agfj-ahcj7--,marks--,prices4 ,undoubtedly the earthenware productions at ,swansea are of a high artistic order4 ,for a century1 from #agfh to about #ahgj1 the ,cambrian ,pottery at ,swansea manufactured ware bearing various marks and comprising a wide range of examples4 ,during part of the time a rival factory at ,glamorgan1 which existed from #ahad1 to #ahci1 produced opaque china and cream ware in common with ,swansea4 ,practically the history of the ,cambrian ,pottery dates from #agij1 when ,george ,haynes bought the factory4 ,fine black basalt ware was produced4 ,there are two recumbent figures of ,antony and ,cleopatra1 the latter in the ,victoria and ,albert ,museum having the impressed mark ,,swansea1 and the former in the possession of ,mr4 ,c4 ,f4 ,cox1 and marked with the name of the modeller1 ,g4 ,bentley1 ,swansea1 #bb ,may1 #agia4 ,the length of these figures is #ab inches4 ,two somewhat similar recumbent figures of ,antony and ,cleopatra in colours have been attributed to ,lowestoft 7see ,lowestoft ,china1 by ,w4 ,w4 ,r4 ,spelman1 ,jarrold ,sons1 ,norwich1 #aije74 ,but these more properly belong to the ,staffordshire school1 and are probably by ,neale and ,palmer4 ,under-glaze blue-printed ware1 notably willow pattern from ,caughley1 had been made at ,swansea probably before ,haynes bought the factory1 certainly not later than #agij1 when ,leeds commenced similar imitations of ,turner's willow patterns4 ,salt-glazed ware1 some marked ,cambrian ,pottery1 but mostly unmarked1 was made and decorated in enamel colours with figure subjects1 landscapes1 and flowers4 ,the transfer-printed ware is of great variety and is excellently finished1 and compares very favourably with the best of the ,staffordshire cream ware similarly decorated1 or with the highest productions of ,leeds in the same manner4 ,we illustrate 7p4 #dje7 a group of various types of transfer-printed ware in black and brown1 and blue under-glaze transfer-printing4 ,as will be noticed1 the ,oriental influence from ,caughley and the china factories was very strong1 but in the print of the ship there is something suggestive of ,liverpool4 ,illustration3 ,,swansea ,,plates4 #a4 ,cream ware1 rim painted in green and violet with vine pattern4 ,mark impressed ,,swansea4 #b4 ,earthenware1 black transfer-printed4 ,mark impressed ,,dillwyn ,,co4 ,,swansea4 7,in the ,royal ,scottish ,museum1 ,edinburgh47 ,illustration3 ,,set ,,of ,,finely ,,painted ,,swansea ,,bulb ,,pots4 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,a very fine transfer-printed plate in black is illustrated 7p4 #cig71 showing something higher in engraving than ,staffordshire had attempted4 ,it stands1 leaving out the delicate black transfer-printing done on the ,worcester porcelain1 as an exceptionally artistic piece of work4 ,the adjacent plate in the illustration at once shows the source of its inspiration4 ,it follows one of ,wedgwood's ,queen's ware patterns painted in green and violet of the grape pattern1 although it must be admitted that the ,swansea adaptation is richer than the somewhat thinner design found on old ,wedgwood plates4 ,one of the most interesting features in the history of the ,swansea factory is the introduction by ,haynes of a ware termed opaque china1 which was in reality a finer and whiter kind of cream ware1 and eminently suitable for the painted decorations by ,w4 ,w4 ,young1 an artist from the ,bristol factory1 who painted from about #ahjc to #ahjf1 flowers and butterflies and shells with great fidelity4 ,he was followed by another artist ,thomas ,pardoe1 from the ,derby factory1 who brought more poetry into his floral subjects4 ,another artist named ,evans painted flower-pieces with almost equal beauty4 ,we illustrate a fine ,cambrian vase painted by ,pardoe1 and a ,swansea jug painted by ,evans 7p4 #dja74 ,there is no doubt that a very high standard of painting on the ,swansea ware prevailed during the best period1 and the illustration of a set of three ,swansea-ware bulb pots 7see p4 #cig7 shows that landscape painters of no mean gifts were employed4 ,it is this picturesque quality of decoration 7dependent in a great measure on the fact that from #ahad to #ahbd porcelain was made too71 together with the equally fine quality of the ware itself1 that has placed ,swansea well to the front among the collectors of artistic earthenware4 ,we have alluded to ,haynes the proprietor who first brought the factory into prominence4 ,this was in #agij4 ,but in #ahjb it passed into the hands of ,lewis ,weston ,dillwyn1 and it was during this period that ,w4 ,w4 ,young did the work we have alluded to4 ,in #ahag the factory passed into the hands of the ,bevingtons1 and in #ahbd it again came into the possession of the ,dillwyn family1 who held it till about #ahej1 when the firm was known as ,evans and ,glasson1 and later as ,d4 ,j4 ,evans ,co4 until its close in #ahgj4 ,during this long period the marks assumed various characters4 ,we have at the end of this chapter given most of the more important to enable collectors to identify the period of their ,swansea ware--when marked4 ,another ware greatly collected must be alluded to1 of which an illustration is given 7p4 #dje74 ,this ,etruscan ware1 following the early example set by ,wedgwood1 was an attempt to copy some of the ,greek vases which were painted red on a black body4 ,in ,dillwyn's ,etruscan ,ware1 made only for three years from #ahdg to #ahej1 the body was a warm red1 and the design was impressed thereon either by means of black transfer-printing or outline1 and the background was then painted and the classic figures heightened4 ,this ware is not always marked1 but when the mark appears it is in a scroll1 as given in the list of marks 7p4 #daf74 ,lowesby ,pottery4--,there is very little to be said about this pottery in ,leicestershire1 which was conducted under the auspices of ,sir ,francis ,fowke about #ahce4 ,the mark is always puzzling to collectors which is a fleur-de-lis with the name ,lowesby1 both impressed4 ,the ware usually made at this small pottery was red terra cotta coated with a dull black upon which were flowers and butterflies painted in bright enamel colours4 ,this decoration was done elsewhere1 probably in ,london4 ,illustration3 ,,cambrian ,,vase4 ,painted by ,pardoe4 7,in the collection of ,mr4 ,a4 ,duncan47 ,illustration3 ,,swansea ,,jug4 ,painted by ,evans4 7,in the collection of ,mr4 ,a4 ,duncan47 ,liverpool4--,we have already alluded to the ,liverpool delft1 but the story of ,liverpool as a potting centre is not yet complete4 ,there was1 of course1 the enormous business in transfer-printing on ,staffordshire cream ware established by ,sadler and ,green4 ,but they made cream ware themselves as well as decorated it for others4 ,cream ware was produced at the factories of ,chaffers1 ,barnes1 ,pennington1 and others4 ,and at a date immediately prior to the cream ware1 ,shaw1 of ,liverpool1 had made ,astbury and ,whieldon and salt-glaze wares4 ,so that here at once is a difficulty1 and a very great one1 in identifying with exactitude the origin of some of these wares4 ,there is a great deal yet to be discovered concerning the long line of ,liverpool factories1 and if only as much special attention had been given to this locality as has been given to the much smaller factory of ,lowestoft1 original research might disentangle many a ceramic puzzle4 ,w4 ,reid ,co4--,these potters made artistic earthenware from about #aged to #agfj1 another firm established by ,richard ,abbey about #agic continued till #agif to make cream ware of a high order4 ,this pottery1 bought by ,messrs4 ,worthington1 was named ,herculaneum ,pottery4 ,the ,herculaneum ,pottery 7#agif-ahda74--;,at first1 when a band of ,staffordshire potters came over to the new works1 stoneware and black and red unglazed ware in the ,wedgwood manner were made4 ,later a considerable amount of cream ware of pleasing character was turned out4 ,the various marks found on the ware of this factory are given at the end of this chapter4 ,shortly after the end of the eighteenth century porcelain was made here1 and some of the examples are of a very high quality both in potting and in decoration4 ,from #ahcf to #ahda the proprietors were ,messrs4 ,close1 ,mort ,co4 ,until more facts come to light and trained research is applied to all classes of ,liverpool ware nothing definitely can be stated4 ,but it is certain that some of the ,liverpool ware is so fine in character as even to confuse old collectors who have never seen specimens before4 ,we illustrate a ,liverpool plate 7p4 #dji7 with the usual ,oriental design1 and having no special feature about it which many another factory could not have produced4 ,its blue is fine and its potting is excellent1 but it is not exceptional4 ,the illustration beside it 7p4 #dji7 is of an earthenware mug some #e inches in height which undoubtedly is a puzzle to experts4 ,the exquisitely-painted exotic birds in rich colouring are not less perfect than those painted on ,worcester vases or on ,chelsea dishes4 ,indeed1 it seems to show very strong traces of the style of ,worcester painting4 ,one is inclined to attribute it to ,liverpool with the proviso that it must have been painted by some artist who had been trained at ,worcester4 ,it will thus be seen by this case that in unmarked earthenware there are exceptional difficulties in correctly placing examples where so much cream ware was made not very dissimilar in character1 and where artists1 as we have seen at ,swansea1 came over from other factories1 apparently to the confoundment of the present-day collector4 ,illustration3 ,,group ,,of ,,swansea ,,ware4 ,transfer-printed in blue1 black1 and brown4 7,in the collection of ,mr4 ,a4 ,duncan47 ,illustration3 ,,dillwyn',s ,,etruscan ,,ware4 ,,vase4 ,with ,warriors in ,chariot and ,pegasus4 7,height #ad inches47 ,,tazza4 ,with ,dancing ,girl 7side view and interior74 7#aj-a_/b inches diameter47 7,in the collection of ,mr4 ,a4 ,duncan47 ,bristol4--,joseph ,ring in #aghf commenced to make a cream ware with the assistance of potters he engaged from ,shelton in ,staffordshire4 ,in colour it was a warm cream due to the glaze and not to the body of the ware itself4 ,connected with this factory are some finely painted flower-pieces in enamel colours by ,william ,fifield 7born in #aggg1 and died in #aheg71 and his son1 ,john ,fifield4 ,the factory changed hands in #ahbe1 and became ,pountney and ,allies and ,pountney ,co4 until #ahgb4 ,many of ,fifield's decorated pieces with floral works bear the name and date of the person for whom they were made4 ,these are quite characteristic of the pottery1 and occur after #ahbj and in the ,pountney and ,allies period4 ,there is a strong similarity in these chains of flowers and garlands to the ,oriental ware1 and its later ,french imitation which poses as ,lowestoft4 ,much of this ,bristol earthenware is confounded with somewhat similar ,new ,hall porcelain1 and is termed by very inexperienced buyers and sellers as cottage ,worcester4 ,cottage it may be1 but it has no relationship with ,worcester4 ,caughley or ,salopian4--,the ,caughley under-glaze blue-printed ware with its rich almost purplish blue is well known1 but the various tints of this blue employed in the porcelain are not so well known varying as they do from this deep blue to a fairly light slate blue--but that concerns china and is another story4 ,the ,coalport factory china mark at the present day has the date #agej1 proudly going back to these early days4 ,of ,salopian earthenware not too much is known1 it is eclipsed by the porcelain which ,thomas ,turner commenced to make at ,caughley in #aggb4 ,but earthenware was made at the factory from #agej to #agge by ,browne1 the owner of the factory1 whose niece ,thomas ,turner married and took over the pottery in #aggb4 ,there are1 belonging to this early period1 some exceedingly well-modelled ,caughley figures which are equal to the finest work of the ,staffordshire potters4 ,some of these figures are #bj inches in height1 and among those attributed to this ,salopian pottery are the following3 ,prudence1 holding a mirror1 draped classical figure with figured gown2 and ,fortitude1 a companion figure4 ,antony and ,cleopatra are also believed to belong to this factory by some collectors4 ,caughley pottery is sometimes1 though rarely1 marked with the word ,,salopian or with the initials ,s or ,c in blue under the glaze4 ,a considerable doubt still exists as to what is and what is not ,salopian or ,caughley earthenware1 and an opinion should not be hastily arrived at on superficial examination4 ,many of the early under-glaze blue-printed porcelain cups and saucers with ,oriental designs similar in character to the willow pattern bear a mark of a blue crescent not unlike that of the ,worcester factory4 ,when such specimens in earthenware are found thus marked in under-glaze blue with the crescent they may certainly be pronounced to be ,caughley1 in date about #aggb to #aghe4 ,some of the octagonal dark blue-printed ,caughley earthenware plates are of similar shape to the ,oriental porcelain model 7illustrated p4 #cbg71 and the design especially in the treatment of the border is handled in the same manner except that ,turner was fonder of more crowded detail4 ,illustration3 ,,copy ,,of ,,portland ,,vase4 ,in red ware ,isleworth4 7,early nineteenth century47 ,marked ,s ,g4 7,height #g-c_/d inches47 7,in the collection of ,mr4 ,w4 ,g4 ,honey47 ,illustration3 ,,fine ,,earthenware ,,mug4 ,exquisitely painted with exotic birds in ,worcester style 7attributed to ,liverpool74 7,in the collection of ,col4 and ,mrs4 ,dickson47 ,,liverpool ,,cream ,,ware ,,plate4 ,with ,oriental decoration in blue4 7,in the collection of ,miss ,feilden47 ,derby ,earthenware4--,derby porcelain is well known4 ,but it is not so well known that ,derby earthenware is worth considering from a collecting point of view4 ,there is a certain amount of obscurity surrounding the early ware made at ,cockpit ,hill4 ,slip ware was made in early days and delft appears to have been made there at the beginning of the eighteenth century4 ,in #aggb the ,derby pot-works1 in the hands of the ,heath family who were bankers1 produced cream ware1 though not equal to the ,staffordshire products4 ,messrs4 ,john and ,christopher ,heath1 of ,derby1 are described as bankrupts in #aghj1 and a great sale of the earthenware in stock took place4 ,the collector has mainly to rely on dated examples1 which are very rare1 or on pieces bearing local allusions to elections which may be safely attributed to ,derby1 but like so many of the extinct factories the ware has not received special attention in regard to its identification1 nor is the task an easy one owing to cream ware being of very general manufacture4 ,isleworth4--,there is not much known about this factory established by ,joseph ,shore1 who appears to have come from ,worcester in #agfj4 ,the ware later is marked with the initials ,s4 ,g4 after the firm became ,shore and ,goulding4 ,the factory was never very large1 and employed only twenty hands at the most4 ,we illustrate 7p4 #dji7 a copy of the celebrated ,portland ,vase in red ware marked ,s4 ,g41 and although some of the ,isleworth ware appears to have been coarse earthenware to which the term ,welsh ware was applied1 some of it reverting to the old method of slip decoration1 yet it must be admitted that certain pieces in red unglazed earthenware are of a high artistic character4 ,there is a very fine teapot of this red ware in exact imitation of the ,oriental style1 being hexagonal in form1 and having embossed decorations on the panels1 the lid being surmounted with a ,chinese grotesque animal1 such as never was designed in ,europe4 ,the potting of such pieces as these has directed the attention of connoisseurs to this obscure factory4 ,there is no doubt that some of the finer pieces of ,isleworth red ware have passed as ,elers ware1 but the former has a slight glaze and the handles are moulded4 ,it is heavier in weight1 and the teapots1 c41 by ,elers were undoubtedly of small dimensions4 ,it appears that hound jugs were made at ,isleworth too4 ,they were made at ,brampton and elsewhere1 but in those illustrated 7p4 #dac7 the mark is ,s4 ,g4 ,they are brown stoneware with subjects of game in high relief1 and are early nineteenth century in date4 ,in the second illustration it will be seen that the handle of the hound jug shows a later stage in its development4 ,the reason is not far to seek1 the awkward points of the hound handle were found to be in the way when ,betsy ,prue drew the beer4 ,any projection of this nature is distinctly out of place in earthenware for everyday use4 ,this the potter readily recognised1 and pattern number two was the result4 ,here he followed1 without knowing it1 the practice of the ,japanese1 who in their finely-carved ivory netsukes1 so much collected nowadays1 which were used as buttons and fastenings for dresses1 always took care to leave no projecting points--the sleeping mouse has his tail well coiled around him--the dwarf mime has a smooth head and a figure as rotund as a miniature barrel4 ,it will be seen in this second illustration that the hound is still discernible in the handle1 but probably only to those who have seen him in his former state4 ,he has now become a clumsy1 twisted handle with less meaning4 ,it is here that his delicately balanced proportions when he was leaping over the brim with outstretched limbs--the attitude to the life of a hound when attempting to get through a fence--became a mere symbol in this later stage of his ceramic existence4 ,illustration3 ,,brown ,,stoneware ,,jugs4 ,decorated with game in high relief4 ,,shore ,,goulding 7,isleworth74 ,marked ,s ,g4 7,height #g-a_/b inches47 7,in the collection of ,mr4 ,w4 ,g4 ,honey47 ,illustration3 ,,brown ,,stoneware ,,jugs4 ,with sporting subjects in relief1 the handles showing a debased form of the hound handles4 7,in the collection of ,mr4 ,w4 ,g4 ,honey47 ,the pictorial history of the evolution is not a pretty one4 ,it shows how the rushing need of the public for more pots destroyed the craft of the potter4 ,it was far easier1 since the demand was for pots1 to turn out hasty work1 and to let the modelling take care of itself4 ,for this reason the mug degenerated into a mere commonplace mug1 such as ,staffordshire could produce quite as cheaply by the ton4 ,so the factory put out its furnaces for ever4 ,,marks ,,used ,,at ,,swansea1 ,,lowesby1 ,,liverpool1 ,,caughley1 ,,derby1 ,,and ,,isleworth4 ,illustration3 ,,haynes1 ,,dillwyn ,,co ,,cambrian ,,pottery ,,swansea ,swansea4 ,established #agfi1 works closed #ahgj4 ,cambrian ,pottery1 after #aghj4 ,a large number of marks employed4 ,sometimes the marks were impressed1 but more often painted or stamped in red4 ,illustration3 ,,cambrian ,the word ,cambrian as a mark is very uncommon4 ,illustration3 ,,opaque ,,china ,,swansea ,used on the improved white hard earthenware invented by ,haynes at the end of eighteenth century4 ,illustration3 ,,improved ,,stone ,,ware ,,dillwyn ,,co ,stone china was made from #ahaj-ahcj1 and on some pieces this mark is found4 ,illustration3 ,,dillwyn ,other of ,dillwyn's ,marks1 from #ahjb-ahag1 are given here4 ,illustration3 ,,dillwyn ,,swansea ,swansea porcelain1 with its finely painted flowers1 was produced from #ahad to #ahag4 ,illustration3 ,,dillwyn',s ,,etruscan ,,ware ,the celebrated ,etruscan ,ware was made by ,dillwyn from #ahdg to #ahej1 and it generally bears this printed mark4 ,illustration3 ,d ,j ,,evans ,co ,,swansea ,from #ahej to #ahgj the firm was ,evans ,glasson1 and ,d4 ,j4 ,evans ,co41 and some of the later marks printed on the ,swansea ware of this period are reproduced4 ,illustration3 ,d4 ,j4 ,,evans ,co ,,swansea ,this ,prince of ,wales' ,feathers mark was often accompanied by the fancy name of the particular pattern on which it appeared4 ,illustration3 ,,lowesby ,lowesby4 ,the mark of this small ,leicestershire factory often puzzles collectors1 and it is given here4 ,in date it is about #ahce1 and it only existed for a few years4 ,illustration3 ,p ,p ,liverpool4 ,the marks of ,liverpool are of exceptional interest4 ,sadler ,green 7except in rare instances1 when they signed their tiles7 did not use a mark4 ,seth ,pennington 7#agfj-agij71 celebrated for punch bowls of rich blue decoration1 may have used the mark here given4 ,illustration3 ,,herculaneum ,illustration3 ,,herculaneum ,the ,herculaneum ,pottery 7#agid-ahda7 7which produced porcelain too1 in #ahjj1 as did ,w4 ,reid ,co4 7#aged-agfj7 of fine quality1 but unmarked74 ,illustration ,the ,herculaneum marks are various on earthenware1 and when the mark of the bird1 the ,liver1 appears1 it may be attributed to ,herculaneum4 ,illustration3 ,,liverpool ,illustration3 ,,salopian ,caughley or ,salopian 7#agea-agge74 ,as a china factory ,caughley is well known1 and is the parent of the ,coalport porcelain factory4 ,illustration3 ,,turner4 ,in its early days nothing was marked1 but from #aggb to #agge1 under ,thomas ,turner1 ,salopian figures1 some of large size1 were made1 and a great deal of under-glaze blue-printed earthenware produced4 ,the word ,salopian sometimes appears1 and ,,turner is impressed on cream-ware plates 7often ascribed to ,john ,turner1 of ,lane ,end1 ,staffordshire74 ,illustration3 ,s ,c ,sometimes the letters ,s or ,c appear in blue under the glaze4 ,these marks appear also in ,salopian porcelain4 ,illustration3 ,bristol ,pottery ,bristol4 ,the pottery at ,bristol has a history extending from seventeenth-century days down to #ahbj4 ,its delft frequently had dates inscribed1 and sometimes initials of potters4 ,its later ware was rarely marked4 ,but sometimes a blue cross appears1 and we give a late mark1 found infrequently4 ,illustration3 ,s ,g ,isleworth 7#agfj-ahcj74 ,as much of the red ware of ,messrs4 ,shore and ,golding passes as ,elers ware1 the mark should be of interest to collectors4 ,it is very small and impressed sometimes at the side of the piece near the base4 ,,prices4 ,,swansea ,,earthenware4 s4 d4 ,dillwyn4 ,dinner service decorated with figures1 and quantity of tea and breakfast ware similar 7#fj pieces in all74 ,leeder1 ,swansea1 ,september1 #aijf #g #ah #f ,etruscan ware ,drinking ,cup1 formed as horse's head4 ,sotheby1 ,february1 #aijh #b #j #j ,,liverpool4 ,cream-ware ,punch ,bowl1 printed outside with figure subjects and inside with ship in full sail1 in colours1 and inscribed ,success to the ,glory #aghc4 ,sotheby1 ,february1 #aijf #b #ah #j ,bowl with ship inside1 inscribed ,success to ,william and ,nancy1 dated #aggf4 ,sotheby1 ,november1 #aijf #c #j #j ,mug1 with painted portrait of ,william ,pitt4 ,sotheby1 ,november1 #aijf #b #h #j ,,caughley ,,or ,,salopian ,,earthenware4 ,figures1 reclining1 ,cleopatra and ,antony1 on oblong blue plinths 7#ai-a_/b in474 ,christie1 ,january1 #aijh #ae #ae #j ,,isleworth4 ,ewer1 decorated with ,etruscan figures1 rare1 marked4 ,sotheby1 ,november1 #aijg #a #b #j ,,bristol ,,earthenware4 ,jug with inscription and landscape in blueand white4 ,sotheby1 ,february1 #aijg #a #h #j ,,lowesby4 ,basket of tortoiseshell ware1 another of stoneware1 another of red ware1 marked ,lowesby1 illustrated in ,queen1 ,january #bf1 #aijg4 ,sotheby1 ,december1 #aijh #b #j #j ,vase of red ware and two bottle-shaped vases1 decorated with flowers in colours1 marked ,lowesby4 ,sotheby1 ,december1 #aijh #d #f #j ,,xiii ,,lustre ,,ware ,,chapter ,,xiii ,,lustre ,,ware ,early crude ,copper ,lustre 7,brislington7--,gold ,lustre1 pink and purple ,wedgwood1 ,leeds1 ,swansea1 ,sunderland--,platinum ,lustre 7termed silver lustre74--,thomas ,wedgwood 7#agia71 ,spode1 ,e4 ,mayer1 ,wood and ,caldwell1 ,leeds1 ,castleford1 ,swansea1 and others--,lustre in combination as a decoration--,resist ,lustre--,copper or ,bronze ,lustre--,marked ,lustre ,ware--,prices4 ,the collection of lustre ware is comparatively modern4 ,in common with salt-glaze ware which was not thought much of in the auction-room some few years ago1 lustre-ware has been studied and collected with avidity1 and a good deal has been discovered concerning its origin4 ,it may be said at the outset that lustre varies very considerably in quality1 and the plain undecorated platinum or silver lustre is being produced at the present day in teapots and cream-jugs in simulation of the old ,georgian silver patterns4 ,so great is its variety and quality that some collectors have confined themselves specially to the collection of what is known as silver lustre resist style1 and others have specialised in the pink or gold purple1 with veined effects1 of the ,wedgwood school4 ,lustre ware may be divided into the following classes3-- #a4 ,early brown copper lustre1 crude in style1 made by ,frank1 of ,brislington1 near ,bristol1 about #aggj4 #b4 ,gold lustre1 probably invented by ,josiah ,wedgwood1 about #agib 7not to be confounded with gilding74 ,the effect varies from pink to purple1 and in the early pieces a combination was effected of gold1 yellow1 and purple1 iridescent in varying lights4 #c4 ,platinum or silver lustre 7discovered by ,thomas ,wedgwood1 the youngest son of ,josiah ,wedgwood1 about #agia71 imitations of silver ware1 busts1 c4 #d4 ,copper or bronze lustre 7differing from the coarse early ware of ,brislington71 plain or undecorated4 #e4 ,gold or purple lustre used as an adjunct or decoration1 either around band or rim1 as at ,sunderland1 c4 #f4 ,platinum or silver lustre used as an adjunct or slight decoration such as in the ,falstaff figure 7illustrated p4 #cga71 or in the figure of ,cupid 7illustrated p4 #chg74 #g4 ,platinum or silver lustre in combination with other painted decoration3 7a7 ,birds1 foliage1 c41 painted in silver lustre on a ground of another colour2 7b7 ,silver lustre resist style when the ground is platinum and the ornamentation is white1 blue1 or yellow4 #h4 ,copper or bronze lustre in combination with painted designs4 ,illustration3 ,,pair ,,of ,,mottled ,,pink ,,gold ,,lustre ,,goblets4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,goblet ,,and ,,gold ,,lustre ,,mugs ,,with ,,mottled ,,interiors4 7,in the collection of ,miss ,feilden47 ,early ,lustre 7,brislington74--,richard ,frank1 the delft potter1 of ,bristol1 produced a crude ware composed of a hard body coated with a yellow dip resembling delft in character1 and1 upon this surface1 ornamentation in copper lustre was made which gave it the appearance of burnished copper4 ,it has been most inaptly compared with the ,hispano-,mauro ware1 with its rich arabesque ornamentation4 ,there is nothing in common between the two except that they are both lustrous1 and here the similarity ends4 ,the ,brislington colour was crude and the lustre ornaments extremely inartistic1 and only suitable for the baking-dishes and mere utilitarian articles rudely and sufficiently decorated4 ,finer and thinner lustre ware found in the vicinity of ,bristol can more safely be attributed to ,swansea4 ,gold ,lustre4--,as may readily be imagined1 the amount of gold in the lustre decoration is very small4 ,gold lustre is not heavy ,english gilding4 ,as early as #aggf ,josiah ,wedgwood obtained a formula from ,dr4 ,fothergill1 a ,fellow of the ,royal ,society1 of which he himself was a ,fellow1 which induced him to experiment with gold in order to produce lustrous effects4 ,the ,purple of ,cassius was employed with great success in obtaining marbling and veining1 but it was not till late in his career1 about #agib1 that he produced the gold lustre in its happiest combination in connection with the fine ,pearl ,ware shell dessert-services4 ,we have already alluded to the thin wash of yellow and pink which was applied to these dishes to represent the interior of the shell1 but the addition of gold lustre was the finishing touch1 and such pieces are remarkably rare4 ,they glow with fleeting colours as the light plays upon their surface4 ,in regard to this gold lustre1 it should be stated that it varied1 and varied most considerably1 according to the character of the body not only subjacent to it1 that is upon which it was placed1 but owing to its filmy and translucent character it received reflection from adjacent surfaces4 ,on a brown body the same effect is different from that on a white or cream body4 ,this must be borne in mind to a smaller extent in platinum lustres4 ,the warmer the body beneath1 the richer the lustre and the greater its similarity to the silver which it is intended to imitate4 ,we illustrate two very fine mottled pink and gold lustre goblets which belong to the ,wedgwood period and are very light and of very fine lustrous appearance 7p4 #dbe74 ,in certain districts these are termed ,funeral cups1 and whether they were used only on those solemn occasions or not1 we cannot say4 ,it appears that gold lustre was sometimes used in combination with copper or bronze4 ,in the two mugs illustrated 7p4 #dbe71 the interiors are finely mottled in purple and gold1 and suggest by the beautiful potting the work of the goldsmith in their sharp contour4 ,they may be attributed to the best period1 as1 too1 may the goblet in the centre which glows like gold4 ,incidentally it may be remarked that the photographs used for these illustrations cannot convey the rich and glorious colouring of these examples4 ,the writer knows of a cup and saucer marked ,dawson4 ,there was a ,samuel ,dawson in #ahjb1 a ,staffordshire potter1 and there is ,dawson of ,sunderland1 a better-known maker of ware1 which has lustre decoration1 to which latter pottery this may more safely be attributed4 ,in general effect the scheme of colour is ambitious4 ,the centre panel is painted in red enamel colours over the glaze4 ,the borders have a highly lustrous gold floral decoration on a ground of pink4 ,in regard to ,sunderland and ,newcastle1 as a rule1 the ware is crude and may be readily dismissed1 but not too hurriedly4 ,the rough bands of purple lustre inartistically painted as borders to the transfer-printed jugs and mugs with nautical subjects are well known4 ,in broad effect on a jug or a punch bowl1 this class of pink or purple lustre decoration is seen at its best4 ,on a jug of this nature with bands and rough spongings of purple lustre appear the verses-- ,the man doomed to sail ,with the blast of the gale1 ,through billows ,atlantic to steer1 ,as he bends o'er the wave ,which may soon be his grave ,remembers his home with a tear4 ,it is not a happy sentiment and suggests more the landsman's views of the sea than those of the sailor4 ,the following has a truer ring1 but it was not put on jugs to be sold to sailors' wives3-- ,go patter to lubbers and swabs1 d'ye see1 ',bout danger and fear and the like2 ,a tight water-boat and good sea room give me1 ,and it ain't to a little ,i'll strike4 ,platinum or ,silver ,lustre4--,it is not definitely known who was the first potter to adopt this decoration4 ,obviously it could not be earlier in date than the year that platinum was discovered as a new metal4 ,its chemical individuality and qualities were established by the successive researches of ,scheffer 7#ageb71 ,marggraft 7#ageg71 ,bergmann 7#aggg74 ,in #aghd the first platinum crucible was made by ,achard4 ,in #ahjj ,knight1 of ,london1 published all that was known concerning the use of platinum in manufacture4 ,thomas ,wedgwood1 the youngest son of ,josiah1 employed it as early as #agia1 but it is claimed that ,john ,hancock 7born #ageg1 died #ahdg71 first employed gold1 silver1 and steel lustres at ,messrs4 ,spode's factory at ,stoke for ,messrs4 ,daniel and ,brown1 who were decorating ,spode ware at that date4 ,that is his own account when he was eighty-nine years of age4 ,but he was employed at ,etruria4 ,at any rate ,hancock did not retain the secret1 for among contemporary potters ,john ,gardner1 of ,stoke1 ,sparkes1 of ,hanley1 and ,horobin1 of ,tunstall1 seem to have practised it4 ,at the beginning of the nineteenth century other potters were making lustre4 ,in #ahjd ,john ,aynsley1 of ,lane ,end1 and in #ahaj ,peter ,warburton1 of ,lane ,end1 who took out a patent for decorating china1 porcelain1 earthenware1 and glass with native pure or unadulterated gold1 silver1 platina1 or other metals fluxed or lowered with lead or any other substance which invention or new method leaves the metals1 after being burned1 in their metallic state4 ,pieces of silver lustre occur with the name ,wood and ,caldwell impressed on them4 ,this was the style of the firm from #agij to #ahah4 ,such pieces may have been made during the last years of the factory's existence4 ,but we know that it was made in #ahaj1 for a painted lustre jug bears the inscription ,richard ,bacchus1 #ahaj4 ,another name which the writer has seen impressed on plain silver lustre ware of ,early-,georgian shape is ,e4 ,mayer1 who commenced as a potter in #aggj1 and died in #ahah4 ,it thus appears that at present1 until more marked pieces turn up1 the exact date within a few years of the manufacture of platinum or silver lustre in its first form is not determinable4 ,illustration3 ,,pair ,,of ,,silver ,,lustre ,,figures4 ,by ,,wood ,,caldwell4 7,height #f-a_/d inches47 7,from the collection of ,mr4 ,w4 ,g4 ,honey47 ,illustration3 ,,silver ,,lustre ,,jugs4 #a4 ,resist style1 with stencilled decorations4 #b4 ,bird painted in red1 foliage in green in panel1 silver lustre painted bands and borders4 7,in the possession of ,mr4 ,hubert ,gould47 ,among makers known to have produced silver lustre are ,robert ,wilson1 of ,hanley1 who was in partnership with ,neale prior to the manufacture of this ware4 ,his brother ,david ,wilson1 in the opening years of the nineteenth century1 made silver lustre goblets and figures4 ,there is a mounted figure of a hussar with uplifted sword attributed to the ,wilsons1 at the ,british ,museum4 ,the ,wilsons also made copper or bronze lustre ware4 ,lakin and ,poole is the name of another firm1 and ,spode1 and it is believed ,davenport embarked on this popular ware also4 ,it is known1 too1 that ,leeds made silver lustre ware of fine quality1 that has stood the test of time2 and gold lustre in imitation of ,wedgwood's ,pearl ,ware lustrous decorations was made in early nineteenth-century days4 ,swansea is credited with similar productions of gold and gold-purple lustre on a marbled ground1 although none of its silver-lustre ware is marked4 ,probably the earliest use of silver lustre was when it was employed as an adjunct to figures in subsidiary portions in lieu of gilding4 ,but most certainly it began to simulate the silver ware at an early date4 ,this early type is undecorated1 and was also used in busts or statuettes of classical form4 ,we illustrate a pair of silver-lustre figures by ,wood and ,caldwell4 ,there is another pair of children in silver lustre1 marked ,wood ,caldwell1 which are colourable imitation of the figures of children reading made by ,dwight 7illustrated1 p4 #aci74 ,in regard to decorated silver lustre we give two examples which are fairly typical of a large class4 ,the illustration 7p4 #dca7 shows a jug decorated in enamel colours4 ,the bird is in red and the foliage in green1 on a cream ground4 ,the border of the panel is in silver lustre and the rim of the jug and the bands around neck are also silver lustre4 ,this decorated silver-lustre ware is of two classes4 ,the first class comprises patterns painted in silver lustre on a white ground1 the foliage and birds and other patterns being in silver lustre1 carefully painted over the white4 ,as a rule in such pieces there is more white showing1 and the lustre silver is palpably a decorative effect4 ,in the second class the silver lustre appears as a background1 and the ornamental decoration is in white1 covering the piece in most elaborate designs4 ,this is known as resist ware1 and on account of the great beauty and variety of its ornamentation1 has strongly appealed to latter-day collectors4 ,the pattern twining its way over the silver-lustre background may be white1 blue1 canary colour1 pink1 apricot1 or turquoise-blue4 ,white is most frequently found4 ,this second style is capable of the most intricate designs varying from farmyard and hunting scenes to ordinary conventional floral arrangements almost resembling the ,japanese stencilled work in another field of art4 ,how resist ware is made4--,if a white design is intended the ware is left white1 but if any other colour1 such as those we have mentioned1 that colour is laid as a body or ground colour on the specimen to be lustred4 ,the next step is to paint the exact design which later is to appear white1 or blue1 or yellow1 on the surface of the vessel4 ,this pattern is painted or stencilled on the ware with a substance composed of a glucose matter such as glycerine4 ,the next stage is to apply the silver lustre to the whole surface which is allowed partially to dry4 ,on its immersion in water the pattern painted previously to the addition of lustre peels off being on a soluble ground4 ,the result is that the background of white or yellow or blue is laid bare1 and the rest of the vessel is covered permanently with silver lustre4 ,the adhesive lustre resists the water1 adhering to the surface by means of its resinous nature1 except in the pattern which peels off4 ,hence the term resist ware4 ,we illustrate one specimen of this silver-lustre resist ware 7p4 #dca74 ,it is of the ordinary floral conventional pattern probably stencilled on as described above4 ,some of the more elaborate specimens are painted4 ,one of the finest collections of ,resist ,silver ,lustre is that of ,mr4 ,william ,ward1 at the ,kennels1 ,mellor1 near ,blackburn4 ,it comprises examples that one may search for in vain in any of the museums4 ,many of the examples are marked such as ,warburton1 or with the letter ,w impressed1 and one specimen is marked ,leeds a rare mark4 ,the subjects of some of these jugs and mugs relate to the ,napoleonic wars1 and are dated4 ,there is one rare jug entitled ,boney escaping through a ,window1 and in combination with this resist style are examples finely painted or transfer-printed in colours4 ,copper or ,bronze ,lustre4--,this class of lustre is generally held to be later 7excepting of course the early attempts at ,brislington which stand by themselves74 ,it is held too by collectors up to the present not to offer such artistic possibilities as the resist silver lustre4 ,this is amply borne out by the prices obtained at auction4 ,but it must not be forgotten that this bronze or copper lustre varies very considerably4 ,it may be and often is very coarse brown ordinary ware1 and it may be very thin and delicate as to tempt the connoisseur to regard it with more than a passing glance4 ,in the highest forms of copper or bronze lustre1 painted views appear in panels against the lustrous background1 and such views are of a high order of merit4 ,they may in all probability have been executed at ,swansea4 ,we illustrate a fine example 7p4 #dcg7 of a large copper lustre mug with painted panel of landscape and other panels of fruit4 ,very frequently in this copper lustre the jugs and mugs have ornamentation in relief which is enamelled in vivid colours4 ,this is a fairly common form1 and has been reproduced in very coarse examples1 not to be confounded with the finer and thinner copper lustre at its best4 ,we illustrate a copper lustre jug 7p4 #dcg7 with serpent handle and ,bellarmine mask spout1 decorated in turquoise blue1 and with basket of flowers in relief4 ,the ,goblet to the right is of similar decoration1 and that on the left is of conventional coloured design on a mottled pink lustred band4 ,marked ,lustre ,ware4--,we have already mentioned a number of potters who are known to have made lustre ware1 but the following names have been found impressed on the ware in various collections throughout the country1 and may be of interest to collectors who have specimens either by these potters or by other makers not on this list4 ,wedgwood1 ,wilson1 ,warburton1 ,bailey and ,batkin1 ,j4 ,lockett ,sons1 ,e4 ,mayer1 ,mayer ,newbold1 ,e4 ,wood1 ,wood ,caldwell1 ,minton1 ,bott ,co41 ,p4 ,u4 7,poole ,unwin71 ,meigh1 ,c4 ,meigh ,sons1 ,copeland ,garrett1 and ,leeds ,pottery4 ,illustration3 ,,large ,,copper ,,lustre ,,mug4 ,panels painted with landscapes and flowers in colours4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,group ,,of ,,coloured ,,copper ,,lustre4 ,goblet with enamelled decoration in relief4 ,jug with ,bellarmine mask and spout and decorated in turquoise blue4 7,in the collection of ,miss ,feilden47 ,,prices4 ,,lustre ,,ware4 s4 d4 ,silver lustre ,barber's jug with medallion of ,barber and ,customer1 inscribed ,william ,freeman1 #ahji2 #f-c_/d in4 high4 ,bond1 ,ipswich1 ,april1 #aijf #e #j #j ,silver lustre resist pattern jug with grape and barley design4 ,sotheby1 ,june1 #aijf #b #j #j ,nelson ,hill jug in silver lustre and decorated in red and black4 ,sotheby1 ,june1 #aijf #a #aj #j ,silver lustre jug1 decorated with bird and flowers1 and inscribed ,j4 ,simpson1 original ,staffordshire ,warehouse1 #agia4 ,christie1 ,january1 #aijh #ad #ad #j ,lustre decorated1 ,sunderland figures of ,seasons 7four7 decorated in colours and purple lustre2 all impressed1 mark ,,dixon1 ,,austin ,,co4 ,sotheby1 ,february1 #aijh #aj #j #j ,copper lustre pair of five-fingered flower vases marked ,,sewell4 ,sotheby1 ,november1 #aije #d #ae #j ,,xiv ,,late ,,staffordshire ,,ware ,,chapter ,,xiv ,,late ,,staffordshire ,,ware ,the ,school of ,colour--,josiah ,spode the ,second 7#agih-ahbg7--;,davenport 7#agic-ahhj7--,thomas ,minton--,semi-porcelain--,ironstone ,china--,the ,masons--,early nineteenth-century ,commemorative ,ware--,the revival of ,stoneware--,messrs4 ,doulton--,the twentieth-century ,collector--,table of ,marks--,prices4 ,the latest phases of earthenware are mainly concerned with the school of colourists1 the chief of which was ,josiah ,spode the ,second1 who controlled the factory on the death of ,josiah his father1 in #agig1 and took ,william ,copeland as partner4 ,it was this ,spode who introduced into earthenware decorative patterns of ,japanese colouring in which reds and yellows and dark cobalt blue predominate1 following the style of the ,crown-,derby ,japan style4 ,about #ahjj ,spode commenced the manufacture of porcelain as well as earthenware1 and his richly gilded ,japan patterns began to rival those of ,derby4 ,in regard to the light-blue-printed ware of a fine quality turned out by ,spode1 an illustration is given in the chapter on ,transfer-printed ,ware 7p4 #cca74 ,it was this second ,josiah ,spode who standardised the body used in ,english porcelain1 which is to-day practically the same as ,spode's formula4 ,it may be said1 roughly1 to consist of the constituents of true porcelain plus a proportion of bone ash4 ,enoch ,wood1 when an apprentice with ,palmer1 was the first to use bone with earthenware1 about #aggj4 ,it is obvious that with these rich colours of ,staffordshire porcelain side by side in the same factory1 with earthenware1 the latter began to assume all the decorative appearance of porcelain4 ,a reign of colour set in4 ,earthenware was as lavishly decorated in colours1 and as richly gilded as any of the contemporary porcelains1 and in putting on these colours it lost all its old characteristic features and became an echo of porcelain4 ,before leaving the ,spode family1 it may be mentioned that ,josiah ,spode the second1 who died in #ahbg1 aged seventy-three1 was succeeded by his son1 ,josiah ,spode the third1 who died within two years4 ,william ,copeland had died in #ahbf1 and in #ahcc the factory at ,stoke came into the hands of ,w4 ,t4 ,copeland1 known as ,alderman ,copeland1 as he then was1 of the ,city of ,london4 ,he became ,lord ,mayor of ,london in #ahce1 and in that year took ,thomas ,garrett into partnership4 ,copeland and ,garrett is the name of the firm till #ahdg4 ,for twenty years it was known as ,w4 ,t4 ,copeland1 late ,spode1 and is now at the present day ,messrs4 ,w4 ,t4 ,copeland ,sons4 ,the marks belonging to the firm at various dates are given at the end of this chapter4 ,we illustrate a row of five remarkably fine earthenware vases decorated in rich colour in the ,derby style1 so perfectly simulating the brush work of that famous porcelain factory1 that upon a hasty examination they would pass for ,crown-,derby4 ,they evidently belong to the days when ,josiah ,spode was turning out at ,stoke more ,japan patterns than were produced at ,derby4 ,at the same time a good deal of less ornate earthenware for cottage use was being made1 and specimens may frequently be met with1 such as tea-sets with old-fashioned teapot and two-handled sugar-bowl made about #ahbe4 ,their homely ,english rural subjects are very pleasing1 and show that there was still a large market in the country for simple ware without any great pretensions to foreign taste4 ,it was the last stage of the great tradition of old ,english earthenware4 ,davenport 7#agic-ahhj74--;,john ,davenport1 of ,longport in ,staffordshire1 began potting in #agic4 ,there is no doubt that he was a great potter with artistic instincts4 ,he went to ,france prior to #ahjj1 and on his return introduced a porcelain body superior to anything then produced in ,england4 ,with ,josiah ,spode the second he claims more attention as a maker of porcelain than of earthenware4 ,but his earthenware is highly prized by collectors4 ,his blue-printed ware was exceptionally fine1 and he followed in his plates and dishes the style of ,turner and of ,minton in the perforated rims4 ,his stone china is well potted and carefully painted1 and in design he was not loth to follow ,mason of whom we shall speak later4 ,many specimens of the familiar type of jug associated with ,mason's name1 of octagonal shape are found in porcelain4 ,some collectors noticing the great similarity to ,mason have been inclined to attribute these porcelain jugs to him1 and doubtless1 as ,mason made china1 many are his1 but ,davenport who made replicas of the ,mason stoneware jugs1 being a maker of porcelain too1 is likely to have produced these porcelain replicas also4 ,none of these porcelain jugs appears to be marked4 ,davenport ware is strong in colour1 and follows the rich designs of ,spode4 ,some pieces of stoneware are richly gilt1 and have finely painted fruit-pieces and landscapes1 some probably by ,steel from the ,derby factory4 ,the illustration 7p4 #ddg7 of the highest flight of ,mason typifies this class of landscape ware4 ,swansea1 in common with ,staffordshire1 had not hesitated in painting earthenware with landscape subjects hitherto employed only by artists who decorated porcelain4 ,the ,davenport marks are given at the end of this chapter1 and are always prized when found on specimens1 as ,davenport did not mark his ware so freely as did ,spode4 ,from #ahce the firm became ,william ,davenport ,co41 and later ,davenport ,co41 and ceased about #ahhj4 ,illustration3 ,,dessert ,,plates4 ,with border richly gilded with floral design4 ,impressed mark ,,mason',s ,,patent ,,ironstone ,,china4 7,in collection of ,author47 ,illustration3 ,,dessert ,,dish4 ,richly gilded border with landscape painted in colours4 ,impressed mark ,,mason',s ,,patent ,,ironstone ,,china4 ,semi-porcelain4--,this is found as a term in some of the marks of the early-,victorian period2 sometimes the title opaque china appears4 ,these descriptions are always puzzling to the collector4 ,as a matter of fact they tell of the later and more modern development of earthenware4 ,it had snatched the china glaze1 it had employed the enamel colours1 and had adopted the designs of the ,english porcelain factories4 ,the rivalry of the ,staffordshire potters and the ,english porcelain factories was coming to an end4 ,this stage of semi-porcelain and semi-china represented the last word of earthenware4 ,it now simulated porcelain in its body1 with one drawback1 it was not translucent as is porcelain4 ,it was navely termed opaque china4 ,but the potters were proud of their latest achievement1 and accordingly marked their wares with the above terms4 ,as has been shown1 ,swansea came to the front1 and ,haynes in the closing years of the eighteenth century produced a hard1 white earthenware termed opaque-china1 and ,riley's semi-china about #ahjj was the ,staffordshire equivalent4 ,but1 as we have seen1 the ,staffordshire potters not only imitated porcelain1 continuing a long trade rivalry extending over nearly a century1 but many of them had commenced to make porcelain themselves4 ,even the firm of ,wedgwood succumbed to the temptation1 and made porcelain from #ahje till #ahae1 which manufacture was revived again in #ahgh4 ,thomas ,minton 7#agfe-ahcf74--,minton was one of ,spode's engravers1 and commenced as a master potter at ,stoke in #agic4 ,minton had been apprenticed to ,thomas ,turner1 of ,caughley1 as an engraver1 and it was he who designed the celebrated ,broseley dragon pattern on the ,caughley porcelain1 and it is held by some authorities that ,minton engraved the willow pattern too4 ,at first1 at ,stoke1 he made only earthenware1 and his blue and white ware in imitation of the ,nankin porcelain won him distinction4 ,about #ahjj porcelain was made and was continued throughout the nineteenth century4 ,his son1 ,herbert ,minton in #ahcf1 took into partnership ,john ,boyle1 who joined the ,wedgwoods in #ahdb4 ,herbert ,minton raised the quality of the productions1 being one of the greatest of the ,staffordshire modern potters4 ,in the latter half of the century ,mintons obtained a world-wide reputation4 ,from #ahej to #ahgj a band of ,french modellers and painters executed some fine work1 but this trespasses on the field of porcelain4 ,among the earthenware of ,minton some of the early pieces such as plates and dishes enamelled in colours with ,chinese subjects1 are marked with the letter ,m in blue and a number4 ,some of the earliest-known examples in earthenware of the celebrated willow pattern1 such as plates with perforated edges 7similar to that illustrated1 p4 #cca7 and baskets1 are by ,thomas ,minton4 ,ironstone ,china4--,this again is a term used by ,mason and others in regard to an earthenware body for which the firm of ,mason1 of ,lane ,delph1 took out a patent in #ahac4 ,it is a ware1 heavy in weight1 and possessing great strength4 ,in pieces of important size1 such as punch bowls of huge proportions1 and posts for old-fashioned bedsteads this was of no little value4 ,we have already alluded to the ,mason series of octagonal-shaped jugs of pleasing shape1 undoubtedly following the ,spode scheme of colour in ,japanese style1 but lacking the finer finish of ,spode ware4 ,although undoubtedly original in design1 these jugs were easily excelled in potting and colouring by copyists such as ,davenport4 ,but ,mason's blue in his imitations of old ,nankin ware is exceptionally fine4 ,there are dinner-services consisting of a great number of pieces painted in under-glaze blue which are very rich in tone1 and stand comparison with any of the blues of ,staffordshire1 not excepting those of ,adams and ,minton4 ,we illustrate a large vase obviously a replica of a ,chinese model1 and enamelled in very rich colours4 ,it shows a remarkable facility in potting1 and although strongly coloured conveys without caricature the decorative qualities of the ,chinese potter4 ,illustration3 ,,granite ,,china ,,vase4 ,richly decorated in colours4 ,grass-green ground4 ,panels with landscape in ,japanese ,imari colours4 ,rich blue base and top heavily gilded4 ,dragon handles salmon-pink colour4 7,height #b feet47 ,illustration3 ,,base ,,of ,,above ,,vase4 ,showing mark ,,granite ,,china4 ,,staffordshire ,,potteries4 ,,fenton ,,stone ,,works4 ,c ,j ,m ,,co4 7,in the collection of ,dr4 ,h4 ,bournes ,walker47 ,the vase is two feet in height4 ,the ground is grass green4 ,the panels have painted landscapes in ,imari colours4 ,the base and the top are a rich blue heavily gilded1 and the dragon handles are a salmon pink4 ,obviously this1 although imitative1 is a very ambitious piece4 ,the mark of this vase stamped on the bottom 7illustrated p4 #dea7 is interesting4 ,an outline design represents the pottery works4 ,it is marked ,fenton ,stone ,works ,c4 ,j4 ,m4 ,co4 and in the outer rim is the inscription ,granite china1 ,staffordshire ,potteries4 ,the initials ,c4 ,j4 ,m4 stand for ,charles ,james ,mason1 who together with ,g4 ,miles ,mason applied for the ironstone china patent in #ahac4 ,among other ware1 similar to the early cream ware is a body termed ,mason's ,cambrian-,argil4 ,this evidently is in direct rivalry to the ,swansea cream ware marked ,cambrian4 ,earlier jugs by him are rarely marked1 and are not of the octagonal form1 though the sides are prismatic1 and usually seven in number4 ,they are of a buff-coloured1 soft1 and chalky body1 but the decorations are obviously his in similar style to his series of stoneware jugs4 ,the handle of this earlier form is not of the snake or lizard form1 but follows in design the metal handle of teapots of the period4 ,that the ,masons could and did produce earthenware of a very high1 artistic quality is shown by the illustration 7p4 #ddg7 of three pieces marked with the impressed mark running in one line across the back of the examples ,,mason',s ,,patent ,,ironstone ,,china4 ,the gilding in the floral design in the borders is well done1 and the landscapes in the centre are finely painted4 ,they are in the brush work patiently stippled with as much minuteness as the work of ,birket ,foster4 ,a dessert service of which this forms portion1 is a very desirable acquisition1 and represents stone china at its high-water mark4 ,the various marks used by the ,masons are given at the end of this chapter4 ,in #ahea the pottery was purchased by ,francis ,morley1 and it was incorporated with ,ridgway1 ,morley1 ,wear ,co41 and at a later date passed into the hands of ,messrs4 ,c4 ,e4 ,ashworth and ,taylor ,ashworth1 who to this day revert to the original patterns of the ,mason jugs which have become so deservedly popular4 ,most of these old patterns are being produced1 although of course they have not the charm for the collector whose interest ends with the original period under ,mason4 ,stone china became a term used by many other potters who produced strong and durable earthenware1 heavy in weight1 and extremely suitable for domestic use4 ,mintons had a series of patterns in this ware decorated in ,oriental style in colour4 ,the most popular of these is one termed ,amherst1 ,japan1 following the old anglicised versions of ,japanese ,imari designs and colours4 ,this was at the date when ,lord ,amherst was in the public eyes4 ,it will be remembered that he headed an embassy to ,china1 and was requested to perform the ko-tou1 or act of prostration1 nine times repeated with the head touching the ground4 ,sir ,george ,staunton and other members of the ,canton ,mission protested1 and the mission was admitted to the ,emperor's presence on their own terms1 which consisted of kneeling upon a single knee4 ,lord ,amherst was later appointed ,governor-,general of ,india4 ,there are a great many potters whose names are found on earthenware of mid-,victorian days4 ,they cannot be said to exhibit much originality in design1 and their value as collectors' specimens is infinitesimal4 ,illustration3 ,,plates1 ,,transfer-,,printed ,,in ,,blue ,,under-,,glaze4 ,impressed mark ,,improved ,,felspar4 ,c4 ,,meigh ,,son4 7,date #ahej47 7,in the collection of the ,author47 ,illustration3 ,,set ,,of ,,staffordshire ,,earthenware ,,vases4 ,floral decoration in gold on rich blue ground4 ,flowers in enamel colours on white panels in imitation of ,derby porcelain style4 7,in the collection of ,miss ,feilden47 ,we illustrate two finely-potted stoneware plates1 by ,messrs4 ,c4 ,meigh and ,sons1 made about #ahej4 ,they are printed in blue with designs of ,english primroses twined with peacock feathers6 ,here is ,east and ,west in strange combination4 ,fortunately the plates are not in colours or the result might have been disastrous2 as it is they are very pleasing for the blue is of a very excellent tone4 ,there is nothing hasty about the potting2 the finish and the minor details suggest work of the old days long gone4 ,it is evident that in the treatment of the design the inspiration came from the ,japanese potter whose influence was beginning to make itself felt in pictorial art even so far back as the middle of the nineteenth century4 ,whistler's peacocks and the dawn of the later stheticism were at hand4 ,nineteenth ,century ,commemorative ,ware4--,it has been previously shown how fond the potters became of recording events and creating figures of popular heroes in earthenware4 ,the story is continued in the nineteenth century1 which covers1 one is apt to forget1 the last twenty years of the reign of ,george ,,iii41 includes the ten years of ,george the ,fourth's reign1 and the seven of ,william ,,iv41 commencing the ,victorian ,era in #ahcg on the accession of the late ,queen4 ,so that the term early nineteenth century is not the same as early ,victorian2 as a matter of fact a good deal of very good porcelain and earthenware comes well within the nineteenth century1 but very few examples that appeal to the artistic collector belong to the early-,victorian period4 ,the nineteenth century as a whole was crowded with incident1 and in the class of earthenware with which we are now dealing the record is a full one4 ,from ,nelson to ,garibaldi2 from ,maria ,martin the victim of the ,red ,barn murder to ,moody and ,sankey1 the ,american revivalists2 from ,napoleon crossing the ,alps to ,george ,,iii41 as the ,king of ,brobdingnag1 looking at ,napoleon through a telescope2 from ,burns's ,souter ,johnny to ,dickens's ,sam ,weller2 from punch bowls1 inscribed ,rum and ,water and ,health to all1 to figures of ,father ,mathew1 the temperance reformer--all sub-heads are touched1 and although the artistic may be absent the human touch is ever present4 ,there are jugs and mugs with a portrait of ,orator ,hunt1 with inscriptions ,universal ,suffrage1 ,no ,corn ,laws1 dating from #ahah4 ,a lustre mug has a print with a dragoon represented as riding over a woman1 and has the legend1 ,murdered on the plains of ,peterloo1 near ,manchester1 #afth ,august1 #ahai4 ,the woman carries a flag inscribed1 ,liberty or ,death4 ,a puzzle jug of ,staffordshire earthenware is inscribed1 ,hatfield shot at ,george ,,iii41 #ahjj4 ,god save the ,king4 ,the trial of ,queen ,caroline produced a crowd of figures and mugs and plates with portraits and verses4 ,the ,crimean ,war had its ceramic record4 ,there is a ,newcastle earthenware butter-dish printed and coloured1 with an ,english soldier greeting a ,french soldier1 and motto1 ,may they ever be united4 ,illustration3 ,,nelson ,,jug4 ,portrait of ,admiral ,nelson1 inscribed ,england expects that every man will do his duty4 ,on reverse1 female figure and children1 inscribed ,behold the ,widow casting herself and ,orphans on benevolent ,britons4 7,in the collection of ,miss ,feilden47 ,illustration3 ,,nelson ,,jug4 ,with portrait of ,admiral ,lord ,nelson4 ,aged #dg4 ,inscribed ,england expects every man to do his duty4 ,on reverse1 plan of ,battle of ,trafalgar4 ,the transfer-printed jugs and mugs with nautical subjects we have already alluded to in a previous chapter4 ,the unfamiliar uniform of the late eighteenth and early nineteenth century ,jack ,tar is a study in costume4 ,this silent ceramic world of old three deckers and ships of the line and barques and brigantines is all that is left of a fleet of ships which have long since sailed their last voyage--an armada of non-existent craft as ghostly as the phantom ship of ,vanderdecken4 ,nelson jugs are of many types2 we illustrate two varieties 7p4 #dei74 ,some of them are as early as #agig1 and others as late as #ahbj4 ,the top jug illustrated is of ,staffordshire cream ware1 and is in date after ,trafalgar 7#ahje71 made to commemorate this victory4 ,the portrait of ,nelson has an inscription over it1 ,england ,expects every ,man to do his ,duty4 ,on the reverse is a plan of the ,battle of ,trafalgar with the disposition of the ships and a slight description which ends in the sentence in which ,action the ,intrepid ,nelson fell covered with ,glory and ,renown4 ,the lower jug is of the same period and the portrait of ,nelson is more authentic4 ,it is transfer-printed1 the uniform being slightly touched in colour4 ,on the reverse there is a female figure and two children1 and the sad human touch in the inscription1 ,behold the ,widow casting herself and ,orphans on benevolent ,britons4 ,this is1 indeed1 the reverse of the medal4 ,the glory of war is exalted unduly4 ,but the awful reality does not always come home so pointedly as in this homely jug1 which in its way records the simple annals of the poor4 ,we are reminded of the lines of that forgotten poet1 ,amelia ,opie1 and of the wood-engraving by ,dalziel in ,willmott's ,poets of the ,nineteenth ,century1 published in the sixties4 ,the ,orphan ,boy's ,tale1 who tells how pleased he was-- ,when the news of ,nelson's victory came1 ,along the crowded streets to fly ,and see the lighted windows flame6 ,the shouts of the crowd rejoicing drowned the widow's tears4 ,in simple1 but none the less poetical1 language the child continues3 ,she could not bear to see my joy2 ,for with my father's life 'twas bought1 ,and made me her poor orphan boy4 ,it is undoubtedly such human touches as these on the domestic crude ware which stir the heart's blood quicker than all the gods and goddesses ever turned out in ,staffordshire4 ,the age of steam and steel and its inventions did not come unheralded4 ,we illustrate a plate of one of the earliest steam carriages 7p4 #dfc74 ,the plate is of ,staffordshire origin and evidently was intended to be sold in ,germany as a present from ,london1 as the inscription runs1 ,dampf ,wagen von ,london nach ,bristol4 ,ein ,geschenk fr meinen ,lieben ,jungen 7,steam ,coach from ,london to ,bristol4 ,a ,present for my dear boy74 ,in date this is about #ahbg as the accompanying engraving1 entitled the ,new ,steam ,carriage1 is from a periodical publication of that date4 ,illustration3 ,,transfer-,,printed ,,plate ,,in ,,colours4 ,inscription--,dampf ,wagen von ,london nach ,bristol4 ,ein ,geschenk fr meinen ,lieben ,jungen4 7,staffordshire1 about #ahcj47 7,in collection of ,author47 ,illustration3 ,,new ,,steam ,,coach4 ,from an old print dated #ahbg4 ,equally interesting is the ,staffordshire blue-printed ,jug marked at back ,liverpool and ,manchester ,railway showing the famous ,rocket steam-engine invented by ,george ,stephenson4 ,the date of this is #ahcj4 ,a fine ,cyder ,mug printed in black with touches of colour shows an early passenger train4 ,the luggage1 as will be seen1 is on the roofs of the carriages4 ,the aristocratic company at the rear are seated in their own carriage1 the ladies of the party are noticeable by their old-fashioned poke bonnets4 ,there is something very interesting in these old railway mugs and jugs4 ,they are modern1 that is in regard to technique and artistic beauty1 but the subjects are of sufficient interest to make the ware important enough to find a treasured place of honour in the collector's cabinet4 ,lambeth ,stoneware4--,mention should be made of the revival of artistic stoneware at ,lambeth about #ahej by ,henry ,doulton1 of the ,lambeth pottery4 ,an attempt was made to make vessels for ordinary use as ornamental in character as the old ,flemish stoneware4 ,some of the early pieces are in brown stoneware with incised decoration filled with blue-glaze4 ,tankards and vases and jugs were made of very pleasing character4 ,under ,sir ,henry ,doulton great advances were made1 and mugs with hunting subjects and many grotesque brandy bottles of stoneware were made4 ,light brown stoneware flasks modelled to represent ,lord ,brougham1 and impressed ,the ,true ,spirit of ,reform1 and ,brougham's ,reform ,cordial1 are often of ,lambeth origin4 ,in date these are about #ahcj1 other factories made similar ware1 including the ,derbyshire potteries4 ,of the ,doulton and ,watts period which commenced #ahae1 from #ahae to #ahcb some fine ,napoleonic stoneware was turned out4 ,there is1 in particular1 a small stoneware1 brown jar of ,napoleon made about #ahbe1 which is finely modelled and an excellent portrait4 ,in the ,reform days of the early thirties they produced1 to supply a public demand1 many spirit jars with more or less grotesque models of ,earl ,grey1 ,lord ,brougham1 ,william ,cobbett1 and ,lord ,john ,russell4 ,in the museum at ,messrs4 ,doulton's at ,lambeth are some fine examples of the early period4 ,we illustrate a strongly modelled jug with ,bacchanalian subject in high relief 7p4 #dga71 showing the excellence of some of this early work at its best4 ,the ,twentieth ,century ,collector4--,the story of the triumphs and sometimes of the decadence of ,english pottery cannot be ended without a passing reference to the wondrous ware being produced at the end of the nineteenth century and now4 ,it should appeal to-day to the prescient collector4 ,it will appeal to the collector fifty years hence4 ,under the name of the ,lancastrian ,pottery ,messrs4 ,pilkington1 at ,clifton ,junction1 near ,manchester1 have during the past few years produced some of the most beautiful ware ever seen in this country4 ,at the exhibition of this ware in ,london in #aijd they astonished all experts4 ,the indescribable variety of exquisite colours1 ranging from faint pink and sky blue to the richest purple and dark green and amber1 showed at once that modern scientific methods and painstaking research had rediscovered the lost glazes of the old ,chinese potters4 ,the starry crystalline glazes so well known in the ,copenhagen porcelain have been faithfully reproduced1 recalling the patterns traced on the window-pane by frost--sometimes brilliantly coloured blue or green against a background of pale lavender blue1 at other times having a sheen like bronze4 ,other crystalline glazes are the ,sunstone in which brilliant prismatic and golden crystals are disseminated through rich green yellow or olive brown glazes4 ,the fiery crystalline glazes display brilliant red crystalline formation through purple and grey glaze in dazzling patches4 ,illustration3 ,,staffordshire ,,blue ,,printed ,,jug4 ,marked at back ,liverpool ,manchester ,railway4 ,showing the famous ,rocket locomotive invented by ,george ,stephenson4 7,date #ahcj47 7,in the collection of ,miss ,feilden47 ,illustration3 ,,cyder ,,mug4 ,printed in black with touches of colour4 7,in the collection of ,mrs4 ,m4 ,m4 ,fairbairn47 ,opalescent clouded1 or curdled1 or veined1 or serpentine glazes have countless variations of colours--copper-green1 turquoise-blue1 or deep lapis-lazuli broken with white curds1 or opalescent veinings1 or fine lines of variegated colour shot through the glaze from top to bottom--this alone suggests a dream of colour schemes1 and the wise collector will realise without further ado that we are in a period of great ceramic triumphs in pottery of this nature4 ,texture glazes of chicken-skin1 fruit-skin1 and orange-skin are highly prized1 and vellum or egg-shell glazes splashed and marked like ,nature's own handiwork in the most beautiful birds' eggs4 ,or there are metallic effects of peculiar beauty and golden lacquer glazes resembling the old gold lac-work of ,chinese and ,japanese artists so cunningly imitated by ,martin1 the ,french cabinet-maker1 in his ,vernis-,martin1 so beloved of collectors of furniture and fans4 ,of purple glazes of the transmutation class some of the richest effects have been obtained in colour and in splashed effects4 ,wine purple1 mulberry1 and other alluring tones have burst upon an astonished circle of connoisseurs4 ,of the flamb specimens it is not too much to say that their like1 for which the ,chinese potters were so famous1 have never been seen before in ,europe4 ,the ,havilands of ,limoges1 ,copenhagen1 and ,svres1 and ,berlin potters1 as well as the artists in the ,rookwood ,pottery in ,america1 have worked in the same field2 but it is pleasant to think that ,english potters have produced greater variety1 including ,lancastrian lustre ware of wealth of glowing colour not surpassed by the ,hispano-,moresque potters nor by the lustrous majolica of the ,italian renaissance4 ,to the scientific activity in wresting from the past the lost secrets of the old ,chinese potters1 a great tribute of praise should be accorded to ,mr4 ,william ,burton and his brother1 ,mr4 ,joseph ,burton4 ,other workers in the same field of glazes are ,mr4 ,bernard ,moore1 of ,london1 whose glorious flamb1 rich red1 and sang-de-boeuf glazes are of unsurpassed beauty4 ,mr4 ,william de ,morgan has for many years been known for his lustrous tiles and work of fine originality and strength4 ,another pottery known as the ,ruskin ,pottery conducted by ,mr4 ,w4 ,howson ,taylor at ,west ,smethwick1 ,birmingham1 is a bright spot in recent ceramic enterprise1 and has won distinction for ware which is of great beauty4 ,in bringing the story of ,english earthenware to a conclusion1 it is the hope of the writer that the ground has been sufficiently covered to provide an outline history of a complex subject4 ,it may be that much appears that might have been omitted1 and that much is omitted that might have appeared within these covers4 ,but it must be allowed that personal tastes play an important part in selection either by the collector or by the student4 ,but in matters of fact and in the mass of details relative to the potters and their wares no pains have been spared to make this little handbook worthy of its subject4 ,illustration3 ,,doulton ,,stoneware ,,jug4 7,date about #ahde4 ,height #aj inches47 7,in the collection of ,mr4 ,w4 ,g4 ,honey47 ,,marks ,,found ,,on ,,late ,,staffordshire ,,earthenware4 ,the first half of the nineteenth century in earthenware included a variety of types3 7#a7 the last output of the classical school2 7#b7 cream ware transfer-printing in under-glaze blue2 7#c7 the school of colourists in imitation of ,english porcelain4 ,in the following list a great many names appear of potters not well known nor worthy of more than passing allusion4 ,but their trade marks often puzzle collectors4 ,adams4 ,one of the oldest firms in ,staffordshire4 ,illustration3 ,adams ,co4 ,early mark for cream ware1 plain and enamelled1 #aggj-agij4 ,illustration3 ,,adams ,,co4 ,mark used for solid jasper ware1 #aghj-agij4 ,illustration3 ,,adams ,mark for printed ware1 stoneware1 and jasper1 #aghg-ahaj4 ,illustration3 ,,adams ,,warranted 4 ,,staffordshire ,mark used for deep blue-printed ware1 #ahjd-ahdj1 so much collected by ,american connoisseurs4 ,spode4 ,illustration3 ,,spode ,stone-,china or ,,spode ,stone-,china ,josiah ,spode the second1 who introduced ,derby-,japan patterns into earthenware4 ,the name is found impressed1 or printed1 or painted in colours on back4 ,illustration3 ,spode's ,,new ,,fayence ,illustration3 ,,spode ,at the introduction of ironstone china other marks were introduced1 and they were printed on the ware4 ,illustration3 ,spode's ,imperial ,similarly the new fayence1 another of ,spode's improvements1 was printed on ware of that character4 ,illustration3 ,,copeland ,,garrett ,,late ,,spode ,,the ,,tiber ,,copeland ,,garrett ,,new ,,japan ,,stone ,other marks1 both impressed and printed1 in the ware are ,,spode1 ,,son ,,copeland1 or ,,spode ,,copeland4 ,illustration3 ,,copeland ,,and ,,garrett ,,copeland ,,garrett ,,new ,,fayence ,from #ahcc to #ahdg these1 among other trade marks1 were used4 ,illustration3 ,,copeland ,mark used #ahdg-ef4 ,from #ahdg to #ahef this mark was used4 ,illustration3 ,,copeland ,,late ,,spode ,the present day mark of ,messrs4 ,w4 ,t4 ,copeland ,sons4 ,davenport 7#agic-ahhf74 ,illustration3 ,,longport ,illustration3 ,,davenport ,illustration3 ,davenport ,these marks are found on the earthenware1 stamped or printed1 in small letters in red1 and other ,davenport marks1 such as that with the anchor and the stone china design used after #ahje1 are frequently puzzling to collectors1 especially when partially obliterated4 ,illustration3 ,,davenport ,,stone ,,china ,minton4 ,established at ,stoke1 #agij4 ,in #ahjj porcelain was made1 and was continued throughout the century and at the present day4 ,illustration3 ,m ,b ,,felspar ,,porcelain ,from #agij-agih blue and white earthenware in imitation of common ,nankin largely made4 ,in #agih semi-porcelain was made4 ,felspar china1 similar to ,spode and stone china1 in common with other ,staffordshire potters1 was largely produced4 ,from #ahcf-ahda the firm was ,minton ,boyle1 and afterwards ,minton and ,hollins1 and at the present day ,minton is one of the best-known ,english firms4 ,not many of the early earthenware pieces were marked1 and it is difficult to distinguish ,minton's firm from some of the fine blue-printed ware of ,adams and of ,mason4 ,illustration3 ,b ,b ,new ,stone ,this ,b ,b mark appears on all stone china of ,minton from #ahde-ahfa1 signifying ,best ,body4 ,the name ,,minton was not stamped nor impressed on the ware till after #ahfa4 ,about #ahbc the ,amherst ,japan pattern was made1 and has a printed mark in a scroll4 ,it is frankly imitative of ,spode and the ,derby-,japan style4 ,illustration3 ,r ,m ,co ,a rhomboidal mark with the letter ,r1 sometimes ,r,d1 signifying that the design is ,registered1 and having ,m ,co1 is not confined to ,mintons1 as other potters used the same mark with their names or initials underneath4 ,it is quite late and on ware not likely to appeal to the collector4 ,mason4 ,illustration3 ,,mason',s ,,cambrian-,,argil ,the marks of ,mason are found1 after #ahac1 either impressed in a straight line or having the mark under a crown and in scroll1 on his celebrated ironstone china printed in blue4 ,illustration3 ,,mason',s ,,patent ,,ironstone ,,china 7impressed7 ,illustration3 ,m4 ,,mason ,his semi-porcelain or ,cambrian-argil bears the name on the ware1 and was intended to compete with ,swansea4 ,illustration3 ,,miles ,,mason ,an illustration of the mark on stone china1 marked ,fenton ,stone ,works1 ,c ,j ,m ,co1 is given on page #dea4 ,illustration3 ,,mason',s ,,patent ,,ironstone ,,china ,it should be mentioned that the blue-printed mark with a crown and scroll does not necessarily mean that the ware 7especially in the hexagonal set of jugs7 is old4 ,it is still used at the present day by ,messrs4 ,ashworth1 who are reproducing some of the old and favourite patterns4 ,collectors are advised to buy one of these jugs as a model to compare it with the older work4 ,illustration3 ,p4 ,b ,co ,the mark of ,pindar1 ,bourne ,co41 of ,burslem1 who made red terra cotta spill vases decorated in colours and gold with arabesque designs1 about #ahce4 ,in #ahhj the factory passed into the hands of ,messrs4 ,doulton4 ,illustration3 ,,rogers ,mark of ,dale ,hall ,pottery1 ,john ,rogers ,son1 #ahae-ahdb4 ,notable for light blue printed ,willow and ,broseley ,dragon series4 ,illustration3 ,j ,e ,s ,,dale ,,hall ,j4 ,edwards ,son1 ,dale ,hall1 #ahdb-ahhb4 ,illustration3 ,w ,b4 ,w ,b ,w ,b ,s ,,clews ,w4 ,brownfield ,son 7,cobridge7 #ahjh-ahai4 ,illustration3 ,w ,b ,bucknall ,stevenson and ,a4 ,stevenson alone during part of above period4 ,james ,clews1 #ahai-ahbi4 ,his mark was a crown above his name4 ,robinson1 ,wood ,brownfield1 #ahcf4 ,illustration3 ,,warranted ,,real ,,ironstone ,,china ,w ,b ,wood ,brownfield1 #ahcf-ahej4 ,w4 ,brownfield1 #ahej-ahgj4 ,w4 ,brownfield ,sons1 #ahga to present day4 ,china has been made since #ahga4 ,illustration3 ,,italian ,,garden ,w ,b ,we append some of the marks of this firm1 including the ,staffordshire knot1 which has been used by other ,staffordshire potters4 ,illustration3 ,i4 ,,ridgway ,illustration3 ,,jr ,,victoria ,ridgway1 founded in #agid4 ,j4 ,w4 ,ridgway and ,ridgway ,sons1 #ahad-ahed4 ,many of these marks have puzzled collectors1 as only the initials are used in many cases4 ,the firm subsequently became ,t4 ,c4 ,brown-,westhead1 ,moore ,co41 and has had a distinguished career in the ceramic world1 gaining honours at the various international exhibitions4 ,illustration3 ,india ,temple ,stone ,china ,j4,w4,r4 7,see ,table p4 #cdi74 ,illustration3 ,p ,b ,illustration3 ,best ,p ,b ,these marks are found impressed in ware of ,messrs4 ,powell ,bishop1 #ahfe-ahgh1 of ,hanley4 ,they are often confused with ,pindar1 ,bourne ,co41 when only initials are used4 ,illustration ,another form is a ,caduceus1 the emblem of ,mercury1 impressed in the ware and sometimes printed4 7,messrs4 ,powell ,bishop47 ,illustration3 ,,oriental ,,ivory ,a seated figure is another trade mark which has given rise to a good deal of speculation among tyros in collecting4 7,messrs4 ,powell ,bishop47 ,illustration3 ,g4 ,,heathcote ,co ,,cambria ,heathcote ,co4 is a mark found in early nineteenth century ware4 ,the blue-printed earthenware was of a fine quality4 ,illustration ,late ,nineteenth ,century ,earthenware4 ,the three marks of the ,lancastrian ,pottery1 the ,ruskin ,pottery1 ,west ,smethwick1 and of the earthenware of ,mr4 ,william ,de ,morgan1 are known to connoisseurs of what is great in latter-day ,english earthenware1 and they are given here for the information of collectors who may be interested4 ,illustration3 ,,ruskin ,,pottery ,,west ,,smethwick #aijg4 ,illustration3 ,d ,m ,,prices4 ,,late ,,staffordshire4 s4 d4 ,spode 7,earthenware74 ,spode felspar1 ice pails and covers painted with flowers and richly gilded4 ,puttick ,simpson1 ,march1 #aijg #ab #a #f ,davenport 7,earthenware74 ,toby ,jug1 marked ,davenport4 ,sotheby1 ,november1 #aijd #c #ab #f ,minton 7,earthenware74 ,set of ,chessmen1 in form of mice1 drab and ivory coloured1 decorated with black and gold4 ,kings and ,queens crowned1 ,knights with swords1 ,bishops with croziers1 and ,castles with warder on top and a mouse imprisoned below4 ,sotheby1 ,july1 #aijh #b #j #j ,mason4 ,vases1 pair1 large1 decorated in gold with kylin tops4 ,debenham1 ,january1 #aijf #h #e #j ,ironstone china dinner service 7#aig pieces7 floral decoration in colours4 ,christie1 ,march1 #aijf #ec #aa #j ,vases1 pair 7#ab in4 high71 mazarin blue ground1 decorated with ,oriental birds1 c4 ,bradby1 ,perth1 ,september1 #aijf #g #g #j ,ironstone china bowl1 decorated in flowers blue1 red and gold4 ,puttick ,simpson1 ,january1 #aijg #e #j #j ,,early ,,victorian4 ,staffordshire 7,earthenware74 ,red ,barn 7scene of well-known murder of ,maria ,martin71 very scarce4 ,sotheby1 ,february1 #aijg #b #aj #j ,jug1 with portrait of ,lord ,nelson1 marked ,,hollins4 ,sotheby1 ,november1 #aijh #a #ai #j ,jug with figures of ,volunteers1 and a smaller jug with portrait of ,wellington4 ,sotheby1 ,may1 #aijg #c #j #j ,three ,jugs1 brown ground1 with ,madonna and ,child in relief1 marked ,meigh1 and three jugs with ,tam o' ,shanter subjects marked ,ridgway4 ,sotheby1 ,may1 #aijg #a #c #j ,,index ,a ,abbey1 ,richard 7,liverpool71 #djc ,absalon1 decorator at ,yarmouth1 #cgh ,adam and ,eve delft dishes1 #fg1 #aji ,adams 7marks71 #bfc ,adams 7prices71 #bhb1 #bhc ,adams ,bromley1 #bfj ,adams ,co41 marks1 #bfj1 #dgc ,adams1 ,benjamin1 mark1 #bfc1 #cdh ,adams1 ,william 7of ,cobridge71 #bfj1 #cbi ,adams1 ,william 7of ,greenfield71 #bfj ,adams1 ,william 7of ,greengates71 #bei-bfc1 #bgi1 #ccj1 #cdj1 #cdh 7mark7 ,adams1 ,william1 ,sons 7of ,burslem71 #cdh ,adams1 ,william1 ,sons 7of ,stoke7 7mark71 #cdh sop1 ,fables of1 reproduced on earthenware1 #cba1 #cbb ,agate ware1 definition of1 #bg2 summary of1 #gj1 #afi2 solid and surface 7,wedgwood71 #bbh ,alexander1 ,czar of ,russia1 bust of1 #cgd ,allen1 of ,lowestoft1 ,leeds ware decorated by1 #cja ,america and ,england 7in earthenware71 #ccg1 #cch2 independence of1 jug relating to1 #cej2 views in 7,clews71 #cdi ,amherst1 ,japan 7,minton71 #ded ,anchor as a mark1 ,fell1 ,newcastle1 #cej2 ,middlesbro'1 #cej ,animals1 figures of1 #agd ,antony and ,cleopatra1 ,swansea figures1 #cie ,ashworth1 ,c4 ,e41 ,messrs41 #ded ,astbury1 ,john1 #adg-aea2 the successor of ,elers1 #afd2 early salt glaze1 #bjd ,astbury1 ,thomas1 #adg2 flint1 #bcb2 figures1 #cfa2 as a mark1 #bih ,astbury ware1 definition of1 #bg2 summary of1 #fh2 prices1 #aee1 #aia1 #aib ,aynsley1 ,john1 #cdh2 lustre ware1 #dcj2 mark1 #bgi ,b ,bacon1 ,john1 #bdh ,baddeley1 #bbb1 #bcb ,baddeley1 ,j4 and ,e41 #cdi ,baddeley 7,r4 ,j471 basket-work1 salt glazed1 #bab ,baddeley1 ,r4 and ,j41 #cdi ,baddeley1 ,w4 7,eastwood71 #bhj ,bailey and ,batkin 7lustre ware71 #dcf ,balloon ascent depicted on delft1 #aac ,bamboo ware 7,wedgwood71 #bcj ,barberini ,vase1 #bdi ,barker 7mark71 ,leeds ware1 #bhi1 #caj ,barnes1 ,zachariah1 #fg1 #abe1 #djc ,basalt ware1 definition of1 #bg2 ,wedgwood1 #bbh ,basket-work1 ,leeds1 #big2 salt glaze1 #bab2 ,wilson1 #bff ,bat printing1 #cdg ,battersea enamels1 #cah ,batty ,co41 #bhj ,b ,b4 ,new stone 7,minton mark71 #dgf ,bear hugging ,bonaparte 7,nottingham71 #aeb ,bear jugs1 ,nottingham1 #fi1 #aeb ,beauclerk1 ,lady ,diana1 #bdh ,beehive as a mark 7,ridgway71 #dgi ,bellarmine jugs1 #fh1 #acd2 prices1 #aeb ,benson1 ,thomas1 use of flint1 #bcb ,bentley1 his influence on ,wedgwood1 #bdd ,bentley1 ,g41 modeller 7,swansea71 #cie ,bevington 7,swansea71 #cii ,biblical subjects in delft1 #fg ,billing1 ,thomas 7#agbb71 #bjg ,birch1 ,e4 ,j41 #bhj ,birch1 black basalt ware1 #bgd ,bird as a mark1 #dag ,birds1 figures of1 #agd ,bingley1 ,thomas1 ,co41 #cjb1 #cje ,biscuit1 definition of1 #bg1 #ea ,black basalt 7,e4 ,mayer71 #bfi ,black printed ware1 its mission1 #ccc ,blue dash decoration 7delft71 #aji ,blue enamelled salt-glazed ware 7,littler71 #bjg ,blue printed ware1 #cch-cdg ,body1 definition of1 #bh ,bonaparte1 bust of1 #cgd2 caricatures of in earthenware1 #ccg2 lustre ware1 #dce2 ,russian bear hugging1 #aeb2 stoneware1 #dfe ,bone-ash1 first use of1 #ddd ,bordeaux earthenware1 #bae ,books1 quaint titles of ,puritan1 #ie ,booth1 ,enoch1 #ahb2 improved glazing1 #bcb ,boscage school of figures 7,walton71 #cgh ,bott ,co41 #bhj2 lustre ware1 #dcf ,boyle1 ,john1 #ddi ,brameld1 ,rockingham1 #cje1 #caa ,brampton pottery1 #fi1 #dab ,brislington lustre1 #dbd ,bristol delft1 summary of1 #fg1 #aac-aah2 prices1 #abi ,bristol earthenware prices1 #dai ,bristol pottery1 #djd2 mark1 #dah ,british ,museum1 medival tiles at1 #hd ,britton ,sons 7,leeds71 #bhh1 #caj ,bromley 7,adams ,bromley71 #bfj ,bronze busts imitated1 #bbi ,bronze lustre ware1 #dce ,brookes1 engraver for earthenware1 #cdg ,brougham1 ,lord1 stoneware flask1 #dfe ,browne1 ,sir ,thomas1 quoted1 #afc ,brown-,westhead1 ,t4 ,c41 ,moore ,co41 #dgi ,burns's ,souter ,johnny in earthenware1 #deh ,busts and figures1 stoneware1 #fh ,butler1 ,samuel1 ,hudibras1 quoted1 #cff ,c ,c as a mark1 #djh1 #dah2 ,caughley1 #cdi2 ,wilson1 #bff ,cadogan teapots1 #cje1 #caa ,caduceus as a mark1 ,powell ,bishop1 #dhj ,cambria as a mark1 ,heathcote ,co41 #dhj ,cambrian-,argil 7,mason71 #dec ,cambrian pottery 7,swansea71 #cie2 marks1 #dae ,camel pattern teapots1 #bjh ,c4 ,h4 7,cookson ,harding7 mark1 #bhj ,canary bottles1 fraudulent1 #aaj ,caricatures in earthenware1 #ccg ,castle ,acre ,priory1 tiles from1 #hd ,castleford ,pottery 7,d4 ,d4 ,co471 #agd1 #bgj1 #cjb1 #caa2 prices1 #cac ,catalogues printed in several languages 7,leeds71 #bhh2 ,wedgwood1 #bbd ,cats1 figures of1 #agd2 slip decorated1 #ceh2 agate1 #cei ,caughley earthenware1 #djg2 prices1 #dai2 marks1 #dag1 #dah ,caughley1 transfer-printing at1 #cah ,cauliflower ware1 #afi2 teapots1 #bjh ,caylus1 ,count1 #bei ,chaffers 7,liverpool71 #djc ,chalk introduced into cream ware1 #bfi ,champion 7,bristol71 #bce-bcg ,chapel1 ,stephen 7,leeds71 #bhh ,chatterly1 ,william1 #ff ,chertsey ,abbey1 tiles from1 #hc ,chester1 ,grosvenor ,museum1 ,toft dish at1 #hh ,chesterfield1 #fi ,china1 definition of1 #bh ,china clay1 definition of1 #bh ,china stone1 definition of1 #bh ,chinese pottery as a model for delft1 #ajb2 inspires ,english potters1 #aif2 old glazes of1 rediscovered1 #dff ,chippendale1 his similarity to ,wedgwood1 #bei ,christian1 ,philip 7tortoiseshell ware71 #gj ,chronological table of chief events1 eighteenth century1 #aeh ,church1 ,professor1 quoted 7,lambeth delft71 #aac2 ,dwight ware1 #ach ,c ,j ,m as a mark 7,mason71 #dec ,classicism1 eighteenth century1 #bdc2 foreign to ,staffordshire1 #afj2 the passing of1 #bgf ,classic ware1 summary of1 #gc1 #gd2 ,greek designs 7,turner71 #bfc2 figures1 ,staffordshire1 #cgj ,claude landscapes on earthenware1 #cdd ,clays used for pottery1 #bh2 various1 how used1 #dg ,clementson1 #gi ,clementson1 ,j41 #bhj ,clews1 #bhj ,clews1 ,james1 #cdi ,close ,co41 #bhj2 mark1 #cdh ,close1 ,mort ,co4 7,liverpool71 #djc ,cobalt blue used in salt-glazed ware1 #bjh ,cobbett1 ,william 7stoneware flask71 #dfe ,cockspur-mark1 definition of1 #ca1 #bih ,collecting1 the field of1 #eb2 reasons for1 #ce ,cologne ware1 #acd ,colour1 its adoption1 #bgc2 versus ,form in earthenware1 #agh ,coloured salt-glazed ware1 #baa ,cookson ,harding1 #bhj ,cookworthy 7,plymouth71 #bce ,copeland1 #ddc1 #ddd ,copland ,garrett1 #ddd2 marks1 #dgd1 #dge ,continental potters1 indebted to ,staffordshire1 #agg2 imitations of ,wedgwood1 #bdg ,copenhagen porcelain1 #bic1 #dff ,copper lustre ware1 #dce2 ,wilson1 #bhb2 prices1 #dci ,copyists--earthenware imitating china1 #dc2 of ,wedgwood1 #beg1 #bfe ,cornish clay mines1 #bce2 kaolin1 its use in cream ware1 #bcg ,cottage ornaments1 figures for1 #cgh ,crabstock handles1 #bab2 jug and handle1 #ahe ,cream ware1 #bcj-bdj2 definition of1 #bh2 its experimental stage1 #afi2 its later white body1 #dd2 ,leeds1 #bic-cja2 ,queen's ware1 #bcb2 revival of old ,wedgwood designs1 #bca2 summary of1 #ga-gc ,crich ware1 #bjd ,cricket match depicted in earthenware1 #cch ,crouch ware1 #bjd ,crown in circle as a mark 7,stevenson71 #cdh ,crown as a mark1 #bff ,d ,dale 7mark71 #cha ,dalehall as a mark1 #dgg ,daniel1 ,ralph 7salt-glaze71 #bjg ,daniel1 ,thomas1 painter1 #bcb ,davenport marks1 #dge2 prices1 #dha ,davenport1 ,john1 #dde ,davenport 7of ,longport71 #bfi2 mark1 #bhj ,davenport1 ,thomas1 #cdh ,davenport1 ,henry and ,william1 #cdh ,davenport ,co41 #ddf ,dawson1 ,samuel 7lustre71 #dbh ,d4 ,d4 ,co41 ,castleford mark1 #cjb1 #caa ,decadent period ,staffordshire figures1 #cgh ,delft ware 7,bristol delft71 #aac-aah2 definition of1 #bh2 general characteristics of1 #fg2 how made1 #aja2 its foreign origin1 #ajb2 its introduction into ,england1 #aje2 7,lambeth delft71 #ajf-aac2 7,liverpool delft71 #aah-abe2 prices1 #abi-acj2 summary of1 #fg-fh2 7,wincanton delft71 #abe ,de ,morgan1 ,william1 pottery of1 #dha ,denny ,abbey1 tiles from1 #hd ,derby 7earthenware71 #djh2 7,pot ,works7 mark1 #cdi2 transfer-printing at1 #cah ,dickens1 ,sam ,weller in earthenware1 #deh ,dillwyn1 ,l4 ,w4 7,swansea71 #cii ,dillwyn ,co4 7marks71 #dae1 #daf ,dipping-house1 the1 #ea ,dixon1 ,austin1 ,co41 ,sunderland1 #cji ,dixon ,co41 ,sunderland1 #cjf ,d4 ,j4 ,evans ,co41 ,swansea1 #djj2 marks1 #daf ,d4 ,m41 mark of ,william ,de ,morgan1 #dha ,don ,pottery marks1 #bhi1 #caj1 #caa ,dorset1 ,earl of1 arms on jug1 #ib ,doulton1 ,lambeth stoneware1 #aea1 #dfe ,drug pots1 #ajf ,dunderdale1 ,david1 #cjb ,dunderdale ,co4 7,d ,d ,co71 #agd ,dutch enamellers employed on salt-glaze1 #baa ,dwight1 ,john1 #fh1 #acd1 #ach-adb2 prices1 #aee ,e ,eagle as a mark 7,leeds71 #caa ,early ,english ware1 #hc-ih ,early pottery1 summary of1 #ff ,early salt-glazed ware1 #bjc ,early-,staffordshire ware1 #aei-aib2 prices1 #ahg-aib ,early-,victorian earthenware 7prices71 #dhb ,earthenware1 definition of1 #bi1 #dj2 figures compared with china1 #chb2 how made1 #dd2 imitating porcelain1 #bgc2 its appearance1 #dc2 method of studying1 #ee2 the nine classes of1 #ee2 versus porcelain1 #ahb ,east ,india ,company1 #ajf ,eastwood mark1 #bhj ,edwards1 ,j41 ,son1 ,dale ,hall1 #dgg ,egyptian ware1 definition of1 #bg ,e4 ,i4 ,b4 mark1 #bhj ,eighteenth century1 chief events of1 table1 #aeh ,election plates 7,bristol delft71 #fg1 #aad ,elers1 ,david1 #adb1 #adf ,elers1 ,john ,philip1 #add ,elers ,brothers 7not the inventors of salt glaze71 #bjd2 prices #aee2 their effect upon ,staffordshire1 #afd2 ,wedgwood's opinion of1 #afc ,elers ware1 definition of1 #bi1 #adb-adg2 summary of1 #fh ,elizabethan silver mounts on earthenware1 #abf2 coats of arms on jugs1 #acd ,enamel colours1 definition of1 #bi2 use in salt glaze1 #baa2 kiln 7enamel71 description of1 #eb ,engine turned ware1 #adh ,english character in early ,staffordshire ware1 #afj2 costume subjects1 #bfd2 porcelain factories largely imitative1 #aif2 scenery 7on earthenware71 #bgg2 national spirit in earthenware1 #ahf ,engravers employed to decorate earthenware1 #cbe ,etruria ,museum1 catalogue of1 #bbg ,etruscan ware1 ,dillwyn's 7,swansea71 #djj2 prices1 #dah ,evans1 painter 7,swansea71 #cii ,evans ,glasson 7,swansea71 #djj ,exhibition1 ,great1 of #ahea1 hideousness of1 #ceh ,f ,f as a mark 7,newcastle71 #cej ,fable subjects in earthenware1 #cba1 #cbb2 ,liverpool tiles1 #abe ,factory system1 the1 its origin1 #bdi ,falstaff1 earthenware figure of1 #cgd ,fell 7,newcastle71 #cjf ,ferrybridge1 #cji ,fifield1 ,william and ,john1 painters 7,bristol71 #djd ,figures 7,astbury71 #cfa2 ,astbury prices1 #aib2 earthenware and china compared1 #chb2 ,leeds prices1 #che2 ,salopian1 #djg2 salt-glazed1 #aha2 ,staffordshire1 best period1 #cfb2 ,staffordshire1 #ceg-chi2 decadent period of1 #cgh2 prices1 #che1 #chf2 summary of1 #gd-gg2 ,wedgwood1 #bdj2 ,whieldon1 #cfa2 prices1 #aib ,firing1 period of duration1 #ea ,fitzwilliam family1 crest of1 as a mark1 #caa ,flaxman1 ,john1 #bdh2 his designs in cream ware1 #bca2 designs of1 copied1 #bgd ,fletcher ,co4 7,shelton71 #cdh ,fleur-de-lis as a mark1 #djj ,flint introduced into body1 ,thomas ,astbury1 #bjg2 use of1 #bcb ,ford 7,south ,hylton ,pottery71 #cji ,forgeries 7in general71 #ei ,forgeries--,slip ware1 #fj2 sack bottles1 dated1 #fj2 salt-glaze coloured1 #fj2 ,toby jugs1 #fc2 ,fair ,hebe1 #fc2 ,vicar and ,moses1 #fc2 ,whieldon ware1 #fc2 ,leeds1 #fc4 ,form versus ,colour in earthenware1 #agh ,fowke1 ,sir ,francis 7,lowesby71 #djj ,frank1 ,richard 7,brislington71 #dbd ,freeth1 ,mr4 ,frank1 quoted 7,toft ware71 #ia ,frog1 green1 on ,catherine ,,ii4 service1 #bci ,frog mugs1 #cji ,fulham stoneware1 #aea2 summary of1 #fh1 #gj2 prices1 #aee ,funeral cups 7lustre71 #dbh ,furniture decorated with ,wedgwood ware1 #bdg ,g ,gateshead ,potteries1 #cjf ,gilding used in salt-glazed ware1 #bjh ,gillray's caricatures in earthenware1 #ccg ,glazes1 various1 definition of1 #bi2 rich1 used by ,whieldon1 #afi ,glazing1 description of process1 #ea2 improvement by ,booth1 #bcb ,glost oven1 description of1 #dh1 #ea ,godwin1 ,francis1 ,bishop of ,hereford1 #aag ,goethe1 quoted1 #bei ,gold lustre ware1 #dbg ,gonsales1 ,domingo1 ,voyage to ,moon1 #aag ,granite ware1 #agj2 ,wedgwood1 #bbh ,greatbach1 ,william1 #aff1 #bdh ,great ,malvern1 tiles from1 #hd ,green 7mark71 ,leeds ware1 #bhi2 signature of1 ,liverpool tiles1 #aba ,greens1 ,bingley ,co41 #cjb ,grenzhausen1 stoneware of1 #acg ,grs de ,flandres ware1 #acg1 #aea ,grey1 ,lord 7earthenware flask71 #dfe ,greybeard jugs1 #acd ,griffin as a mark 7,rockingham71 #caa ,grotesque design1 in early ,staffordshire ware1 #afj2 in ,english pottery1 #bjh ,growan stone1 its use in cream ware1 #bcg ,h ,hackwood1 #bhj ,hackwood1 ,william1 #bdh ,hamilton1 ,sir ,william1 #bdd1 #bei ,hancock1 ,john 7lustre71 #dcj ,hancock1 ,robert1 #cbi2 his ,tea ,party1 ,worcester1 #cah ,harding1 #bhj ,harley1 #bhj ,hartley1 ,greens ,co41 #bhh ,haynes1 #gi ,haynes1 ,george 7,cambrian ,pottery71 #cie ,haynes1 ,dillwyn ,co41 marks1 #dae ,heath1 #bhj2 prices1 #bhd ,heath family1 ,derby potters1 #djh ,heath ,bagnall1 #bhj ,heath1 ,warburton ,co41 #bhj ,heathcote1 ,c41 ,co41 mark1 #dhj ,herculaneum ,pottery 7,liverpool71 #djc2 marks1 #dag2 figures of1 #gg ,hewitt1 painter 7,wood figures71 #cgc ,hicks ,meigh1 #cdi ,hicks1 ,meigh1 ,johnson1 #cdi ,historical events1 chronicled in earthenware1 #ccc ,hollins1 ,samuel1 #bfi1 #bge1 #bhj ,hollins1 ,t4 ,j41 #bha2 mark1 #bge2 prices1 #dhb ,howe1 ,earl1 portrait of1 #ccd ,hudson ,river1 ,american views 7,clews71 #cdi ,humble ,green1 #bhh ,humour in pottery1 #bjh ,hylton ,potteries1 #cjj ,i ,i4 ,dale1 mark on figures1 #cha ,identification of earthenware1 #fe2 ,table1 #ff-gi ,i4 ,e4 ,b4 as a mark1 ,baddeley1 #cdi ,imitation of porcelain in earthenware1 #bgc2 bronze busts 7by ,wedgwood71 #bbi2 ,chelsea and ,derby figure of ,falstaff #cgg2 ,chinese pottery 7at ,leeds71 #bij2 ,crown ,derby1 #ddc2 ,japanese incised work 7salt-glaze71 #bab2 ,oriental porcelain styles1 #aif1 #bae2 ,plymouth group by ,staffordshire1 #cgg2 silversmiths' work 7by ,elers71 #aie2 at ,leeds1 #bid2 by ,wedgwood1 #aif2 ,wedgwood1 #beg1 #bfe2 ,wedgwood's ,queen's ware at ,swansea1 #cif ,imitativeness of ,english potters1 #aif ,imitativeness1 black basalt ware1 #bgd ,incised decoration1 salt glaze1 #bjh ,indian ,temple1 ,j4 ,w4 ,r4 7,ridgway71 #dgi ,ireson1 ,nathaniel1 #abe ,ironstone china1 #dej2 definition of1 #cj2 prices1 #dhb ,isleworth pottery1 #daa2 marks1 #dah2 prices1 #dai ,italian ,garden 7,w4 and ,b471 mark1 #dgh ,j ,jackfield pottery1 #cje2 prices1 #cac ,jacobite toasts1 #bae ,james ,,ii41 ,dwight bust of1 #ada ,japanese decoration adopted in ,staffordshire1 #bgc ,japanese incised work imitated1 salt glaze1 #bab ,jasper ware1 definition of1 #cj2 ,adams1 #bei-bfc2 ,turner1 #bfc-bfe2 ,wedgwood1 #bdj-bdi2 solid and dip1 definition of1 #bdg ,j4 ,e4 ,s4 as a mark1 #dgg ,jervaulx ,abbey1 tiles from1 #hd ,jinkcuson1 name on salt-glazed jug1 #bab ,jonson1 ,ben1 quoted1 ,bellarmine jugs1 #acd ,j4 ,r4 as a mark1 ,ridgway1 #dgi ,j4 ,w4 ,r4 as a mark1 ,ridgway1 #dgi ,k ,keeling1 ,a4 and ,e41 #bha ,kilns1 the various1 description of1 #dh ,l ,l41 ,leeds mark1 #bhi1 #caj ,lakin1 #bha2 prices1 #bhd ,lakin ,poole1 #bha 7lustre ware71 #dcc2 mark1 #cha2 prices1 #bhd ,landr1 ,mrs41 figure designer 7,wedgwood71 #bdj ,late ,staffordshire ware1 #ddc-dhc2 marks1 #dgc ,lambeth delft1 #ajf-aac2 summary of1 #fg2 prices1 #abi ,lancastrian ,pottery1 #dff ,landscape subjects after ,claude1 in earthenware1 #bgf ,lead-glaze1 definition of1 #bi2 early experiments1 #agd2 improvements in1 #bcb ,leeds ware1 #bhg-cja2 basket-work1 #big2 best period of1 #bij2 decorated at ,lowestoft1 #cja2 decorated at ,yarmouth1 #cgh2 figures1 #gf2 figures1 prices1 #che2 a fine collection of1 #ef2 fraudulent1 #fc2 marks1 #bhi1 #caj2 prices1 #cab ,leeds ,pottery ,co41 #bhh ,leeds ,pottery 7lustre71 #dcf ,lewes ,priory1 tiles from1 #hd ,lion as a mark1 #bhi1 #caa ,littler1 ,william1 lead glaze1 #bcb2 salt glaze1 #bjg1 #bjh ,liverpool1 fine collection of1 #ef2 7cream ware71 #djb-djd2 figures1 #gg2 prices1 #dai2 7delft71 #aah-abe2 prices1 #acj2 tiles1 subjects of1 #abe ,lockett1 ,j4 and ,j41 #bha ,lockett1 ,j41 ,sons 7lustre ware71 #dcf ,london as a mark1 #cej ,longton ,hall1 blue used on salt-glazed ware1 #bjg ,lovers' teapots1 #bjh ,lowesby ,pottery1 #djj2 prices1 #dai ,lowestoft1 ,leeds ware decorated at1 #cja ,l4 ,p4 7,leeds71 mark1 #bhh ,l4 ,p41 monogram1 as a mark1 #dha ,lustre ware1 #dbc-dci2 definition of1 #cj2 first use of lustre1 #dcj2 marks1 #dcj1 #dcc1 #dce1 #dcf1 #dci2 prices1 #dci2 summary of1 #gg1 #gh2 copper lustre1 #dce2 ,wilson1 #bfi1 #bhb2 silver lustre as a decoration to figures1 #cgg2 silver or platinum1 #dbi-dcf2 silver1 ,j4 ,aynsley1 #bgi2 various classes of1 #dbd ,m ,m4 as a mark 7,minton71 #dej ,m4 ,co4 as a mark 7,minton71 #dgf ,m4 ,b4 as a mark 7,minton ,boyle71 #dgf ,m4 ,n4 as a mark 7,mayer ,newbold71 #bha ,malling jug 7,tudor earthenware71 #acj ,marbled ware1 definition of1 #cj2 summary of1 #gj ,marbling on early vases1 #fh ,marks 7see under special class of ware71 their use and value1 #cj2 used fraudulently1 #fd ,marseilles earthenware imitates ,dresden models1 #dc ,martin1 ,maria1 of ,red ,barn1 in earthenware1 #dhb ,mason 7ironstone china71 #dej2 marks1 #dgg2 prices1 #dhb ,mason1 ,miles1 #cdi ,masonic plates 7,j4 ,aynsley71 #cdh ,mary1 ,queen1 portrait of1 on jug1 #acg ,mayer1 ,e41 lustre1 #dcj2 prices1 #bhd ,mayer ,newbold1 #bha2 lustre ware1 #dcf ,mayer1 ,e41 ,son1 #bha ,mayer1 ,e4 ,j41 #bha ,mayer1 ,elijah1 #aea1 #bfi1 #bgd2 glazed black ware1 #cje ,mayer ,elliott1 #bha ,medival tiles1 #hc2 summary of1 #ff ,meigh1 #gi ,meigh1 ,c41 ,sons1 #deg2 lustre ware1 #dcf ,meir1 ,f41 #bha ,meir1 ,john1 #ff ,meissen1 imitation of ,wedgwood by1 #bdg ,metal imitated3 ,wedgwood1 silver lustre1 #bbi ,metal designs copied at ,leeds1 #bid ,metal dies used by ,elers1 #aie ,metal stamps1 used for ornament in earthenware1 #adb ,metal workers1 influence of1 upon pottery3 ,elers1 #aie2 ,wedgwood1 #aif ,metropolitan slip ware1 #ie ,meyer1 ,joseph 7mark71 #bge ,middlesbrough ,pottery 7mark71 #cej ,milton1 bust of 7,r4 ,wood71 #cfi2 prices1 #chf ,minton1 #gi2 marks1 #dgf2 prices1 #dhb2 7,thomas71 #ccj1 #cdh1 #ddi2 7,herbert71 #ddi ,modern1 earthenware when considered1 #cj ,modern silver lustre teapots1 #dbc ,modern spirit1 the beginning of the1 #bdi ,monglott1 ,swiss artist 7,adams71 #bfj ,moore ,co4 7,sunderland71 #cjf ,morley 7,nottingham7 7seventeenth century71 #fi ,morley1 ,charles 7,nottingham71 #aea ,morley1 ,john 7of ,nottingham71 #adf ,morr ,smith1 #bha ,mortlock as a mark1 #cje1 #caa ,moseley1 #bha ,m4 ,p4 ,co4 as a mark 7,middlesbro'71 #cej ,museums where earthenware is exhibited1 #ef ,musicians1 earthenware figures of1 #cha ,myatt1 #bha ,n ,namur1 stoneware of1 #acg ,napoleon1 bust of1 #cgd2 caricatures of #aeb1 #ccg2 in lustre ware1 #dce2 in stoneware1 #dfe ,nash1 ,joseph1 #ff ,national character in early ,staffordshire ware1 #afj ,national spirit in earthenware1 #ahf ,nautical subjects in earthenware1 #ccd ,neale ,co41 figures1 #cgj2 marks1 #bff ,neale ,palmer marks1 #bff2 prices1 #bhc ,nelson jugs1 #dfa ,newcastle lustre1 #dbh2 transfer-printing at1 #ccj ,newcastle ware1 #cjf-caj2 prices1 #cac ,new stone ,b ,b4 7,minton71 #dgf ,nineteenth-century commemorative ware1 #deg ,nineteenth-century developments1 #gh1 #gi ,niderviller earthenware imitates ,dresden models1 #dc ,nottingham ware1 early1 #bjd2 summary of1 #fi2 prices1 #aee-aef2 stoneware1 #aea-aeb ,o ,omar ,khayyam quoted1 #dh ,opaque china1 #gi1 #ddf2 ,haynes 7,swansea71 #cii ,opie1 ,amelia1 quoted1 #dfa ,orator ,hunt on late earthenware1 #deh ,oriental decoration adopted in ,staffordshire1 #bgc2 designs at ,leeds1 #bih2 styles imitated 7,leeds71 #bij ,oriental ivory as a mark 7,powell ,bishop71 #dhj ,oven1 description of1 #ca1 #dh1 #ea ,over-glaze1 definition of1 #bi2 printing1 description of1 #cbe ,p ,p as a mark 7,lancastrian ,pottery71 #dha ,palmer1 ,henry1 #bfe2 marks1 #bff2 prices1 #bhc ,p ,b as a mark 7,powell ,bishop71 #dhj ,p4 ,u4 7,poole ,unwin71 lustre ware1 #dcf ,pardoe1 ,thomas1 painter 7,swansea71 #cii ,parson and ,clerk group1 #cfe ,paste1 definition of1 #ca ,p4 ,b4 ,co4 as a mark 7,pindar1 ,bourne ,co471 #dgg ,pearl ware 7,wedgwood71 #bch ,peasant pottery of nineteenth century1 #cha ,pelican in her ,piety 7,toft dish71 #ie ,pennington 7,liverpool71 #djc2 marks1 #dag ,pharmacy jars1 #ajf2 7,lambeth71 #aac ,phillips1 ,j4 7,hylton ,pottery71 #cjf ,phillips 7,longport71 #bha ,phoenix as a mark 7,clementson71 #bhj ,pilkington1 ,messrs41 #dff ,plagiarists of ,wedgwood1 #beg1 #bfe ,plaster of ,paris moulds first introduced1 #bjg ,political events chronicled in earthenware1 #ccc ,poole ,unwin 7lustre ware71 #dcf ,porcelain colours imitated in earthenware1 #bgc ,porcelain copied in earthenware1 #dc2 made by earthenware potters 7,caughley71 #djg2 7,minton71 #ddi2 7,rockingham71 #cje2 7,staffordshire71 #ddd2 7,swansea71 #cii ,portland ,vase1 #bdi ,porto ,bello ,bowl1 the1 #adg ,portraits in earthenware3 ,bonaparte1 #ccg1 #dce1 #dfe2 ,brougham1 #dfe2 ,cobbett1 #dfe2 ,duke of ,york1 #cba2 ,grey1 #dfe2 ,james ,,ii41 bust1 #ada2 ,king of ,prussia1 #cah2 ,nelson1 #dfa2 ,prince ,rupert1 bust1 #ach2 ,rousseau1 bust1 #bdj2 ,washington1 #cch2 ,wesley1 bust1 #cgd2 ,william ,,iii41 #acg2 ,young ,pretender 7salt-glaze71 #bae ,posset-pot inscribed ,wm4 ,simpson1 #afhe1 #ie ,potter's wheel1 the1 #dh ,pountney ,allies 7,bristol71 #djg ,pountney ,co4 7,bristol71 #djg ,powell ,bishop 7mark71 #dhj ,powell ,sons1 ,messrs4 ,james1 #bca ,pratt1 #bha ,prices1 hints concerning1 #ei2 dealers'1 #ei ,prince of ,wales's ,feathers as a mark1 #dhj ,prince ,rupert1 ,dwight bust of1 #ach ,printed ware1 #cag-cej ,printing on earthenware1 at ,leeds1 #bic2 over-glaze1 description of1 #cbe2 under-glaze1 description of1 #cbf ,prussia1 ,king of1 mugs and jugs 7,worcester71 #cah ,puritan influence on earthenware1 #ie ,q ,queen's ware 7,wedgwood71 #bcb ,queen's ware1 its decoration1 #bch1 #bci ,quin as ,falstaff1 figure of1 #cgd ,r ,railway mugs1 #dfb ,railway1 ,liverpool and ,manchester1 inscription on jug1 #dfb ,raren1 stoneware of1 #acg ,rathbone1 ,mr4 ,frederic 7,wedgwood71 #bd1 #be1 #bbg ,r4 ,b4 ,s41 ,leeds mark1 #bhi1 #caj ,reasons for collecting1 #ce ,red ,barn murder1 in earthenware1 #dhb ,redrich ,jones1 patent of1 #agj ,red ware1 ,wedgwood1 #bcj ,reform days1 commemorative ware1 #dfe ,reid1 ,w4 ,co41 ,liverpool1 #djc2 marks1 #dag ,renaissance of ,staffordshire1 #afe ,resist pattern1 definition of1 #ca ,resist silver lustre1 how made1 #dcd ,rhodes1 salt-glaze enameller1 ,leeds1 #baa ,ridgway1 #gi2 prices1 #dhc ,ridgway1 ,j4 ,w41 #cdi2 marks1 #dgi ,ridgway1 ,morley1 ,wear ,co41 #ded2 mark1 #cdi ,riley1 #gi1 #bha2 semi-china1 #ddi ,riley1 ,j4 ,r41 #cdi ,ring1 ,joseph1 ,bristol1 #djd ,r4 ,m4 ,w4 ,co4 as a mark1 #cdi ,robinson1 salt-glaze enameller 7,leeds71 #baa ,rockingham1 #cjb2 prices1 #cac ,rogers1 #bha ,rogers1 ,john1 ,son 7mark71 #dgg ,rous1 ,thomas1 #ach ,rousseau1 bust of1 #bdj ,royal portraits1 on delft1 #aji2 on stoneware1 #acg2 on ,toft ware1 #ia2 bust of ,james ,,ii41 #ada2 ,king of ,prussia1 #baa1 #cah2 bust of ,prince ,rupert1 #ach2 ,duke of ,york1 #cba ,ruskin ,pottery1 mark1 #dha ,s ,s as a mark1 #djh1 #dah ,sack bottles1 #ajf2 fraudulent1 #fj1 #aaj ,sadler ,green1 #abb ,sadler ,liverpool tiles1 signature of1 #aba ,saggers1 definition of1 #ca2 description of1 #dh ,st4 ,alban's ,abbey1 tiles from1 #hd ,st4 ,anthony's as a mark1 #cjf ,salopian earthenware1 #djg2 prices1 #dai ,salopian1 earthenware figures1 #gg ,salt1 #bha ,salt1 ,ralph1 figures of1 #cgh2 ,school of1 figures1 #gf ,salt-glaze1 definition of1 #bi2 description of process1 #aii ,salt-glazed ware1 #aie-bag2 classes of1 #bjg2 coloured1 fraudulent1 #fj2 defects of1 #bbb2 figures1 #gd1 #aha2 prices1 #baf2 rivalry with early ,staffordshire1 #agh2 summary of1 #fi ,s4 ,g4 7mark71 ,isleworth1 #daa1 #dah ,satire1 earthenware the medium for political1 #ccc ,s4 ,b4 ,s4 7mark71 ,leeds ware1 #bhi1 #caa ,scieux earthenware imitates ,dresden models1 #dc ,scott ,brothers 7,sunderland71 #cjf ,scratched blue1 salt glaze1 #bjh ,semi-china1 definition of1 #ca ,semi-porcelain1 #ddf2 definition of1 #ca ,sewell1 #cjf ,sewells ,donkin1 #cjf ,svres1 imitation of ,wedgwood by1 #bdg ,shakespeare1 quoted 7potter's wheel71 #dh2 willow pattern1 #cdc ,shaw 7,liverpool71 #djc ,shaw1 ,ralph1 #adh1 #bjg ,shaw1 ,robert1 #ff ,shell forms used in earthenware1 #bch ,ships as decoration on delft 7,liverpool71 #fg ,shore ,goulding1 #daa ,shore1 ,joseph1 #daa ,shorthose1 #bha ,shorthose ,co41 #cdh ,shorthose ,heath1 #bhb ,siegburg1 stoneware of1 #acg ,silver designs1 in earthenware1 #aie1 #aif1 #bbi2 copied at ,leeds1 #bid2 imitated 7,hollins71 #bge ,silversmith1 influence of1 upon earthenware 7,elers71 #aie2 7,wedgwood71 #aif ,silver lustre as a decoration to figures1 #cgg ,silver lustre ware1 #dbi-dcf2 ,j4 ,aynsley1 #bgi2 marked pieces1 #dcj1 #dcc2 prices1 #dci2 summary of1 #gh ,simpson1 ,ralph1 #ie ,simpson1 ,william1 #ie2 petition of1 #acg ,slip1 definition of1 #ca1 #dg ,slip ware1 #hg2 prices1 #ig2 summary of1 #ff ,sneyd1 #bhb ,solid agate ware1 #agj2 ,wedgwood1 #bbh2 definition of1 #bg ,solid jasper1 definition of1 #bdg ,solon1 ,mr41 quoted 7medival tiles71 #hd ,spode1 ,josiah 7the first71 #bfi1 #ccj1 #cci2 ,josiah 7the second71 #bgj1 #cdh1 #ddc2 marks1 #dgd2 prices1 #dha ,sporting subjects in earthenware1 #bfi1 #bgj1 #cch ,spur marks1 #bih2 definition of1 #ca ,squirrel pattern teapots1 #bab ,staffordshire delft1 prices1 #abi2 early ware1 #afa-aib2 figures1 #ceg-chi2 figures1 best period of1 #cfb2 figures1 decadent period of1 #cgh2 potters ahead of the ,continent1 #agg2 potters confined to earthenware1 #bcg2 pottery1 its renaissance1 #afe2 the transfer-printers of1 #cbi ,steam carriages1 on earthenware1 #dfb ,steel1 #bhb ,steele1 ,david1 painter1 #bcb ,stevenson1 ,a41 #cdh ,stevenson1 ,w41 #bhb ,stockton-on-,tees potteries1 #cjf ,stone china1 #gi2 marks1 #dgd-dgg ,stoneware1 #acc-aef2 definition of1 #cb1 #dj2 ,lambeth 7nineteenth century71 #dfe2 prices1 #aeb2 summary of1 #fh-gj ,stothard1 ,thomas1 #bdh ,stuart1 stump work pictures1 similarity to ,toft ware1 #ia ,stubbs1 ,george1 #bdh ,stubbs1 ,joseph 7mark71 #cdi ,sunderland ,school1 figures of1 #gg ,sunderland ware1 #cjf-caj2 lustre1 #dbh2 ,moore ,co41 #cjf2 prices1 #cac2 transfer-printing1 #ccj ,surface agate ware1 #afi2 definition of1 #bg2 ,wedgwood1 #bbh ,swansea1 #cie-djj2 figures1 #gg2 marks1 #dae2 prices1 #dah2 transfer-printing at1 #ccj ,syntax1 ,dr41 tour of 7on earthenware71 #bhj ,t ,tables1 chief events of eighteenth century1 #aeh2 dividing earthenware into classes1 #ee ,tabor1 ,william1 #ff ,tassie1 ,james1 #bdh ,templeton1 ,lady1 #bdh ,tennyson1 quoted1 #beh ,thrower1 the1 #dh ,thursfield1 ,maurice1 #cjf ,tiles1 ,bristol delft painted1 #fg1 #aad2 printed1 #aba2 medival1 #hc2 transfer-printed 7,liverpool delft71 #fg ,titles of ,puritan books1 strange1 #ie ,toby1 jugs1 #cff1 #cgd2 fraudulent1 #fc ,toft1 ,john1 name on teapot1 #bab ,toft1 ,thomas1 ,toft1 ,ralph1 #ff ,toft1 ware1 #hh-ie2 prices1 #ig2 summary of1 #ff ,tomlinson ,co41 #cji ,tortoiseshell ware1 #agj1 #agg2 summary of1 #gj2 ,castleford1 #cjb2 ,castleford 7,d4 ,d4 ,co471 #agd2 ,liverpool1 #agd ,transfer-printed ware1 #cag-cej2 marks1 #cdg-cej2 prices1 #cej ,transfer-printers1 the ,staffordshire1 #cbi ,transfer-printing1 definition of1 #cb2 description of1 #cbb2 in outline1 #cdg2 its adoption in ,staffordshire1 #cba2 at ,battersea1 #cah2 at ,caughley1 #cah2 at ,derby #cah2 at ,leeds1 #bic2 at ,liverpool1 #cah2 at ,newcastle1 #ccj2 in ,staffordshire1 #cbi2 at ,sunderland1 #ccj2 at ,swansea1 #ccj1 #cif2 at ,worcester1 #cah ,triangle as a mark 7,powell ,bishop71 #dhj ,tudor jugs1 #abf2 prices1 #acj ,turner1 ,john 7,lane ,end71 #bce1 #bfc-bfe1 #ccj2 marks1 #cdh2 prices1 #bhc ,turner1 ,thomas 7of ,caughley71 #bgj1 #cbi1 #cci2 marks1 #dah ,turner1 ,william and ,john1 #cdh ,turnor1 ,ralph1 #ff ,twentieth century collector1 the1 #dff ,twyford1 early salt glaze1 #bjd ,u ,under-glaze1 definition of1 #bi ,under-glaze printing1 description of1 #cbf ,v ,van ,hamme 7,lambeth71 #fg2 his patent 7,delft71 #ajf ,variegated ware1 #afi-agd2 summary of1 #gj2 tesselated style1 #agc2 ,wedgwood1 #bbh ,vernon1 ,admiral1 victory of ,porto ,bello1 #ccd ,verse on earthenware1 #ccd1 #ccg ,vicar and ,moses group1 #cfb1 #cfe2 fraudulent1 #fc ,viellard ,cie 7,bordeaux71 #bae ,voltaire1 bust of1 #bdj ,voyez1 modeller1 #bfe1 #cgj ,w ,w as a mark 7lustre ware71 #dce2 7,myatt71 #bha ,wainwright ,co4 7,leeds71 #bhh1 #caj ,walton1 #bhb2 7,john71 figures by1 #cgh ,walton ,school1 figures of1 #gf ,warburton1 #bbb1 #bcb1 #bhb ,warburton1 ,peter 7lustre ware71 #dcj1 #dce ,warburton1 ,britton ,co4 7,leeds71 #bhh ,washington1 portraits of1 #cch ,w ,b as a mark 7,w4 ,brownfield71 #dgh ,w ,b as a mark1 #dgh ,w ,b ,s as a mark1 #dgh ,wedgwood1 ,aaron 7lead glaze71 #bcb ,wedgwood1 ,josiah1 as a potter1 #bbg2 his views of ,elers1 #afc2 influence of1 #bdi2 gold lustre1 #dbg2 under-glaze blue1 #ccj2 ,josiah the second1 #cdh ,wedgwood1 ,ralph1 #cdh ,wedgwood1 ,dr4 ,thomas1 salt glaze1 #bjg ,wedgwood ware1 #bba-bed2 figures1 #cgj2 influence1 the wane of the1 #bgf2 marks1 #bea-bec2 printed at ,liverpool1 #bdj2 prices1 #bec1 #bed2 school1 #beg2 figures of1 #ge2 old cream ware designs1 revival of1 #bca ,wedgwood ,co4 7of ,burslem71 #cdh ,wedgwood ,co41 spurious mark1 #cji ,welsh ware 7,isleworth71 #daa ,wesley1 ,john1 busts of1 #cgd ,wheel1 the potter's1 #dh ,whieldon 7,thomas71 #aei-aic2 prices1 #ahg ,whieldon ,school1 figures of1 #ge ,whieldon ware1 definition of1 #cb2 prices1 #ahg-aib ,whitefriars ,glass ,works1 #bca ,whitfield1 ,george1 busts of1 #cgd ,wilcox1 ,mrs4 7,etruscan ware71 #bdh ,wilkie's pictures on earthenware1 #bhj ,william ,,iii41 portrait of1 on jug1 #acg ,willow pattern at ,caughley1 #cbi2 at ,leeds1 #bih2 at ,swansea1 #cif2 ,chinese original of1 #cci2 where first made in ,england1 #cbi2 story of the1 #cdj ,wilson1 #bhb2 7,d4 ,wilson ,sons7 marks1 #bfi ,wilson1 ,robert 7marks of71 #bff ,wincanton ,delft1 #abe2 summary of1 #fh ,wood 7,aaron71 salt-glazed basket-work1 #bab2 salt glaze1 #bjg ,wood1 ,e41 #bhb2 prices1 #bhd ,wood1 ,enoch1 #cgc2 mug1 #ahf2 7,turner jugs71 #bfd2 use of bone ash1 #ddd ,wood1 ,enoch1 ,sons1 #bhb1 #cdi ,wood ,caldwell1 #bhb1 #cgc2 lustre1 #dcj1 #dcc ,wood and ,caldwell ,school1 figures of1 #ge ,wood family1 the1 ,staffordshire figures1 #cfb-cgj ,wood1 ,ralph1 #cfb2 prices1 #bhd2 variegated ware1 #agc ,wood ,school1 figures of1 #ge ,worcester1 transfer-printing at1 #cah ,workmen1 trained1 transferred to new factories 7,liverpool71 #djc2 7,minton71 #ccj2 7,shelton71 #djd2 7under-glaze blue printing71 #cbi ,worthington1 ,liverpool1 #djc ,wright1 ,john1 #ff ,wrotham 7,kent7 ware1 #hg2 prices1 #ig2 summary of1 #ff ,w4 ,s4 ,co4 7,william ,smith ,co471 #cji ,y ,yarmouth1 ,staffordshire figures decorated at1 #cgh ,young1 ,w4 ,w41 painter 7,swansea71 #cii ,,unwin ,,brothers1 ,,limited1 ,,the ,,gresham ,,press1 ,,woking ,,and ,,london4 ,transcriber's ,notes ,in the text version of this book1 italic text is marked italic and bold marked bold4 ,the text also contains some single character pottery marks and these are represented as e4g4 ,c ,blank facing pages to illustrations are included in this books page numbering system 7although they are not marked74 ,these page numbers are not shown in the html version of the text4 ,minor punctuation errors and inconsistencies in spelling and hyphenation have been corrected4 p #dhh4 ,derby 7earthenware71 #djh2 7,pot ,works mark1 #cdi2 changed to3 ,derby 7earthenware71 #djh2 7,pot ,works7 mark1 #cdi2 p #dif4 77under-glaze blue printing71 #cbi changed to3 7under-glaze blue printing71 #cbi p #aec4 ,raised medallion with crown and ,g4,r4 7,period of ,george ,i4 changed to3 ,raised medallion with crown and ,g4,r4 7,period of ,george ,i47 p #bdc4 ,added a closing quote to la ,grecque4 p #cfe4 including bust of ,john ,wesley changed to3 including a bust of ,john ,wesley p #cie4 ,caughley or ,salopian 7#agea-agge7 ,derby1 changed to3 ,caughley or ,salopian 7#agea-agge7--;,derby1