,transcriber's ,note3 ,the following conventions are used in this text4 italic text bold text superscript ,fractions are denoted as #a-a_/b for #a4 99 99 99 99 99 ,,companion ,,volume ,,by ,,the ,,same ,,author ,,chats ,,on ,,english ,,earthenware ,with ,coloured ,frontispiece and #aej ,illustrations and ,tables of over #bjj ,illustrated ,marks4 ,,contents ,,chapter ,i4 ,,how ,,to ,,collect3 ,a ,,chapter ,,for ,,beginners ,,ii4 ,,early ,,ware ,,iii4 ,,english ,,delft ,,iv4 ,,stoneware ,v4 ,,early ,,staffordshire ,,ware--,,thomas ,,whieldon3 ,,his ,,contemporaries ,,and ,,successors ,,vi4 ,,salt-,,glazed ,,ware1 ,,staffordshire ,,vii4 ,,josiah ,,wedgwood ,,viii4 ,,the ,,school ,,of ,,wedgwood ,,ix4 ,,leeds ,,and ,,other ,,factories ,x4 ,,transfer-,,printed ,,ware ,,xi4 ,,staffordshire ,,figures ,,xii4 ,,swansea ,,and ,,other ,,factories ,,xiii4 ,,lustre ,,ware ,,xiv4 ,,late ,,staffordshire ,,ware ,,index ,,chats ,,on ,,english ,,china ,,books ,,for ,,collectors ,with ,frontispieces and many ,illustrations4 ,,chats ,,on ,,english ,,china4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,furniture4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,prints4 7,how to collect and value ,old ,engravings47 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,costume4 ,by ,g4 ,,woolliscroft ,,rhead4 ,,chats ,,on ,,old ,,lace ,,and ,,needlework4 ,by ,e4 ,l4 ,,lowes4 ,,chats ,,on ,,oriental ,,china4 ,by ,j4 ,f4 ,,blacker4 ,,chats ,,on ,,old ,,miniatures4 ,by ,j4 ,j4 ,,foster1 ,f4,s4,a4 ,,chats ,,on ,,english ,,earthenware4 7,companion volume to 8,chats on ,english ,china407 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,autographs4 ,by ,a4 ,m4 ,,broadley4 ,,chats ,,on ,,pewter4 ,by ,h4 ,j4 ,l4 ,j4 ,,mass1 ,m4,a4 ,,chats ,,on ,,postage ,,stamps4 ,by ,,fred4 ,j4 ,,melville4 ,,chats ,,on ,,old ,,jewellery ,,and ,,trinkets ,by ,,maciver ,,percival4 ,,chats ,,on ,,cottage ,,and ,,farmhouse ,,furniture4 7,companion volume to 8,chats on ,old ,furniture407 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,coins ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,copper ,,and ,,brass4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,household ,,curios4 ,by ,,fred4 ,w4 ,,burgess4 ,,chats ,,on ,,old ,,silver4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,japanese ,,prints4 ,by ,,arthur ,,davison ,,ficke4 ,,chats ,,on ,,military ,,curios4 ,by ,,stanley ,c4 ,,johnson4 ,,chats ,,on ,,old ,,clocks ,,and ,,watches4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,royal ,,copenhagen ,,porcelain4 ,by ,,arthur ,,hayden4 ,,chats ,,on ,,old ,,sheffield ,,plate4 7,companion volume to 8,chats on ,old ,silver407 ,by ,,arthur ,,hayden4 99 99 99 99 99 ,,bye ,,paths ,,of ,,curio ,,collecting4 ,by ,,arthur ,,hayden4 ,with ,frontispiece and #gb ,full page ,illustrations4 #bas4 net4 ,,london3 ,t4 ,,fisher ,,unwin1 ,,ltd4 ,,new ,,york3 ,f4 ,a4 ,,stokes ,,company4 99 99 99 99 99 ,illustration3 ,,worcester ,,vase4 ,from the ,collection of the late ,lady ,charlotte ,schreiber in the ,victoria and ,albert ,museum4 ,reproduced by permission of the ,board of ,education4 ,,chats ,,on ,,english ,,china ,,by ,,arthur ,,hayden ,,author ,,of 8,,chats ,,on ,,english ,,earthenware10 8,,chats ,,on ,,old ,,silver10 ,,etc4 ,illustration3 ,bloor ,derby ,teapot ,,with #aej ,,illustrations ,t4 ,,fisher ,,unwin ,,ltd ,,london3 ,,adelphi ,,terrace ,first ,edition #aijd ,second ,edition #aijf ,third ,impression #aijg ,third ,edition #aiji ,fifth ,impression #aiaj ,sixth ,impression #aiab ,seventh ,impression #aiag ,eighth ,impression #aiai ,fourth ,edition #aibj 7,all rights reserved7 ,,to ,,josephine ,,hamilton ,,preface ,,to ,,fourth ,,edition ,a certain amount of necessary revision has been given to the volume4 ,the prices obtained at public auction for representative examples have been brought up to date1 and ten new illustrations have been added4 ,,arthur ,,hayden4 ,september1 #aibj4 ,,preface ,,to ,,second ,,edition ,this edition has been slightly revised and corrected4 ,throughout the volume many new illustrations appear in place of those in the first edition1 and their selection has been made in order to show more clearly the characteristics of the china as dealt with in the letterpress4 ,in addition to these1 twenty new illustrations have been added1 and ,i have to acknowledge my indebtedness to ,messrs4 ,wedgwood ,sons1 by whose courtesy ,i am enabled to reproduce examples from their museum at ,etruria1 and fine examples after ,flaxman1 including specimens of dinner-ware which are now being manufactured by the firm from the old designs by that artist4 ,i have similarly to acknowledge my obligation to ,messrs4 ,w4 ,t4 ,copeland ,sons1 of ,stoke-upon-,trent 7the successors of ,spode71 for several illustrations of the ware from their factory1 and to ,messrs4 ,minton for some fine specimens of their productions4 ,it is my hope that this improvement will make the volume more useful as a practical working handbook for the collector4 ,to the great number of enthusiasts who have written to me in connection with this volume and with the ,dilettante pages in the ,lady's ,pictorial1 ,i tender a grateful and appreciative acknowledgment4 ,,arthur ,,hayden4 ,march1 #aijf4 ,,author',s ,,note ,in regard to ,english ,earthenware1 which appeals to a wide circle of collectors1 ,i have1 in response to many readers who have written to me on the subject1 prepared a companion volume to this1 entitled 8,chats on ,english ,earthenware40 ,the subject is treated from a collecting point of view1 and a large number of carefully selected photographic reproductions of typical examples illustrate the letterpress4 ,those who are interested in the outline sketch of ,english ,earthenware given in the concluding chapters of this volume1 and desire greater detail1 will find a completer record in the companion volume4 ,a4 ,h4 ,january1 #aiji4 99 99 99 99 99 ,illustration3 ,,bow ,,teapot4 ,with leaf as spout1 and grape-vine handle4 ,,preface ,this little volume has been primarily written with a view to enable the possessors of old china to determine the factories at which their ware was produced4 ,a modest attempt has been made to show that the china-shelf is a record of men's triumphs and failures1 and the fantastic shepherds and shepherdesses1 lustrous bowls1 queer printed dishes1 and bizarre decorated jugs1 may be regarded by a reflective mind as so many symbols representing something less perishable than the clay of the potter4 ,these 8,chats0 originally appeared in the pages of ,our ,home4 ,in collecting them in volume form ,i trust that they will appeal to a wider circle of readers4 ,never was a greater interest taken in ,art1 and the growth of popular literature has developed a taste for objects of art in the home4 ,the china-shelf is now regarded as worthy of keen and discriminating study4 ,its treasures1 often heirlooms1 have been brought into the light of day1 and amateur collectors can now be numbered by thousands4 ,i am enabled to include a useful feature in the list of prices obtained at recent sales1 by kind permission of the proprietors of the ,connoisseur1 whose 8,sale ,prices10 published monthly1 is most valuable to the collector4 ,it is hoped that the ,bibliography of works on china and pottery may be of use to those who wish to study the subject more deeply1 and a copious ,index will prove useful for ready reference4 ,the 8,chats0 relating to ,lustre ,ware1 ,old ,english ,mugs1 and ,wedgwood are not upon ,english china1 but deal with earthenware2 they are included in the volume in order to increase its scope and usefulness4 ,my thanks are due to ,mr4 ,w4 ,g4 ,honey1 of ,cork1 for kindly allowing me to reproduce specimens from his collection which was exhibited at the ,cork ,exhibition4 ,i am indebted to ,mr4 ,a4 ,merrington ,smith1 ,fine ,art ,dealer1 of ,lowestoft1 for information concerning the recent unearthing of moulds and fragments of china on the site of the old factory at ,lowestoft1 a discovery of very great value4 ,by permission of the ,coalport ,company ,i am giving specimens of their modern productions and some of their marks not published before4 ,,arthur ,,hayden4 ,,contents ,,page ,,preface xi ,,list ,,of ,,illustrations xv ,,bibliography xxi ,,glossary ,,of ,,terms ,,used xxiii ,,chat ,i4 ,,old ,,derby #a ,,ii4 ,,chelsea ,,china #bg ,,iii4 ,,the ,,bow ,,china ,,factory #di ,,iv4 ,,old ,,worcester #fg ,v4 ,,plymouth ,,and ,,bristol ,,china #ia ,,vi4 ,,the ,,lowestoft ,,factory #aaa ,,vii4 ,,coalport #acc ,,viii4 ,,spode ,,and ,,his ,,successors #adi ,,ix4 ,,nantgarw ,,and ,,swansea #afc ,x4 ,,minton #agi ,,xi4 ,,old ,,english ,,earthenware #aia ,,xii4 ,,lustre ,,ware #bai ,,xiii4 ,,liverpool ,,ware #bce ,,xiv4 ,,wedgwood #bdg ,,index #bgi ,,list ,,of ,,illustrations ,,frontispiece4 ,worcester ,vase4 ,from the ,collection of the late ,lady ,charlotte ,schreiber in the ,victoria and ,albert ,museum4 ,,chat ,i4--,,old ,,derby4 ,,page ,bloor ,derby ,teapot v ,early ,crown ,derby ,cup and ,saucer #c ,old ,derby ,marks #g ,derby ,figure ,group #i ,crown ,derby ,pastille-burner #aa ,crown ,derby ,mug and ,saucer #ac ,bloor ,derby ,marks #af ,crown ,derby ,vase and ,bloor ,derby ,pastille-burner #ag ,later ,derby ,marks #bj ,,chat ,,ii4--,,chelsea ,,china4 ,chelsea ,figure #bg ,figure of ,carpenter #bi ,chelsea ,vase in ,british ,museum #ca ,chelsea ,marks #cd ,chelsea ,marks #ce 8,foundling0 ,vase #ch ,derby-,chelsea ,marks #ci ,,chat ,,iii4--,,the ,,bow ,,china ,,factory4 ,bow ,vase1 with ,cover ,facing page #dh ,bow ,inkstand #di ,bow ,figure #ej ,bow ,marks #ec1 #ed ,bow ,plate and ,teapot #ef ,bow ,cups #eg ,bow ,marks #fj ,,chat ,,iv4--,,old ,,worcester4 ,early ,blue and ,white ,worcester ,plate ,facing page #ff ,old ,worcester ,transfer-printed ,group #fg ,old ,worcester ,marks #gj ,old ,worcester1 ,king of ,prussia ,mug #gc ,worcester ,dish #gg ,flight and ,barr ,marks #gh ,chamberlain ,marks #gh ,kerr and ,binns ,marks #gi ,grainger1 ,lee and ,co4 ,marks #gi ,scent-bottle 7,chamberlain7 #hj ,grainger1 ,lee and ,co4 ,vases #ha ,,chat ,v4--,,plymouth ,,and ,,bristol ,,china4 ,white ,porcelain ,goat ,facing page #ij ,salt-cellar1 ,plymouth #ia ,white ,porcelain ,dish1 ,plymouth #id ,vase1 ,plymouth #ie ,plymouth ,marks #if ,bristol ,porcelain #ig ,bristol ,vase and ,cover ,facing page #ih ,bristol ,marks #ajj ,bristol ,cup and ,saucer from ,edmund ,burke's ,service #ajb ,bristol ,vase #ajc ,,chat ,,vi4--,,the ,,lowestoft ,,factory4 ,lowestoft1 ,panels of ,dish 7detail7 #aaa ,lowestoft ,sauce-boats1 with ,fragment of ,mould #aac ,blue and ,white ,delft ,marriage ,plate #aad ,old ,lowestoft ,cups and ,saucers #aag ,dated ,lowestoft ,mug #aah ,interior of ,old ,lowestoft ,factory 7,digging for ,moulds7 #abb ,toy ,teapot and ,cream ,jug #abc ,dated ,lowestoft ,mugs and ,jug #abe ,lowestoft ,blue and ,white ,jug #abh ,inkstand #abi ,,chat ,,vii4--,,coalport4 ,two-handled ,cup1 richly gilded #acc ,old ,coalport--,covered ,cup and ,saucer #ace ,caughley1 ,old ,blue ,mug #acg ,early ,marks #aci ,coalport ,vase #ada ,coalport ,marks #adb ,latest ditto #adc ,old ,coalport ,vase #ade ,,chat ,,viii4--,,spode ,,and ,,his ,,successors4 ,copeland ,vases #adi ,spode ,plates #aea ,spode ,pastille-burner #aeb ,spode ,marks #aed ,spode ,plate #aee ,copeland ,marks #aef ,copeland ,plates #aeg ,,chat ,,ix4--,,nantgarw ,,and ,,swansea4 ,swansea ,vase #afc ,nantgarw ,plates #afe ,nantgarw ,dish #afg ,fine ,swansea ,vase and ,cover ,facing page #agj ,swansea ,marks #aga ,swansea ,plate #agb ,swansea ,vase 7,dillwyn's ,etruscan ,ware7 #agc ,,chat ,x4--,,minton4 ,minton ,vase ,facing page #agh ,minton ,dish #aha ,minton ,marks #ahb ,minton ,vase #ahc ,later ,minton ,marks #ahd ,lion ,ewer 7,henri ,,ii4 ,ware7 #ahe ,minton ,candelabrum #ahf ,majolica ,plaque #ahi ,,chat ,,xi4--,,old ,,english ,,earthenware4 ,bust of ,prince ,rupert #aia ,sunderland ,jug #aic ,old ,jug--,john ,bull #aih ,the ,vicar and ,moses #aii ,sunderland ,frog ,mug #bjc ,old ,delft ,mug 7dated #afca7 #bjf ,group of ,old ,english dated ,ware #bji ,old ,puzzle ,jug #bab ,marks on ,mason's ,ware #baf ,group of ,mason's ,jugs #bag ,,chat ,,xii4--,,lustre ,,ware4 ,silver ,lustre ,jug #bai ,copper ,lustre ,jugs #bba ,group of ,copper ,lustre ,ware #bbb ,copper ,lustre ,bust #bbc ,copper ,lustre ,jugs #bbe ,copper ,lustre ,jug #bbf ,silver ,lustre ,sugar-bowl #bbg ,silver ,lustre ,jugs #bbh ,silver ,lustre ,teapot #bbi ,silver ,lustre ,jug 7,white ,decoration7 #bca ,gold ,lustre ,jug #bcb ,,chat ,,xiii4--,,liverpool ,,ware4 ,liverpool ,delft ,punch ,bowl #bce ,old ,liverpool ,tiles #bcg ,early ,liverpool ,marks #bdj ,liverpool ,marks #bda ,old ,liverpool ,mug #bdc ,old ,liverpool ,jug 7two positions7 #bdd ,liverpool ,mug #bde ,,chat ,,xiv4--,,wedgwood4 ,wedgwood ,dinner ,plates #bdg ,wedgwood4 ,jasper ,cup and ,saucer #bdi ,whieldon ,tortoiseshell ,ware #bea ,wedgwood ,terra-cotta ,vases #bef ,wedgwood4 ,jasper ,vase #beh ,blue ,jasper ,vase and ,pedestal #bei ,plaque designed by ,flaxman4 ,mercury uniting the hands of ,england and ,france #bfj ,portland ,vase #bfa ,wedgwood and ,bentley ,mark #bfi ,old ,wedgwood ,teapot #bga ,wedgwood ,plaque4 ,designed by ,lady ,diana ,beauclerk ,facing page #bgh ,,additional ,,plates ,,in ,,third ,,edition4 ,bow ,teapot page xi ,derby ,figure of ,peacock ,facing page #bj ,chelsea ,figures of ,birds 0 0 #cd ,chelsea ,figure and ,candlestick ,facing page #dj ,pair of ,bow ,figures 0 0 #ed ,bow ,cups 0 0 #fj ,worcester ,plate 0 0 #fh ,pair of ,worcester ,vases 0 0 #gj ,rare ,lowestoft ,coffee-,pot 0 0 #abj ,,additional ,,plates ,,in ,,fourth ,,edition4 #aibj4 ,derby ,cups and ,saucers ,facing page #bb ,chelsea ,dishes 0 0 #cf ,chelsea4 ,pair of ,groups1 ,dancing ,figures 0 0 #db ,bow4 ,figure of ,britannia 0 0 #eb ,bow ,teapot1 ,chinese ,style1 and ,plate page #ef ,worcester ,teapot ,facing page #fh ,worcester ,mug1 ,transfer printed 0 0 #gf ,lowestoft ,jug 7#aggb71 ,mug 7#agib7 page #abe ,,bibliography ,,general4--,catalogue of ,specimens of ,british ,pottery and ,porcelain in the ,museum of ,practical ,geology4 #ahgf4 7,out of print47 7,this ,collection is now at the ,bethnal ,green ,museum47 ,marks and ,monograms on ,pottery and ,porcelain4 ,william ,chaffers4 7,the last edition1 #aija1 contains over #c1ejj ,potters' marks of all the well-known ,european and ,oriental factories47 ,ceramic ,art of ,great ,britain4 #b vols4 ,llewellyn ,jewitt4 #ahgh4 ,the ,china ,collector's ,pocket ,companion4 ,mrs4 ,bury ,palliser4 7,containing marks only--arranged in order47 ,old ,english ,pottery4 ,mr4 and ,mrs4 ,frank ,freeth4 7,morgan1 ,thompson1 ,jamison47 ,english ,porcelain4 ,a4 ,h4 ,church4 #aijd4 ,english ,earthenware4 ,a4 ,h4 ,church4 #ahhd4 ,art of the ,old ,english ,potter4 ,by ,m4 ,l4 ,solon4 ,history of ,old ,english ,porcelain4 ,by ,m4 ,l4 ,solon4 #aijc4 ,history and ,description of ,english ,porcelain4 ,by ,wm4 ,burton4 ,cassell ,co4 #aijb4 ,history and ,description of ,english ,pottery4 ,by ,wm4 ,burton4 #aijf4 ,examples of ,early ,english ,pottery4 ,john ,eliot ,hodgkin1 ,f4,s4,a41 and ,edith ,hodgkin4 #ahia4 ,pre-,wedgwood ,english ,pottery 7,solon ,collection74 ,connoisseur1 ,december1 #aija2 ,february1 #aijb4 ,pottery and ,porcelain1 ,a ,guide to ,collectors4 ,f4 ,litchfield4 #aijj4 ,catalogue of ,english ,porcelain at ,british ,museum4 ,r4 ,l4 ,hobson4 #aije4 ,guide to ,english ,pottery and ,porcelain at ,british ,museum4 ,r4 ,l4 ,hobson4 #aiaj4 ,catalogue of ,schreiber ,collection at ,victoria and ,albert ,museum4 ,b4 ,rackham4 #aiae4 99 99 99 99 99 ,,particular4 ,bow1 ,chelsea1 and ,derby ,porcelain4 ,william ,bemrose4 #ahih4 ,bristol1 ,two ,centuries of ,ceramic ,art in4 ,hugh ,owen4 #ahgc4 ,chelsea ,china4 ,connoisseur1 ,march1 #aijc4 ,bow ,porcelain4 ,burlington ,magazine1 vol4 xxv41 #aiad4 ,bristol ,porcelain4 ,burlington ,magazine1 vol4 xx41 #aiab4 ,old ,derby ,china ,factory4 ,john ,haslem4 #ahgf4 ,liverpool1 ,the ,art of ,pottery in4 ,joseph ,mayer4 #ahee4 ,liverpool ,catalogue of ,pottery and ,porcelain4 ,p4 ,entwistle4 #aijg4 ,the ,liverpool ,potters4 ,c4 ,t4 ,gatty4 #ahhb4 ,lowestoft4 ,connoisseur1 ,april1 #aijc2 ,october1 #aijc4 ,queen1 ,christmas number1 #aijc4 ,lady's ,pictorial1 ,dec4 #cj1 #aije4 ,lowestoft ,china4 ,by ,w4 ,w4 ,r4 ,spelman4 7,jarrold1 ,norwich47 #aijf4 ,lustre ,ware4 ,connoisseur1 ,november1 #aijb4 ,saltglaze ,teapots1 ,old ,english4 ,connoisseur1 ,february1 #aijc4 ,staffordshire ,potteries1 ,history of the4 ,s4 ,shaw4 #ahbi4 ,swansea and ,nantgarw1 ,the ,ceramics of4 ,william ,turner4 #ahig4 ,toby ,jugs and their ,near ,relatives4 ,lady's ,pictorial1 ,jan41 #aijf4 ,transfer ,printing on ,pottery4 ,burlington ,magazine1 vol4 vi41 #aijd-e4 ,wedgwood1 ,life of ,josiah4 ,miss ,meteyard4 #ahfe4 ---- ,memorials of ,miss ,meteyard4 #ahgd4 ---- ,connoisseur1 ,may1 #aijc4 ---- ,a4 ,h4 ,church4 7,portfolio ,monograph47 ,worcester ,china4 ,a ,century of ,potting in the ,city of ,worcester4 ,r4 ,w4 ,binns4 #ahgg4 ,worcester ,china4 ,a ,record of the ,work of ,forty-five ,years 7#aheb-ahig74 ,r4 ,w4 ,binns4 #ahih4 ,old ,worcester4 ,connoisseur1 ,october1 #aijb4 ,worcester ,porcelain4 ,r4 ,l4 ,hobson4 #aiaj4 ,,glossary ,,of ,,terms ,,used ,biscuit4--,the first stage of china after being fired4 ,it is white and porous1 and ready for decoration4 ,its surface resembles that of an ordinary clay pipe4 ,china4--,a term used to include all porcelains4 ,earthenware4--,all ware that1 in contradistinction to porcelain1 is not translucent4 ,glaze4--,the glassy substance applied to the surface of pottery and porcelain4 ,lead ,glaze4--,the porcelains of ,bow1 ,chelsea1 and other early factories contained as much as #dj per cent4 of oxide of lead4 ,modern chinas contain less than half that1 and some glazes are 8leadless40 ,as to the terrible results of the use of this glaze on the health of the potters1 see ,report of ,professors ,thorpe and ,oliver to ,home ,office on subject 7,c4 #ibjg1 #ahii74 ,over-,glaze ,decoration4--,decoration after the surface has received its transparent glaze4 ,this decoration admits of a wider range of colours4 ,on hard paste1 such as ,plymouth1 it stands flat on the surface2 on soft paste1 such as ,bow1 it is partly incorporated4 ,under-,glaze ,decoration4--,decoration applied to the unglazed surface when in biscuit state2 the whole is then covered with transparent glaze and refired4 ,ironstone ,china4--,a term invented by ,mason1 who took out a patent for his ware4 ,it is not china1 but is a heavy class of earthenware highly decorated4 ,it was generally adopted by other ,staffordshire makers4 ,moulds4--,the models from which china is made4 ,these are of plaster of ,paris4 ,opaque4--,incapable of transmitting light4 ,this distinguishes pottery from porcelain4 ,paste4--,the body or material of which porcelain is made4 ,hard4--,china which1 on being broken1 shows a sparkling surface like that of a flint stone1 and is impervious to any staining by colour applied to it4 ,plymouth and ,bristol and ,new ,hall are the only true hard-paste porcelains of this country4 ,soft4--,china which1 on being broken1 shows a porous surface capable of absorbing colour4 ,porcelain4--,commonly called china2 is distinguished from pottery by being translucent4 ,true ,porcelain is made from a mixture of two minerals--petuntse1 or 8china stone10 and kaolin1 or 8china clay10 with nothing artificially added2 e4g41 ,chinese1 ,dresden1 ,plymouth1 and ,bristol chinas4 ,glassy ,porcelain1 containing an artificial admixture of glass to give the paste translucency2 e4g41 ,chelsea1 ,bow1 ,nantgarw1 ,pinxton4 ,bone-ash ,porcelain1 of which ,spode's china is an example4 ,pottery4--,a term used to include all the earthenwares4 ,printing4--,formerly1 in old chinas1 all the coloured decorations were painted4 ,now1 by use of various mechanical devices1 women and girls are employed to transfer printed patterns on modern china4 ,transfer-printing4--,a process used at ,liverpool by ,sadler and ,green1 and at ,worcester1 in which the design from an engraved copper plate was transferred to specially prepared paper and applied to the ware4 ,black and brown were the main colours used 7see ,illustrations1 pp4 #bdd-e and facing p4 #gf74 ,translucent4--,transparent4 ,all porcelains1 when held up to a strong light1 are translucent1 in varying degree1 according to thickness of paste4 ,i ,,old ,,derby ,illustration3 ,,early ,,crown ,,derby ,,cup ,,and ,,saucer4 ,in ,victoria and ,albert ,museum4 ,,chats ,,on ,,english ,,china ,i ,,old ,,derby ,it is not too much to hope that the eyes of some reader will stray into these pages as a wanderer in a strange land1 one whose interest in china has never been awakened4 ,we hope to lure such a wight with sweet cajolery4 ,if perchance we can get him to examine one or two dainty specimens of old blue china we shall have him enmeshed in our toils4 ,if he be an artist he will not escape from the enchantment of ,derby and of ,worcester4 ,if he be a mere business man1 here is an item from ,messrs4 ,christie's catalogue of a sale on ,january #ad1 #aijb3 8,coffee-pot and cover1 ,worcester4 ,painted with figures1 birds1 and flowers1 in colours in ,chinese taste1 and with alternate dark-blue scale-pattern panels--#bh #gs40 ,and this1 mark you1 is an ordinary item selected at random1 a business sample1 if you will4 ,mr4 ,andrew ,lang1 in one of his 8,ballades in ,blue ,china10 has cunningly put into rhyme a poet's reason for his love of china3-- 8,there's a joy without canker or cark1 ,there's a pleasure eternally new2 ',tis to gloat on the glaze and the mark ,of china that's ancient and blue1 ,unchipped all the centuries through1 ,it has passed1 since the chime of it rang1 ,and they fashioned it1 figure and hue1 ,in the reign of the ,emperor ,hwang40 ,we should be less than human if we did not point the moral by quoting the delicious sentences of a ,city man 7one can hardly imagine ,charles ,lamb a ,city man journeying daily to ,leadenhall ,street67 concerning-- 8,those little1 lawless1 azure-tinctured grotesques that1 under the notion of men and women1 float about1 uncircumscribed by any element1 in that world before perspective--a china teacup4444 ,here is a young and courtly mandarin handing tea to a lady from a salver--two miles off4 ,see how distance seems to set off respect4 ,and here the same lady1 or another--for likeness is identity on teacups--is stepping into a little fairy boat1 moored on the hither side of this calm garden river1 with a dainty1 mincing foot1 which1 in a right angle of incidence 7as angles go in our world71 must infallibly land her in the midst of a flowery mead--a furlong off on the other side of the same strange stream60 ,and now1 having brought you thus far1 reader1 will you not journey with us and learn something of the magic and the mysteries of old china8 ,we are a goodly company1 and if you have a fine eye1 a pretty fancy for your own taste1 and a keen zest for a bargain1 join hands with us4 ,derby holds a high place in the history of ,british porcelain1 inasmuch as it was here that its manufacture was matured1 and the ability and perseverance of three generations of the ,duesbury family raised the productions to the level of those of the great ,european factories4 ,it is generally believed that the manufacture of china first sprang into existence at ,derby in #agej1 about a year or so before the works at ,worcester were established4 ,there is a tradition that the first maker was a ,frenchman1 who lived in a small house in ,lodge ,lane1 and who modelled and made small articles in china1 principally animals--cats1 dogs1 lambs1 sheep1 c4--which he fired in a pipemaker's oven in the neighbourhood4 ,about this time there were some pot works on ,cockpit ,hill belonging to ,alderman ,heath1 a banker1 and the productions of the ,frenchman1 probably a refugee1 having attracted notice1 an arrangement was made between him and ,heath and ,duesbury by which the manufacture of porcelain would be carried on jointly4 ,this man's name1 to whom the absolute honour of commencing the ,derby ,china ,works belongs1 was ,andrew ,planch4 ,a deed exists by which a partnership for ten years was entered into by the three above named4 ,planch found the skill and secret knowledge1 ,heath the money 7#a1jjj71 and ,duesbury the ability to carry out the scheme4 ,besides this deed there is no other record of the ,frenchman1 as the firm became known as 8,duesbury and ,heath10 and apparently the usual fate of the poor inventor overtook ,planch4 ,william ,duesbury was of ,longton ,hall1 in ,staffordshire1 and was the son of a currier4 ,by trade he was an enameller4 ,entries in the family ,bible1 in the possession of the ,duesburys1 prove that in #agee he removed to ,derby to carry on the newly-acquired business 8in ye art of making ,english china1 as also in buying and selling all sorts of wares belonging to ye art of making china40 ,records of the kinds of china manufactured and sent to ,london are interesting4 ,there were blue fluted boats1 mosaic boats1 sage-leaf boats1 fig-leaf sauce-boats1 octagon fruit plates1 vine-leaf plates1 coffee cups1 flower vases1 blue strawberry pots1 standing sheep1 cats1 honeycomb jars1 coffee-pots1 butter-tubs1 ,chelsea jars1 teapots1 figures of ,mars1 ,minerva1 c41 ,spanish shepherds1 candlesticks1 and1 of course1 many varieties of plates and dishes1 and cups and saucers4 ,once or twice the name of the firm appears as 8,duesbury and ,co410 but it is more usually 8,duesbury and ,heath40 ,finally1 it became ,duesbury only4 ,illustration3 #agej4 ,earliest ,mark 7,in gold74 ,under ,royal ,patronage4 #aggc4 ,marked in blue4 #aghb-ahcj4 ,early--marked in puce4 ,later--blue1 red1 green1 black4 ,,old ,,derby ,,marks4 ,coming to the marks which were used1 in our illustration we have arranged them in chronological order1 the earliest being at the top4 ,the mark used in the earliest days is not certain1 but in all probability the letter ,d1 when in gold1 is one of the first used4 ,it is1 however1 exceedingly rare to find a piece thus marked4 ,this letter ,d may equally stand for ,derby or for ,duesbury4 ,from #aggj to #aggc1 the script initial ,illustration3 ,d and the anchor known as the ,derby-,chelsea or the ,duesbury-,chelsea mark was introduced1 as ,william ,duesbury had purchased 8the ,chelsea ,porcelain ,manufactory1 and its appurtenances and lease thereof10 on ,february #e1 #aggj1 and made this addition to the ,chelsea anchor4 ,this mark of the ,derby-,chelsea period is usually in gold1 and was used both at the factory at ,chelsea and at ,derby4 ,examples of this period are of comparative rarity1 and are eagerly sought after by collectors4 ,the ,derby-,chelsea marks are given in the 8,chat0 on ,chelsea 7p4 #ci74 ,the works at ,chelsea were not finally discontinued till #aghd1 when they were destroyed by ,duesbury1 the kilns and every part of the factory pulled down1 and what was available sent off to ,derby4 ,about the year #aggc1 a ,illustration3 ,d and a crown were used4 ,this mark is mostly in blue1 but sometimes in puce1 light red1 or green4 ,this crown was added by ,royal permission1 because the factory had been honoured by ,royal patronage4 ,will my readers note that in the earlier pieces of ,derby and ,crown-,derby china the crown is carefully jewelled2 in the later productions of the ,duesbury period the mark was rudely executed1 and the crown was hastily pencilled4 ,illustration3 ,,derby ,,figure ,,group4 ,lady and gentleman dancing4 ,decorated in rich colours and gilded4 ,of the introduction of the cross daggers and six spots1 about the year #aghb1 there is the tradition that it was a defiance to all manufactories except three1 viz41 those of ,svres1 ,dresden1 and ,berlin4 ,illustration3 ,,crown ,,derby ,,pastille-,,burner 7#d ,,in4 ,,high74 ,in the ,collection of the ,author4 ,we give as a headpiece a typical example of early ,crown-,derby4 ,it represents a two-handled covered cup and saucer decorated with the well-known rich blue and gold border and festoons in pink4 ,it is marked in puce with jewelled crown4 ,this specimen is from the national collection now at the ,bethnal ,green ,museum4 ,the vase we reproduce is #f-a_/b in4 high and has the crown and crossed batons and dots1 which mark has been photographed and appears in the illustration 7p4 #ag74 ,it is richly decorated and a good specimen1 as is the smaller vase1 or pastille-burner1 with masks1 and similarly marked 7p4 #aa74 ,these two specimens1 together with the ,crown-,derby mug and saucer1 decorated in tomato red and gold1 are from the collection of ,mr4 ,w4 ,g4 ,honey1 which was on view at the ,cork ,exhibition4 ,the first ,william ,duesbury died in #aghe4 ,his son1 ,william1 who had for the last few years been in partnership with him under the firm of ,duesbury and ,son1 succeeded him4 ,this second ,william ,duesbury increased the fortunes of ,derby china with astonishing rapidity4 ,the ,king and ,queen1 and the ,prince of ,wales 7afterwards ,george ,,iv471 and the leaders of fashionable society were among his customers4 ,there was a craze for a time1 and titled ladies painted flowers and other pictures on the porcelain supplied to them by the ,derby factory4 ,it was afterwards fired and finished for their own special use4 ,of these ladies1 ,lady ,margaret ,fordyce1 ,lady ,plymouth1 and ,lady ,aubrey executed some beautiful drawings1 which probably still remain in their families4 ,lord ,lonsdale had twenty-four plates painted with landscapes in ,cumberland after his own sketches1 and many other noblemen and gentlemen did the same4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,crown ,,derby ,,mug ,,and ,,saucer4 7,tomato red and heavy gold decoration47 ,illustration3 ,,mark ,,on ,,above ,,mug 7,,in ,,red74 ,on the death of ,duesbury the second1 his widow married his late partner1 a ,mr4 ,michael ,kean1 an ,irishman1 and clever artist4 ,this was in #agih4 ,but ,kean hastily withdrew from the concern when the third ,william ,duesbury came of age1 who for a time carried on the factory under the firm of 8,duesbury and ,sheffield40 ,in #ahae the premises passed into the hands of ,mr4 ,robert ,bloor4 ,it was in the year of ,waterloo that the third ,william ,duesbury1 and last of the great family of potters who had established the factory1 leased the premises to ,mr4 ,robert ,bloor1 who had been a clerk to his father1 and had carried on the business during ,mr4 ,duesbury's minority4 ,ultimately the entire business passed into the hands of ,mr4 ,bloor1 and the name of ,duesbury disappears from ,derby records4 ,for some years up till about #ahbe or #ahcj1 ,mr4 ,bloor used the ,old ,derby mark1 the crown1 cross daggers with dots1 and ,d beneath1 but about that period he discontinued it1 and adopted instead a mark with his own name4 ,it is well for readers to note that down to the discontinuance of the old mark1 it had invariably been done with a pencil1 but those adopted by ,mr4 ,bloor were printed4 ,in our illustrations of the other marks used at ,derby we place them in chronological order4 ,the first printed mark used under the ,bloor rgime was the circle enclosing the crown1 and the words 8,bloor1 ,derby10 printed around4 ,in some specimens1 of a little later date1 the mark is a trifle larger1 and the crown more carefully designed4 ,another mark used occasionally about the year #ahcj was the word 8,derby0 enclosed in a scroll2 while on some other specimens of about the same date1 or a little later an old ,english ,d1 surmounted by a crown1 is marked1 or the word 8,derby0 in ,roman capitals on a ribbon1 appears beneath the usual crown4 ,illustration3 ,,bloor ,,derby ,,marks4 ,we now come to a rather painful chapter in the history of the ,old ,derby1 practically a series of misdoings1 which terminated the glorious career of so famous a manufactory4 ,it is interesting to see when trade1 with its somewhat ruthless methods1 comes into conflict with art1 with her finer susceptibilities1 how art has to go to the wall4 ,it was the same story at ,derby4 ,illustration3 ,,crown ,,derby ,,vase4 ,with panels1 and painted with floral design in colours4 7,height #f-a_/b ins47 ,mark illustrated showing ,crown1 crossed batons and dots and letter ,d4 ,illustration3 ,,bloor-,,derby ,,pastille-,,burner4 ,having perforated lid4 ,decorated in colours and richly gilded4 7,height #e ins47 ,with mark illustrated below4 ,before ,bloor's time it had been the unvarying plan of the ,duesburys--so particularly jealous were they of their reputation1 and of maintaining the highest possible character of the ,derby ware--to allow only perfect goods to leave the premises4 ,however trivial the fault1 the articles were not considered good enough to send out in the name of ,derby4 ,these damaged wares had accumulated to a very large extent at the manufactory4 ,mr4 ,bloor1 who was not a rich man1 and who was filled with the very laudable desire to make the ,derby concern successful1 and who1 moreover1 had to pay off his purchase money by instalments1 caught at the chance of disposing of this accumulation of ,old ,derby stock4 ,here it was that his trade instincts overcame his love of the fine arts4 ,better far had it been if the whole buildings had been consumed by fire1 and the old stock destroyed1 than that the damaged goods should have been foisted upon the public4 ,but it fell about otherwise1 and ,mr4 ,bloor disposed of the ,derby failures by auction at the different large towns4 ,by this means he amassed great sums of money1 which brought him immediate capital1 but which was the death-blow to ,derby ware4 ,the old ,derby was eagerly bought1 but this temporary success resulted in permanent and never-to-be-remedied evil4 ,seeing how readily the public bought up the ,derby ware1 the temptation arose to produce large quantities of the ware specially for the auction rooms4 ,the ,duesburys would have risen in their graves had they known of these proceedings2 but ,fate avenged them1 for the decline of the ,derby factory commenced from this moment4 ,we give1 also from ,mr4 ,w4 ,g4 ,honey's collection1 a fine example of ,bloor ,derby china2 it is five inches in height1 and is marked with a crown and the words 8,bloor1 ,derby10 in circle around 7p4 #ag74 ,in #ahde ,mr4 ,robert ,bloor died1 followed in the next year by his brother ,joseph1 who had assisted him for many years4 ,for a little while the works were in the hands of a ,mr4 ,clarke1 who finally discontinued them and sold most of the models to the ,staffordshire manufacturers4 ,the end came in #ahdh1 when a number of the workmen left ,derby for ever and migrated into ,staffordshire and ,worcester4 ,here1 then1 is the end of the ,old ,derby works4 ,old ,derby china will1 therefore1 be seen to be divided into two periods--the great ,duesbury period and the declining period when ,bloor became a factor4 ,illustration3 ,,later ,,derby ,,marks4 ,a word or two to readers who possess specimens of later ,derby may be of interest4 ,among our marks will be seen several other names connected with ,derby4 ,in #ahdh1 when the works were closed1 a number of the old hands were actuated by the desire to continue the making of china at ,derby ,they1 therefore1 under the name of ,locker and ,co41 started a little manufactory1 and adopted the design we give4 ,illustration3 ,,derby ,,figure ,,of ,,peacock4 ,richly painted and gilded4 ,tail in natural colours4 ,marked ,d in red4 ,mr4 ,locker died in #ahei1 and the works were then carried on in the name of ,stevenson and ,co4 ,finally we have the name of ,courtney1 who appears to have been one of ,bloor's agents4 ,messrs4 ,stevenson and ,hancock adopted the last mark for their wares1 after persuasion by connoisseurs1 who objected to the use on modern ,derby of the old mark of the crown1 cross daggers1 and ,illustration3 ,d4 ,the legacy which the ,bloors and some of the modern successors left to the name of ,derby is not a very happy one4 ,the tampering with the marks1 or the bartering of modern as old1 or the disposal of damaged stock1 all go to lessen the faith of the public4 ,as the years go on1 the china buyer becomes more discerning1 and is not that blind monster which manufacturers too often imagine him to be4 ,in the hurried sketch we have given of the decline of ,old ,derby we have little to say of the wonderful biscuit ware which was one of the secrets of ,derby1 which secret has now been lost4 ,the biscuit figures produced in the best days of ,derby are unsurpassed for fineness of modelling and beauty of finish4 ,it was in experimenting to find how ,derby produced this biscuit that ,copeland discovered his celebrated ,parian ware4 ,there is a peculiar pleasure to the lover of things old and things true in the unravelling of the complicated chain which environs an old factory such as ,derby4 ,the lives and ambitions of men1 fathers1 sons1 and grandsons1 are bound up with the traditions of the firm4 ,then trade had somewhat the air about it of the old medival guilds4 ,there were secrets which no money could buy4 ,all this lies on the china shelf for you to read1 if you care to4 ,perhaps when your erring maid drops your ,derby cup and saucer you will philosophically remember that it is not a cup and saucer1 but only as the autumn leaves that are strewn on the grave of ,duesbury1 the potter--just a symbol to remind you that man's creations1 after all1 turn to dust and ashes4 ,but all that is very mournful1 and mayhap one shall find you later busy with fish-glue and brush1 at which pastime you will need to be a philosopher too4 ,,characteristics ,,of ,,old ,,derby ,,china4 ,with a history such as that of ,derby1 general characteristics cannot be laid down1 but certain typical patterns were made at ,derby4 ,a favourite pattern was the 8,french sprig0 or 8,chantilly10 technically termed 8#abi sprig0 at the ,derby works1 being an imitation of the ,angoulme china1 painted with a forget-me-not or small blue cornflower1 and a gold sprig laid on the white4 ,this is of frequent occurrence on fluted cups4 ,deep blue borders with gold leafage and simple festoons in pink was a characteristic decoration of early ,crown ,derby4 ,the 8,japan0 patterns of ,derby during the last years of the eighteenth century and early years of the nineteenth1 were profusely decorated with blue and red1 and often richly gilded4 ,illustration3 ,,old ,,derby ,,cup ,,and ,,saucer4 ,japan pattern4 ,illustration3 ,,old ,,derby ,,cup ,,and ,,saucer4 ,japan pattern4 ,,sale ,,prices4 ,,crown ,,derby4 s4 d4 ,bowl1 circular and pierced cover1 gilt ram's head handles1 on tripod1 decorated with flowers in ,oriental taste on alternate red and green panels1 #aj in4 high4 ,christie1 ,january #cj1 #aijb #i #i #j ,pastille-burners and covers1 pair1 gilt claw feet and with masks round the rims1 painted with flowers in the ,oriental taste and with dark blue and gold panels4 ,christie1 ,january #cj1 #aijb #g #ag #f ,figure1 a girl with a basket of fruit carrying a bunch of grapes1 #g-a_/d in4 high4 ,christie1 ,february #e1 #aijb #aa #aa #j ,peacock1 with flowers in relief1 on plinth1 decorated1 #f in4 high4 ,foster1 ,february #ac1 #aijb #aa #aa #j ,cup1 cover and saucer1 two-handled 7from ,nelson service74 ,debenham1 ,storr ,sons1 ,april #ad1 #aijb #g #j #j ,vases1 set of three1 with beaker-shaped necks1 painted with landscapes in panels on dark blue ground richly gilt with arabesque foliage1 and with white and gold handles1 #aj-a_/b in4 and #ab-a_/b in high4 ,christie1 ,april #f1 #aijc #cj #i #j ,figures1 pair1 shepherd and shepherdess4 ,sotheby1 ,may #d1 #aijc #fc #j #j ,vases1 pair1 campana-shaped1 with ,satyr's mask handles1 painted with roses1 poppies and other flowers in colours on a gold ground1 #ah in4 high4 ,christie1 ,may #bh1 #aijc #ch #ag #j ,dessert service with centre with sprays and bouquets of flowers1 painted by ,billingsley4 ,two tureen covers and stands1 seven dishes and twelve plates1 marked4 ,sotheby1 ,june #aa1 #aibj #bj #j #j ,pair of figures of a boy and girl1 with dog and goat1 #f-a_/d in4 high2 and a ,derby figure of ,neptune1 with a dolphin1 #g-a_/b in4 high4 ,christie1 ,july #e1 #aibj #ab #ab #j ,biscuit group1 of ,nymphs festooning a bust of a ,satyr1 #ac in4 high4 ,christie1 ,july #e1 #aibj #h #ah #f ,six ,plates1 painted with rosebuds in the centres4 ,christie1 ,july #e1 #aibj #f #f #j ,cylindrical mug1 painted with a view1 8,on the ,river ,trent10 in panel1 and gilt with foliage1 #e in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #c #ac #f ,,bloor ,,derby4 ,vases1 pair1 shaped1 decorated in gold and painted continuous landscapes1 scroll handles and gilt mask terminals1 #aa-a_/b in4 high 7marked 8,bloor1 ,derby074 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #i #ai #f ,dessert service1 painted with flowers in the ,oriental taste1 in red1 blue1 and gold1 by ,bloor1 consisting of centre-dish1 on foot1 sugar-tureen1 cover and stand1 and nine shaped dishes4 ,christie1 ,july #ba1 #aijb #fe #b #j ,vase1 large1 by ,bloor1 painted with a view of ,temple ,bar and a group of flowers1 in two large panels1 on dark blue and gold ground1 #ba in4 high4 ,christie1 ,december #e1 #aijb #ba #j #j ,dessert service1 painted with bouquets of flowers on white ground1 and the borders gilt with vases and arabesques1 consisting of an ice-pail1 cover and liner1 centre-dish on foot1 eight dishes and six plates4 ,christie1 ,july #e1 #aibj #ag #ag #j ,set of three vases1 painted with flowers in the ,chinese taste in dark blue panels1 gilt snake handles1 #f-c_/d in4 to #h-a_/d in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #h #ah #f ,set of four vases of flowers1 on scroll bases1 with gilt paw feet1 #f-c_/d in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #ab #ab #j ,,ii ,,chelsea ,,china ,illustration3 ,,chelsea ,,figure4 ,with candelabrum4 ,illustration3 ,,chelsea ,,figure ,,of ,,carpenter ,,with ,,bag ,,of ,,tools4 ,in ,victoria and ,albert ,museum4 ,,ii ,,chelsea ,,china ,the origin of ,chelsea china is like that of the celebrated ,charles ,james ,harrington ,fitzroy ,yellowplush1 8wropped in mystry40 ,the southwestern corner of ,london has always been connected with the making of pottery in some form or another4 ,to-day ,messrs4 ,doulton carry on the tradition of ,lambeth and ,vauxhall4 ,battersea was famed for its enamelled ware1 and ,fulham had a factory established by ,john ,dwight1 ,m4,a41 of ,christ ,church1 ,oxford1 the inventor of porcelain in ,england1 to whom a patent was granted in #afga for his manufacture of porcelain and stone ware4 ,tradition1 with a light heart1 circulated the fable that the origin of the ,chelsea works was owing to the clay that was brought as ballast in ships from ,chinese ports4 ,in a 8,life of ,nollekens0 this absurdity finds its way into print1 but for all that it is utterly without foundation4 8,the cunning rogues produced very white and delicate ware1 but then they had their clay from ,china1 which1 when the ,chinese found out1 they would not let the captains have any more for ballast1 and the consequence was that the whole concern failed40 ,equally foolish and erroneous statements have been made about other of the ,english factories1 and the difficulty of sifting real facts from a mass of chaff in such factories as ,bow or ,lowestoft is very great4 ,in the early days of ,chelsea1 and1 by the way1 the exact date of the establishment of the factory is not known1 the clay was obtained from ,cornwall4 ,dr4 ,martin ,lister1 in a work published in #afii1 mentions the fact that an inferior kind of porcelain was made at ,chelsea1 probably little better than opaque glass4 ,it is known that a manufactory of glass was set up at ,chelsea by some ,venetians under the auspices of the ,duke of ,buckingham4 ,it is interesting to note that the ,chelsea mark of an anchor is identical with that of ,venice4 ,in #agde the works at ,chelsea had attained a ,continental fame1 inasmuch as the ,french company1 in petitioning for the establishment of a factory at ,vincennes1 urged that its aim was to counteract the importation of ,english and ,german ware4 ,illustration3 ,,chelsea ,,vase4 #bd ,,in4 ,,high4 7,,date #agfb47 ,representing the ,death of ,cleopatra4 ,in ,british ,museum4 #agde is a very convenient date1 as we then come on surer ground4 ,the earliest dated example of ,english porcelain known has the word1 8,chelsea1 #agde10 scratched on it under the glaze1 and is also marked with a triangle4 ,we reproduce this mark in our list of ,chelsea marks4 ,life was given to the ,chelsea factory by the patronage of ,george ,,ii41 who did much to encourage its work4 ,he procured workmen1 models1 and materials from ,saxony and ,brunswick1 and thus enabled ,chelsea to enter into competition with the best designs and productions of ,dresden and ,svres4 ,the ,duke of ,cumberland took a warm interest in the factory1 and contributed an annual sum to its revenue4 ,in #agej we find the ,chelsea works in the hands of ,nicholas ,sprimont1 a foreigner of considerable artistic taste1 who established the reputation of ,chelsea4 ,the best period of ,chelsea ware is from this date till the year #agfe4 ,porcelain made between these two dates is always much sought after1 and brings considerable sums under the hammer4 ,for instance1 in ,february1 #aijb1 at ,christie's1 a ,chelsea teapot1 painted with birds and trees in colours1 in spiral panels1 with borders of gilt flowers1 fetched #if #abs41 and a pair of vases1 #aa-a_/d inches in height1 square shaped1 the four panels painted with male and female ,chinese figures1 sold for #ehh4 ,in ,july1 #aijb1 a figure of a ,chelsea shepherdess1 brought #cc #abs4 ,there is little doubt that at this time there were being manufactured at ,chelsea some very fine specimens of porcelain4 ,horace ,walpole writes1 in #agfc1 8,i saw yesterday a magnificent service of ,chelsea china1 which the ,king and ,queen are sending to the ,duke of ,mecklenburg4 ,there are dishes and plates without number1 an epergne1 candlestick1 salt-cellars1 sauce-boats1 tea and coffee equipages1 et cetera4 ,in short1 it is complete1 and cost #a1bjj40 ,illustration3 7,embossed oval74 7,in gold or red74 7,later marks74 7,anchor cable74 ,chelsea ,marks4 ,one pleasing feature is the fact that ,mr4 ,sprimont made a handsome fortune by his skill and industry as a director4 ,during his time1 it is said that 8the china was in such repute as to be sold by auction1 and as a set was purchased as soon as baked1 dealers were surrounding the doors for that purpose40 ,this fanciful scene of competing dealers striving to secure a specimen of ,chelsea almost before it was cooled from the furnace is too picturesque to be literally true4 ,we reproduce a figure of a carpenter1 eight inches high1 coloured1 marked with anchor in red 7p4 #bi74 ,this specimen of ,chelsea is now at the ,bethnal ,green ,museum4 ,we give an illustration of a beautifully decorated vase in the collection at the ,british ,museum1 representing the ,death of ,cleopatra4 ,the ,french style of design is singularly evident in this example 7p4 #ca74 ,illustration3 ,,chelsea ,,figure4 ,aquatic bird preening his plumage4 ,illustration3 ,,chelsea ,,figure4 ,marked with anchor in red4 7,height1 #h inches47 ,illustration3 ,,chelsea ,,figure4 ,marked with raised anchor painted red4 7,height1 #f-a_/b inches47 ,of the marks on ,chelsea china1 it may be observed that the earlier specimens1 in the days when they imitated blue and white ,oriental models1 are unmarked4 ,later the anchor appears1 embossed in a raised oval1 impressed on the bottom of the piece1 and bearing the anchor in relief4 ,various forms of the anchor are used1 and in varying colours1 apparently according to the caprice of the workman1 who drew it with his hair-pencil4 ,red is the colour most commonly used1 and the best pieces are mostly marked in gold1 with the anchor more carefully drawn4 ,illustration3 7,in gold on best pieces74 7,mark on milk jugs in form of goat74 ,chelsea #agde 7,earliest dated example7 ,chelsea ,marks4 ,specimens with the double anchors are very valuable1 as this was a mark only used on very high-class pieces4 ,the triangle is one of the marks of ,bow1 and the little milk-jugs in the form of a goat1 decorated with raised flowers1 were attributed to ,bow1 on account of this mark1 but the last mark we give shows beyond dispute that the triangle was also used as a ,chelsea mark4 ,having told of the rise and progress of ,chelsea1 we have regretfully to chronicle its fall4 ,the following contemporary advertisement is mournful reading3 8,to be sold by auction1 by ,mr4 ,burnsall1 on the premises1 some time in ,march next 7#agfd71 at the ,chelsea ,porcelain ,factory1 everything in general belonging to it1 and all the remaining unfinished pieces1 glazed and unglazed2 some imperfect enamelled ditto1 of the useful and ornamental2 all the materials2 the valuable and extensive variety of fine models in wax1 in brass1 and in lead2 all the plaster moulds1 and others2 the mills1 kilns1 and iron presses2 together with all the fixtures of the different warehouses2 likewise all the outbuildings1 etc41 etc4 ,and1 as ,mr4 ,sprimont1 the sole possessor of this rare porcelain secret1 is advised to go to the ,german spaw1 all his genuine houshold furniture1 etc41 will be sold at the same time4 8,n4,b4--,soon after1 when everything is sold belonging to the manufactory and the large warehouse cleared1 there will be some most beautiful pieces of the truly inimitable ,mazarine blue1 crimson1 and gold1 that ,mr4 ,sprimont has thought deserving finishing2 that will be sold at ,chelsea1 as the whole remaining and the last produce of that once most magnificent porcelain manufactory40 ,this was in #agfd1 but no purchaser came forward1 and the factory lingered on till #agfi1 when again we find it advertised1 and the end of ,chelsea china is very near1 ,mr4 ,sprimont having entirely left off making the same4 ,josiah ,wedgwood had some idea of purchasing some of the ,chelsea china3 8,there's an immense amount of fine things10 he writes to ,bentley4 ,but at this date1 ,mr4 ,william ,duesbury1 of the ,derby manufactory1 took over the ,chelsea works as he had previously taken over those of ,bow1 and carried them on for some years until #aghd1 when he pulled down the buildings1 and removed all that was useful to his factory at ,derby1 and thus the manufacture of ,chelsea china came to an end4 ,illustration3 ,,chelsea ,,dishes4 ,painted with tropical birds in brilliant colours4 7,width1 #ab-a_/b in474 ,the earliest examples of ,chelsea china were in imitation of the ordinary blue ,delft patterns1 but later1 ,oriental patterns were very successfully copied1 both in blue and white1 and in mixed colours4 ,both ,svres and ,dresden were then adopted as models1 and with very fine results4 ,the colours were remarkably vivid1 and only skilful artists were employed1 the specimens they turned out being exquisitely decorated and finely conceived4 ,the fine vases in the ,french style in imitation of ,svres1 with gros bleu1 crimson1 turquoise1 and apple-green were made from #agfj to #agfe4 ,later1 debased ,french forms were copied and an over elaboration was employed which marked the decadence of ,chelsea4 ,this over elaboration in art often marks the period of its decline4 ,when wood engraving attempted to copy the refinements and delicacy of steel engraving it exceeded its limitations4 ,to-day the glass-blower of ,venice commits the same blunder when he1 with false art puts lace patterns on his glass ware4 ,illustration3 ,,the 8,,foundling0 ,,vase4 ,in the ,collection of the ,earl of ,dudley4 ,the two most important specimens of ,chelsea china1 both from their size and quality1 are undoubtedly the 8,chesterfield0 vase1 and the 8,foundling0 vase4 ,they are two feet high1 with bold rococo scroll handles1 surmounted by dome-shaped covers2 they are painted with pastoral subjects on white medallions4 ,the reverse sides are painted with exotic birds of rich plumage1 and the body or ground of the vase is of a rich gros bleu colour4 ,the former was bought for #b1jjj by the ,earl of ,dudley1 and the latter1 which was a gift to the ,foundling ,hospital1 was sold by the ,governors to the same nobleman1 and they are now both at ,dudley ,house4 ,we give an illustration of the celebrated 8,foundling0 vase4 ,the raised flowers arranged in vases and ornamental figures were a feature of ,chelsea ware2 butterflies1 bees1 and other insects were introduced among the leaves1 and the modelling was always well done4 ,we reproduce a characteristic piece of ,chelsea with delicate work1 and exhibiting many of the individualities of ,chelsea design 7p4 #bg74 ,illustration3 ,derby-,chelsea ,marks4 ,illustration3 ,mark ,copied from ,chinese ----4 ,as the earliest specimens of ,chelsea were unmarked they can only be judged by the body1 the general style of workmanship1 and the glaze4 ,the ordinary ,chelsea marks we have already given1 but we now give the marks which were used by ,mr4 ,duesbury for a time when he was proprietor both of the ,derby works and those of ,chelsea4 ,this ware is known as 8,derby-,chelsea0 ware1 and is very much sought after4 ,there are some finely enamelled plates in the ,victoria and ,albert ,museum with the mark we give4 ,they are magnificent specimens of the ,derby-,chelsea and are scarcely distinguishable from their ,oriental prototypes except in the softness of the paste4 ,it is interesting to remember that ,dr4 ,johnson thought he could discover a means of further perfecting the ,chelsea china4 ,he applied to the proprietors1 who allowed him to fire his compositions in their ovens at ,chelsea4 ,the worthy lexicographer attended there about twice a week and stayed all day1 accompanied by his housekeeper1 who brought a basket of provisions with her4 ,nothing1 however1 came of the experiments4 ,in taking leave of ,chelsea we must remember that its success was an encouragement for the formation of manufactories in other parts of the country during the closing years of the eighteenth century4 ,the workmen trained there under ,sprimont found their way to ,derby and to ,worcester1 and to parts of ,staffordshire1 and carried their experience with them4 ,if for nothing else ,chelsea deserves to be remembered as an art centre2 and although ,sprimont broke down in health and had to go to the 8,german spaw10 and leave his pictures to be sold at ,christie's1 for all that1 ,chelsea spelt success4 ,,characteristics ,,of ,,chelsea ,,china4 ,the glaze is a softer milky white1 and is not so thick as that on ,bow pieces4 ,it is carefully finished in every detail4 ,the figure subjects are not so crudely painted as those of ,bow4 ,three spots unglazed are sometimes found on ,chelsea plates and dishes1 caused by the three points on which pieces have rested4 ,chelsea china is remarkable for its great weight4 ,the bases and rims1 particularly of smaller pieces1 are ground quite smooth4 ,just above the rim black specks and small tears of the coagulated glaze are noticeable4 ,as in ,bow1 an insect or spray was sometimes cleverly painted over flaws and defects4 ,illustration3 ,,chelsea ,,figure ,,and ,,candlestick4 ,man playing bagpipes4 ,,sale ,,prices4 ,,chelsea4 s4 d4 ,vases1 pair1 oviform1 of tall1 slender form1 slightly fluted1 with mottled dark blue ground1 richly gilt with pheasants and other birds and foliage1 and with white and gold scroll handles1 entwined with groups of fruit and flowers1 painted in rich colours1 #af-a_/b in4 high4 ,christie1 ,may #b1 #aijb #gef #j #j ,teacup and saucer1 painted with exotic birds and fruit1 and with alternate mottled dark blue panels with gilt borders4 ,christie1 ,july #ah1 #aijb #bc #b #j ,inkstand1 with sand vase and pen-box1 dark blue ground1 gilt with flowers1 surmounted by a figure of a lamb4 ,christie1 ,november #ad1 #aijb #bf #e #j ,plates1 twelve1 with turquoise and gilt scroll borders1 each painted with exotic birds and foliage in three compartments1 in claret-coloured riband borders1 butterflies and other insects in the centre2 gold anchor mark4 ,christie1 ,january #bc1 #aijc #fe #b #j ,boar's-head dish1 forming a bowl1 cover and stand1 painted in natural colours1 the dish moulded with an oak branch1 rushes1 and knife in relief1 on a maroon and gold ground1 #aj-c_/d in4 high1 #bb in4 long4 ,christie1 ,may #h1 #aijc #id #aj #j ,vases1 pair1 flat-shaped hexagonal1 with small necks1 spreading lips1 and white and gold scroll handles1 each vase painted with a group of ,bacchantes and ,satyrs in a landscape1 in upright panel on maroon ground1 and gilt with birds1 festoons of flowers and scrolls1 #g-c_/d in4 high4 ,formerly the property of ,sir ,robert and ,horace ,walpole4 ,from ,lord ,cadogan's ,collection1 #ahfe 7#aee74 ,christie1 ,february #bg1 #aijc #cjd #aj #j ,group of two birds on a tree-stump--raised anchor mark1 #d-a_/b in4 high4 ,christie1 ,july #e1 #aibj #dh #f #j ,figure of ,justice1 #aa in4 high4 ,christie1 ,july #e1 #aibj #i #i #j ,pair of candlesticks1 with figures of ,mars and ,venus standing in flowering arbours1 #h in4 high4 ,christie1 ,july #e1 #aibj #i #i #j ,candlestick1 the stem encrusted with flowers1 and with a figure of ,cupid holding a heart at the base1 #i in4 high4 ,christie1 ,july #e1 #aibj #f #af #f ,pair of candelabra1 with figures of a shepherd and shepherdess leaning on balustrades1 holding a bird-cage and bird1 with a lamb and dog at their feet1 #i-a_/b in4 and #aa in4 high4 ,christie1 ,july #e1 #aibj #bh #g #j ,figure of ,minerva1 #ac in4 high4 ,christie1 ,july #e1 #aibj #e #e #j ,plate1 the centre painted with a bouquet and sprays of flowers1 the border with exotic birds1 modelled and gilt with foliage scrolls2 gold anchor mark1 #h-c_/d in4 diameter4 ,puttick ,simpson1 ,july #af1 #aibj #e #e #j ,plate1 painted with exotic birds and branches2 and one1 with green scroll border4 ,christie1 ,july #bj1 #aibj #aj #aj #j ,two ,plates1 painted with birds and insects on white ground1 with white and gold scroll borders4 ,christie1 ,july #bj1 #aibj #f #f #j ,pair of ,figures of a shepherdess1 with a lamb1 and a youth1 with a letter1 on plinths encrusted with flowers2 #g-a_/b in4 high4 ,christie1 ,july #bj1 #aibj #h #h #j ,three ,figures1 of ,erato1 ,calliope and ,thalia1 on plinths encrusted with flowers1 modelled by ,roubilliac1 impressed ,r41 on scroll pedestals painted with butterflies1 #ae-a_/d in4 high4 ,harland-,peck ,sale4 ,christie1 ,june #bc1 #aibj #bhc #aj #j ,set of ,three ,vases and ,covers1 painted with ,venus and ,cupid1 ,apollo and ,daphne and other subjects in panels framed with gilt garlands of flowers on claret-coloured ground1 and with small panels enclosing landscapes and birds on the reverse1 the necks pierced with shells and scrollwork1 and with scroll handles and feet1 #ag in4 and #ad in4 high4 ,christie1 ,july #bb1 #aibj #fcaj #j #j ,two ,pairs of ,vases and ,covers1 nearly similar1 painted with ,venus and ,cupid and ,leda and the ,swan1 #ad-a_/b in4 and #ae-a_/b in4 high ,cup on circular foot1 decorated with birds and flowers1 #d-c_/d in4 ,sotheby1 ,may #ag1 #aibj #h #aj #j ,dish1 painted with flower-sprays and animals in colours1 the borders moulded with trellis and scrollwork1 #ad-a_/b in4 diameter4 ,christie1 ,july #e1 #aibj #i #ai #f ,pair of groups for candlesticks of birds in elaborate floral borders on scroll bases1 inscribed 8,the ,cock and the ,jewel0 and 8,the ,vain ,jackdaw10 with handles and places for sconces4 ,sotheby1 ,may #ag1 #aibj #da #j #j ,pair of miniature figures of a shepherd and shepherdess1 #c in4 high4 ,christie1 ,july #ab1 #aibj #ba #j #j ,two ,figures of ,birds1 #b-c_/d in4 and #b in4 high4 ,christie1 ,july #ab1 #aibj #e #e #j ,,derby-,,chelsea4 ,coffee-cups and saucers1 pair1 painted in green and gold festoons and ,cupids in lake2 gold mark4 ,sotheby1 ,may #d1 #aijc #be #aj #j ,teacups and saucers1 pair1 fluted and painted with sprays of flowers in green1 with alternate crimson panels1 gilt1 with foliage4 ,christie1 ,june #af1 #aijc #eb #aj #j ,derby-,chelsea ,figure of ,john ,wilkes1 #aa-a_/b in4 high4 ,christie1 ,july #e1 #aibj #ab #ab #j ,derby-,chelsea ,figure of a youth1 playing drum1 on gilt scroll plinth1 #h-a_/b in4 high4 ,christie1 ,july #ab1 #aibj #aj #aj #j ,pair of ,derby-,chelsea ,figures of children1 emblematic of ,autumn and ,winter1 #d-c_/d in4 high4 ,christie1 ,july #ab1 #aibj #aa #aa #j ,derby-,chelsea ,teapot cover and stand1 painted with garlands of flowers in green1 in radiating panels with pink ribbon borders1 #e-a_/b in4 high1 teapot with gold mark4 ,puttick ,simpson1 ,july #af1 #aibj #g #ag #f ,pair of ,derby-,chelsea ,figures of ,shakespeare and ,milton on oblong white and gold pedestals1 #ab in4 high4 ,christie1 ,july #e1 #aibj #ae #ae #j ,pair of ,derby-,chelsea ,figures of a boy and girl1 with cat and dog1 #f in4 high4 ,christie1 ,july #bj1 #aibj #bb #a #j ,two ,derby-,chelsea ,figures of children1 carrying baskets of flowers1 #f-a_/b in4 high2 and a figure of a child1 with a wreath of flowers1 #f in4 high4 ,christie1 ,july #bj1 #aibj #ag #ag #j ,pair of ,derby-,chelsea ,figures of a boy and girl with dog and cat1 #h in4 high4 ,christie1 ,july #e1 #aibj #ab #ab #j ,derby-,chelsea group of four children around an obelisk1 #i-a_/b in4 high4 ,christie1 ,july #e1 #aibj #f #f #j ,derby-,chelsea ,figure of a youth1 seated with an eagle beside him1 #i-a_/b in4 high4 ,christie1 ,july #e1 #aibj #aj #aj #j ,derby-,chelsea group of a shepherd and shepherdess1 with a lamb and grapes1 #h-a_/b in4 high4 ,christie1 ,july #e1 #aibj #aa #aa #j ,derby-,chelsea ,figure of ,milton on scroll base1 #ab-a_/b in4 high4 ,puttick ,simpson1 ,july #i1 #aibj #e #e #j ,derby-,chelsea group of the ,continents1 modelled by ,john ,whitaker1 #aa-a_/d in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #ag #ag #j ,illustration3 ,,chelsea ,,china 7#agej-agfj74 ,pair of groups of two figures4 ,harlequin dancing with a girl4 ,painted in delicate colours4 7,height1 #h-c_/d in4 ,mark1 an anchor in red47 ,,iii ,,bow ,illustration3 ,,bow ,,vase1 ,,with ,,cover4 7,finely decorated in colours47 ,illustration3 ,,bow ,,inkstand 7,,diameter #d ,,in474 8,made at ,new ,canton1 #agea40 ,at the ,victoria and ,albert ,museum4 ,,iii ,,the ,,bow ,,china ,,factory ,in this 8,chat0 we shall treat of the wonderful porcelain made at ,bow1 or 8,new ,canton10 as the makers called their factory on the banks of the ,lea4 ,it was established about #agcj1 and it ceased about #aggf4 ,that is to say1 it commenced with the reign of ,george ,,ii4 and continued for a short time during the reign of ,george ,,iii4 ,pope was not dead1 ,fielding was writing his novels1 ,burke was electrifying the country with his genius1 the great ,doctor ,johnson was in the midst of his ,dictionary1 ,david ,garrick was holding the town in a spell by his art1 and ,sir ,joshua ,reynolds was1 with his brush1 perpetuating the beauties of his day1 while ,burns and ,scott1 ,wordsworth and ,coleridge1 and ,byron1 ,thackeray1 and ,dickens were then in the unborn future4 ,illustration3 ,,bow ,,figure 7#f ,,in4 ,,high74 ,woman playing pastorella4 ,at the ,victoria and ,albert ,museum4 ,so this porcelain of ,bow comes to us direct from the eighteenth century4 ,we have been taught to regard the eighteenth century as a period of lace-ruffles and wigs1 of powder and of patches1 of dull1 insipid ladies1 of hard-drinking squires1 of rough soldiers--a century with little or no love of art1 when ,shakespeare had been almost forgotten4 ,of its china1 certainly1 we call up only a picture of ugly grinning monsters1 and little meaningless gee-gaws--snuff-boxes and patch-boxes1 and china handles for walking-sticks2 but a glance at what ,bow produced dispels so crude an idea at once1 and1 let us hope1 for ever4 ,bow1 in its own field1 is worthy to stand by the side of what ,sir ,joshua has left us1 and what ,gainsborough bequeathed to posterity as poetic memories in paint and canvas of 8dead women1 loved and gone40 ,as in our other 8,chats0 on ,derby and ,worcester and ,chelsea1 so with ,bow1 we shall have to tell of the human lives that have gone to the making of these fragile porcelain figures1 all that is left to us of dead men's life-work--which ,polly or ,molly or ,elizabeth ,ann may demolish by a fatal twist of the feather-brush4 ,a patent was taken out by ,edward ,heylin1 in the parish of ,bow1 and ,thomas ,frye1 of the parish of ,west ,ham1 in #agdd1 for a new method of manufacturing 8a certain mineral1 equal to1 if not exceeding in goodness and beauty1 china or porcelain ware imported from abroad4 ,the material is an earth1 the produce of the ,cherokee nation in ,america1 called by the natives unaker40 ,in #agdi1 ,thomas ,frye took out1 alone1 a second patent 8for a new method of making a certain ware1 which is not inferior in beauty and fineness1 and is rather superior in strength1 than the earthenware that is brought from the ,east ,indies1 and is commonly known by the name of ,china1 ,japan1 or ,porcelain ,ware40 ,a word or two concerning ,frye4 ,our ,irish readers will be glad to learn that he was born at ,dublin1 in #agaj4 ,he came to ,london in #agch1 when1 he painted a portrait of ,frederick1 ,prince of ,wales for ,saddlers' ,hall4 ,at the establishment of the ,bow factory he took the management4 ,to bring the china to perfection1 he spent fifteen years of his life among furnaces1 which had so bad an effect upon his health that his constitution nearly broke down4 ,in #agei he had to go to ,wales for a change of air1 and in #agfj he returned to ,london1 and we find him taking a house at ,hatton ,garden1 where he executed some important mezzotint engravings--which1 as ,mr4 ,rudyard ,kipling observes1 8is another story40 ,he died of consumption in #agfb4 ,perhaps ,oliver ,goldsmith had him in mind 7who knows87 when he wrote his line-- 8,there the pale artist plies his sickly trade40 ,to ladies it will be especially interesting to read that ,frye had two daughters1 who assisted him in painting the china at ,bow4 ,illustration3 ,,bow ,,china4 ,figure of ,britannia with medallion of ,george ,,ii4 7,decorated in colours1 on rococo base47 ,readers will1 before now1 have come to the conclusion that the study of old china is not superlatively easy1 and that the question of marks is at the best a vexed one4 ,should there be any who have any lingering doubts on this point1 they will speedily join the majority when they come to consider the bewildering marks of the ,bow factory4 ,these same marks1 be it said1 have puzzled experts who have denied each other's conclusions1 though with hardly as much vehemence as the late ,mr4 ,bret ,harte's learned society 8,upon the ,stanislaus10 who engaged in conflict 8with the remnants of a palozoic age0 in shameful manner-- 8,and the way they heaved those fossils in their anger was a sin1 ,till the skull of an old mammoth caved the head of ,thompson in40 ,illustration3 ,bow ,factory--,marks4 ,we give one set of the known marks of the ,bow factory1 later we shall give another set no less puzzling4 ,it is difficult to attempt to offer any definite conclusions1 or to do more in the space at our disposal than to state that these are marks known to have been used at ,bow1 and are upon specimens in the national or well-known private collections4 ,the letter ,b and the drawn bow1 of course1 explain themselves4 ,the crescent in blue and the sword and anchor in red occur together on a china figure of a sportsman with a gun4 ,it is conjectured that the introduction of a dagger may have been due to the fact that both proprietors were freemen of the ,city of ,london1 and the dagger1 as is well known1 is part of the ,city arms4 ,the triple mark of the anchor with the vertical and horizontal daggers1 by some collectors is ascribed to early ,chelsea1 by others to ,worcester2 it is a disputed point4 ,illustration3 ,,bow ,,factory ,,marks4 ,the little figure we reproduce 7on p4 #ej7 is of a woman playing the pastorella4 ,it is one of a pair of figures4 ,the other represents a man singing4 ,each figure is marked in red with both anchor and dagger4 ,the pastorella represented in the figure was a musical instrument in general use previously to the introduction of the spinet4 ,it may be remarked that at the back of each of these figures1 near the base1 a square hole has been pierced before glazing1 for the purpose of receiving a metal stem supporting nozzles for candles4 ,as this square hole is said never to be found on similar ,chelsea pieces1 it has come to be regarded as a distinctive feature of old ,bow figures4 ,illustration3 ,,pair ,,of ,,bow ,,figures4 ,musical ,subjects4 ,man with flageolet and drum1 ,woman with triangle4 ,marked with anchor in red1 cross in blue4 ,among the various articles made at the ,bow factory may be enumerated the following1 which have been taken from the account-books of the factory3 ,shepherds and shepherdesses1 cupids1 fluter1 fiddler1 harlequin1 columbine1 pierrot or clown1 tambourine player1 ,dutch dancer1 woman with chicken1 birds on pedestals1 swans1 boars1 squirrels1 goats1 as well as many miscellaneous articles for general use1 such as salt-boxes1 candlesticks1 mugs1 pickle-stands1 c4 ,we reproduce an inkstand1 four inches in diameter1 of white glazed porcelain decorated with flowers1 which decoration we call attention to as being characteristic of ,bow4 ,an inscription appears at the top3 8,made at ,new ,canton1 #agea0 7p4 #di74 ,since ,chaucer's day1 ,stratford-le-,bow has come down to us in rhyme1 for the poet playfully pokes fun at the good nun in his 8,canterbury ,tales03-- 8,and ,frenche she spake ful fayre and fetishly ,after the scole of ,stratford-atte-,bow1 ,for ,frenche of ,paris was to her unknowe40 ,but should china collectors who travel down the ,great ,eastern ,railway wish a further fillip to remind them of ,bow1 sundry soap and candle factories1 with stench so strong that it knocks at the railway windows1 will arrest their straying thoughts4 ,the literary reader may1 when he catches glimpses of the brown and oily ooze of the ,river ,lea1 think of ,coleridge's lines to ,cologne and the ,river ,rhine4 ,and here at ,bow linger still the memories of the old factory--a century old--where ,quin as ,falstaff was turned out in porcelain1 and ,garrick posed as ,richard ,,iii4 in a china figure4 ,a match factory stands on the site of the old ,bow ,china factory1 but there is still a 8,china ,row0 to suggest the old days of 8,new ,canton0 and its wares4 ,illustration3 ,,bow ,,teapot4 ,decorated in underglaze blue1 in ,chinese style4 7,height #h-a_/d ins47 ,illustration3 ,,bow ,,plate4 ,decorated with oriental floral design in overglaze colour in red1 green1 and blue4 7,diameter1 #h-c_/d in474 ,in the collection of the ,author4 ,the discovery is interesting of fragments of old ,bow porcelain1 and portions of 8saggers0 on the site of one of the kilns while digging a drain from the match factory4 ,illustration3 ,,bow ,,white ,,china ,,cups ,,having ,,raised ,,mayflower ,,pattern ,,after ,,chinese ,,designs4 ,victoria and ,albert ,museum4 ,the children of the neighbourhood were observed to have as playthings bits of broken china of a high-class and delicate ware1 never emanating from the china shops of ,bow1 and ,mr4 ,higgins1 attached to the match factory1 henceforth kept strict watch over the excavations1 and careful examination unearthed a number of broken specimens of the ,bow ware4 ,he and his sister carefully arranged the broken pieces1 and they form an excellent authority1 these trays of broken china1 for determining the paste and glaze1 and identifying the decoration and designs of ,bow4 ,by means of this find it was possible to classify many doubtful pieces of china in well-known collections hitherto wrongly attributed to other factories4 ,this discovery by excavation was followed many years later by a similar find at ,lowestoft4 ,it is interesting to note that among the fragments found1 not a single piece is of ,delft or common earthenware1 but all are of porcelain4 ,the designs of many of them are of ,chinese landscapes1 with flowers1 figures1 and birds4 ,their general character may be gathered from sketch of four examples4 ,they are all painted in blue with the exception of a cup painted with green leaves and crimson-lake flowers4 ,none of the pieces is printed1 but all are painted with a brush4 ,the other two illustrations we give are of china ornamented in relief1 the favourite pattern being the mayflower4 ,each of these ,bow cups is a typical example4 ,the design stands out very sharply1 and is raised from the surface of the china4 ,the cups are rather heavy for their size4 ,among the dbris were found many pieces of an ornamental character1 a salt-cellar beautifully modelled1 formed of three shells1 with smaller shells and seaweed between1 but the upper shell to hold the salt is missing4 ,pieces of dishes1 evidently intended to hold sweetmeats1 were unearthed from this sewer hole1 with finely designed corals and shells and seaweeds4 ,some natural shells were also found1 which had evidently served the artists as models4 ,two china pug-dogs were discovered with collars bearing roses on them4 ,bow paste is exceedingly hard1 and the fracture when it is broken is close and compact4 ,the pieces as a rule are very heavy for their size1 but many of the cups and saucers are almost of egg-shell thinness4 ,the colour is milky white4 ,should any of our readers be possessed of ,bow china1 they may ratify its origin by carefully examining it1 if possible1 under a magnifying glass4 ,on scrutinising the blue pieces it will be found there is a peculiarity in the glaze1 which arises in this manner4 ,at that time blue was the only known colour that would bear the intense heat of the kiln4 ,it was always painted on the biscuit before being dipped in the glaze4 ,it is found that certain portions of the blue1 however slight1 are apt1 while the glaze is in a fluid state1 to spread over the surface1 giving it a blue tinge4 ,the other colours as well as the gold were painted over the glaze1 and set in a kiln of lower temperature4 ,hence the blue1 being under the glaze1 is imperishable1 and the other colours from frequent use get rubbed off4 ,we have given a number of marks used at ,bow2 we supplement that list by two others1 one of which is exclusively composed of signatures actually used by ,thomas ,frye himself4 ,although none of the ware unearthed at ,bow was printed1 yet printed ware did come from there4 ,in all probability it was sent to ,liverpool to have the transfer engravings1 so much in vogue when ,bow flourished1 put on the china4 ,as early as the year #agef this was done1 for certain entries appear in the ,bow books3 8,one pint printed mug3 a sett compleat of the second printed teas40 ,or it is possible that they were sent to ,battersea to be printed4 ,it is not a far cry from ,bow to ,battersea4 ,transfer printing on enamel was in vogue at ,battersea before #agee4 ,horace ,walpole1 writing to a friend in #agee1 says1 8,i send you a trifling snuff-box1 only as a sample of the new manufacture at ,battersea1 which is done with copper-plates40 ,but ,battersea and ,battersea enamel--that is another story4 ,illustration3 ,bow ,factory ,various ,signatures of ,thomas ,frye4 ,it is to be hoped that this 8,chat0 on old ,bow china will have helped readers1 to whom ,bow is a name1 to form some idea of what went on there more than a century ago4 ,the china cabinet holds more mysteries within it than many a good housewife dreams of4 ,it will be seen that the difficulties of china-collecting are legion4 ,at the modern find at ,bow1 lovers of china ought to be grateful1 for it enabled many vexed questions to be settled1 but what is ,bow and what is ,chelsea still puzzles experts4 ,in all probability ,bow1 ,bristol1 and another very much debated factory1 ,lowestoft1 will continue to offer traps and snares and pitfalls for the unwary collector 7or misshapen falsities attributed to them7 till connoisseurs are no more and collecting days are done4 ,the find in #aijc at ,lowestoft is as important as the find at ,bow1 but it is exceedingly unlikely that any more facts will ever come to light respecting these old factories2 every available source of information has been tapped and all that can be known concerning them is known4 ,the potters who made the exquisite shapes1 the artists who painted the roses on bowl and beaker1 have long since departed with the roses of yester-years4 ,their life-work is scattered4 ,much of it1 perhaps most of it1 is gone for ever4 ,each cup and each dish of the long-dead artist is like 8a good deed in a naughty world40 ,to-day1 with a handful of facts1 collectors and connoisseurs wrangle together over theories4 ,illustration3 ,,bow ,,cup ,,and ,,saucer4 ,embossed pine cone ornament and green band4 ,illustration3 ,,bow ,,cups4 ,the celebrated quail pattern2 floral decoration1 gilded1 birds touched with blue4 ,middle cup1 floral design in crimson and green4 ,in the ,collection of the ,author4 ,disputes have been held as to the origin of certain pieces of puzzling technique4 ,some experts have believed them to be ,chelsea or ,longton ,hall4 ,even the 8,craft ,bowl10 one of the earliest pieces of ,bow china1 now at the ,british ,museum1 is known to have been decorated in a kiln at ,kentish ,town4 ,,characteristics ,,of ,,bow ,,china4 ,body and glaze often defective1 pattern so arranged as to cover flaw4 ,insects often introduced for this purpose to hide imperfections4 ,coarse1 chalky white ware1 covered with glaze much pitted and speckled4 ,the bottom often shows three marks representing points on which piece rested in kiln4 ,the glaze is thickly applied1 and fills up interstices of raised patterns4 ,the body and glaze varied2 the earlier pieces have a yellow tinge in the glaze4 ,the bottoms of some basins and dishes are often twice as thick as the sides4 ,the ware1 owing to large amount of lead used1 is discoloured4 ,,sale ,,prices4 ,,bow4 s4 d4 ,figures1 pair1 emblematical of ,autumn and ,winter1 #g-a_/d in4 high4 ,christie1 ,february #d1 #aijb #af #af #j ,groups1 pair1 a drummer and piper1 #aj in4 high4 ,christie1 ,february #d1 #aijb #dh #f #j ,figures1 pair1 of a girl and youth1 with bagpipes1 a dog and flowers1 #g-a_/b in4 high4 ,christie1 ,april #be1 #aijb #af #e #f ,groups1 pair1 with figures of a ,chinaman1 child1 and monkey2 and the companion1 on scroll plinths1 #i-a_/b in4 high2 rare mark1 ,b1 intertwined with the anchor and dagger4 ,christie1 ,june #bj1 #aijb #db #j #j ,cream-jug1 with flowers in relief1 coloured2 impressed triangle mark4 ,christie1 ,june #bd1 #aijb #be #d #j ,ink-stand1 with ink-vase1 sand-box1 candlestick1 and pen-tray1 painted with landscapes and insects1 the pen-tray surmounted by a group of a goat and two children1 #i-a_/b in4 wide4 ,christie1 ,july #b1 #aijb #ag #f #f ,cream-jugs1 two1 with goats and bee in relief4 ,christie1 ,november #bh1 #aijb #af #af #j ,figures of parrots1 pair1 holding fruit and perched upon stumps of trees1 resting on tripod scroll1 bases encrusted with flowers1 the birds are painted in natural colours1 height #g-a_/b in4 and #f-a_/b in4 ,sotheby1 ,november #aa1 #aijb #cc #j #j ,statuette1 on scroll base1 of a boy playing a drum1 painted in colours1 with gilding and encrusted with jesmine at sides1 modelled by ,tebo1 height #aj in4 ,sotheby1 ,november #aa1 #aijb #af #aj #j ,figure4 ,bacchus squeezing grapes in cup1 #aa in4 high4 ,sotheby1 ,may #ag1 #aibj #ai #j #j ,figure of girl carrying basket1 and her apron full of flowers1 #e-a_/h in4 ,sotheby1 ,may #ag1 #aibj #f #ae #j ,figure of a child1 emblematic of ,winter1 #f-c_/d in4 high4 ,christie1 ,july #bj1 #aibj #h #ah #f ,figure of ,cupid1 kneeling before a flowering tree with a bird in the branches1 #h in4 high4 ,christie1 ,july #e1 #aibj #d #d #j ,figure of two birds1 perched on flowering branches1 #f-a_/b in4 high4 ,christie1 ,july #e1 #aibj #f #f #j ,pair of ,figures of ,neptune and ,pomona1 #g-c_/d in4 high4 ,christie1 ,july #e1 #aibj #ad #c #f ,figure of ,jupiter1 with an eagle and thunderbolt1 #f-a_/b in high4 ,christie1 ,july #e1 #aibj #h #h #j ,figure of ,minerva1 richly coloured1 on scroll plinth encrusted with flowers1 #ac-a_/b in4 high4 ,christie1 ,july #e1 #aibj #ad #ad #j ,a nearly similar figure on white scroll plinth4 ,christie1 ,july #e1 #aibj #e #e #j ,pair of octagonal dishes1 painted with quails and flowering plants in the ,hizen taste1 #i-a_/b in4 wide4 ,puttick ,simpson1 ,july #af1 #aibj #aj #aj #j ,figure of ,neptune holding a vase1 and with dolphin1 on wave base1 #g-c_/d in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #h #ah #f ,figure of ,minerva on pierced scroll base1 outlined with turquoise and gilt1 red anchor and dagger mark1 #h-a_/b in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #ae #ae #j ,pair of ,figures of a boy and girl1 wearing ,eastern costumes1 and with dog and lamb1 on shaped bases1 with three scroll feet1 red anchor and dagger mark1 #f in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #ai #ai #j ,,iv ,,old ,,worcester ,illustration3 ,,early ,,blue ,,and ,,white ,,worcester ,,plate4 7,marked with crescent47 ,in the ,collection of the ,author4 ,illustration3 ,,old ,,worcester ,,sugar-,,basin ,,and ,,cream ,,jugs4 7,transfer-printed in black47 ,,iv ,,old ,,worcester ,in old ,worcester china there lies a magic that appeals to the collector of fine copies and adaptation from ,nankin and other ,chinese porcelain4 ,the real old blue colouring of ,worcester has a charm about it which cannot be reproduced nowadays4 ,there is something personal about the productions of the old factories2 the workman was proud to make his mark at the bottom of the plate or bowl he had created1 much in the same manner as the masons who built ,fountains ,abbey left each man his mystic sign on each stone he carved4 ,if the reader chooses to weave a romance of airy nothingness on an old cracked bowl of ,worcester blue there is substance enough1 if he has the mind to do so4 ,mr4 ,austin ,dobson1 in one of his charming villanelles1 has taught us how much lies in the dreamy depths of a plate with queer ,chinese blue figures on it3-- 8#8,ah1 me6 but it might have been6 ,was there ever so dismal a fate8' ,quoth the little blue mandarin4 #8,such a maid as was never seen8 ,she passed1 though ,i cried to her1 8,wait40 ,ah1 me6 but it might have been6 #8,i cried1 8,o my ,flower1 my ,queen1 ,be mine60 ',twas precipitate1' ,quoth the little blue mandarin4 #8,but then 444 she was just sixteen1 ,long-eyed--as a lily straight-- ,ah1 me6 but it might have been6 #8,as it was1 from her palankeen1 ,she laughed--8,you're a week too late60 ,quoth the little blue mandarin4 #8,that is why1 in a mist of spleen1 ,i mourn on this old blue plate4 ,ah1 me6 but it might have been6' ,quoth the little blue mandarin40 ,illustration3 ,,worcester ,,plate ,,scale ,,pattern4 ,fine painted ,flowers in reserved panels4 ,having square mark4 ,illustration3 ,,worcester ,,teapot4 ,powder blue ground with white reserves decorated in blue4 ,we have already given the story of old ,derby china1 and when ,derby and ,chelsea and ,bow were establishing for themselves a reputation1 ,worcester was engaged in experimenting in the same direction in the person of one ,dr4 ,john ,wall1 a physician of that city4 ,he was a man of considerable taste1 and besides being a clever practitioner1 he was a practical chemist1 and an artist of some ability4 ,one of his paintings hangs in the hall of ,merton ,college1 ,oxford1 of which he was a ,fellow4 ,he was an etcher1 and designed stained-glass windows2 one of his windows is at ,oriel ,college4 ,what ,william ,duesbury was to ,derby and the foundation of the china factory there1 and what ,josiah ,wedgwood was to ,staffordshire1 that was ,dr4 ,john ,wall to ,worcester4 ,his was the guiding intellect of the ,worcester enterprise1 which culminated in #agea1 about a year after ,derby had been established1 in the establishment of a manufactory of porcelain in the 8faithful city40 ,these were restless times1 very troublesome then to domestic ,england1 and having an influence upon art4 ,only six years prior to this the ,pretender had invaded ,england with an armed force1 and had penetrated as far as ,derby4 ,party feeling ran very high4 ,it has been asserted that the industry was introduced to ,worcester for political reasons1 so that the ,georgian party might gain votes in the county against the ,jacobites1 who were strong in ,worcester4 ,it seems certain enough that ,dr4 ,wall began his experiments merely for the love of the study1 but whether he was used by politicians1 or whether he used them1 is of no moment to us2 suffice it to say that the ,worcester ,porcelain ,company was founded in #agea1 and among the prominent co-operators with ,dr4 ,wall were ,william ,davies1 an apothecary1 and ,edward ,cave1 the founder of the ,gentleman's ,magazine4 ,this latter was of inestimable use to the factory for advertising their wares4 ,illustration3 ,old ,worcester ,marks4 #agea-aggf4 ,illustration3 ,old ,worcester ,marks4 ,the earliest ,worcester productions were based entirely on ,chinese models4 ,small cups1 without handles1 of ,oriental design were decorated under the glaze in blue4 ,all the characteristics of the ,nankin ware became those of ,worcester4 ,slowly and surely they attempted with complete success some of the more brilliant colours of ,eastern ceramic ware1 notably from the ,japanese4 ,illustration3 ,,pair ,,of ,,worcester ,,vases4 7,dr4 ,wall period with square mark47 ,finely painted exotic birds in colour4 ,the early ware of ,worcester may be known by a peculiar greenness of hue in the body of the china4 ,the first mark used was the letter ,w in some form or another4 ,this letter may stand either for ,wall or for ,worcester1 as ,d marked on ,derby china may stand either for ,duesbury1 the founder1 or for ,derby4 ,we reproduce several of the earliest ,worcester marks4 ,about the same time a crescent was used1 which is believed to have been adopted from the arms of the ,warmstrey family1 in whose ancient mansion the factory was first started4 ,the first two letters1 ,illustration3 ,w1 in script1 were used when the factory was under the direction of ,dr4 ,wall1 who died in #aggf4 ,the capital ,w was marked in blue on early printed china4 ,the crescent in outline was one of the earliest marks1 while the second crescent filled in with blue1 under the glaze1 occurs on blue-printed china1 which was invented about #agee4 ,among other early ,worcester marks are assimilations and variations of certain ,chinese characters1 probably from the models which the ,worcester potters copied4 ,of the square marks1 it may be observed that they do not always occur on ,chinese patterns4 ,occasionally1 too1 a crescent in red is found with one of these squares in blue4 ,of the other ornate and curiously ,eastern adaptations1 it may be that they were workmen's signatures1 but they are only found on old ,worcester4 ,the love for ,oriental flourishes is shown by a series of numbers4 ,examples from #a to #i are known4 ,we reproduce the numbers #a1 #d1 #e1 #g4 ,in #agef the important invention of transferring printed impressions from copper plates was introduced at ,worcester4 ,it is debatable ground whether ,battersea1 ,liverpool1 or ,worcester invented it4 ,but in #ageg it had arrived at a wonderful state of perfection at ,worcester4 ,the engraver1 ,robert ,hancock1 was employed4 ,valentine ,green1 the great mezzotint engraver1 was his pupil4 ,a mug bearing the head of the ,king of ,prussia1 and dated #ageg1 is held to be one of the most characteristic pieces of this period4 ,thomas ,carlyle has a graphic description of one of these ,king of ,prussia mugs1 which piece of prose is worth giving in full1 for we do not often see the historian of the ,french ,revolution in the character of a china connoisseur3-- 8,there stands on this mantelpiece10 says one of my correspondents1 the amiable ,smelfungus1 in short1 whom readers are acquainted with1 8a small china mug1 not of bad shape1 declaring itself1 in one obscure corner1 to be made at ,worcester1 #8,r4 ,i41 ,worcester1 #ageg' 7late in the season1 ,i presume1 demand being brisk72 which exhibits all round it a diligent potter's apotheosis of ,friedrich1 hastily got up to meet the general enthusiasm of ,english mankind4 ,worth1 while it lasts unbroken1 a moment's inspection from you in a hurrying along4 ,illustration3 ,,old ,,worcester ,,mug4 7,,height #e-c_/d ,,in47 7,transfer-printed in black47 ,with portrait of ,frederick the ,great1 ,king of ,prussia4 7,signed with initials of ,robert ,hancock71 and ,anchor4 8,front side1 when you take our mug by the handle for drinking from it1 offers a poor1 well-meant china portrait1 labelled1 ,king of ,prussia3 copy of ,friedrich's portrait by ,pesne1 twenty years too young for the time1 smiling out nobly upon you2 upon whom there descends with rapidity a small ,genius more like ,cupid1 who had hastily forgotten his bow1 and goes headforemost on another errand1 to drop a wreath far too small for ever getting on 7owing to distance1 let us hope71 though the artless painter makes no sign2 and indeed both ,genius and wreath1 as he gives them1 look almost like a big insect1 which the ,king will be apt to treat harshly if he notice it4 ,on the opposite side1 again1 separated from ,friedrich's back by the handle1 is an enormous image of ,fame1 with wings1 filling half the mug1 with two trumpets going at once 7a bass1 probably1 and a treble71 who flies with great ease2 and between her eager face and the unexpectant one of ,friedrich 7who is #ahj deg4 off1 and knows nothing of it7 stands a circular trophy1 or imbroglio of drums1 pikes1 muskets1 canons1 field flags1 and the like2 very slightly tied together1 the knot1 if there is one1 being hidden by some fantastic bit of scroll or escutcheon1 with a ,fame and one trumpet scratched on it2 and high out of the imbroglio rise three standards inscribed with names1 which we perceive are intended to be names of ,friedrich's victories2 standards notable at this day1 with names which ,i will punctually give you4 8,standard first1 which lies to the westward or leftward1 has #8,reisberg' 7no such place on this distracted globe1 but meaning ,bevern's ,reichenberg1 perhaps71 #8,reisberg1' #8,prague1' #8,collin4' ,middle standard curves beautifully round its staff1 and gives us to read #8,welham' 7non-extant1 too2 may mean ,welmina or ,lobositz71 #8,rosbach' 7very good71 #8,breslau' 7poor ,bevern's1 thought a victory in ,worcester at this time674 ,standard third1 which flies to eastward or right hand1 has #8,newmark' 7that is1 ,neumarkt and the ,austrian bread-ovens1 ,december #dth72 #8,lissa' 7not yet ,leuthen in ,english nomenclature72 and ,breslau again1 which means the capture of ,breslau city this time1 and is a real success1 ,december #gth to #aith2 giving as the approximate date1 ,christmas1 #ageg1 to this hasty mug4 ,a mug got up for a temporary ,english enthusiasm1 and for the accidental instruction of posterity4 ,it is of tolerable china1 holds a good pint1 #8to the ,protestant hero with all the honours1' and offers1 in little1 a curious eyehole into the then ,england1 with its then lights and notions1 which is now so deep-hidden from us1 under volcanic ashes1 ,french revolutions1 and the wrecks of a hundred very decadent years40 ,this mug bears the letters 8,r4 ,h40 on it1 the initials of the engraver4 ,in addition to this portrait of ,frederick the ,great there were others engraved of ,george ,,ii41 ,george ,,iii41 ,queen ,charlotte1 the ,marquis of ,granby1 and ,william ,pitt4 ,the full signature of ,robert ,hancock is often found on garden scenes and ,watteau-like subjects4 ,we illustrate as a headpiece a group of two cream-jugs and a sugar-basin with black ,worcester transfer-printed subjects on them4 ,illustration3 ,,worcester ,,mug4 7,with subject in ,watteau style transfer1 printed in black47 ,in the collection of ,author4 ,illustration3 ,,worcester ,,dish 7,,marked ,,with ,,blue ,,crescent74 ,in ,collection of ,mr4 ,w4 ,g4 ,honey4 ,leaving poetry and coming to fact1 we arrive at the beginning of the second period in the history of the ,worcester factory4 ,dr4 ,wall1 the originator of the works1 had died in #aggf1 and it must be borne in mind by the collector that from about the year #agfd1 when the ,chelsea works became disorganised1 up to the death of ,dr4 ,wall1 some of the most exquisite creations of ,worcester were produced4 ,several of the ,chelsea artists had come to ,worcester1 and mugs of a choice apple-green were made in imitation of the ,svres ware1 but none of these bear the ,worcester mark4 ,vases with rich bleu-de-roi ground and salmon-scale markings1 with exotic birds of rich plumage1 of varied and elegant design1 belong to this period1 and command at the present day very high prices4 ,donaldson and ,o',neale were two of the best painters1 and painted some of the finest ,worcester vases so much sought after4 ,at the ,victoria and ,albert ,museum1 in the collection of the late ,lady ,charlotte ,schreiber1 there are some particularly fine examples4 ,illustration3 ,flight ,barr ,marks4 ,chamberlain ,marks4 ,we reproduce a fine ,worcester dish 7#aj-c_/d in4 by #h-c_/d in47 from the collection of ,mr4 ,w4 ,g4 ,honey1 recently at the ,cork ,exhibition4 ,this specimen is an excellent example of the best period1 and is marked with a blue crescent4 ,in #aghc the works passed into the hands of ,mr4 ,thomas ,flight1 who1 together with his two sons1 ,joseph and ,john1 raised the manufactory to some eminence4 ,in #aghh1 ,george ,,iii41 with ,queen ,charlotte1 visited the works1 and the title 8,royal0 was added to the mark1 above the word 8,flight40 ,later on1 in #agia1 ,mr4 ,martin ,barr joined the concern1 the firm becoming 8,flight and ,barr40 ,it should be noted that ,mr4 ,chamberlain1 the head of the decorating department of the old factory1 never came under the ,flight rgime1 but established a factory of his own at ,worcester4 ,we give in order of date the various marks used both by his factory and that of the ,flights4 ,illustration3 ,kerr and ,binns ,marks4 ,grainger1 ,lee and ,co4 ,marks4 ,these two factories continued as rivals until #ahdj1 when they amalgamated1 and the two firms formed one company4 ,the name of ,flight and ,barr disappears1 and the business being carried on at ,messrs4 ,chamberlain's premises1 the new ,worcester mark became 8,chamberlain ,co40 ,in #ahej ,mr4 ,w4 ,h4 ,kerr joined the company1 and for a little while the firm was known as 8,chamberlain1 ,lilley1 ,kerr40 ,in #aheb another change took place1 ,mr4 ,chamberlain and ,mr4 ,lilley retired1 and ,mr4 ,r4 ,w4 ,binns entered into partnership with ,mr4 ,kerr4 ,from that time the manufactory1 under the management of ,kerr ,binns was known as 8,w4 ,h4 ,kerr ,co40 ,it is important that the collector should know all these transitions in the ownership and management of the ,worcester works1 which has a continuous history of nearly a hundred and fifty years1 a record not reached by any other ,english factory4 ,besides the above-mentioned two main streams of ,worcester porcelain manufacture1 there is yet another firm which was established in #ahjj by ,thomas ,grainger1 nephew to ,mr4 ,chamberlain4 ,the firm became ,grainger1 ,lee ,co41 and afterwards ,g4 ,grainger ,co4 ,we give their marks1 together with the other ,worcester marks1 to enable our readers to identify any specimens they may possess4 ,one of the marks in the ,kerr ,binns period requires explanation4 ,the circle with the letter ,w radiating from the centre was especially designed for solely marking the productions of the factory made for the use of ,queen ,victoria and the ,royal household4 ,the scent-bottle which we give as illustration has double sides1 the outer being ornamented with perforated work1 painted and gilt4 ,the neck is beautifully decorated with flowers on a yellow ground4 ,it is marked 8,chamberlain's ,worcester40 ,it is an elegant piece1 and very characteristically shows1 for instance1 in the double sides and perforated work1 the influence of ,chinese models4 ,this specimen is at the ,victoria and ,albert ,museum4 ,illustration3 ,,scent-,,bottle4 ,,chamberlain-,,worcester4 ,in ,victoria and ,albert ,museum4 ,a set of three vases 7#ae-a_/b in4 high71 marked 8,grainger1 ,lee1 ,co41 ,worcester10 have views on them of ,camden ,place1 ,bath1 ,redcliffe ,church1 ,bristol1 and ,st4 ,vincent's ,rock1 ,bristol4 ,illustration3 ,,set ,,of ,,worcester ,,vases4 ,grainger ,co4 ,early ,nineteenth ,century4 ,left4 ,bath1 ,camden ,place4 ,centre4 ,redcliffe ,church1 ,bristol4 ,right4 ,bristol1 ,st4 ,vincent ,rock4 7,marked in script1 ,grainger1 ,lee and ,co41 ,worcester1 with titles also in script47 ,about the time of the ,exhibition of #ahea there was great energy displayed by the ,worcester factory4 ,especially noticeable were the enamelled vases1 dishes1 and ewers4 ,this ,worcester enamel is a variety of ,limoges work 7the ,limoges being on copper and the ,worcester wholly porcelain71 which consists of applying semi-opaque white enamel of varying strength1 produced by superimposing more or fewer layers in gradation upon a deep rich ground of blue4 ,these enamels were designed to copy the fifteenth and sixteenth century work1 and succeeded very well in their object4 ,later1 ,worcester essayed to produce jewelled porcelain1 in which ,berlin and ,vienna had excelled a century before4 ,it won especial praise at ,paris in the #ahfg ,exhibition1 and became a great financial success4 ,whether it be with the ,limoges ivory or with the newer ,japanese designs which entered into the later ,worcester productions1 the ,royal manufactory of the 8faithful city0 has always held its own with the foreign rivals and competitors at international exhibitions4 ,at ,berlin1 ,paris1 ,vienna1 at ,philadelphia1 at ,chicago1 the success of modern ,worcester is evidence enough of its vitality4 ,,characteristics ,,of ,,old ,,worcester ,,china4 ,in the early period a simplicity characterised the productions4 8,mandarin0 designs from ,chinese models prevailed4 ,these old ,worcester under-glaze blue pieces have a tone unlike any other ,english factory1 and more nearly approach the ,oriental quality of depth4 ,blue and white dishes with pierced borders1 and open basket-work dishes were a feature4 ,transfer printing over the glaze is one of the characteristics of the factory4 ,in the second period of ,worcester were produced the elaborate vases in the style of ,dresden and of ,svres1 the finest examples of ,worcester4 ,the third period of over-elaboration in decoration marks the decline of ,worcester4 ,the porcelain is thin and of very beautiful quality1 having an ivory-like texture4 ,there is a greenish tint in the paste when subjected to a strong light4 ,the varieties of bodies used at ,worcester from time to time make any generalisation obviously impossible4 ,it is only by handling specimens that the true feeling of ,worcester may become instinct in a collector4 ,,sale ,,prices4 ,,worcester4 s4 d4 ,dish1 circular1 the centre painted with butterflies1 the border with exotic birds in panels1 and butterflies in medallions in borders of dark blue and gold1 #aj in4 diameter4 ,christie1 ,february #d1 #aijb #ed #ab #j ,cups and saucers1 pair two-handled1 with exotic birds and insects in medallions1 in gilt foliage borders on dark blue scale ground4 ,christie1 ,february #d1 #aijb #ij #f #j ,bowl1 the exterior painted with exotic birds1 flowering trees and insects in scroll panels1 with gilt borders on dark blue scale-pattern ground1 gilt1 with foliage1 the interior painted with birds on white ground2 #aa in4 diameter2 square mark4 ,christie1 ,may #b1 #aijb #aeb #e #j ,plates1 pair1 painted with groups of flowers and fruit in the centre in rich crimson scroll-pattern borders gilt with flowers and foliage1 #i in4 diameter4 ,christie1 ,june #bj1 #aijb #ce #ad #j ,cup and saucer1 two-handled1 painted with birds and insects in shaped panels1 on pale canary scale-pattern ground4 ,christie1 ,july #i1 #aijb #bb #aa #f ,dessert dish1 centre1 scale-blue ground1 painted with exotic birds1 foliage and flowers in white panels of unusual shape1 and surrounded by festoons of flowers and lattice designs in chased gold1 also painted with flowers in colours at back4 ,from the service made for ,lady ,mary ,wortley ,montague4 ,sotheby1 ,november #aa1 #aijb #aja #j #j ,plates1 pair1 painted with festoons and sprays of flowers in panels with gilt scroll borders on dark blue scale-pattern ground4 ,christie1 ,november #bh1 #aijb #ce #ad #j ,teapot and cover1 scale-blue ground1 painted in panels of exotic birds1 square mark4 ,sotheby1 ,may #d1 #aijc #cc #j #j ,dish1 large circular1 painted with exotic birds1 branches and insects in scroll panels with gilt borders1 #ac in4 diameter1 with dark blue scale-pattern ground4 ,christie1 ,may #bh1 #aijc #acb #af #j ,jug1 large1 moulded with foliage in low relief1 and bearded mask under the spout1 and painted with exotic birds and foliage1 butterflies and other insects in colours in two large and three smaller panels1 in gilt scroll borders on a dark blue scale-pattern ground1 pink flowers in panels on the neck #aa-a_/d in4 high4 ,christie1 ,may #h1 #aijc #adg #j #j ,jug1 oviform1 painted with birds and insects in scroll panels with gilt borders1 #g in4 high4 ,christie1 ,june #aj1 #aijc #gi #af #j ,four old small modelled leaf ,dishes1 painted with flowers in the ,chinese taste in blue1 crescent mark1 and four others4 ,puttick ,simpson1 ,may #bh1 #aibj #b #b #j ,old ,worcester teapot and cover painted with wheel pattern and gilt1 #e-a_/d in4 high1 a saucer dish1 a coffee cup and two saucers similar1 all with square mark1 and a saucer marked ,flight and crescent4 ,puttick ,simpson1 ,july #af1 #aibj #i #i #j ,dessert service1 by ,flight1 ,barr and ,barr1 painted with named flowers on white ground1 with gilt gadrooned edges1 consisting of a pair of sugar-tureens and covers1 a centre-dish on foot1 ten shaped dishes and twenty-four plates4 ,christie1 ,july #e1 #aibj #db #j #j ,tea service1 painted with flowers and foliage and dark blue panels1 in the ,oriental taste1 consisting of a teapot1 cover and stand1 two cream-jugs1 milk-jug1 sugar-basin1 two bowls1 twelve coffee-cups1 nineteen tea-cups1 thirty-two saucers1 two egg-cups1 four circular dishes and eighteen plates4 ,christie1 ,july #e1 #aibj #eg #ae #j ,tea ,service1 painted with flowers in colours1 in the ,oriental taste1 and dark blue bands1 consisting of a teapot1 cover and stand1 sugar-basin and cover1 cream-jug and cover1 canister1 bowl1 two dishes1 eight tea-cups1 six coffee-cups1 and nine saucers4 ,christie1 ,july #e1 #aibj #ga #h #j ,plate1 ,powder-blue1 ,dr4 ,wall period1 octagonal #i in41 with reserve panels in white with landscape and flowers4 ,having mark of crossed swords1 together with imitation ,chinese mark4 ,sotheby1 ,may #ag1 #aibj #ae #aj #j ,set of covered ,vases and two ,beakers1 ,dr4 ,wall period1 decorated with vermilion1 green1 and gilt2 in ,chinese style with flowers and fabulous bird4 ,shoulders of vase and rims of covers and beakers1 fine turquoise ground vase1 #aj-a_/b in41 beakers #f-c_/d in4 ,sotheby1 ,june #aa1 #aibj #ce #j #j ,pair of ,plates1 ,flight1 ,barr and ,barr4 ,views of ,barking ,abbey and ,melrose ,abbey4 ,scroll borders of mazarin1 blue1 heavily gilt4 ,sotheby1 ,june #aa1 #aibj #d #d #j ,vase1 painted with birds in heart-shaped panels with gilt scroll borders on mottled dark blue ground1 #i-c_/d in4 high4 ,christie1 ,july #bj1 #aibj #bjd #ae #j ,teapot and cover1 painted with wheel pattern1 #e-a_/b in4 high1 and two bowls1 similar1 #d-a_/b in4 diameter1 square mark4 ,puttick ,simpson1 ,july #af1 #aibj #g #ag #f ,teacup1 coffee-cup and saucer1 of the same service1 a cream-jug1 a saucer dish1 square marks1 and a chamber candlestick1 crescent mark #g #ag #f ,pair of old square dishes1 painted with groups of flowers in dark blue borders gilt with scrolls1 #h-a_/d in4 square4 ,christie1 ,july #e1 #aibj #be #d #j ,three ,mugs1 transfer-printed1 with portraits of the ,king of ,prussia and military trophies1 by ,r4 ,hancock1 #ageg1 #d-a_/b in4 and #c-a_/b in4 high4 ,christie1 ,july #e1 #aibj #ag #ag #j ,cylindrical ,mug1 transfer-printed1 with a portrait of ,shakespeare and ,muses1 #d-c_/d in4 high2 and a smaller ditto1 with a portrait and figure of ,fame4 ,christie1 ,july #e1 #aibj #af #af #j ,milk ,jug and ,cover1 and a coffee-cup and saucer decorated with panels in pale blue1 painted with fruit1 with royal blue and gilt rims4 ,w mark4 ,sotheby1 ,may #ag1 #aibj #bf #j #j ,plate1 ,powder-blue1 ,dr4 ,wall period1 saucer-shaped1 of ,chinese form1 decorated with exotic birds and insects1 #g-a_/d in41 square mark4 ,sotheby1 ,may #ag1 #aibj #ac #j #j ,teapot1 fluted1 with cover1 painted with garlands of flowers1 and with marbled turquoise and dark blue borders and gilt1 crescent mark1 #e in4 high4 ,puttick ,simpson1 ,july #af1 #aibj #af #aj #j ,v ,,plymouth ,,and ,,bristol ,,china ,illustration3 ,,white ,,porcelain ,,goat4 ,,plymouth4 ,illustration3 ,,plymouth ,,salt-,,cellar4 ,at ,victoria and ,albert ,museum4 ,v ,,plymouth ,the name of ,plymouth stands high in the records of ,english china factories4 ,its porcelain was the first hard porcelain produced in this country4 ,other ,english chinas melted when placed inside the pieces in the ,plymouth kilns4 ,not so well known as ,josiah ,wedgwood1 of the ,staffordshire potteries1 ,william ,cookworthy1 of ,plymouth1 ,quaker1 chemist1 porcelain maker1 is worthy of a niche in the gallery of dead princes of ceramic art1 and his is a name that will never be forgotten by those who know the history behind the old ,plymouth vases and mugs and statues4 ,it is true the enterprise was a failure4 ,it only ran fourteen years1 and was1 in #aggd1 transferred to ,bristol4 ,it is true that ,lord ,camelford1 one of his partners1 laments the three thousand pounds expended on it4 ,but it is more than true that the results of ,william ,cookworthy's efforts were no failure4 ,the brief life history of the ,quaker dreamer 7we know he must have been a dreamer1 for he translated some of ,swedenborg's works into ,english7 is remarkable4 ,at the age of fourteen1 the eldest of a family of six fatherless children1 he tramped from ,plymouth up to ,london and commenced his apprenticeship to a chemist4 ,his mother battled on1 eking out her slender means by dressmaking4 ,later on1 when ,william ,cookworthy came home1 his mother lived under his roof and became a leading favourite with the great people he knew4 ,the poor ,devon lad who wearily tramped to ,london over down and dale1 dreaming golden dreams1 came home to entertain ,dr4 ,wolcot1 the famous 8,peter ,pindar0 of vitriolic pen1 ,sir ,joseph ,banks1 ,captain ,cook1 and the fighting ,earl ,st4 ,vincent1 who remarked1 8whoever was in ,mr4 ,cookworthy's company was the wiser and better for having been in it02 while ,smeaton1 the builder of the ,eddystone ,lighthouse1 was an inmate of his house during the erection of the lighthouse4 ,in an early letter of ,cookworthy's we find him speaking of a certain unnamed1 strange individual who came to him with some china earth4 8',twas found in the back of ,virginia1 where he was in quest of mines2 and having read ,duhalde1 discovered both the petuntse and kaolin4 ',tis the latter earth he says1 is the essential thing towards the success of the manufacture4 ,he is gone for a cargo of it1 having bought the whole country of the ,indians where it rises40 ,we hear no more of this mysterious individual2 but we do hear of extensive and painstaking researches by ,cookworthy1 till at length he is rewarded by discovering the very earth he wanted1 in ,cornwall1 on the estate of ,lord ,camelford4 ,he established himself at ,coxside1 at the extreme angle which juts into the water at ,sutton ,pool4 ,the buildings subsequently became a shipwright's yard1 and even then bore the name ,china ,house4 ,we wonder1 do they exist now8 ,the early examples of ,plymouth are clumsy1 sometimes very coarse and rough4 ,experience was wanting in firing4 ,most of the pieces were disfigured by fire-cracks4 ,of those decorated in blue the colour had run into the glazing4 ,but ,cookworthy did one thing--he was the first to produce cobalt blue direct from the ore4 ,the white ware of ,plymouth1 in which is introduced as ornament shells and seaweed and coral1 is very artistic1 and is one of the features of ,plymouth1 although none of this ware is marked4 ,they mostly consist of salt-cellars1 pickle-cups1 and what would now be used to put roses in4 ,the salt-cellar we illustrate is one of a pair in the ,bethnal ,green ,museum2 it has a plain1 white body and cloudy glaze1 and is unmarked4 ,similar shapes are believed to have been made at ,bow4 ,we reproduce a dainty piece1 a shell dish of beautiful design1 and ask--was ,cookworthy a failure8 ,during the latter part of the fourteen years that ,plymouth produced her china1 ,cookworthy1 then nearing his seventieth year1 thought to emulate ,svres and ,dresden1 and employed several artists for decoration4 ,he engaged the services of a ,french artist named ,soqui from ,svres1 and he and ,henry ,bone1 of ,plymouth--one of his own apprentices--produced some finely-painted birds and flowers4 ,illustration3 ,,white ,,porcelain ,,dish--,,plymouth4 ,the mark of the ,plymouth china is blue on the early clumsy pieces1 and later was neatly drawn in red1 sometimes blue4 ,it is the chemical symbol for tin1 being doubtless adopted by ,cookworthy to denote that his materials came from the tin district4 ,it is like the figure four1 with a little curved loop at the beginning4 ,illustration3 ,,vase 7#af ,,in4 ,,high71 ,,plymouth4 ,in the ,fry ,collection at ,bristol4 ,we reproduce a fine specimen of a splendid vase1 hexagonal shape1 sixteen inches high1 in the possession of the ,fry family at ,bristol4 ,it is richly decorated with festoons of finely modelled raised flowers1 with painted butterflies and borders4 ,this was the forerunner of the exquisite ,bristol vase made by the firm which bought ,cookworthy's life secrets4 ,devon and ,plymouth suggest ,elizabethan days and one man's name flashes uppermost1 but-- 8,drake he's in his hammock1 but a thousand mile away 7,capten1 art tha sleepin' there below871 ,slung atween the round shot in ,nombre ,dios ,bay1 ,an' dreamin' arl the time o' ,plymouth ,hoe40 ,but there are heroes of peace and the arts of peace and that art of all arts1 the art of self-effacement and ,william ,cookworthy is one4 ,illustration3 ,,plymouth ,,marks4 ,illustration3 ,,bristol ,,porcelain4 ,under-glaze ,mandarin ,decoration in ,blue4 ,,bristol4 ,for several centuries earthenware was made at ,bristol1 and a very fair quality of blue delft was produced there1 but it is not of the old potteries of ,bristol that we shall speak1 but of the manufacture which was transplanted from ,plymouth to ,bristol4 ,we have related the struggles of ,william ,cookworthy to establish ,plymouth porcelain4 ,the strenuous efforts to perfect the china were carried on by ,richard ,champion1 of ,bristol1 merchant1 who bought ,cookworthy's patent1 and established the manufactory of hard porcelain at ,bristol4 ,champion had1 it appears1 been associated with ,cookworthy as partner when the works were at ,plymouth4 ,in #agge1 when ,champion presented a petition to the ,house of ,commons to be granted the patent right for a further period of fourteen years to himself1 he was vigorously opposed by ,josiah ,wedgwood1 who represented that by granting a patent to ,champion1 it would be detrimental to trade and injurious to the public1 urging1 among other grounds1 that 8the use of the natural productions of the soil ought to be the right of all40 ,wedgwood presented a memorial to ,parliament1 and a fierce controversy ensued4 8,much might be said on both sides10 as ,sir ,roger ,de ,coverley observes1 and much was said on both sides4 ,at first blush it seems hard that ,cookworthy and ,champion1 who found the earth and worked hard at developing the manufactory in the ,west1 should have no protection given to their secret4 ,but ,wedgwood1 who speaks with authority1 urged that when he invented his ,queen's ,ware he did not apply for a patent1 which would have limited its public utility4 8,instead of one hundred manufactories of ,queen's ,ware1 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 ,england40 ,without going further into the details of a controversy which trenches upon questions of political economy two facts stand out1 and the reader can judge of them as he will4 ,the patent was granted by ,parliament to ,richard ,champion1 who was subsequently ruined1 and left ,england to die in ,south ,carolina2 and secondly1 hard paste was made at ,plymouth and ,bristol 7never before or since in ,england71 while the manufacture of the less difficult soft-paste porcelain and of pottery was carried on by the ,staffordshire factories and ,wedgwood4 ,illustration3 ,,bristol ,,vase ,,and ,,cover4 ,at the ,victoria and ,albert ,museum4 ,during the struggle between ,wedgwood and ,champion one curious incident occurred4 ,when the ,bill was before the ,house of ,lords for discussion1 one of ,champion's witnesses left ,london for ,bristol without permission4 ,as it was necessary to bring him back at once1 as the end of the session was at hand1 he was recalled by an 8express10 which travelled the #bdj miles to ,bristol in twenty-seven hours6 ,in #agge was passed 7#ae ,george ,,iii41 cap #eb7 8an ,act for enlarging the term of ,letters ,patent granted by his present ,majesty to ,william ,cookworthy1 of ,plymouth1 ,chymist1 for the sole use and exercise of a discovery of certain materials for making ,porcelain1 in order to enable ,richard ,champion1 of ,bristol1 merchant 7to whom the said ,letters ,patent have been assigned71 to carry the said discovery into effectual execution for the benefit of the public40 ,so we shortly find the ,bristol factory in full swing4 ,the stock of ,plymouth1 and the tried workmen1 were transferred to ,bristol4 ,first of all1 attention was paid to common blue and white ware as likely to demand a ready sale1 and to be profitable4 ,as in the case of ,worcester and other factories1 ,champion took ,oriental models1 and some of his ware is confounded with other makers who used the same models4 ,the blue was of good colour1 and dinner1 tea1 and coffee services1 as well as jugs and mugs1 were turned out1 sometimes marked with the ,bristol cross1 but oftentimes without any distinguishing mark at all1 to the confoundment of the latter-day collectors4 ,bristol was very successful in imitating the commoner forms of ,chinese ware4 ,we reproduce a teapot and cup and saucer4 ,it will be observed that the cup follows the original model1 and has no handle4 ,illustration3 ,bristol ,marks ,the usual mark of ,bristol was a plain cross1 sometimes in blue1 sometimes in red1 and often in neutral tint1 or slatey-grey4 ,the crossed swords of ,dresden1 accompanied by the ,bristol cross and the figures #aj1 appear on one specimen4 ,some of the following marks which we give have been assigned to ,bristol4 ,figures sometimes occur as well as the cross2 these are believed to denote the painters engaged on the piece1 and are often marked in red4 ,on one known ,bristol piece1 a date occurs4 ,but to collectors of ,bristol porcelain there is one test which also applies in more marked degree to the ,plymouth ware2 this is the series of spiral ridges which may often be observed on the surface of the ware when held in reflected light4 ,we have alluded to the somewhat heated controversy between ,josiah ,wedgwood and ,richard ,champion1 who had transferred the plant from ,plymouth and had applied for an extension of ,cookworthy's patent to himself4 ,josiah ,wedgwood1 we think somewhat unfairly1 alleged that both ,plymouth and ,bristol factories were still in an experimental stage2 he belittles their art1 which 8neither the ingenious discoverer nor the purchaser1 for want1 perhaps1 of skill and experience in this particular business1 have been able1 during the space of seven years already elapsed1 to bring to any useful degree of perfection40 ,this is not the place to enter into the merits of a dead conflict between ,staffordshire and ,bristol4 ,that ,bristol was not merely an experimental factory is more than proved by the specimens which have come down to us1 specimens1 be it said1 that are more eagerly sought after than many of ,wedgwood's productions1 since they are of hard porcelain which ,staffordshire never made1 and which hard paste has never again been made in ,england1 either before or since4 ,one of the choicest examples of the highest art of ,bristol is preserved in the national collection at the ,victoria and ,albert ,museum4 ,it is stated to have been 8the best that the manufactory could produce40 ,it was made in #aggd-e1 within a few months of the establishment of the works at ,bristol4 ,this example is interesting too1 as being one of the few examples of the ,bristol works1 of which the exact date can be ascertained4 ,in the year #aggd ,edmund ,burke was nominated for ,bristol1 the capital and richest city of the west4 ,a fierce election contest followed1 in which ,burke was returned as one of the members4 ,during this election he was the guest of ,mr4 and ,mrs4 ,smith1 of ,bristol1 and it was then that ,burke ordered a splendid set of china from ,champion4 ,we reproduce the cup and saucer of this service4 ,it is profusedly and massively gilt in dead and burnished gold1 the wreaths of laurel being in green1 which was ,burke's electioneering colour4 ,illustration3 ,,cup ,,and ,,saucer1 ,,bristol4 ,from service ordered by ,edmund ,burke4 ,each piece1 as will be seen1 bears the monogram of ,mrs4 ,smith1 8,s4 ,s40 interlaced1 formed of wreaths of roses in pink and gold1 and also the arms of the family4 ,this service is marked with the usual ,bristol cross4 ,it is obviously absurd to have asserted that such china was merely experimental4 ,the collector of to-day has more than hall-marked ,bristol porcelain4 ,recently1 at ,christie's ,auction ,rooms1 #afh was paid for two small cups and a tea tray1 and1 alas6 ,cookworthy and ,champion died unsuccessful men4 ,if they are recognised to-day as martyrs to the ceramic art1 their own generation were somewhat stiff-necked to their genius and enterprise4 ,illustration3 ,,bristol ,,vase 7#ab-a_/d ,,in4 ,,high74 ,in the ,fry ,collection4 ,the vase which we reproduce shows to what perfection the manufacturers had reached4 ,among the decorators of ,bristol was ,henry ,bone1 afterwards an ,r4,a41 and miniature enameller to the ,royal ,family4 ,bone was apprenticed to ,champion for seven years1 dating from ,january1 #aggb4 ,this vase1 in the possession of the ,fry family of ,bristol1 is of hexagonal shape and is #ab-a_/d inches in height4 ,the landscapes are excellently painted1 and it has well-modelled female busts on two of its sides1 from which hang festoons of raised flowers in white4 ,this vase and the other splendid and almost priceless vases in the possession of the same family are not marked4 ,it appears that although only ,champion's name appears on the documents in connection with the ,bristol factory1 he had partners who assisted him financially1 one of whom was ,joseph ,fry1 whose only return1 when the factory was discontinued1 for the money he had sunk into the concern1 was the set of vases now in the hands of his descendants4 ,we now come to the last act of ,bristol4 ,wedgwood writes to ,bentley in a letter1 dated ,august #bd1 #aggh1 concerning ,champion's failure3 8,poor ,champion1 you may have heard1 is quite demolished2 it was never likely to be otherwise1 as he had neither professional knowledge1 sufficient capital1 nor scarcely any real acquaintance with the materials he was working upon4 ,i suppose we might buy some ,growan ,stone and ,growan ,clay now upon easy terms1 for they have prepared a large quantity this last year40 ,his patent right was sold by ,champion to a company of ,staffordshire potters who continued the manufacture at ,new ,hall for some little time until the ordinary soft paste was allowed to supersede ,champion's hard paste4 ,so ended the triumphs of ,bristol and ,plymouth4 ,it appears that from ,november1 #agha1 to ,april1 #aghb1 ,champion left his native city to superintend the works of the china company who had purchased his rights4 ,but ,edmund ,burke came to his rescue1 and1 conjointly with ,burke's son ,richard1 ,champion was appointed deputy paymaster-general4 ,champion occupied official apartments in ,chelsea ,hospital4 ,in ,july a change of ministry lost him his post1 but in ,april1 #aghc1 he regained it1 only to resign on the fall of the famous ,coalition ,ministry in ,january1 #aghd4 ,in ,october1 #aghd1 he left ,england for ,south ,carolina1 where he became a planter4 ,seven years after leaving ,england he died of fever1 and lies buried in the ,new ,world4 ,there is nothing to be said--his fate was the fate of so many enthusiasts and workers in the field of art4 ,nobody has ever unveiled a monument to ,champion's memory or to ,cookworthy's memory4 ,nobody has designed a stained-glass window to record their ceramic triumphs4#a ,their monument--and it is a lasting one--lies on the china shelf2 the votaries of ,plymouth and of ,bristol porcelain need no spark to quicken their fire4 ,we know ,browning's 8,waring0 and his unfulfilled promise of greatness1 and how the friend who has lost him1 8like a ghost at break of day10 wishes him back-- 8,oh1 could ,i have him back once more1 ,this ,waring1 but one half-day more6 ,back1 with the quiet face of yore1 ,so hungry for acknowledgment ,like mine1 ,i'd fool him to his bent4 ,feed1 should not he1 to heart's content8 ,i'd say1 #8,to only have conceived1 ,planned your great works1 apart from progress1 ,surpasses little works achieved4'0 ,and the world would call back its neglected and unrequited men of genius if it could1 and herein lies the principle that makes china command high prices--these conscience-prickings are the tribute posterity pays4 ,,characteristics ,,of ,,plymouth ,,and ,,bristol ,,porcelain4 ,among special features of ,plymouth and ,bristol china1 spiral ridges are to be seen1 though often barely noticeable1 running from the base transversely around the body of piece1 more noticeable in basins and teapots1 at an angle of #de4 ,the china of these factories is often untrue owing to imperfect firing1 and is frequently cracked at base4 ,the ,bristol decorators had a partiality for wreaths and festoons of laurel in green1 interspersed with detached bouquets of flowers4 ,the ,bristol glaze is rich and creamy white1 and upon examination a series of minute depressions1 somewhat similar to the bubbles on ,oriental glaze1 may be discovered4 ,,sale ,,prices4 ,,plymouth4 s4 d4 ,bowls and covers1 pair1 formed as doves on their nests4 ,christie1 ,february #e1 #aijb #g #g #j ,shell sweetmeat-dishes1 two1 painted with flowers in colours in the ,chinese taste1 and encrusted with coloured shells and seaweed2 and a smaller white ditto4 ,christie1 ,february #e1 #aijb #e #e #j ,tankards1 pair1 painted with birds1 trees and flowers in colours4 ,christie1 ,february #e1 #aijb #df #d #j ,mug1 bell-shaped1 #e-a_/b in4 high1 painted exotic birds and continuous landscape in brilliant colours 7marked with ,plymouth mark74 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #ab #j #j ,plymouth shaped ,mug1 painted with exotic birds and branches1 and with gilt border1 marked1 #d-a_/d in4 high4 ,puttick ,simpson1 ,july #i1 #aibj #ac #ac #j ,plymouth ,mug1 painted with birds and branches1 #e-a_/d in4 high2 and a ,plymouth ,sauce-boat1 painted with flowers in the ,oriental taste4 ,christie1 ,july #e1 #aibj #ai #ai #j ,,bristol4 ,teacups and saucers1 two1 and a small tray1 painted with medallion heads in gilt borders and festoons of green laurel-wreaths between2 and a bowl and cream-jug nearly similar4 ,christie1 ,february #d1 #aijb #afh #j #j ,teapot and cover and bowl1 painted with bouquets of flowers4 ,christie1 ,february #bh1 #aijb #g #ae #j ,dishes1 oval-shaped pair1 painted with festoons and sprays of flowers1 in colours1 gilt edges4 ,christie1 ,february #bh1 #aijb #af #af #j ,bowls1 pair1 fluted1 painted with bouquets of flowers1 #aa-a_/d in4 diameter4 ,christie1 ,july #b1 #aijb #bh #g #j ,cabaret1 decorated with festoons of foliage in green and horizontal gilt lines1 consisting of oval plateau1 teapot1 sucrier and covers1 milk-jug1 and cup and saucer2 mark1 ,dresden crossed swords4 ,christie1 ,july #b1 #aijb #bg #f #j ,figures1 pair1 of a lady with tambourine1 and a gentleman with a lyre1 #aa in4 high4 ,christie1 ,june #aj1 #aijb #e #aj #j ,figures1 ,mars and ,minerva1 #ac-a_/b in4 high4 ,christie1 ,june #bj1 #aijb #ai #ai #j ,figure of a ,nymph1 allegorical of 8,water10 #aj-a_/b in4 high4 ,christie1 ,july #b1 #aijb #aj #aj #j ,teacup and saucer1 painted with portrait medallions1 green laurel festoons1 gilt lines1 and the interlaced initials ,r4 ,s4 ,part of service made by ,champion for ,sir ,robert ,smyth4 ,from the ,edkins ,collection4 ,christie1 ,june #af1 #aijc #cg #af #j ,bristol china ,teapot and cover1 decorated with birds on branches and insects1 inscribed ,mary ,cowling1 #agga4 ,sotheby1 ,may #ag1 #aibj #bi #j #j ,bristol china deep ,dish1 octagonal1 with floral festoons1 deep blue edge and centre1 #h-c_/d in4 ,sotheby1 ,may #ag1 #aibj #c #f #j ,two ,bristol ,plates1 painted with festoons of flowers in colours on white ground1 #h in4 diameter4 ,christie1 ,july #e1 #aibj #i #i #j ,bristol ,plaque1 painted with a bouquet of flowers1 inscribed 8,j4 ,pardoe1 ,bristol10 #i-c_/d in4 by #e-a_/b in4 ,christie1 ,july #bj1 #aibj #ah #ah #j ,bristol figure of a girl1 carrying a basket of flowers1 #d-a_/b in4 high4 ,christie1 ,july #ab1 #aibj #aj #aj #j ,,footnotes3 #a ,a ,cookworthy ,window was placed in the ,guildhall1 ,plymouth1 about #ahdj1 during the mayoralty of ,dr4 ,cookworthy1 grandson of the potter4 ,,vi ,,the ,,lowestoft ,,factory ,illustration3 ,,three ,,panels ,,from ,,lowestoft ,,powder-,,blue ,,octagonal ,,dish4 7,marked with imitation ,chinese mark in blue47 ,illustration3 ,,lowestoft ,,sauce-,,boats 7,,blue and ,,white74 7,with fragment of ,mould from which they were made47 ,,vi ,,the ,,lowestoft ,,factory ,we have dealt with ,worcester and with ,derby1 with ,chelsea and with ,bow4 ,of the latter1 we told of the difficulty of determining the marks1 and of accurately naming the china2 but what are we to think of a factory1 which we may term the 8,mrs4 ,harris0 among china factories1 inasmuch as some people with no less scepticism than ,sairey ,gamp's friend1 believe it did not exist at all4 ,the legends of ,lowestoft are many and varied1 but we think we shall succeed in presenting some sort of rational account of the factory to our readers1 which may dispel many notions1 perhaps wrongly1 held by those to whom 8,lowestoft0 is a myth and the collecting of it a snare and a delusion4 ,illustration3 ,,blue ,,and ,,white ,,delft ,,marriage ,,plate1 ,,with ,,inscription4 7,dated #agee47 ,it is stated that a ,dutch sailor1 wrecked on the coast1 in return for the hospitality of a gentleman who brought him to his house1 was instrumental in pointing out the value of the white earth which he discovered on the gentleman's estate4 ,it is certain that the sand on the coast of ,suffolk at ,lowestoft is of great purity1 as compared with that of other parts of the country1 and1 when the ,lowestoft works were closed1 the ,worcester factory availed themselves of it in making their best porcelain4 ,there are certain plates of reputed ,lowestoft manufacture1 dated #ageb and thereabouts1 bearing the names of ,quinton1 of ,yarmouth1 ,parrish1 of ,norwich1 and other local families4 ,these plates are of earthenware body1 with coarse decorations in blue1 and having a yellow rim4 ,they were made to celebrate the marriage of the persons named on them4 ,in the one we reproduce1 specially photographed for this volume1 the inscription runs3 8,henr and ,mar ,quinton1 ,yarmouth1 nor f f3 olk4 #agee40 ,this lettering1 with the two dots over the letters y1 and the peculiar placing of the commas over the letters u1 is conclusive evidence that it was written by a foreigner1 and presumably plates such as these were made in ,holland to order of some shipmaster4 ,one of the owners of the original factory was ,robert ,browne1 who died in #agga1 when the management was undertaken by his son--also ,robert ,browne--who made great experiments in pastes4 ,there is a story of how ,robert ,browne the second paid a visit to ,london disguised as a workman1 and by secreting himself in a barrel1 was enabled to watch the mixing of the ingredients forming the paste of ,chelsea or of ,bow4 ,the presence of coats of arms upon genuine known pieces of ,lowestoft may have caused some confusion1 which has continued to the present day4 ,at the end of the last century a great deal of ,oriental china was made having coats of arms of ,english families upon it4 ,although ,lowestoft bore no resemblance in its body to ,oriental ware1 people came to suppose that1 in some way or another1 the ware was brought in its unfinished state from the ,east1 and then decorated and re-fired at ,lowestoft4 ,with the exception of ,plymouth and ,bristol1 ,lowestoft is the only factory in ,england which is credited with producing the true hard-paste porcelain1 as made in the ,east2 all other old ,english chinas are of soft paste1 and a great deal of our wares are earthenware1 for instance1 ,wedgwood4 ,but the claim that ,lowestoft made hard paste has never been substantiated by facts4 ,lowestoft may be divided into two parts1 the first dealing with the early period when blue and white ware was made1 and the second period1 when a finer and higher class of goods1 with heraldic designs and floral intricacies1 were introduced4 ,at one period of its history the paste of ,lowestoft appears to have been harder than that of ,bow or ,chelsea4 ,roughly1 just a half of a century saw the rise and fall of ,lowestoft4 ,it was established from #agef1 and in #ahjb the factory had ceased4 ,many families in the ,eastern ,counties to this day possess specimens of the ,lowestoft china with names and dates painted on them4 ,this china with names or initials upon it1 or bearing a date1 in addition to its personal value is of historic interest in determining periods of manufacture4 ,we give a highly interesting and very rare pair of dated cups and saucers1 with unusual decorations1 vine leaves in gold1 clusters of grapes in red1 and tablet in centre with inscription1 8,m4 and ,e4 ,calder1 ,norwich1 #aggf10 rich blue glaze and gold bands4 ,among other dated specimens of ,lowestoft white and blue ware is a fine bowl1 with ,chinese figures of mandarins painted in blue1 and inscribed at the bottom with the name1 8,elizabeth ,buckle1 #agfh40 ,this ,elizabeth ,buckle is known to have been an eccentric old dame1 and the service1 of which this bowl is a remnant1 was made for her by her nephew1 ,robert ,allen4 ,this ,allen was one of the worthies of ,lowestoft4 ,in #ahai1 in his seventy-fourth year1 he executed a design for the ,east window of the ,parish ,church 7we know not whether it is still in existence at ,lowestoft74 ,in acknowledgment of this service1 a silver cup was presented to him1 with the inscription3 8,a token of respect to ,mr4 ,robert ,allen from his fellow-townsmen of ,lowestoft1 for having1 at the advanced age of seventy-four1 gratuitously and elegantly ornamented the ,east window of their ,parish ,church4 ,ann4 ,dom4 #ahai40 ,illustration3 ,by courtesy of ,mr4 ,f4 ,u4 ,yallop1 ,lowestoft4 ,,old ,,lowestoft ,,cups ,,and ,,saucers4 ,red and gold decoration4 7,dated #aggf47 ,after the closing of the ,lowestoft works1 ,allen put up a small kiln at his own house1 where he carried on operations on a limited scale4 ,he bought the unfinished ware from ,mr4 ,brameld1 of the ,rockingham factory1 and painted it and refired it1 selling it himself afterwards4 ,illustration ,we reproduce a design of a mug painted by ,thomas ,curtis for his father and mother1 whose names appear on it4 ,it is said that ,curtis was formerly employed at ,dresden1 and that he was a 8silent partner0 in the ,lowestoft works4 ,many other examples of blue and white exist with dates and names upon them1 and there is more than enough evidence to show that1 short as was the history of the ,lowestoft factory1 it did good work4 ,we shall now proceed to give an account of the wonderful decorative qualities of a great artist in ,lowestoft china1 whose works now are worth many pounds1 but whose latter days1 when he was blind1 were spent in poverty4 ,we have dealt with the earlier ware made there--of the blue and white porcelain and of the delft ware probably made in ,holland2 we now come to the higher and finer products of ,lowestoft1 over which so many debates have taken place4 ,it has been held that this ware was decorated at ,lowestoft1 but that it was real ,oriental body imported in its half-finished state from the ,east1 and only painted and re-fired in this country4 ,however1 on the signed testimony of one of the workmen1 it is positively stated that no ,oriental porcelain ever came into the factory at ,lowestoft to be decorated4 8,no manufactured articles were brought there to be painted1 and every article painted in the factory had been previously made there40 ,the question1 too1 of hard paste being made at ,lowestoft is now disproved2 among all the recently discovered fragments is nothing of hard paste4 ,the theory that porcelain came over from ,china through ,holland to ,lowestoft1 if it be examined1 does not hold water4 ,first1 it would not have paid1 especially as then a large duty existed on china imported1 whereas ,lowestoft china was produced at a fairly cheap cost1 and supplied to the public to compete with ,worcester1 and ,derby1 and the ,staffordshire makers4 ,again1 when the ,lowestoft factory broke up1 there would naturally have been a lot of unfinished ,oriental porcelain in its white state1 prior to the decoration1 thrown on the market4 ,what became of it all in #ahjb8 ,nobody ever seems to have seen any white china bowls1 or white tea services1 or white vases4 ,but there is a certain amount of mystery about ,lowestoft1 and a great quantity of ware exists both in this country and abroad1 which is classed as ,lowestoft china1 but which is really ,oriental porcelain with ,british armorial bearings4 ,in fact1 the little factory has provided a considerable field for speculation as to what it did and what it did not produce4 ,for so small a factory there is quite a literature in magazine articles1 and one volume has been written upon it4 ,the factory started about #agfe1 and closed down in #ahjb4 ,when it closed its kilns and heaps of shards were hurriedly buried1 it extinguished the hope of an art that promised to be greater4 ,the abandonment of an art industry always breaks some hearts4 ,there is just one fleeting glimpse of one of the old painters when teacups and roses were no longer wanted4 ,perhaps some of our readers will look under the rose and read a story1 sad enough1 but true of many a craftsman at the end of the day4 ,one old artist who1 by your leave1 ladies1 painted red roses and twined chains of rosy wreaths1 who put smiles and sunshine with his artful brush on to your tea services1 had a very aching heart at the end of the journey4 ,fate herself twined a chain of grey roses for him4 ,he was blind and poor4 ,in his old age1 he laboured1 a broken-down old man1 in the heat of the sun4 ,a couple of donkeys given to him out of charity enabled him to bring water into ,lowestoft4 ,a beggar1 he would slake a beggar's thirst4 8,wreaths of roses0--there is something gruesome in the sound of the words4 ,handle your china cups with more tenderness3 human lives have gone to the making of them4 ,the white-hot furnace and the minute brush-mark of your rose petal turned a man's day to dark night4 ,roses and wreaths of roses1 and behind them all--tears4 ,illustration3 ,,rare ,,lowestoft ,,coffee-,,pot4 ,decoration in ,oriental style in blue4 ,in the possession of ,mr4 ,merrington ,smith1 ,lowestoft4 ,the writer is able to confirm the above statements respecting ,lowestoft by information which has been courteously supplied by a kinswoman of the celebrated designer of the bouquets of roses on the ,lowestoft porcelain4 ,the first clay was discovered by ,mr4 ,luson of ,gunter ,hall in #agef 7now the estate of ,miss ,fowler71 who sent a small quantity to ,london to ascertain its quality4 ,upon trial it was found to be excellent1 and ,mr4 ,hewlin ,luson procured workmen and erected a temporary kiln on his estate near the old ,warren ,houses on the ,dunes north of ,lowestoft4 ,a good deal of jealousy was aroused and trade rivals attempted to wreck the scheme and tampered with the workmen engaged4 ,after a year's struggle a company was formed who purchased some houses in ,bell ,lane1 now ,crown ,street1 and established a factory4 ,in ,december1 #aijb1 an interesting discovery was made on the site of the old ,lowestoft factory4 ,the kiln for drying malt of ,messrs4 ,morse1 brewers1 is actually the old kiln in which the ,lowestoft ware was fired1 and upon the flooring of this being removed to make a drain1 several moulds and fragments of china were found4 ,i am especially indebted for many curious touches of ,lowestoft colour and much information concerning this find to those present while the digging operations were going on4 ,illustration3 ,copyright4 ,a4 ,merrington ,smith1 ,lowestoft4 ,,interior ,,of ,,the ,,lower ,,room ,,of ,,the ,,old ,,lowestoft ,,china ,,factory4 ,digging for ,moulds1 ,july1 #aijc4 ,this important discovery led to a complete investigation of the old site1 and1 largely owing to the enterprise of ,mr4 ,a4 ,merrington ,smith1 of ,lowestoft1 steps were taken to commence excavations4 ,these resulted1 in ,july1 #aijc1 in the further find of several bushels of broken moulds and fragments of china4 ,we give an illustration of the scene when the moulds and fragments had been discovered4 ,among these fragments are some decorated pieces ready for glazing1 which cannot be washed1 as the colours1 of course1 come off4 ,there are glazed fragments in blue and other colours4 ,there is quite a variety of handles for cups1 mugs1 c41 and there are cups made without handles4 ,there are some birthday tablets1 and some clay pipes with heraldic devices made for ,william ,harvey1 of ,yarmouth4 ,one small piece1 evidently part of the bottom of a cup1 has a crescent marked in blue2 but this does not prove that ,lowestoft used the crescent as a mark2 in all probability it is the fragment of some ,worcester piece they had for purposes of copying4 ,illustration3 ,,old ,,lowestoft 7,,blue ,,and ,,white74 ,toy ,teapot and ,cream ,jug 7#b in4 high74 ,inkstand 7dated #agia74 ,there are also unglazed fragments for basket-work1 and ,lowestoft figures1 unglazed1 ready for firing4 ,there are ribbed tea-cups and cups with cornflower decoration4 ,among other fragments are a great number of toy teapots and toy cups only an inch or two in height1 decorated in blue4 ,we give an illustration of this toy ware painted under-glaze in blue4 ,the bulk of these moulds and fragments are in the possession of ,w4 ,rix ,spelman1 ,esq41 of ,norwich1 and it is to be hoped that careful study and research will1 by means of these indisputable facts1 re-establish the reputation of ,lowestoft-- 8,defamed by every charlatan ,and soil'd with all ignoble use40 ,mr4 ,crisp1 of ,denmark ,hill1 ,london1 possesses some of the moulds which were disinterred at the first discovery on the ,lowestoft site4 ,he has had china made in them and baked1 and has presented the results to the ,british ,museum1 where they are now exhibited4 ,they seem too poorly made to show to advantage the delicate patterns in relief4 ,the headpiece 7p4 #aac7 shows two sauce-boats1 blue and white1 with raised decoration4 ,it will be seen from the fragment of mould1 photographed with them1 how exactly this newly discovered mould helps to identify the pieces4 ,among the fragments is part of a teapot mould1 on which is the date #agfa4 ,chaffers1 in his authoritative work on china1 remarks of ,lowestoft that some of the larger pieces bear traces of having been 8made in a mould10 and here1 just a hundred years after the factory ceased1 comes corroborative evidence4 ,illustration3 ,,blue ,,and ,,white ,,lowestoft ,,mug 7,,soft ,,paste74 ,with fisherman drying herrings4 ,inscribed 8,john ,cooper1 #agfh40 ,reverse of mug4 ,with ,lowestoft fishing smack4 ,illustration3 ,,lowestoft ,,china4 ,jug1 decorated with floral festoons at rim1 and having medallion with inscription3 8,sam ,cubitt ,lowestoft #aggb40 ,mug1 inscribed3 8,mary ,curtis4 ,may love continue ,aand happiness increase ,live in ,love and die in peace #agib40 ,both decorated in blue overglaze4 ,there is an interesting mould for an oval perforated basket1 such as ,bow and ,chelsea produced1 with diamond spaces to be cut out2 and upon one of the fragments of a mould for a sugar basin appears the most delicate tracery and exquisite designs in leaves and scrolls1 and prominent among the decoration is the ,japanese chrysanthemum4 ,all ,east ,anglians and lovers of old ,lowestoft will be pleased at this piece of new evidence in favour of the theories held concerning the old factory1 whose reputation has been well-nigh blasted by thousands of spurious imitations made in ,france--literally covered by vulgar design and more vulgar coats of arms4 ,we are able to reproduce some genuine old ,lowestoft4 ,a remarkable piece is the old mug1 about #f in4 high1 depicting an old fishwife with bellows under her arm1 and holding a spit of herrings4 ,this is decorated in blue and white4 ,on the reverse side of mug is a fishing boat4 ,at the bottom it bears the name 8,john ,cooper1 #agfh40 ,under the scroll of the handle are the letters 8,r4 ,p410 probably signifying that it is the work of ,richard ,philips1 a painter at the ,lowestoft factory4 ,unfortunately it is damaged1 as will be seen by the illustration1 but for all that it is a specimen of considerable value4 ,the jug we illustrate1 having the 8,mandarin0 decoration common to ,worcester and ,bristol1 is a fine example of ,lowestoft under-glaze blue painting4 ,it bears the figure #e upon it as a mark4 ,it may be observed that many of the ,lowestoft pieces of blue and white bear a striking resemblance to old ,worcester4 ,at first blush one is inclined to believe them to be ,worcester1 but the blue is not quite the ,worcester blue1 and the glaze tells its own story4 ,there are pits and dimples1 and little raised surfaces here and there1 particularly under the bases of cups1 that are characteristic of ,lowestoft4 ,illustration3 ,,lowestoft ,,blue ,,and ,,white ,,jug 7#e ,,in4 ,,high74 7,marked with workman's mark4 ,figure #e47 8,a ,trifle from ,lowestoft10 a legend which is a familiar one on ,lowestoft ware1 is an inkstand1 with floral design in that shade of red peculiar to ,lowestoft but so difficult to describe in words4 ,the decoration on this piece is especially characteristic of the factory1 and we ask readers to make a note of it4 ,illustration3 ,,lowestoft ,,china ,,inkstand4 7,floral ,decoration in ,red47 ,there are certain marks on undoubted ,lowestoft pieces which the writer has examined4 ,the letter 8,r10 which might be the signature of ,redgrave the painter4 ,on another piece the letter 8,h0 appears under the rim1 which may stand for ,hughes4 ,the letters 8,r4 ,p40 on the mug we illustrate 7p4 #abe7 may equally stand for ,richard ,powles or ,richard ,philips4 ,on one piece two ,l's appear back to back 7,illustration3 ,two ,l's back to back74 ,is this ,luson1 ,lowestoft8 ,while on other pieces appear the mark ,illustration3 ,x with one dot above and one dot to the right in red and in blue4 ,,characteristics ,,of ,,lowestoft ,,china4 ,the china is soft paste1 and is often very badly potted4 ,the blue is inclined to run4 ,there is a gritty appearance in places on the glaze1 which is spotted as if by sand4 ,in some of the blue decorated pieces1 where a flight of birds is introduced1 the crescent moon 7like the ,worcester crescent mark7 has been put in almost as a challenge to ,worcester4 ,one especial feature is the green hue of the glaze settled under the rims of saucers and basins and cups4 ,the paste often has little bumps on it1 and a mound in the centre of base under rim4 ,roses1 set back to back1 appear on ,lowestoft pieces4 ,the red of ,lowestoft is of a peculiar quality1 approaching puce in some specimens1 and varying from mauve pink to carmine4 ,,sale ,,prices4 ,,lowestoft4 s4 d4 ,bowl1 #aj-a_/b in41 painted in flowers1 with trees and cattle4 ,s4 ,mealing ,mills1 ,norwich1 ,december #c1 #aijb #g #e #j ,mug1 decorated in blue1 with figure holding spit of herrings4 ,fishing boats on reverse side1 inscribed 8,john ,cooper1 #agfh40 ,signed 8,r4 ,p40--,richard ,philips1 a painter at ,lowestoft4 ,messrs4 ,notley1 ,lowestoft1 ,july1 #aijc 7illustrated p4 #abe7 #aa #j #j ,mug1 painted in blue1 with inscription--8,add to knowledge1 temperance 7,peter ,,ii71 ,james ,last of ,saxmundham1 #agfi40 ,christie1 ,march #h1 #aijd #af #aj #f ,bowl1 painted with pastoral subjects1 in panels1 foliage1 scrolls in red1 and inscription inside1 dated #aggd4 ,christie1 ,april #h1 #aijd #bf #e #j ,bowl1 large1 painted with medallion views in brown and with ribands and foliage round the border in dark blue and gold4 ,diameter1 #ac-a_/b in4 ,christie1 ,march #b1 #aije #f #j #j ,mugs1 two1 roughly decorated with blue1 and inscribed below 8,abim ,moore1 ,august #bi1 #agfe40 ,christie1 ,april #g1 #aije #e #e #j ,lowestoft china1 ten teacups and eight saucers decorated with border and sprays of flowers in crimson1 red1 blue1 and green4 ,sotheby1 ,may #ag1 #aibj #e #j #j ,,vii ,,coalport ,illustration3 ,,two-,,handled ,,cup1 ,,richly ,,gilded1 ,,with ,,blue ,,and ,,white ,,panels4 ,,coalbrookdale4 ,,marked ,,cbd4 ,illustration3 ,,covered ,,cup ,,and ,,saucer1 ,,old ,,coalport4 ,,in ,s,,vres ,,style4 ,,vii ,,coalport ,the history of ,coalport porcelain manufactured in ,shropshire on the banks of the ,severn is worth the telling1 and those readers who are possessed of specimens of the older ware issuing from this factory will be glad to hear of its first beginnings4 ,unlike some of the other great manufactories1 ,coalport1 we are happy to say1 is still in existence4 ,bow and ,chelsea1 ,nantgarw and ,swansea1 ,bristol and ,plymouth have disappeared4 ,the potter's wheel is silent1 and the brush of the artist has been laid aside for ever4 ,long since the potters have turned into clay themselves4 ,at ,bow1 where the exquisite ware was produced on the banks of the ,lea 78,new ,canton10 as the manufactory styled itself71 a match factory stands on the old foundation4 ,instead of delicate and fragile cupids they now make matches1 but of the kind more associated with ,lucifer than with ,cupid4 ,with ,derby and with ,worcester1 ,coalport can boast that it was established in the middle of the eighteenth century4 ,indeed1 there is evidence that the ,salopian china made in ,colebrookdale is taken from the same beds of clay which fifteen hundred years ago supplied the ,romans with material for their white ware1 for their jugs1 their mortaria1 and their bowls1 which are constantly being unearthed at various spots in the valley of the ,severn4 ,the site of the first works was at ,caughley1 where a small pottery was begun about #aged4 ,early in its history the names of ,brown1 ,gallimore1 and ,turner occur4 ,in my 8,chat0 on the great ,worcester factory ,i showed that ,dr4 ,wall was the leading spirit who infused life into the concern1 and it would appear that ,thomas ,turner was in some measure induced to emulate him1 and it is seen on comparison that the early examples of ,caughley were very similar to those of contemporary ,worcester4 ,the patterns were principally confined to blue flowers and decorations on a white ground4 ,from #agef to #aggf the manufactory attained a great excellence4 ,there exists a mug bearing the date #aggf1 and the name 8,francis ,benbow40 ,there is a nautical ring about the name4 ,one recollects ,admiral ,benbow and his gallant deeds2 our ,francis ,benbow was a bargeman1 for whom the mug was made1 but his name will go down to posterity on this ,caughley mug1 as it is the most perfect specimen of its kind4 ,we give a reproduction of this mug1 and readers will observe the anchor marked over the name1 and we would call especial attention to the nature of the decoration upon the mug4 ,dated chinas of old manufacture are specimens very worthy of notice1 as they are much sought after1 and in many cases are being reproduced with the old dates upon them4 ,illustration3 ,,caughley4 ,,old ,,blue ,,mug4 7,inscribed and ,dated #aggf47 ,the excellence of ,turner's porcelain and the invention of the beautiful dark blue of the ,caughley china1 attributed to him1 brought the factory into great prominence4 ,but great secrecy was employed in its manufacture1 and the place hidden away in the hills was an ideal spot for a manufactory wishing to be self-contained and free from prying strangers4 ,in #aghj was produced the celebrated 8,willow ,pattern10 which is in demand even at the present day1 and has been copied by all the other manufactories4 ,the 8,blue ,dragon10 another favourite pattern1 originated at ,caughley1 and it was here that the first blue-printed table service was made in ,england4 ,it was made for ,thomas ,whitmore1 ,esq41 of ,apley ,park1 near ,bridgnorth1 the pattern was called the 8,nankin40 ,it is interesting to note that ,thomas ,minton1 of ,stoke1 assisted in the completion of this service1 being articled as an engraver there4 ,until the end of #agij ,messrs4 ,chamberlain1 of ,worcester1 had their porcelain in the white from ,thomas ,turner1 of ,caughley4 ,as an instance of the great secrecy employed by ,turner1 we may say that he used to mix all the bodies himself1 but afterwards instructed his sister how to do it4 ,it may add an additional zest to your old white and blue ,caughley ware to know that a woman who could keep a secret was intimately associated with its manufacture4 ,in #aghj ,turner1 who had paid a visit to ,france to study the foreign methods1 brought back with him a number of skilled artists and workmen4 ,about this time1 too1 ,mr4 ,john ,rose1 who had learned the art of pottery under ,turner1 left him to establish a factory of his own at ,jackfield4 ,jackfield1 it may be noticed in passing1 is one of the oldest potteries in the country4 ,as early as #aefj entries occur in the parish registers of ,stoke-upon-,trent of potters 8from ,jackfield40 ,in a disused coal mine here1 some years ago1 a brown mug was found which bore the date #afcd4 ,jackfield was noted for some of its black decanters of superior glaze1 and up to quite a modern date made a yellow glazed earthenware4 ,finally1 the competition between ,mr4 ,rose and the old ,caughley works became so great that the old factory was swallowed up by the new one1 and ,coalport became the headquarters and the name of the firm became ,john ,rose and ,company1 ,mr4 ,turner withdrawing from the business4 ,the exact dates are as follows3 ,between #aghj to #agij ,john ,rose established his works at ,coalport 7he was only at ,jackfield for a few years74 ,he carried on these and the ,caughley1 which he purchased in #agii1 up till #ahad1 when ,caughley was finally discontinued4 ,illustration3 ,early ,marks4 ,all these are very dry facts which you must master in order to understand the specimens on your china shelf4 ,there is an additional interest1 it always seems to me1 in knowing of the men and women who gave their lives to the perfection of an industry4 ,there are in existence portraits of ,thomas ,turner and his wife1 and we should particularly like to see the likeness of the lady who secretly mixed the chinas4 ,perhaps some of our readers may come across some family in ,shropshire who may possess them4 ,with regard to marks1 unfortunately not all the specimens of ,caughley were marked4 ,the above are some of the varieties of the crescent occurring on some of the ware1 and show pretty clearly the transition from a half-moon to the engraved ,c4 ,the word 8,salopian0 is sometimes impressed1 and on one known specimen is the name 8,turner40 ,various forms of the letter 8,s10 sometimes with a cross1 are used4 ,at the beginning of the nineteenth century the written name 8,coalport0 was used1 though not extensively1 and another mark1 the letters 8,c4 ,d410 standing for ,colebrookdale1 was also used1 but somewhat sparingly4 ,in #ahbj both ,swansea and ,nantgarw factories were incorporated with ,coalport1 and ,messrs4 ,billingsley and ,walker1 well-known names in the history of ,english china manufacture1 came to ,coalport4 ,in #ahbj ,mr4 ,rose received the gold medal of the ,society of ,arts for his ,felspar porcelain1 and this date is a turning point in the history of ,coalport4 ,at this time ,coalport began to establish a reputation for its excellence1 which placed it on a level with the other great manufactories--a reputation1 be it said1 that has increased as time has gone on4 ,we reproduce a handsome vase of ,coalport manufacture1 richly decorated with pink and gold1 on a blue ground4 ,its elegant form is typical of the ware at its best period4 ,at the present moment the productions of ,coalport1 both old and modern1 are unequalled in their domain4 ,the old traditions of the firm are still maintained1 and the ware of to-day is of the highest possible artistic merit and excellence4 ,illustration3 ,,coalport ,,vase4 7,blue ,ground1 richly ,decorated in ,pink and ,gold47 ,by the kindness of the proprietors of the ,coalport manufactory1 we are enabled to give some further account of the modern ware1 and to reproduce illustrations of the later marks used and of the sumptuous plates turned out at the present day from ,iron ,bridge1 in ,shropshire4 ,in the year #ahbj1 the first year of the reign of ,george ,,iv41 ,mr4 ,john ,rose obtained the gold medal of the ,society of ,arts for his 8improved glaze for porcelain40 ,at this time a mark was adopted on some of the ware1 8,coalport ,improved ,felspar ,porcelain10 enclosed in a wreath of laurel4 ,surrounding the wreath are the words 8,patronised by the ,society of ,arts40 ,the name 8,i4 ,rose and ,co40 is marked underneath4 ,if any of our readers have any porcelain having this mark1 they will notice how good is the paste and how excellent the glaze4 ,illustration3 ,coalport ,marks4 ,just prior to the mark above alluded to1 the word ,coalport was used and sometimes the letters 8,c4 ,d40--standing for ,cole-,brook-,dale4 ,other marks of a later date are a monogram formed of the letters 8,c4 ,b4 ,d410 and the same enclosed in a circle with the word 8,daniell1 ,london10 an eminent firm acting as agents and connected with the sale of the ware in ,london4 ,this firm had depts in ,bond ,street and in ,wigmore ,street1 and there is in the national collection a plate with bleu-de-roi ground1 enriched with gilding1 one of a service executed by command of ,her ,majesty the late ,queen ,victoria for presentation to the ,emperor of ,russia4 ,this service was exhibited at the ,great ,exhibition of #ahea4 ,in the centre of the plate is painted the ,order of ,st4 ,andrew1 while the body is ornamented with ,russian orders painted on ivory-coloured ground in six compartments4 ,we now come to a very curious mark which may have puzzled some of our readers1 but which is easily explained4 ,it is a scroll somewhat like that which stands for the word 8and0--4 ,within its curves appear the three letters 8,c4 ,s4 ,n40 ,upon examination it will be found that the aforesaid curves really make two letters1 viz41 8,c4 and ,s410 which stand for ,coalport and ,salopian1 while the other three letters stand for ,caughley1 ,swansea1 and ,nantgarw--the whole emblematical of the development of the manufactory and its absorption of the smaller factories4 ,we give an illustration of the various marks placed in order of date used1 up to and including the one now in use by the firm4 ,our readers may be able to form some idea by comparison of the dates of their specimens4 ,illustration3 ,,latest ,,coalport ,,marks4 ,it must be observed that much of the earlier ,coalport was unmarked1 while--we blush to have to print it--some of the ware imitated the double 8,l0 mark of ,svres1 and the 8,c0 and anchor of ,chelsea and the crossed swords of ,dresden1 so successfully as to delude the unwary collector4 ,the celebrated egg-shell porcelain of ,coalport ranks among the most marvellous china ever produced in this country4 ,it is rarely marked with any letters or signs1 but it carries upon it a signature of perfection of manufacture and exquisite symmetry of design such as no other factory dared emulate1 and no other factory has since approached4 ,these tiny cups and saucers 7the cup follows ,chinese models by having no handle7 are gems of ceramic art1 and happy is the collector who can number one or two good specimens in his china cabinet4 ,the well-known 8,willow ,pattern10 first manufactured here1 is from a ,chinese model4 ,it is still manufactured by the ,coalport ,company1 and is one of their stock patterns4 ,it appears on a list of some forty patterns1 which can be and are manufactured without the use of lead4 ,readers may find the words 8,leadless ,glaze0 on some of their quite recent purchases in modern china4 ,the terrible effects of lead on the workpeople in china factories is a subject which has received the attention of ,parliament 7see p4 xxiii74 ,but in passing it is highly satisfactory to find that the ,coalport ,company turn out1 without special order1 forty patterns entirely 8leadless40 ,any one who is specially desirous of having 8leadless glaze0 on any other of the ,coalport ware may do so by ordering it4 ,to come down to the very latest marks1 there are three that have been in use4 ,the first in the seventies1 the second in the eighties1 and the last1 now solely used1 was adopted some twelve years ago with the addition of the word 8,england0 to meet the requirements of the ,american ,tariff ,act1 which made it compulsory for foreign goods to be thus stamped4 ,illustration3 ,,old ,,coalport ,,vase4 7,decorated in pink and white4 ,marked ,,cbd47 ,the first has the words 8,salopian1 ,coalport10 in a scroll1 which has within it the old mark of ,caughley1 a crescent with 8,a4,d4 #agej0 beneath it1 and in addition the letters 8,c4 ,s4 ,n410 in scroll as before alluded to1 and having the date1 8,a4,d4 #agij10 underneath4 ,this is a very complicated mark1 and is not generally known4 ,the second is a crown with the word 8,coalport1 ,a4,d4 #agej10 underneath4 ,the third is the same with the addition of the word 8,england40 ,in conclusion we may quote the fact1 to give our readers some idea of the quality of the ware now being exported by the ,coalport ,company1 that some of the dinner ware sent to ,america costs no less a sum than #e per plate1 while there are even more sumptuous and magnificent specimens of their manufacture which cost #ae each plate4 ,one of these1 amongst others1 is a plate with a coloured design painted after ,sir ,joshua ,reynolds' celebrated portrait of ,mrs4 ,robinson4 ,,characteristics ,,of ,,caughley ,,and ,,coalport ,,china4 ,caughley4--,the early pieces1 printed in under-glaze blue1 resemble the early ,worcester blue and white2 but ,caughley is whiter in appearance1 and the blue has not the mellowness of old ,worcester4 ,introduction of 8,willow pattern10 and similar designs1 and the 8,broseley dragon40 ,coalport4--8,chantilly sprig10 8,tournay sprig10 8,worm sprig10 introduced by ,billingsley from ,pinxton4 ,a maroon ground1 introduced by ,walker from ,nantgarw about #ahbb4 ,the deep mazarine blue of ,derby1 reproduced at ,coalport1 is quite equal to ,derby pieces in tone4 ,the rich ground colours of old ,svres porcelain were copied with great success at ,coalport1 particularly the turquoise blue and the rose-du-,barri4 ,,sale ,,prices4 ,,caughley4 s4 d4 ,tea and coffee service1 fluted1 flowers in blue and gold and dark blue and gold borders1 #ca pieces4 ,christie1 ,january #cj1 #aijb #g #g #j ,vases1 pair1 #ad in41 decorated with raised flowers and gilt1 and choicely painted in birds and ,watteau subjects4 ,gudgeon ,sons1 ,winchester1 ,april #c1 #aijb #ae #aj #j ,,coalport4 ,bowl and cover1 two-handled1 encrusted with branches of coloured flowers and foliage1 #aa in4 high4 ,christie1 ,april #d1 #aijb #af #e #f ,coalport vase1 with gilt decoration on turquoise ground1 #aj-a_/b in4 high4 ,christie1 ,july #e1 #aibj #ag #ag #j ,pair of ,coalport vases and covers1 painted with panels of flowers in gilt scroll borders on dark blue ground1 the covers surmounted by figures of children with garlands of flowers1 #ag in4 high4 ,christie1 ,july #bj1 #aibj #dj #ai #j ,,viii ,,spode ,,and ,,his ,,successors ,illustration3 ,,copeland ,,vases4 ,cobalt-blue ground1 painted panels of ,flowers and ,landscapes4 ,raised border1 richly gilded4 ,reproduced by courtesy of ,w4 ,t4 ,copeland ,sons1 ,stoke-on-,trent4 ,illustration3 ,,spode ,,earthenware ,,plates4 7,may-blossom on dark blue ground1 and tropical bird and flowers on canary yellow ground47 ,in the ,collection of the ,author4 ,,viii ,,spode ,,and ,,his ,,successors ,the chain of potters is complete from the day on which ,josiah ,spode was apprenticed to ,whieldon in #agdi4 ,the entry in the old account book runs3 8#agdi1 ,april #ith4 ,hired ,siah ,spode1 to give him from this time to ,martelmas next #bs4 #c;d41 or #bs4 #f;d4 if he deserves it1 #bnd year #bs4 #i;d41 #crd year #cs4 #c;d40 ,the successors to ,spode1 ,messrs4 ,copeland1 have done much to develop the manufacture of ,english porcelain in the nineteenth century1 and at the present day they are producing china of the highest excellence4 ,the first ,josiah ,spode established a factory at ,stoke-upon-,trent about #aggj4 ,some of his earliest productions bear the name 8,spode0 impressed in the paste4 ,those of my readers who have blue willow-pattern plates with this mark upon them are the possessors of some of the first plates of that pattern made4 ,about #aghj the willow pattern was introduced by ,turner at ,caughley1 and very shortly afterwards1 in #aghd1 ,josiah ,spode was turning out at ,stoke his blue printed plates4 ,some of his china is printed in black1 and pieces of this black printing are much sought after by collectors1 but they must bear the word 8,spode0 impressed on them4 ,illustration3 ,,old ,,spode ,,pastille-,,burner4 7,red body with black ornaments in relief47 ,at ,victoria and ,albert ,museum4 ,the vase which we reproduce from the collection at the ,victoria and ,albert ,museum is a pastille-burner having perforated cover2 it is mounted on tripod stand formed by three dolphins on triangular base2 it is red in colour and ornamented in black in relief4 ,it has the impressed mark 8,spode10 and is earthenware1 but we give it here on account of its fine form4 ,on the death of old ,josiah ,spode1 in #agih1 his son ,josiah continued the business1 and commenced the manufacture of porcelain1 which he improved by the addition of bone-ash and of felspar4 ,he died in #ahbg1 and was succeeded by his cousin1 ,josiah ,spode4 ,this third ,josiah ,spode died a few years afterwards1 at which date the name ,spode practically disappears from the firm4 ,josiah ,spode the second was the most successful potter of his day4 ,it is pleasing to be able to record that he acquired a considerable fortune--a lot not often within the reach of potters1 successful or otherwise4 ,about the year #ahje he introduced a fine ware which he termed opaque porcelain4 ,this ware became very popular and was of excellent manufacture4 ,while ,nelson was fighting the ,french at ,trafalgar1 and breaking their naval pretensions1 ,josiah ,spode was inflicting a commercial blow upon that unhappy country4 ,spode--and in his wake came other ,staffordshire manufacturers--inundated ,france and other countries on the ,continent with this new stone china of his1 which entirely superseded their fayence4 ,this injury was a very real one to the poor potters of ,france1 inasmuch as a great number of them had to abandon the manufacture4 ,we have already alluded to the impressed mark ,spode or ,,spode4 ,on some of the finer pieces the name is painted in red1 and sometimes it is written in gold1 as in our third mark in an angular hand1 running upwards4 ,the stamped mark usually in red1 8,spode's ,new ,fayence0 and 8,spode ,stone ,china10 appears on the ironstone ware4 ,oftentimes the mark is not stamped on the middle of the plate underneath1 but at the side1 while sometimes the name is both stamped and impressed4 ,besides the marks we give there are more than half a dozen other forms used by the factory1 but all of them containing the word 8,spode10 and therefore not presenting difficulties to the collector4 ,illustration3 ,,some ,,spode ,,marks4 ,of three marked ,spode plates in possession of the writer1 of typical ,spode decoration1 which was largely influenced by ,japanese art1 we give two as a headpiece4 ,it will be observed that the left-hand plate in the headpiece1 which has a vivid blue background1 is fretted with a geometric pattern as a design4 ,this is intended to represent ice1 and the may-flowers of the covering decoration are intended to convey1 by the ,chinese artist who invented it1 the symbolic meaning of young love being chilled by adversity4 ,the other plate in the same illustration is of a brilliant canary-coloured ground1 covered with a gossamer-like network of cobwebs1 above which bird and flowers are painted4 ,the third plate shows very strongly the influence of the ,east in its method of decoration2 but instead of pagoda and delicate curves1 the ,english artist has almost brutally placed a piece of ,european architecture on the other half of the plate1 which by its incongruity mars the remainder4 ,illustration3 ,,spode ,,plate4 7,decorated in blue and red and gold47 ,in the ,collection of the ,author4 ,we must turn aside from ,spode1 and introduce our readers to his successors1 the ,copelands4 ,one word in passing4 ,those who have specimens of ,spode ware will do well to remember that his was a great factory1 not so well known as ,derby and ,worcester1 but a formidable rival of theirs4 ,not many months ago at ,christie's a pair of ,spode vases1 square shaped1 decorated with landscapes1 birds and flowers in the ,chinese style1 forty-two inches1 brought #ba4 ,illustration3 ,,marks ,,of ,,messrs4 ,,copeland4 ,the list of marks used by ,messrs4 ,copeland will show at a glance the changes in the title of the firm4 ,in #ahcc the firm became ,copeland1 late ,spode1 and the china was marked accordingly4 ,there are a good many other marks besides those we give1 but all are more or less similar1 with slight variation to those we produce4 ,a word of explanation is necessary as to the mark 8,c4 and ,g40 ,this is frequently accompanied by the words1 8,new ,blanche10 8,royal ,opal10 8,saxon ,blue10 or 8,new ,japan ,stone10 according to the composition or decoration of the ware4 ,illustration3 ,,spode ,,willow ,,pattern ,,plates4 ,by courtesy of ,messrs4 ,w4 ,t4 ,copeland ,sons4 ,about the date of the ,international ,exhibition of #ahfa1 many purely ,english novelties were attempted4 ,mistletoe1 holly1 and simple popular designs were then in favour and were produced4 ,nobody could possibly mistake the homely robin or the holly-wreath decoration for that of any other country than ours4 ,there is a suggestion of roast beef and plum-pudding and ,christmas fare4 ,all purely ,english art is homely1 whether it be the ,staffordshire potter's farmyard quadrupeds that adorn the cottage mantelshelf1 or the old blue dinner services of our great grandmothers4 ,it is a debatable point if that is the highest art1 but there it is4 ,ruskin would have had some hard things to say about it1 and maybe ,william ,morris preferred the potsherd of an ,italian shepherd4 ,the fact remains that it is our art1 and whatever we may in our innermost hearts wish it to be1 we have to take it and study it as we find it4 ,before leaving the subject of these later and more modern chinas we may say1 in passing1 that the firm of ,messrs4 ,copeland have done more than any other existing firm to maintain the traditions of a great factory4 ,they have adhered to early designs1 and all through the nineteenth century their record has been an exceedingly high one4 ,it was ,messrs4 ,copeland who first introduced1 in #ahde1 their ,parian ware1 a very near approach to true porcelain4 ,the writer has seen a ,copeland and ,garrett plate which in appearance was fully equal to ,derby at its best period4 ,,characteristics ,,of ,,spode ,,china4 ,spode ware is well potted1 and feels to the touch like turned ivory4 ,it can readily be distinguished from any of the glassy porcelains4 ,it is light in weight4 ,in design it follows ,japanese more than ,chinese models4 ,the glaze is very even and smooth4 ,,sale ,,prices4 ,,spode4 ,vase and cover1 octagonal-shape1 decorated s4 d4 with flowers in ,oriental taste in colours and gold1 #bd in4 high4 ,christie1 ,january #ad1 #aijb #e #ae #f ,vases1 five1 purple1 crimson1 and gilt decoration4 ,foster1 ,january #i1 #aijb #i #e #j ,basket and cover1 dark blue and gold ground1 and painted with bouquets of flowers4 ,sotheby1 ,february #bd1 #aijb #f #b #f ,dishes1 two1 oblong shaped1 decorated in the ,japanese taste1 blue1 red1 and gold4 ,hepper ,sons1 ,leeds1 ,february #e1 #aijb #c #ae #j ,spill-vases1 pair1 gold ground1 painted in flowers4 ,hepper ,sons1 ,leeds1 ,february #e1 #aijb #b #j #j ,cake-plates1 three1 gilt and painted landscapes1 8,the ,church and ,castle of ,scurlogstown1 ,co4 of ,east ,meath10 8,the ,remains of ,wolvesey ,castle10 and 8,the ,bridge and ,priory1 ,newtown1 ,co4 of ,east ,meath0 7marked 8,spode074 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #aj #aj #j ,dessert service1 apple-green border1 gilt1 each piece painted in flowers and fruit1 consisting of one tall compte1 seven oval dishes1 four leaf-shaped ditto1 two sauce-tureens1 covers and stands1 and seventeen plates4 ,bennett ,son1 ,dublin1 ,june #ah1 #aijb #bg #aj #j ,dessert service1 decorated in ,oriental colourings1 #cg pieces4 ,brady ,sons1 ,perth1 ,september #a1 #aijb #af #af #j ,dinner set1 decorated with sprays1 leaves1 and flowers1 comprising #aai pieces4 ,brady ,sons1 ,perth1 ,september #a1 #aijb #be #j #j ,dinner set1 decorated in scarlet1 blue1 green1 and gold1 comprising #acc pieces4 ,brady ,sons1 ,perth1 ,september #a1 #aijb #de #j #j ,tea service1 gilt and decorated1 #de pieces4 ,jabez ,jones ,sons1 ,preston1 ,december #ae1 #aijb #bh #g #j ,vases and covers1 pair1 large square shaped1 decorated with landscapes1 birds and flowers in the ,chinese taste in sunk panels on dark-blue ground1 gilt with foliage1 and with dragon handles in high relief and figures on the covers1 #db in4 high1 on wood pedestals1 painted white4 ,christie1 ,december #ai1 #aijb #ba #j #j ,pair of ,spode pastille-burners and covers1 painted with flowers in the ,chinese taste on dark blue ground1 supported by three gilt dolphins1 on triangular bases1 mark in red1 #g in4 high4 ,puttick ,simpson1 ,july #i1 #aibj #f #f #j ,set of three ,spode vases1 gilt with foliage scrolls on dark blue ground1 and with scroll handles1 outlined with gilt4 ,puttick ,simpson1 ,july #i1 #aibj #e #ae #f ,,copeland4 ,vases1 set of three1 rich blue1 gilt1 white scroll handles1 and painted in colours1 with wild flowers1 centre vase #ae in4 high1 side vases #ac-a_/b in4 high 7marked 8,copeland ,garrett1 ,felspar ,porcelain1 late ,spode074 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #bf #j #j ,dessert service of #bd pieces1 pink ground1 decorated with gold1 the centres painted in panels of hunting and other sporting scenes1 each different1 marked 8,copeland and ,garrett10 centre compte1 two oblong1 two oval1 and four circular side dishes1 and fifteen plates4 ,de ,rome ,son1 ,kendal1 ,may #ac1 #aijc #ah #j #j ,,ix ,,nantgarw ,,and ,,swansea ,illustration3 ,,swansea ,,vase4 7,with flowers painted by ,billingsley47 ,illustration3 ,,nantgarw ,,plates4 ,richly decorated in colours and gilded4 ,,ix ,,nantgarw ,,and ,,swansea ,the history of these two factories in ,wales is bound up together4 ,billingsley1 the chief flower-painter of ,derby1 was the founder of the little factory at ,nantgarw1 a small village a few miles north of ,cardiff4 ,his was a restless1 roving career4 ,in other 8,chats0 we have alluded to him4 ,apprenticed at ,derby under ,duesbury1 he left there in #agif1 to commence the manufacture of porcelain at ,pinxton4 ,in #ahja we find he had left ,pinxton and was engaged upon the decoration of ,staffordshire porcelain at ,mansfield1 in ,nottinghamshire4 ,he is next described as 8of ,torksey10 which is near ,gainsborough4 ,at ,worcester he engaged himself under ,messrs4 ,flight and ,barr1 and was employed on flower-painting from #ahjh to #ahaa4 ,billingsley was known as 8,beeley0 at this time4 ,monetary difficulties had compelled him to take precautions against his arrest for debt4 ,about this time1 too1 together with his son-in-law1 ,samuel ,walker1 he appears to have visited the ,coalport ,factory and erected a new kiln1 the invention of ,walker4 ,of late1 a considerable interest has been shown in the porcelain of ,nantgarw and ,swansea4 ,collectors have ascribed to it artistic qualities greater than those of ,worcester or ,derby4 ,the lovers of ,nantgarw1 and those connoisseurs who collect this and no other porcelain1 will not admit that it is in any way inferior to the greatest factories that have existed in this country1 and compare it to ,svres4 ,recently at ,christie's ,auction ,rooms a dessert service of ,nantgarw manufacture brought #abh #bs4 ,each piece was painted with a bouquet of flowers in the centre1 the borders with raised white scrolls1 painted with birds and flowers4 ,this service consisted of centre dish1 on feet1 four square-shaped dishes1 two-leaf shaped dishes1 seventeen plates and two small plates4 ,this works out at nearly #d #aes4 each piece4 ,at another ,london auction room1 seven ,nantgarw plates1 painted with birds and bouquets of flowers in border1 all with impressed mark1 in ,december last brought under the hammer1 #ig1 which is nearly #ad each plate6 ,after this it is useless to deny that ,nantgarw is a factory which must be reckoned with from a collector's point of view4 ,illustration3 ,,nantgarw ,,dish 7#ab ,,in4 ,,in ,,length74 ,marked 8,nantgarw1 ,c4 ,w40 7,pink ground2 raised white floral sprays2 richly gilded scrolls4 ,the centre white1 with handsome fruit and flower piece painted by ,billingsley47 ,great stress has been laid by those who affect the collecting of ,nantgarw on its whiteness and transparency4 ,by its detractors this is said to be its fault--that it is too white and too cold to compete with the older productions of the better-known factories4 ,of course only experts come to blows on this matter4 ,whether it is too glassy and too cold1 and lacking the mellow warmth of the older glassy porcelains1 matters little to the modest collector who desires to have ,nantgarw represented in his or her scanty collection4 ,it may be observed in passing that the distinguishing feature of ,nantgarw is the elaborate painting of flowers and fruit on the pieces manufactured there4 ,we reproduce a beautiful ,nantgarw dish1 marked 8,,nantgarw4 ,c4 ,w410 with pink ground1 having garlands of raised white flowers bound with a knot1 and encircled with richly gilded scrolls4 ,the centre is white1 with a handsome floral piece from the brush of ,billingsley4 ,the roses are exquisitely drawn1 such as no other ceramic artist ever drew them2 and the pear1 of a warm1 luscious brown1 has all the bloom of the natural fruit upon it4 ,mr4 ,dillwyn1 of the ,swansea works1 has left us an interesting memorandum concerning the proprietors of ,nantgarw4 ,he says3-- 8,my friend ,sir ,joseph ,banks informed me that two persons1 named ,walker and ,beeley1 had sent to ,government1 from a small manufactory at ,nantgarw 7ten or twelve miles north of ,cardiff71 a specimen of beautiful china1 with a petition for their patronage1 and that1 as one of the ,board of ,trade1 he requested me to examine and report upon that manufactory4 ,upon witnessing the firing of a kiln at ,nantgarw1 ,i found much reason for considering that the body used was too nearly allied to glass to bear the necessary heat1 and observed that nine-tenths of the articles were either shivered1 or more or less injured in shape by the firing4 ,the parties1 however1 succeeded in making me believe that the defects in their porcelain arose entirely from imperfections in their small trial-kiln1 and ,i agreed with them for a removal to the ,cambrian ,pottery1 at which two new kilns under their direction were prepared4 ,while endeavouring to strengthen and improve this beautiful body1 ,i was surprised at receiving a notice from ,messrs4 ,flight ,barr1 of ,worcester1 charging the parties calling themselves ,walker and ,beeley with having clandestinely left an engagement at their works1 and forbidding me to employ them40 ,this was in #ahad1 and it was in the same year that ,billingsley and ,walker entered the service of ,mr4 ,dillwyn at ,swansea and commenced to make the beautiful china1 highly decorated and of exquisite finish4 ,in concluding our remarks on ,nantgarw we may observe that this factory was not finally abandoned till #ahbj4 ,from #ahab to #ahad is its first period1 when ,billingsley and ,walker and ,young 7of whom we shall have more to say later7 were all at ,nantgarw4 ,its second period is when the trio appear there again from #ahag to #ahai4 ,billingsley and ,walker then left for ,coalport1 and ,young carried on the works till their close4 ,illustration3 ,,fine ,,swansea ,,vase ,,and ,,cover4 ,,height1 #ad-a_/b ,,in4 7,richly decorated and gilded4 ,with exquisite flower painting47 ,the only marks that appear on the china are the word 8,nantgarw0 with the letters 8,c4 ,w40 underneath1 which in all probability meant ,china ,works1 but which by some collectors are said to denote the name of the artist4 ,this is impressed in the china4 ,sometimes the word 8,nantgarw0 is found in red1 but this must be regarded with suspicion1 as a great many forgeries have been perpetrated in this china owing to its rarity and the favour which it finds with collectors4 ,illustration3 ,swansea ,marks4 ,swansea has a more extended history4 ,in the middle of the eighteenth century a small manufactory of earthenware existed here4 ,this gradually grew into the 8,cambrian ,pottery10 which1 at the beginning of the nineteenth century1 passed into the hands of ,mr4 ,lewis ,weston ,dillwyn1 a ,fellow of the ,linnan ,society and author of works on botany4 ,illustration3 ,swansea ,marks4 ,before ,mr4 ,dillwyn's day a fine opaque china was produced at ,swansea1 but under his management and guidance the china assumed a more artistic appearance4 ,w4 ,w4 ,young1 whom we spoke of as having come over from ,nantgarw1 was especially skilful at painting flowers and birds1 butterflies and insects1 and sometimes shells4 ,some of the pieces of ,swansea bear his name upon them4 ,young was also employed by ,mr4 ,dillwyn to illustrate his works on botany and natural history4 ,illustration3 ,,swansea ,,plate 7#h ,,in4 ,,high74 ,marked 8,,swansea10 in red4 7,white ground1 finely decorated with red roses47 ,besides ,young and the two ,nantgarw flower painters and decorators1 there was at ,swansea ,baxter1 who was considered one of the cleverest painters on china of his day4 ,he came originally from ,worcester and eventually returned there4 ,some of the subjects from the canvases of ,sir ,joshua ,reynolds were successfully copied by him4 ,baxter was at ,swansea for three years1 and while there decorated a service with garden scenery in the style peculiarly his own4 ,there was ,morris1 a clever fruit painter1 and ,beddoes1 a noted heraldic painter1 and1 above all1 ,billingsley1 the first flower painter of his day4 ,illustration3 ,,swansea ,,vase4 ,stamped 8,dillwyn's ,etruscan ,ware40 ,in ,collection of ,mr4 ,w4 ,g4 ,honey4 ,about the year #ahbj the ,swansea factory was discontinued and the whole of the moulds and appliances were transferred by ,mr4 ,john ,rose to ,coalport4 ,since that date no china has been made at ,swansea4 ,some of the marks that we give are of a later date than #ahbj1 and are upon earthenware4 ,among the marks of ,swansea will be seen the oblong mark stamped on 8,dillwyn's ,etruscan ,ware40 ,this ware was introduced in #ahdh1 and was of a fine rich red body4 ,on this was printed1 in black outline1 ,etruscan figures1 borders1 and other details4 ,the general surface was then painted over1 with the exception of the figures and designs within the black outlines4 ,the result was that the figures were left the original red of the body and the effect was extremely good4 ,the illustration we give is of a specimen in ,mr4 ,w4 ,g4 ,honey's collection1 late at the ,cork ,exhibition4 ,the older pieces stamped with the above-mentioned mark are sought after4 ,later the name and title of the firm changed and passed into the hands of ,messrs4 ,evans ,co4 ,besides the manufacture of white1 and blue and white china1 they supplied ,ireland and the ,west of ,england with agate earthenware1 and a good deal of it found its way to ,america4 ,no trade-mark was used by them4 ,,characteristics ,,of ,,nantgarw ,,and ,,swansea ,,china4 ,nantgarw porcelain is of very fine texture2 it has a glassy appearance1 and when held up to a strong light1 such as an incandescent electric globe1 it exhibits a number of small bubbles1 like pin-holes1 in the body4 ,it is inclined to have the glaze cracked in parts with a network almost like ,chinese crackle ware4 ,some of the thinner pieces will be found to be not quite true1 being slightly warped or bent1 owing to its uncertainty in the kiln4 ,swansea china is frequently decorated with birds1 butterflies1 and shells1 drawn from nature by ,w4 ,w4 ,young4 ,much of it is of a glassy nature like ,nantgarw2 but later the ,swansea ware was of a duller1 heavier nature1 and having a hard white appearance4 ,,sale ,,prices4 ,,nantgarw4 s4 d4 ,plates1 seven1 painted with birds1 bouquets of flowers in border1 all with impressed mark4 ,foster1 ,december #d1 #aijb #ig #j #j ,dessert service1 each piece painted with a bouquet of flowers in the centre1 the borders with raised white scrolls painted with birds and flowers1 consisting of centre dish1 on foot1 four square-shaped dishes1 two leaf-shaped dishes1 seventeen plates1 two small plates4 ,christie1 ,january #bc1 #aijc #abh #b #j ,plate1 painted with border of stippled gold and roses1 the centre painted with a pastoral landscape1 figures and sheep1 exhibited at the #ahea ,exhibition4 ,de ,rome ,son1 ,kendal1 ,may #ac1 #aijc #bg #af #f ,plates1 pair1 painted with groups of flowers1 in gilt borders1 and birds in centre2 impressed mark4 ,sotheby1 ,may #d1 #aijc #cc #j #j ,plate1 the centre with three roses1 and the rim with rose festoons on a dotted gold ground1 impressed mark4 ,sotheby1 ,may #ag1 #aibj #ah #j #j ,pair of ,plates1 painted with flowers and fruit1 and the borders moulded with scrolls in relief1 impressed mark4 ,christie1 ,july #bj1 #aibj #bf #e #j ,,swansea4 ,jug1 painted with bouquets and wreaths of flowers and gilt1 and with a shield of arms1 #aj in4 high2 and a pair of plates with a wreath of flowers1 impressed mark4 ,christie1 ,february #ah1 #aijb #ag #f #f ,jug1 moulded with leaves1 and with flowers and butterflies in green and colours1 #aj-c_/d in4 high4 ,christie1 ,february #e1 #aijb #h #h #j ,dessert ,service1 painted with cornflowers and with gilt edges1 consisting of centre dish1 on foot2 eight oblong1 four shell-shaped and four octagonal dishes2 pair of sugar tureens1 covers and stands2 thirty plates2 eighteen small plates4 ,christie1 ,november #ba1 #aijb #fe #b #j ,swansea china covered ,porringer and ,saucer1 finely decorated with flowers in natural colours on a dotted gold ground4 ,sotheby1 ,may #ag1 #aibj #ad #j #j ,swansea ,dessert ,service1 painted with named flowers with gilt foliage and trellis work round borders1 consisting of pair of sugar-tureens and covers1 four octagonal dishes and twelve plates4 ,christie1 ,july #e1 #aibj #be #d #j ,a pair of ,swansea small vases1 painted with panels of flowers on dark blue ground1 richly gilt1 and with swan handles1 #g in4 high4 ,christie1 ,july #bj1 #aibj #bb #a #j ,x ,,minton ,illustration3 ,,minton ,,vase4 ,mazarin blue ground1 raised and chased gold scrolls4 ,first half #aith century4 7,by permission of ,messrs4 ,mortlock1 ,oxford ,street47 ,illustration3 ,,minton ,,dish1 pte-sur-pte1 ,,by ,m4 ,l4 ,,solon4 ,by courtesy of ,messrs4 ,minton ,sons4 ,x ,,minton ,messrs4 ,minton1 of ,stoke1 in ,staffordshire1 manufacture pottery1 porcelain1 and majolica4 ,by this latter1 that massive ware1 of bold design and bolder ornamentation and positive colours1 principally blues1 yellows1 and greens1 ,minton's at the ,paris ,exhibition of #ahee created quite a sensation1 and won universal admiration4 ,ten years before the commencement of the nineteenth century ,thomas ,minton established his factory at ,stoke-upon-,trent4 ,only earthenware was manufactured at ,stoke ,works up till #agih1 chiefly ordinary white ware1 ornamented with blue1 in imitation of ,nankin china4 ,from about #agii down to #ahaa a semi-transparent china was also made1 but was abandoned as unprofitable4 ,in #ahag ,mr4 ,minton's two sons entered the firm4 ,in #ahba the manufacture of china was again resumed2 about this time1 too1 a very marked improvement was noticeable in ,minton's printed earthenware2 the body was whiter1 and the glaze was more highly finished4 ,we give the two early marks of the firm down to #ahcg4 ,these were usually in blue1 and very often had a number underneath4 ,in these earlier examples the flowers and other decorations were painted4 ,they very shortly became mostly printed designs1 except in elaborate pieces1 and the personal character of the ordinary china grew1 in consequence1 of less interest4 ,illustration3 ,minton and ,boyle #ahcg #ahea4 ,sometimes 8,m4 and ,c40 7the ,c4 standing for ,company71 with an impressed stamp 8,,bb40 or 8,,bb4 ,new ,stone10 occurs4 ,,bb4 signifies 8best body40 ,a design of passion-flowers printed in blue is a favourite subject4 ,in #ahcf ,mr4 ,john ,boyle was admitted a partner1 on the death of ,thomas ,minton2 the firm became then ,minton and ,boyle1 and the marks were accordingly changed4 ,after continuing for five years ,mr4 ,boyle went over to the ,wedgwoods4 ,illustration3 ,,minton ,,porcelain ,,vase4 7,exhibited at ,paris ,exhibition1 #ahfg47 ,mr4 ,minton was subsequently joined by his nephews1 ,m4 ,d4 ,hollins and ,colin ,minton-,campbell4 ,the second ,minton seems to have been of considerable business ability4 ,in his father's day fifty hands were employed at ,stoke1 but in his time the factory employed no less than #a1ejj4 ,the various branches he developed were earthenware1 and ordinary soft porcelain1 hard porcelain1 parian1 coloured and enamelled tiles1 mosaics1 ,della ,robbia ware1 majolica1 and ,palissy ware4 ,it will be seen from the accompanying illustrations how highly decorative ,minton porcelain is4 ,the vase we reproduce was one of the most admired specimens of china in the ,paris ,exhibition of #ahfg4 ,what is known as the ermine mark 7the dark trefoil with the three dots71 either indented or painted in gold and colours1 has been used on porcelain since #ahea1 and since #ahfe the word 8,,minton10 impressed1 has been used for both china and earthenware4 ,illustration3 ,used since #ahfh4 ,m4 ,co4 ,in #ahfh the globe1 with the word 8,,minton0 across it1 was first used1 and all the firm's works subsequent to that date are so stamped4 ,in #ahgb the design was registered1 and frequently a rhomboidal stamp occurs either without or in addition to the globe mark1 which has the letter ,r in the centre1 denoting that the particular pattern of china is 8,registered0 as a design4 ,this rhomboidal mark occurs on chinas other than ,minton's1 and is a feature of modern china4 8,minton1 ,hollins ,co40 are a firm at ,stoke largely engaged in manufacturing encaustic and majolica tiles4 ,they are an offshoot of the main branch4 ,the illustration we give of the lion ewer is a fine example of ,minton's reproduction of the celebrated ,henri ,,ii4 faence4 ,this wonderful ware is of distinct character and ornamentation1 differing from every other kind of pottery4 ,it was made at ,oiron1 in ,france1 from #aebd to #aeej4 ,there are less than one hundred known pieces4 ,five pieces are in the ,victoria and ,albert ,museum4 ,two are in the ,louvre4 ,some of the pieces are valued at over #c1jjj each4 ,who shall say that there is no romance in old china and pottery when vases and ewers1 tazzas and salt-cellars1 have pedigrees as long as a race-horse's1 and whose whereabouts are as well known as that of a reigning prince8 ,illustration3 ,,minton4 ,,lion ,,ewer4 ,reproduction of 8,henri ,,ii4 ,ware40 ,the plaque of painted majolica is a good specimen of what ,minton can do4 ,it was made about #ahfe1 as was the lion ewer alluded to on p4 #ahd1 and the candelabrum is also of the same period4 ,there is a fine fountain executed in ,minton majolica2 it is #cf feet high and #ci feet in diameter4 ,at the summit there is a group1 larger than life size1 of ,st4 ,george and the ,dragon4 ,it was one of the features of the ,international ,exhibition of #ahfb2 it now embellishes the scanty grass plot in front of the ,bethnal ,green ,museum4 ,illustration3 ,,minton4 ,,porcelain ,,candelabrum4 ,some fine old ,svres pieces have been copied by ,mintons1 and great fidelity has been shown in reproducing the old ground colours of rose-du-,barri1 gros-bleu1 turquoise1 and pea-green4 ,chinese porcelain has been imitated with especial success4 ,the most notable artistic achievement is the pte-sur-pte work1 by ,m4 ,leon ,solon4 ,the coloured background is worked upon in white clay1 and the delicate modelling of figures in this material is of great artistic beauty4 ,each result is a personal creation of the potter which cannot be duplicated4 ,,sale ,,prices4 ,,minton4 s4 d4 ,vases1 pair1 gold wreath handles1 with panels of ,cupids in gold and pink on an ivory ground1 #af-a_/b in4 high2 and a vase nearly similar1 by ,a4 ,birks4 ,christie1 ,january1 #aijb #db #j #j 7,these first nine items were from the ,colin ,minton-,campbell ,collection47 ,vases1 pair1 and covers1 nearly similar1 with fruit in the ,oriental taste on brown ground1 by ,a4 ,green1 #df in4 high4 ,christie1 ,january1 #aijb #ae #d #f ,vases1 pair1 beaker-shaped1 painted with lilies and grasses in colours and gold on dark-blue ground1 richly gilt1 by ,leroi1 #cc in4 high4 ,christie1 ,january1 #aijb #cc #ab #j ,vases1 pair1 with ,cupids and flowers in white and colours on black ground1 in coloured and gilt borders1 by ,l4 ,birks1 #cc in4 high4 ,christie1 ,january1 #aijb #fc #j #j ,vases1 pair1 oviform and covers1 the bodies encircled by four shaped medallions in relief1 suspended by gilt cords and oak foliage1 alternately painted with camp scenes in the ,moran ,school and trophies-of-arms1 apple-green borders2 the ground of the vase gros bleu with marble decoration in gold1 the whole executed in the style of old ,svres1 by ,boullemin and ,leroi1 #ba in4 high4 ,christie1 ,january1 #aijb #afb #ae #j ,cup and saucer1 with panels of figures1 vases and festoons of drapery in white on a sage-green ground1 by ,solon4 ,christie1 ,january1 #aijb #aa #j #f ,candlesticks1 pair1 decorated in grisaille and gold in the taste of ,limoges enamel1 #ab in4 high4 ,christie1 ,january1 #aijb #f #f #j ,dish1 on pedestal1 with a figure of ,fortune in white on sage-green ground1 by ,solon1 #aa-a_/d in4 diameter4 ,christie1 ,january1 #aijb #ag #f #f ,jardinires1 pair1 fan-shaped1 with panels of figures and exotic flowers in colours on a ,rose-du-,barry ground1 painted in the taste of old ,svres1 by ,leroi1 #g in4 high4 ,christie1 ,january1 #aijb #fc #j #j ,vases and covers1 pair1 ,solon ware1 by ,minton1 with ,classical figures and ,cupids in arabesque borders1 in white on a sage-green ground1 richly gilt1 #ae in4 high4 ,christie1 ,april #ag1 #aijc #bb #a #j ,pair of ,minton pilgrim bottles and stoppers1 decorated with ,cupids in white on blue medallions1 in the manner of ,solon1 on pink ground richly gilt1 #i-a_/b in4 high4 ,christie1 ,july #e1 #aibj #g #g #j ,minton ,svres pattern vase and cover1 painted with panels of flowers and trophies on green ground1 #ae in4 high4 ,christie1 ,july #e1 #aibj #i #i #j ,illustration3 ,,minton4 ,,painted ,,majolica ,,plaque4 ,,xi ,,old ,,english ,,earthenware ,illustration3 ,,bust ,,of ,,prince ,,rupert4 ,made by ,john ,dwight in ,fulham ,stoneware about #afga4 ,at ,british ,museum4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,sunderland ,,jug4 7,two positions47 ,,xi ,,old ,,english ,,earthenware#b ,it requires a word of apology for including the following 8,chats0 on earthenware in a volume bearing the title 8,chats on ,english ,china10 but as the chief end of this little volume is to render to the beginner such aid as may be useful in the determination of the various classes of china1 it was thought desirable in his interest to treat somewhat generally of earthenware in this and the succeeding chapters4 ,earthenware suggests pots and pans1 and the word is redolent of kitchen smells1 but a ,wedgwood teapot or a ,toby jug1 though earthenware they be1 are worth the having4 ,pottery is the poor relation of porcelain4 ,the one comes in silks and satins1 in purple and fine linen2 the other in cotton gown1 like ,phyllis at the fair4 ,the following remarks may lend a zest to dusting days1 and1 mayhap1 the poor relation may be invited to come down from the top shelf in the kitchen to occupy a niche in the drawing-room4 ,it is to be hoped that what has already been said on china may have created a taste in the reader for the inventions of the potter4 ,a blue bowl may convey a world of meaning1 and may be fragrant with memories of the eighteenth century1 if one cares to peer beneath the surface4 ,to the uninitiated it will be a blue bowl--and ugly maybe at that4 ,to some the potter's art is as dead a thing as was ,nature's message to ,wordsworth's insensate3-- 8,a primrose by a river's brim ,a yellow primrose was to him1 ,and it was nothing more40 ,that it is not always easy to determine where a piece of china may have come from we have already shown1 even if it be 8,a ,present from the ,crystal ,palace40 ,the ordinary mind may possibly imagine some hitherto unknown factory away at ,sydenham1 but the legend 8,made in ,germany0 underneath instantly dispels that illusion4 ,it is necessary here to state that the world of bric--brac is divided into two parts--earthenware or pottery1 and china or porcelain4 ,all that is not earthenware is porcelain1 and all that is not porcelain is earthenware4 ,one may liken it to prose and poetry2 what is not one must be the other1 as ,monsieur ,jourdain discovered after he had spoken prose for forty years without knowing it4 ,to continue the simile1 some of ,ruskin's prose writings approach as near to poetry as do ,wedgwood's finer wares to porcelain4 ,porcelain is produced by the artificial mixture of certain minerals known by their ,chinese names of kaolin and petuntse1 or their ,english ones of china-clay and felspar4 ,the former is infusible under the greatest heat1 the latter is not1 but unites in a state of fusion with the china-clay1 making a paste or 8body10 which is hard1 and1 when broken1 shows a smooth1 vitreous fracture4 ,those who have attempted to mend old china must have noticed how different the broken surface is from that of pottery with its rougher edges4 ,strictly speaking these 8,chats0 on earthenware ought to have appeared at the commencement of the volume1 for earthenware comes first chronologically4 ,in passing we will glance for a moment as to how porcelain came into ,europe4 ,porcelain was first invented by the ,chinese some two centuries before ,christ4 ,it reached ,europe as the ,eastern civilisation penetrated to the west1 and for hundreds of years vain attempts were made by potters to reproduce the fineness of porcelain with its beautiful glaze and hard paste4 ,at ,venice1 at ,florence1 in ,france1 and in ,spain1 during the sixteenth and seventeenth centuries1 an approximate success had been arrived at2 soft paste had been developed to its furthest limit1 but the real ingredients of the ,chinese hard paste were unknown4 ,accident1 however1 completed what centuries of industry had attempted4 ,from perruque to porcelain seems a far cry1 but the story is worth telling4 ,john ,schnorr1 an ironmaster1 riding near ,aue1 observed that a soft earth adhered strongly to his horse's hoofs4 ,considering that this earth might be used as a substitute for wheat flour as hair powder1 he carried some away with him1 and it was subsequently sold in large quantities for this purpose at ,dresden1 ,leipsic1 and other places4 ,this kaolin 7the base of hard paste7 continued to be known as 8,schnorr's white earth40 ,johann ,friedrich ,bttcher1 chemist to the ,elector of ,saxony and ,king of ,poland1 discovered the secret about #agji4 ,one morning1 on taking up his wig1 he noticed it was much heavier than usual4 ,he was informed by his valet that a new kind of hair-powder had been used4 ,this was the ironmaster's white earth4 ,bttcher was convinced that he had discovered at last the base of porcelain4 ,this was the foundation of the manufacture of porcelain at ,meissen1 and the factory then established has supplied the world with ,dresden china ever since4 ,so great was the secrecy at first1 that ,bttcher and his assistants1 when ,charles ,,xii4 of ,sweden invaded ,saxony1 were removed by the ,elector for greater safety to the castle at ,knigstein1 where they were practically imprisoned4 ,even the clay was sealed up in barrels by dumb persons1 and every workman was required to take a solemn oath not to reveal the secret4 8,be silent unto death0 was the motto of the establishment4 ,how the method of manufacture and the secrets of ,meissen finally became known to other countries1 and how manufactories came to be set up at ,vienna and ,petersburg1 is one of the romances of trade4 ,so much for the early history of porcelain in ,europe4 ,during this period the art of the potter had not made very great progress in ,england4 ,these 8,chats0 have shown of the heroic attempts to emulate the success of ,meissen1 but it was slow1 uphill work to reach the heights of ,worcester and of ,derby in porcelain and of ,wedgwood in earthenware4 ,stoneware mugs were more in accordance with the taste of our forefathers than pewter pots for drinking purposes1 a comparatively modern prejudice4 ,a variety of mugs called ,longbeards1 largely imported from ,low ,countries1 were in general use during the sixteenth and seventeenth centuries at inns for serving all the customers4 ,the name 8,bellarmine0 was sarcastically given them in reference to the cardinal most conspicuous in opposing the ,reformed faith in the ,netherlands1 the potter representing1 with grotesque art1 his ,eminence with short stature and rotund figure4 ,illustration3 ,,john ,,bull ,,jug4 ,blue and white 7#aj-a_/b in4 high74 ,from ,collection of ,mr4 ,w4 ,g4 ,honey4 ,it is but a short step from the ware imported from the ,low ,countries to the pottery of ,staffordshire4 ,the celebrated pattern of the ,toby jug is well known4 ,dickens1 in 8,barnaby ,rudge10 makes ,gabriel ,varden ask ,dolly to 8put ,toby this way40 ,uncle ,toby himself might have suggested the design1 but it is said to be derived from one ,toby ,philpot1 8a thirsty old soul as e'er drank a bottle or fathomed a bowl40 ,we give1 from ,mr4 ,w4 ,g4 ,honey's collection at ,cork1 two fine specimens--one an old ,staffordshire jug 7#aj-a_/b in4 high71 representing ,john ,bull1 and marked 8,i4 ,w402 the other1 the well-known pattern of the ,vicar and ,moses 7#i-a_/d in4 high74 ,this latter is the work of ,ralph ,wood1 of ,burslem1 and was frequently reproduced by later potters4 ,both these pieces are blue and white4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,the ,,vicar ,,and ,,moses4 ,blue and white 7#i-a_/d in4 high74 ,of ,josiah ,wedgwood1 the ,english ,palissy1 we deal in a separate 8,chat40 ,a whole volume could be written about him and his work4 ,his busts1 magnificently produced in black basalt1 his cameos and gems1 with which the name of ,flaxman must be coupled1 his white terra-cotta1 and his cream-coloured earthenware1 known as ,queen's ware 7first made for ,queen ,charlotte71 may be ranked among the most important factors in the history and development of the potter's art in ,england4 ,of the most important of the other ,staffordshire potters1 perhaps the name of ,spode is the best known4 ,after #agih1 ,spode the younger commenced to make porcelain4 ,concerning ,liverpool1 to which we devote a separate 8,chat10 it seems remarkable to read that in #aged the making of pottery was the staple manufacture of the city4 8,the blue and white earthenware almost vie with china10 so says an eighteenth-century journal4 ,john ,sadler conceived the idea of transferring prints from copper on to pottery1 and struck out a new line in printing on earthenware4 ,another factory1 called the 8,herculaneum ,pottery10 was started on the ,mersey side by ,messrs4 ,abbey and ,graham in #agid4 ,the making of china was started here in #ahjj4 ,about the end of the eighteenth century1 a potter named ,absolon had works at a place called 8,the ,ovens0 at ,yarmouth4 ,the work consisted of decorating the articles which were manufactured elsewhere1 and very little more is known about it4 ,at ,swansea both pottery and porcelain were made4 ,in #agej works were established1 and in #agij 8,cambrian ,pottery0 became quite well known4 ,in the early part of the next century a superior kind of ware1 called 8,opaque ,china10 was made4 ,leeds pottery is well known4 ,at one time it had quite an extensive ,continental trade1 and the pattern-book of the pottery was issued in several languages4 ,alas6 now it is the ,french and the ,german and the ,japanese pottery books that are issued in several languages4 ,it is largely cream-coloured ware and such articles as candlesticks1 teapots1 mustard-pots1 cruet-stands1 tea-canisters1 and sugar-basins1 with covers1 together with the usual dinner and tea services1 that were manufactured4 ,bristol claims to have made pottery at a period as remote as ,edward ,i4 ,wherever excavations have been made in the city1 along the north bank of the river from ,bristol ,bridge to ,redcliffe ,pit1 remains of pottery and shard heaps have been discovered4 ,joseph ,ring1 in #aghg1 successfully imitated the ,queen's ware of ,wedgwood and the best ,staffordshire pottery4 ,ring's cream-ware is thin and well made1 the edges being remarkably sharp1 and the fluted pieces very regular and well defined4 ,it is generally yellower than either ,wedgwood's cream-ware or the ,leeds pottery4 ,both of these have coloured bodies1 but ,ring's ,bristol ware has a white body1 the yellow surface tint being obtained by means of a glaze4 ,the mugs and jugs of ,newcastle and ,sunderland are much sought after on account of their quaint inscriptions4 ,by kind permission1 we reproduce some fine specimens of this ware from the collection of ,mr4 ,w4 ,g4 ,honey1 of ,cork1 which were on view at the ,cork ,exhibition4 ,many of these jugs have a frog in the interior of the vessel4 ,as the liquor is drunk the creature appears to be leaping into the drinker's mouth4 ,the mug in commemoration of the cast-iron bridge across the ,wear bears the date #agic4 ,we give three positions of the mug1 and in the inverted one the frog can be plainly seen4 ,on the reverse side are the following lines3-- ,,the ,,sailor',s ,,tear4 8,he leap'd into the boat ,as it lay upon the strand1 ,but1 oh1 his heart was far away ,with friends upon the land4 ,he thought of those he lov'd the best ,a wife and infant dear3 ,and feeling fill'd the sailor's breast ,the sailor's eye--a tear40 ,nottingham1 too1 has produced some excellent earthenware4 ,wrotham1 in ,kent1 had an old-established factory4 ,a dish in the ,british ,museum is dated 8,wrotham1 #afii40 ,illustration3 ,,sunderland ,,frog ,,mug4 7,two positions47 ,from ,collection of ,mr4 ,w4 ,g4 ,honey4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,sunderland ,,frog ,,mug4 7,showing interior47 ,london and its environs has given birth to several celebrated potteries4 ,fulham pottery has a worthy history4 ,letters patent were granted in #afga to ,john ,dwight1 for the 8misterie of transparent earthenware1 commonly knowne by the names of porcelain or ,china and ,persian ware1 as alsoe the misterie of the stone ware1 vulgarly called ,cologne ware40 ,there was1 too1 a pottery at ,mortlake4 8,kishere1 ,mortlake10 is the mark generally used4 ,isleworth had a small factory at ,railshead ,creek1 ,isleworth4 ,much of the coarse pottery made here was known as 8,welsh ware40 ,lambeth pottery is well known1 the art productions of ,messrs4 ,doulton having done much to popularise their ware4 ,in the middle of the seventeenth century certain ,dutch potters settled at ,lambeth1 and made pottery tiles4 ,lambeth delft ware had quite a reputation in the eighteenth century4 ,some particularly quaint devices appear on the old ,english jugs and mugs during the seventeenth and eighteenth centuries4 ,they were used by the common people who could not afford silver and for whom glass was too expensive a luxury4 ,they succeeded the old leathern jacks and leathern bottles1 and played no inconspicuous part in social gatherings both at home and in alehouses4 ,many of the mugs have two 7and sometimes as many as four7 handles1 which were made to supply the needs of several drinkers4 ,these ,english mugs possess little artistic merit1 but they come as a very interesting link in the history of the manufacture of pottery in this country4 ,one would have thought that the conquering ,roman who settled in various colonies in our islands would have left some permanent mark on our pottery2 that the ,norman1 who possessed some artistic skill1 or peradventure the ,spaniard who settled in the ,west in ,armada days1 would have taught the ,anglo-,saxon a lesson in pottery2 but it appears that the principles of art fell upon very stony ground in these islands4 ,illustration3 ,,old ,,english ,,delft ,,mug4 7,dated #afca47 ,at ,victoria and ,albert ,museum4 ,in the national collection in the ,bethnal ,green ,museum is a barrel-shaped mug 7#e-a_/b inches high71 which we reproduce2 it is painted in blue with birds and flowers1 and inscribed 8,william and ,elizabeth ,burges1 #bdth ,august1 #afca40 ,this delft mug is believed to be of ,lambeth manufacture4 ,a mug of elegant shape was quite recently dug up in some excavation near ,bishopsgate ,street1 ,london1 for the ,great ,eastern ,railway extension4 ,it bore the inscription-- 8,the gift is small1 ,good will is all10 and was dated #afej1 which conjures up pictures of crop-eared 'prentice lads and mercers of busy ,chepe1 and junketings at the fair by ,london ,bridge in days when train-bands and ,ironsides were as integral a part of ,city history as were the ,c4,i4,v4's of a year or so ago4 ,brown and chocolate-coloured body with yellow dotted decorations is a very common form of this old ,english ware4 ,a ,posset ,mug1 dated #afig1 bears the inscription3 8,the best is not too good for you0--evidently a present of some sort1 although much of this class of ware was in common use in taverns1 as the inscriptions go to show4 ,we reproduce this dated ,posset ,mug in the accompanying illustration2 next to it1 on the lowest shelf1 is an old ,fuddling ,cup4 ,on the top shelf is a ,cradle with incised decoration4 ,the other cradle has slip decoration by ,joseph ,glass1 #agjc2 while beside it is an old ,posset ,pot inscribed 8,god bless ,queen ,ann40 ,these specimens are reproduced by the kindness of ,mr4 ,s4 ,g4 ,fenton1 of ,cranbourne ,street1 ,w4 ,puzzle jugs were known in the time of ,henry ,,viii4 ,there is a puzzle jug at the ,bethnal ,green ,museum1 which was made by ,mr4 ,john ,wedgwood1 great-uncle to ,joshua ,wedgwood1 and is dated #afia4 ,the principle of the puzzle is that there are three spouts1 each projecting from a tube which runs round the rim and down the handle to the bottom of the vessel4 ,the top of the neck being perforated1 it seems impossible to obtain any of the liquor without spilling it4 ,the secret is to stop two of the spouts with the fingers while drinking at the third4 ,other forms are the ,tyg1 a tall cup1 with two or more handles1 and decorated either with names or initials2 and the ,piggin1 a small shallow vessel some few inches high1 provided with a long handle1 and used for ladling out the liquor brewed in the tyg4 ,the doubled-handled tygs are generally called 8parting-cups10 while those with more than two handles pass under the name of 8loving-cups40 ,the word tyg comes from the ,anglo-,saxon 8tigel10 or tile1 and survives in the word 8tilewright0 and other corruptions common in ,staffordshire4 ,some of the puzzle jugs bear interesting doggerel lines upon them4 ,one runs-- 8,what though ,i'm common and well known ,to almost every one in town8 ,my purse to sixpence if you will ,that if you drink you some do spill40 ,not a very good recommendation for a jug1 but a very profitable alehouse amusement from mine host's point of view4 ,another bears the lines-- 8,in this jug there is good liquor1 ,fit for either priest or vicar2 ,but to drink and not to spill ,will try the utmost of your skill40 ,illustration3 ,by courtesy of ,mr4 ,s4 ,g4 ,fenton1 ,cranbourne ,street4 ,,group ,,of ,,old ,,english ,,dated ,,ware4 ,there is a very quaint inscription on a four-handled goblet1 possibly a christening cup4 ,it is dated #afib1 and has the sides decorated with rough devices4 ,attached to one of the sides is a whistle2 the mug has written upon it in atrocious spelling-- 8,here is the geste of the barley corne2 ,glad ham ,i the child is born40 ,the orthography of potters in the age before ,school ,boards is something to marvel at4 ,apparently the following is the gift of an amorous potter to his lady-love4 ,i4 ,w4 has gone the way of all lovers1 but the little mug he made for his sweetheart lies on the museum shelf1 an object-lesson to all 8golden lads and lasses0 who1 as ,herrick's fair daffodils1 8haste away so soon40 8,ann ,draper1 this cup ,i made for you1 and so no more4--,i4 ,w40 ,dated #agjg1 in the days of the great ,marlborough4 ,some mugs have the precept1 8,obeay the ,king10 while others bear the superscription1 8,come let us drink to the pious memory of ,good ,queen ,anne40 ,one or two utter the toast1 8,god ,save ,king ,george40 ,a ,gossip's ,bowl1 dated #agbf1 has the couplet-- 8,i drink to you with all my hart1 ,mery met and mery part40 ,another old mug1 doubtless sent as a present1 has the words-- 8,as a ring is round ,and hath no end1 ,so is my love ,unto my friend40 ,there is one quaint piece of advice given to all lovers who wish for success in their love affairs4 ,it is on a level with the ,shakesperian methods adopted in the conquest of ,kate in the 8,taming of the ,shrew0-- 8,brisk be to the maide you desire1 ,as her love you may require40 ,illustration3 ,,old ,,puzzle ,,jug4 7,dated #afia47 ,victoria and ,albert ,museum4 ,some of the pronunciation is as curious as the spelling4 ,we know ,pope makes 8tea0 rhyme with 8day10 as does the modern ,irishman2 but in the following lines 8join0 is evidently pronounced 8jine0-- 8,come1 brother1 shall we join8 ,give me your two pence--here is mine0 --an invitation issued to the frequenters of some inn where the brown jug bearing the inscription had an abiding place4 ,another mug essays to point a moral while the toper is draining its contents4 ,the potter who would strew his moral lessons in stoneware had about as much sense of the ludicrous as the gentleman who used to mark the ,london pavements with the text 8,watch and ,pray10 which he had printed in reverse on the soles of indiarubber shoes he would wear4 ,on the bottom of a drinking mug the notion is quaint enough-- 8,when this you see1 ,remember me-- ,obeay ,god's ,word40 ,for our part1 we prefer the following1 which has a truer ring about it-- 8,drink faire1 ,don't sware40 ,a large bowl of ,bristol delft bears on it 8,success to the ,british ,arms40 ,a fine breezy inscription1 dated #agbd1 smacks of the hunting field4 ,one can hear the rollicking voices of the eighteenth-century squires such as ,randolph ,caldecott loved to depict4 ,only two lines1 but they ring in one's ears as a message from the good old times-- 8,on ,bansted ,down a hare was found1 ,which led us all a-smoaking round40 ,not classical ,english1 perhaps1 any more than that of the ladies from town who declare in the family circle of the ,vicar of ,wakefield that they are in a 8muck-sweat40 ,a set of six plates bear a line of the following inscription on each-- 8,what is a merry man8 ,let him do what he can ,to entertain his guests ,with wine and merry jests2 ,but if his wife does frown ,all merriment goes doune40 ,there is an exceedingly interesting ,fulham ware flip mug1 which bears an inscription on it showing that it once belonged to ,alexander ,selkirk1 from whose adventures ,defoe built up his story of 8,robinson ,crusoe40 ,doubtless this mug accompanied the ,scots sailor to the lonely island of ,juan ,fernandez when he set sail with the ,cinque ,ports galley-- 8,alexander ,selkirke4 ,this is my one4 ,when you take me on board of ship1 ,pray fill me full with punch or flipp4--#agjc10 which suggests that it may have been a parting present from one of his friends4 ,jugs and mugs with portraits of ,nelson are not uncommon4 ,a quart jug in white ware with crimson border has a man-of-war in full sail on one side1 and on the other a copy of ,west's picture of the 8,death of ,general ,wolfe10 probably made by ,thomas ,wolfe1 of ,stoke-on-,trent1 who was related to the general4 ,on one mug is a view of the ,thames ,tunnel and a portrait of the engineer ,brunel1 to commemorate the opening in #ahdc4 ,we give as a headpiece a ,sunderland jug from ,mr4 ,honey's collection1 having floral decorations in purple lustre1 and having on one side a picture of the 8,columbus1 the largest ship ever built40 ,on the reverse side are two jolly tars1 and the inscription runs-- 8,thus sailing at peril at sea or on shore1 ,we box the old compass right cheerly2 ,toss the grog boys about1 and a song or two more ,then we'll drink to the girls we love dearly40 ,mugs seem to have in former days been manufactured to celebrate some political event or great victory4 ,there were the coronation mugs of the present ,czar of ,russia1 at the distribution of which so many peasants lost their lives4 ,the ,transvaal ,war produced no china mementoes4 ,mafeking buttons and ticklers are more representative of modern feeling4 ,to us these old ,english mugs are as the dry bones which1 if one is only skilful enough magician1 resolve themselves into dream-pictures1 historically accurate enough1 of our forbears of the eighteenth century4 ,our children's children1 when they come to examine our everyday ware1 will find little else to observe save the legend 8,made in ,germany40 ,the field of ,english earthenware is very large and very diverse4 ,we have been prohibited by space from saying anything of salt-glaze ware1 of ,elers1 or of ,astbury1 and we regretfully have to pass on without touching ,leeds ware4 ,but we give an interesting illustration of a group of ,mason's jugs of the celebrated 8,patent ,ironstone ,china40 ,the largest of these jugs is #i-a_/b in4 high4 ,this is not a complete set1 as the writer knows of the existence of a jug of smaller size1 and another size between the second and third largest1 which make a set of eight4 ,illustration3 ,earliest mark #aghj4 ,later ,marks4 ,stamped in blue--#ahac4 ,,marks ,,on ,,mason',s ,,ware4 ,we give1 too1 a set of marks used by the firm of ,mason1 from the early days till the factory ceased4 ,in the advertisement mentioned below he says1 8,the articles are stamped on the bottom of the large pieces to prevent imposition40 ,miles ,mason established his pottery at ,lane ,delph1 in ,staffordshire1 about #aghj4 8,miles ,mason1 late of ,fenchurch ,st41 ,london10 so runs his advertisement in the ,morning ,herald1 ,october #a1 #ahjd1 8having been a principal purchaser of ,indian porcelain1 till the prohibition of that article by heavy duties1 has established a manufactory at ,lane ,delph1 near ,newcastle-under-,lyme40 ,the 8,ironstone ,china0 was patented by ,charles ,james ,mason in #ahac4 ,it consisted in using the slag of ironstone pounded with water together with flint1 ,cornwall stone1 and clay1 and blue oxide of cobalt4 ,the ware is usually outlined with flowers in transfer printing1 and painted and gilded by hand4 ,some of ,mason's blue plates are in colour equal to old blue ,delft4 ,on account of its handsome decorative effect it is rapidly rising in value4 ,illustration3 ,,group ,,of ,,mason',s ,,jugs4 7,largest #i-a_/b in4 high47 ,in ,collection of ,mr4 ,w4 ,g4 ,honey4 ,,sale ,,prices4 ,,staffordshire4 s4 d4 ,jug1 ,bacchanalian1 #ac in4 high1 figures in bold relief of 8,bacchus0 and 8,pan0 supported by a barrel with grotesque animal handle and dolphin spout1 in rare colours and highly glazed by ,voyez1 ,cobridge1 #aghh4 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #ae #j #j ,vase1 ,etruscan1 #ah in4 high1 snake-and-mask handles1 marked ,s4 ,a4 ,co4 7,alcock ,co74 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #aj #j #j ,,mason',s ,,ware4 ,vase #bg in41 decorated with flowers and gilt1 and ornamented with gilded head handles supporting a cornucopia and mermaid4 ,gudgeon ,sons1 ,winchester1 ,april #c1 #aijb #h #e #j ,,footnotes3 #b 8,chats on ,english ,earthenware10 the companion volume to this1 deals in detail with the subject of earthenware as outlined here4 ,,xii ,,lustre ,,ware ,illustration3 ,,silver ,,lustre ,,jug4 ,in the ,collection of ,mr4 ,w4 ,g4 ,honey4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,copper ,,lustre ,,jugs4 7#d-c_/d in41 #f-c_/d in41 #g-a_/d in4 high47 ,,xii ,,lustre ,,ware ,the old ,spanish golden red and canary coloured lustrous dishes with ,moorish ornamentation1 and the wonderful ,italian majolica1 with its copper and purple and amber surfaces glowing like beaten metal1 are probably the early masters from which our ,english potters took the idea which they adapted to the decoration of their pottery4 ,in this chapter we shall treat solely of ,english lustre ware4 ,it is roughly divided into three classes--copper1 silver1 and gold4 ,the copper or brown lustre was made at ,brislington1 near ,bristol1 as early as #aggj4 ,compared with the ,spanish lustre dishes1 it is more rudely ornamented and poor and inartistic in form compared with their ,arabic designs4 ,our ,english copper lustre1 or 8gilty0 ware1 as it is called in some parts of the country and in ,ireland1 may be sub-divided into two classes4 ,the plain copper lustre1 in which the jug1 or dish1 or teapot is entirely covered with the copper lustre2 and secondly1 the partially lustrous ware1 in which some portions of the pottery are in relief and are coloured with some bright pigments1 or left white4 ,illustration3 ,,group ,,of ,,copper ,,lustre ,,ware4 ,illustration3 ,,copper ,,lustre ,,bust4 7#ae-a_/b in4 high47 ,from the ,collection of ,mr4 ,w4 ,g4 ,honey4 ,in the group of lustre ware1 which we reproduce1 with the exception of the centre dish1 all the pieces are copper lustre4 ,the three fine jugs are decorated with turquoise blue1 as are also the two cream jugs4 ,this blue1 though it comes out white in our illustration1 is of a deep turquoise4 ,on the top shelf1 the jug to the right is decorated with red as well as blue4 ,it will be observed that the spouts of the jugs are in the form of a man's head with long beard1 and the handle is the figure of a man's body4 ,the scenes depicted on them are typically ,english in treatment4 ,a castle in background and a shepherd with his flock in foreground4 ,the small lustre cup has simply a rough-surfaced band of white running round it4 ,the whole form a representative group of this class of ware4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,copper ,,lustre ,,jugs4 7#d-a_/d in41 #f-a_/b in41 #g-a_/b in4 high47 ,the best period in the copper lustre is in the first years of the nineteenth century1 before the introduction of colours in conjunction with the coppered surface4 ,it may be observed in passing that the art of producing copper lustre has continued in a spasmodic manner down to the present day1 the latter specimens being of a rougher exterior and of a coarser finish4 ,illustration3 ,,copper ,,lustre ,,jug4 7#h-c_/d in4 high47 ,from the ,collection of ,mr4 ,w4 ,g4 ,honey4 ,by the kindness of ,mr4 ,w4 ,g4 ,honey we are enabled to reproduce some fine examples of lustre ware from his collection on view last year at the ,cork ,exhibition4 ,the copper lustre bust1 #ae-a_/b in4 high1 is a perfect example of lustre ware at its highest level4 ,this specimen has no equal in any of the public collections4 ,two other illustrations1 one of which appears as a headpiece1 giving half a dozen forms of copper lustre jugs1 are from the same collection4 ,while the copper lustre jug1 #h-c_/d in4 high1 is a beautiful specimen of fine modelling4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,silver ,,lustre ,,sugar-,,bowl4 7#c in4 high47 ,with regard to silver and gold lustre1 that in all probability became extinct for a little time1 but in recent years the great demand for silver lustre has produced a corresponding supply1 manufactured abroad for the ,english collector1 but it is very inferior and easily detected from the early examples by its coarse and dull surface and slovenly finish4 ,the places where lustre ware is known to have been manufactured are at ,brislington1 by ,r4 ,frank1 about #aggj2 at ,etruria1 by ,wedgwood1 in #aghj2 and by ,wilson1 in ,staffordshire1 in #aghe2 also by ,moore ,co4 and ,dixon ,co41 at ,sunderland1 about #ahbj4 ,swansea1 at the ,dillwyn pottery 7of which we spoke in our 8,chat0 on ,swansea71 also1 about #ahjj1 is known to have produced lustre ware4 ,illustration3 ,w4 ,g4 ,honey4 ,cork4 ,,silver ,,lustre ,,jugs4 ,different processes were employed in producing the lustre1 but they all consist in reducing the metal from a state of combination1 by dissolving it in some chemical1 and depositing it in a particularly thin layer on the surface of the pottery1 so that it exhibits its characteristic lustre without burnishing4 ,as may readily be supposed1 the amount of platinum used for the silver ware1 and gold for the purple or gold lustre1 is extremely small4 ,illustration3 ,,silver ,,lustre ,,teapot4 ,of the silver or platinum lustre very many fine examples exist1 and it is extremely popular owing to its similitude to old ,english silver or plate4 ,the sugar bowl we reproduce1 with beaded pattern and fluted design1 is quite in the style of the ,sheffield plate of the ,georgian period4 ,of the three silver lustre cream jugs1 that in the extreme right is of the same design1 while the other two show at a glance the beauty of form that silver lustre in its best period reached4 ,other varieties of this silver lustre are quite plain1 as in the teapot we reproduce 7p4 #bbi71 which is an example of a slightly later period4 ,this is a fine specimen of the unornamented variety of silver lustre which is undistinguishable from silver4 ,in fact the highly burnished surface of such a teapot as this cannot be obtained on silver1 the lustre is of a richer and deeper quality4 ,alas6 it possesses the dangerous property of dissolving1 like a fairy gift1 into nothingness4 ,elfin gold will turn into a circle of whirring1 dancing1 mocking leaves1 and if your wondrous lustre teapot slips to the ground1 it lies a heap of brown earthenware fragments4 ,one word in passing to collectors of this ware4 ,do not wash your specimens any more than you can help1 as warm water has a deleterious effect on the lustre1 and tends to make it less brilliant2 we recommend our readers to polish their lustre ware with a soft cloth1 and we wish them absolute and entire freedom from all mishaps4 ,treat the ware lovingly and kindly1 it will never come again2 the potters who made it are dead1 the modern imitator is but a poor imitator1 fraudulent at heart and feeble in result2 if cunning lie in his heart it is not in his finger-tips1 for1 of a truth1 his hand has lost its cunning4 ,besides the plain silver lustre1 there is a decorated variety which is very handsome1 and much sought after4 ,sometimes the ground is of silver lustre decorated in white1 and sometimes the ground is white with an elaborate pattern of foliage1 of fruit1 or of birds1 woven in silver thread4 ,the rarest of this variety is the silver pattern on a canary ground4 ,illustration3 ,,silver ,,lustre ,,jug 7#e ,,in4 ,,high74 7,white ,decoration47 ,from the ,collection of ,mr4 ,w4 ,g4 ,honey4 ,the first method1 with the design left in white1 was produced in handsome and highly artistic styles1 and there is a pattern known as the 8,resist0 pattern which is much sought after4 ,from ,mr4 ,w4 ,g4 ,honey's collection we have selected a very good example of this silver lustre with design in white4 ,this is of the 8,resist0 pattern1 its artistic excellence speaks for itself4 ,illustration3 ,,gold ,,lustre ,,jug 7,raised coloured flowers47 ,from the ,collection of ,mr4 ,w4 ,g4 ,honey4 ,with regard to gold or purple lustre1 the middle dish in the group in our illustration is gold lustre ware1 and is probably of ,swansea manufacture4 ,wedgwood produced a gold lustre of remarkable brilliancy4 ,the dish above alluded to is decorated with stags and staghounds1 but in some of the gold undecorated examples1 such as ,wedgwood's1 covered with a mottled ruby-gold lustre1 the effect was due entirely to the shape and to the lustre4 ,the reason that this variety is called gold or purple lustre is that in the lights it shines like gold1 and the rest of the pattern in those pieces decorated with flowers and floral pattern1 glows with a rich purple4 ,this purple lustre shows more signs of the hand of time than any of the other lustres1 and it is nearly always found to be partially worn off4 ,we give an interesting example of a jug with gold lustre ground and raised coloured flowers from ,mr4 ,w4 ,g4 ,honey's collection4 99 99 99 99 99 ,,note4--,lustre ware is more fully treated in a chapter in the companion volume1 8,chats on ,english ,earthenware40 ,,xiii ,,liverpool ,,ware ,illustration3 ,,liverpool ,,delft ,,punch ,,bowl4 7,decorated with military trophies in blue1 and having three-masted man-of-war inside47 ,diameter1 #bj-a_/b in4 ,at ,victoria and ,albert ,museum4 ,illustration3 ,in possession of ,messrs4 ,fenton ,son4 ,,old ,,liverpool ,,tiles4 7,transfer-printed in black47 ,,xiii ,,liverpool ,,ware ,it is the hope of the writer of these 8,chats0 that ,worcester and ,derby1 ,bristol and ,plymouth1 ,bow and ,chelsea have become something more than mere names to the readers who have followed our journeyings4 ,the china-shelf has been shown to hold the monuments of men's lives4 ,behind the delicate pencillings and the shower of rose-leaves lies many a tragic story4 ,liverpool and its ware is not the least of the great landmarks in the history of ,english ceramic art4 ,in entering on the threshold of the history of ,liverpool1 and of the printed ware stated to have been first produced there1 we find ourselves in the midst of a controversy4 ,if discussions upon points of china-collecting were waged physically1 the opponents in their heat would have demolished each other long ago with their own china collections1 but luckily1 they have confined themselves to hurling opinions and nothing more tangible4 ,philosophically1 they have agreed to differ1 and have parted good friends1 to renew the argument another day1 or they have each gone to his last home and the echoes of the conflict have come down to us1 and fresh battles are fought over the theories of dead collectors4 ,up till quite recently a wordy war was being waged over ,lowestoft1 and the laurels of that much-disputed factory were in great danger of being snatched away4 ,to ,john ,sadler1 of ,liverpool1 is generally ascribed the honour of having discovered the useful art of printing on pottery from copper-plate engravings4 ,he was the son of ,adam ,sadler1 a printer1 in ,liverpool1 who had formerly served as a soldier under the ,duke of ,marlborough in the wars in the ,low ,countries4 ,john ,sadler carried on the business of an engraver in ,harrington ,street1 and having noticed that some of his waste prints were used by children to stick on to fragments of earthenware obtained from the potteries1 he commenced experiments with a view of extending this application to the purposes of decoration4 ,he associated himself about the year #agej with ,guy ,green1 who had succeeded to the printing business of ,adam ,sadler4 ,the secret of the manner in which an engraving was transferred from a copper-plate to the rounded surface of a bowl or a teapot1 was well kept1 but it was fairly obvious that in some way or another the design was transferred to paper and then retransferred to the china object to be decorated4 ,sadler and ,green1 after working at the discovery1 applied for a patent4 ,the value of the invention can best be understood by the following affidavit made by ,john ,sadler and ,guy ,green1 in #agef4 8,i1 ,john ,sadler1 of ,liverpoole1 in the county of ,lancaster1 printer1 and ,guy ,green1 of ,liverpoole aforesaid1 printer1 severally maketh oath1 that on ,tuesday1 the #bgth ,july1 inst41 they1 these deponents1 without the aid 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 earthenware tiles of different patterns1 at ,liverpoole aforesaid1 and which1 as these deponents have heard and believe1 were more in number1 and better1 and neater than #ajj skilful pot painters could have painted in the like space of time in the common and usual way of painting with a pencil2 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 perfection40 ,two printers doing the work of a hundred tile painters6 ,the stupendous nature of the invention is seen in the light of this statement4 ,caxton never made a greater discovery when he set his type moving1 and the illuminated manuscripts of the monks became the printed page in the hands of the common people4 ,josiah ,wedgwood1 with characteristic foresight1 saw the value of the work of ,sadler and ,green1 and his waggons made weekly journeys from ,staffordshire up to ,liverpool laden with his ,queen's ware to be decorated in the new style4 ,illustration3 ,established #agaj4 ,pennington #agfj4 ,transfer ,printing #agef ,,early ,,liverpool ,,marks4 ,to come back to the controversy for a moment1 it is claimed that ,worcester was first to produce printed china4 ,there is at the ,bethnal ,green ,museum a printed mug of ,worcester1 dated #ageg4 ,it will be remembered that the date of ,sadler and ,green's affidavit was #agef4 ,but a claim is made for a third factory--,battersea4 ,there is a letter from ,horace ,walpole to ,bentley1 dated #agee1 in which he says3 8,i shall send you1 too1 a trifling snuff-box1 only as a sample of the new manufacture of ,battersea1 which is done from copper-plates40 ,there are also dated pieces of this ,battersea enamel with the design printed upon them1 dated as early as #agec and #aged4 ,in all probability ,worcester derived the secret from ,battersea1 as ,robert ,hancock1 of ,worcester fame1 who signed some of the older pieces1 was formerly an engraver at ,battersea4 ,illustration3 ,,liverpool ,,marks 7#agef-ahbb74 ,in spite of this fact there is every reason for believing that at ,liverpool1 ,sadler and ,green independently discovered the art of printing on china1 as their affidavit declares them to have been engaged upon it for seven years1 which takes them back to #agdi4 ,illustration3 ,,liverpool ,,marks 7#ahbb-ahda74 ,of the earlier potters of ,liverpool1 we have little space to deal in this 8,chat40 ,chaffers1 a contemporary of ,josiah ,wedgwood1 and a formidable rival of the ,staffordshire potter2 ,thomas and ,samuel ,shaw2 ,john ,pennington1 celebrated for his punch-bowls and for a very fine blue ware1 are all well known to collectors of ,liverpool ware4 ,we give the marks of these factories1 and of other ,liverpool makers3 ,philip ,christian 7#agfj-agge71 ,w4 ,reid ,co4 7#agef-agfj71 ,herculaneum ,pottery 7#agij-ahda74 ,staffordshire had its ,etruria and ,lancashire its ,herculaneum4 ,in the earlier days of the potter classic names were much in vogue4 ,a favourite pattern in ,herculaneum china was a series of the towns of ,england printed on the pieces1 with the name in a medallion at the bottom of the piece4 ,the bird is the liver1 being the crest of the city of ,liverpool1 and was used at ,herculaneum by ,messrs4 ,case1 ,mort ,co4 in #ahcc4 ,the anchor mark is between this date and #ahda1 when the factory ceased4 ,when it is remembered that ,wedgwood had his ware printed by ,sadler and ,green and that ,bow sent to ,liverpool to have the ,liverpool designs transferred to the ,bow china1 it is easy to understand how complicated it becomes to determine with exactitude how little or how much was actually printed at ,liverpool1 because there came a time when the secret leaked out and when other factories besides ,liverpool and ,worcester began to print their own wares4 ,we reproduce a ,liverpool mug1 printed in brownish red colour1 representing a lover and his lass4 ,it is typically ,english in treatment and design1 and it is this quality which makes ,liverpool printed ware so interesting4 ,there is nothing like it in any of the ,continental wares4 ,the quaint and delicate ,english pastoral scene breathes of the eighteenth century4 ,the refrain might run3-- 8,phyllida1 my ,phyllida6 ,she takes her buckled shoon1 ,when we go out a-courting ,beneath the harvest moon4 4 4 4 4 ,the ladies of ,st4 ,james's6 ,you scarce can understand ,the half of all their speeches1 ,their phrases are so grand3 ,but ,phyllida1 my ,phyllida6 ,her shy and simple words ,are clear as after rain-drops ,the music of the birds40 ,illustration3 ,in possession of ,mr4 ,s4 ,g4 ,fenton1 ,cranbourne ,street4 ,,old ,,liverpool ,,mug 7#d ,,in4 ,,high74 7,printed in brown47 ,or take the old ,liverpool jug with the landscape printed in black on one side1 and the humorous heads1 entitled 8,courtship and ,matrimony10 on the other2 which heads1 by the way1 will our readers kindly turn upside down to gather what the acid doggerel written underneath alludes to4 ,it is a pity the jug is not perfect1 but the top has a metal band which remedies the broken spout4 ,the lines underneath the heads run3-- 8,when two fond fools together meet1 ,each look gives joy1 each kiss is sweet1 ,but wed1 how crabb'd and cross they grow ,turn upside down and you will know40 ,illustration3 ,,old ,,liverpool ,,jug 7#g-a_/d ,,in4 ,,high74 7,transfer-printed in black47 ,landscape and ,heads entitled 8,courtship and ,matrimony40 ,from the ,collection of ,capt4 ,h4 ,f4 ,maclean4 ,we reproduce as a headpiece two exquisitely black printed ,liverpool tiles4 ,it is true they are badly damaged1 but their quaint designs were worth the preserving4 ,the one with the gallant sportsman firing at a deer at very close range is queerly out of perspective4 ,the other tile is a typically ,english rural scene1 and pity it is that more of our rustic scenery has not found its way to our national china4 ,illustration3 ,,liverpool ,,mug 7#f ,,in4 ,,high74 7,transfer-printed and partly coloured after glazing47 ,from the ,collection of ,capt4 ,h4 ,f4 ,maclean4 ,another of our illustrations is that of a ,liverpool mug with subject entitled 8,the ,tithe ,pig10 in which the vicar appears to have come off worst in a wordy encounter with two of his parishioners4 ,there is a grim humour about many of the eighteenth-century decorated mugs and jugs which are a record in ceramics of party strifes and of long-forgotten social enmities4 ,it will be seen that the ,liverpool printed ware has in it an element of decoration which some of the other wares do not possess4 ,many of our readers doubtless possess specimens of this black or brown printed ware1 mugs1 or tiles1 or teapots with old-world scenes upon them like the landscapes of our illustration4 ,shepherds and herds1 fifers and fiddlers and dancers1 village-green sports1 lads and lasses 8dancing the hays0--these are the homely scenes transferred from the old copper-plates4 ,,xiv ,,wedgwood ,illustration3 ,,wedgwood ,,dinner ,,plates ,,from ,,designs ,,in ,,flaxman',s ,,sketch-,,book4 ,,produced ,,over #ajj ,,years ,,ago ,,at ,,etruria1 ,,and ,,still ,,made ,,by ,,the ,,firm4 ,i4 ,strawberry4 ,,ii4 ,lag and ,feather4 ,,iii4 ,feather border4 ,,iv4 ,bell-flower and leaf pattern4 ,by courteous permission of ,messrs4 ,josiah ,wedgwood ,sons4 ,illustration3 ,,wedgwood ,,jasper ,,cup ,,and ,,saucer4 ,by courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,,xiv ,,wedgwood ,the pottery made in ,england did not exhibit any marked characteristic1 nor was it of much artistic value until ,josiah ,wedgwood1 by his genius1 raised ,staffordshire ware to such a degree of perfection that it was universally used on the ,continent of ,europe4 ,josiah ,wedgwood1 the youngest of a family of thirteen1 was born in #agcj1 and came of a race of potters4 ,there were ,wedgwoods1 potters1 at ,burslem1 in the seventeenth century4 ,we give an illustration of a puzzle jug having the inscription1 8,john ,wedg ,wood1 #afia0 7see p4 #bab74 ,young ,josiah left school at the age of nine and was apprenticed to his brother4 ,at eleven1 he had a most virulent attack of small-pox1 which left him a weakling4 ,later on in life1 he had to have one of his legs amputated owing to a weakness which he always had after his first terrible illness4 ,physically handicapped from the start1 ,josiah ,wedgwood--wooden-legged though he was for over a quarter of a century--was the prince of ,english potters4 ,his genius was coupled with great business capability4 ,his inventions were eminently successful4 ,starting with #bj1 which his father left him1 he died worth over half a million4 ,thoroughness seems to have been his policy1 and prosperity always attended him4 ,he interested himself in getting an ,act of ,parliament for better roads in the vicinity of the ,staffordshire potteries4 ,he cut the first sod of the ,grand ,trunk ,canal4 ,his aim was a glorious one4 8,let us make all the good1 fine1 and new things we can10 he said to his partner ,bentley once1 8and so far from being afraid of other people getting our patterns1 we should glory in it1 and throw out all the hints we can1 and1 if possible1 have all the artists in ,europe working after our models40 ,he allowed no imperfect thing to leave his factory4 ,it is a quaint scene one conjures up of the potter who1 when going through his works1 used to lift the stick he leant on and smash to pieces some offending dish or vase1 saying1 8,this won't do for ,josiah ,wedgwood40 ,the beginnings of ,wedgwood ware were simple enough4 ,in #ageb1 ,josiah left ,burslem to go to ,stoke1 where he was engaged in manufacturing knife-handles and like objects in imitation of agate and tortoiseshell4 ,subsequently he entered into partnership with ,john ,harrison1 of ,newcastle1 and their wares were made at ,stoke4 ,in #aged1 ,wedgwood and ,harrison entered into partnership with ,thomas ,whieldon at ,little ,fenton1 the most eminent potter of his day4 ,shortly after ,harrison disappears from the partnership4 ,this connection between ,whieldon and ,wedgwood was a most important one4 ,their principal manufactures were tortoiseshell plates and dishes1 cauliflower jugs1 teapots with crabstock handles1 and agate knife-handles4 ,while with ,whieldon1 ,wedgwood produced a new green earthenware1 highly glazed and decorated with flowers and fruit1 which was mainly used for dessert services4 ,illustration3 ,,cup ,,and ,,saucer4 ,,whieldon ,,tortoiseshell ,,ware4 ,the tortoiseshell ware now known by ,whieldon's name is very beautifully made4 ,usually the plates and dishes are hexagonal or octagonal in shape1 with very finely moulded edges1 and having a mottled and variegated arrangement in colour1 which more resembles marble than tortoiseshell4 ,wedgwood made snuff-boxes1 and various trinkets intended to be mounted in metal4 ,these productions of his were coloured to represent precious stones4 ,when the jewellers of ,london and ,bath were shown these wares1 they considered them a valuable discovery1 the secret of which they could not discover4 ,but learning the low price at which ,wedgwood was intending to sell them they grew less favourable1 probably from thinking the imitation would ruin the sale of genuine jewels4 ,we learn1 too1 that ,wedgwood at this time was so incapacitated from attending to his business1 owing to the remains of his old complaint1 that he was obliged to communicate the secret of the method and proportions of his mixtures to a workman4 ,the ware manufactured by ,whieldon1 both during his partnership with ,wedgwood and afterwards1 are of good quality1 and are highly prized by collectors4 ,a tortoiseshell plate costs a sovereign to-day4 ,of course none of these early wares of ,wedgwood are marked4 ,we shall show how he laid the foundation of his manufactory1 which he called 8,etruria10 after the ,italian home of the famous ,etruscans1 whose work he admired and imitated4 ,what ,wedgwood did for ,staffordshire is shown best in the following sentence by ,m4 ,faujas de ,saint ,font in his 8,travels10 who says1 speaking of the ,wedgwood ware3 8,its excellent workmanship1 its solidity the advantage which it possesses of sustaining the action of fire1 its fine glaze1 impenetrable to acids1 the beauty and convenience of its form1 and the cheapness of its price1 have given rise to a commerce so active and so universal that in travelling from ,paris to ,petersburg1 from ,amsterdam to the furthest part of ,sweden1 and from ,dunkirk to the extremity of the ,south of ,france1 one is served at every inn with ,english ware4 ,spain1 ,portugal1 and ,italy are supplied1 and vessels are loaded with it for the ,east and ,west ,indies and the continent of ,america40 ,leaving the biographical side of the subject1 we come to the actual productions of ,josiah ,wedgwood4 ,we left him in partnership with ,whieldon4 ,that partnership ended1 he commenced manufacturing on his own behalf4 ,he speedily found that one pottery was not enough to satisfy his tireless energies4 ,he became the owner of two4 ,in #agfb1 he presented ,queen ,charlotte with a breakfast service of cream-coloured earthenware4 ,in return he received the title of 8,potter to her ,majesty10 and his ,queen's ,ware became a great success4 ,every fortnight a waggon left ,burslem for ,liverpool with a freight of this ware1 to be decorated by ,messrs4 ,sadler and ,green by their transfer process at ,liverpool4 ,about this time he took his cousin1 ,thomas ,wedgwood1 into partnership1 and later ,thomas ,bentley1 of ,liverpool1 a man of great taste1 who exercised no inconsiderable influence upon the style of design of the new pottery at ,etruria4 ,a man of wide reading and culture1 it was he who supplemented ,wedgwood's practical efforts by his theories4 ,it was always ,wedgwood first1 but ,bentley was an ideal second4 ,he took no part in what ,wedgwood termed the 8useful0 side of the manufactory1 such as1 for example1 the manufacture of ,queen's ,ware and other articles for everyday use4 ,bentley's partnership was only concerned with the 8ornamental0 side of the pottery1 such as the manufacture of vases and works of art4 ,in #agfi ,etruria was opened1 and ,josiah ,wedgwood might have been seen at the potter's bench and ,thomas ,bentley at the wheel1 and their united labours produced the first vase1 having an inscription which runs3-- ,,june ,,xiii41 ,,mdcclxix4 ,,one ,,of ,,the ,,first ,,day',s ,,productions ,,at ,,etruria ,,in ,,staffordshire1 ,,by ,,wedgwood ,,and ,,bentley4 ,,artes ,,etruri ,,renascunter4 ,the subject of decoration is ,hercules in the ,garden of the ,hesperides1 and was a forerunner of those classical pieces which have made ,wedgwood as honoured a name in ,europe as that of ,palissy the ,frenchman1 of ,lucca del ,robbia the ,italian1 or of ,bttcher the ,german4 ,the range of the ,wedgwood ware may be gathered from the fact that in one of the catalogues the productions are divided into twenty distinct classes4 ,it is not our intention to enumerate these1 but they comprised series of medals and medallions of the ,csars1 the ,roman emperors1 the heads of the ,popes 7consisting of no less than two hundred and fifty-three medallions71 a hundred heads of the kings of ,england and ,france1 together with 8heads of illustrious moderns40 ,in addition to these there were admirable busts1 some being twenty-five inches in height1 of ,lord ,chatham1 ,cornelius ,de ,witt1 ,john ,de ,witt1 ,plato1 and many more4 ,these were in black basaltes1 durable as marble4 ,lamps and candelabra of antique forms were produced from 8two shillings apiece to five guineas40 ,in passing1 we may refer to the above fact to show why ,wedgwood or any other ware varies in value so much at the present day4 ,obviously a two-shilling lamp will not be as valuable as a five-guinea one4 ,readers learn that certain china has fetched a large price in the auction-room4 ,sometimes they erroneously infer that other china they possess1 which bears the mark of the same factory1 is equally valuable4 ,the above will point the moral of the story4 ,it is a fact that cannot be too often insisted upon that the great factories turned out productions by the ton1 many of them intended for ordinary everyday use1 and though bearing their mark1 yet not valuable from the collector's point of view4 ,there are1 of course1 other reasons why china is or is not valuable1 but this is a very solid reason too often overlooked4 ,to be able to differentiate the good from the bad1 8that is the question40 ,to know that a specimen is good is one thing1 to give the reason why is another4 ,when the reader begins to do this he or she is already a connoisseur4 ,in order to give a fairly proportionate idea of what ,wedgwood ware is1 we quote a list and description of six different kinds of ware in his own words3-- 8#a4 ,a terra-cotta2 resembling porphyry1 granite ,egyptian1 pebble1 and other beautiful stones of the silicious or crystalline order4 ,illustration3 ,,wedgwood ,,terra-,,cotta ,,vases ,in ,museum at ,etruria4 ,by courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 8#b4 ,basaltes or black ware2 a black porcelain biscuit of nearly the same properties with the natural stone2 striking fire with steel1 receiving a high polish1 serving as a touchstone for metals1 resisting all the acids1 and bearing without injury a strong fire2 stronger1 indeed1 than the basaltes itself4 8#c4 ,white porcelain biscuit1 of a smooth1 wax-like surface1 of the same properties with the preceding1 except in what depends upon colour4 8#d4 ,jasper2 a white porcelain biscuit of exquisite beauty and delicacy1 possessing the general properties of the basaltes1 together with the singular one of receiving through its whole substance1 from the admixture of metallic calces with the other materials1 the same colours which those calces communicate to glass or enamels in fusion--a property which no other porcelain or earthenware body of ancient or modern composition has been found to possess4 ,this renders it peculiarly fit for making cameos1 portraits1 and all subjects in bas-relief1 as the ground may be of any particular colour1 while the raised figures are of a pure white4 8#e4 ,bamboo1 or cane-coloured biscuit porcelain1 of the same nature as ,no4 #c4 8#f4 ,a porcelain biscuit1 remarkable for great hardness1 little inferior to that of agate4 ,this property1 together with its resistance to the strongest acids and corrosives1 and its impenetrability by every known liquid1 adapts it for mortars and many different kinds of chemical vessels4 8,these six distinct species1 with the ,queen's ,ware already mentioned1 expanded by the industry and ingenuity of the different manufacturers into an infinity of forms for ornament and use1 variously painted and embellished1 constitute nearly the whole of the present fine ,english earthenwares and porcelain which are now become the source of a very extensive trade1 and which1 considered as an object of national art1 industry1 and commerce1 may be ranked amongst the most important manufactures of the kingdom40 ,of these various wares we give illustrations4 ,the three vases we reproduce are fine examples in imitation of porphyry and other precious stones 7see p4 #bef74 ,the material is so hard that it can be worked upon by the lapidary1 and takes as fine a polish as the real stone it resembles4 ,illustration3 ,,wedgwood ,,jasper ,,vase4 ,by courtesy of ,messrs4 ,josiah ,wedgwood ,sons4 ,of the celebrated basaltes or black ware1 sometimes called ,egyptian ware1 the vase we reproduce as the first made at ,etruria was of this class1 and we give two other examples4 ,we give two very beautiful specimens of the ,jasper ware4 ,this wonderful ware was made in seven colours3 blue1 lilac1 pink1 sage-green1 olive-green1 black1 and yellow4 ,specimens of this last colour are very rare4 ,illustration3 ,,wedgwood ,,blue ,,and ,,white ,,jasper ,,vase4 ,in ,museum at ,etruria4 8,future ages may view the productions of the age of ,george ,,iii4 with the same veneration that we now behold those of ,alexander and ,augustus10 writes ,wedgwood of his cameo portraits1 with fine enthusiasm4 ,illustration3 ,reproduced by kind permission of ,messrs4 ,wedgwood ,sons4 ,,wedgwood ,,plaque 7designed by ,flaxman74 ,l',,entente ,,cordiale4 ,mercury uniting the hands of ,england and ,france4 ,having dealt with the biographic side of ,wedgwood ware1 and of the genius of the great ,josiah ,wedgwood1 and having enumerated the various classes of ware originated by him1 we come now to the consideration of his classic wares1 of which the wonderful replica of the ,portland ,vase stands as the most notable example4 ,illustration3 ,,the ,,barberini ,,or ,,portland ,,vase4 7,copied by ,josiah ,wedgwood47 ,in ,british ,museum4 ,in passing1 we mention the celebrated service of ,wedgwood made for the ,empress ,catherine ,,ii4 of ,russia1 which took eight years to complete4 ,it consisted of #ieb pieces1 of which the cost was about #c1jjj4 ,this splendid service had upwards of #a1bjj views of the seats of noblemen and gentlemen in various parts of ,england4 ,a large service for ,queen ,charlotte of views in black enamel of palaces and seats of the nobility took three years to execute4 ,to his celebrated 8,jasper0 ware1 ,wedgwood devoted immense and never-ending skill to bring it to its final perfection4 ,the use to which he put this jasper is well illustrated in his series of beautiful portrait medallions4 ,we reproduce a design of a plaque by ,flaxman1 representing the hands of ,france and ,england being joined together by the god ,mercury4 ,wedgwood was enabled1 by the patronage of noblemen who possessed fine classic examples and gladly lent them to the great potter1 to copy some of the finest specimens of the old art of the ,greeks4 ,he was thus enabled to produce the celebrated 8,dancing ,nymphs0 and the 8,head of ,medusa0 from ,sir ,william ,hamilton's collection2 and to other great collections he was similarly indebted4 ,in #aghg1 the collection of the ,duchess of ,portland came under the hammer4 ,the sale included the celebrated ,barberini ,vase1 which was dug up by order of the ,pope ,barberini1 named ,urban ,,viii41 about the first quarter of the seventeenth century4 ,this urn contained the ashes of the ,roman ,emperor ,alexander ,severus and his mother1 and had been deposited in the earth about the year #bce ,a4,d4 ,the body of this vase1 now known as the ,portland ,vase1 which was composed of glass1 is a rich dark blue1 approaching black4 ,the snow-white figures which appear on it are in bas-relief4 ,it is a magnificent example of ancient art4 ,at the sale above alluded to1 the ,duke of ,portland and ,wedgwood were contesting hotly for possession of the vase4 ,the price had reached a thousand guineas4 ,at this moment the ,duke1 crossing to ,wedgwood1 asked him why he wished to possess the vase1 to which the potter replied that he was desirous of copying it4 ,the ,duke immediately offered the loan of the piece1 and the vase was thus knocked down to the ,duke of ,portland1 and ,wedgwood borrowed it from the owner for a twelvemonth4 ,the subsequent history of the vase is interesting4 ,the ,duke of ,portland1 as one of the trustees of the ,british ,museum1 allowed it to be exhibited there4 ,in #ahde a fanatic dashed this priceless gem to pieces with a stone4 ,owing to the defective state of the law he escaped with a very slight punishment4 ,but so great a sensation did the affair cause that an ,act was at once passed by ,parliament making similar offences punishable by terms of imprisonment4 ,the pieces of the vase were skilfully joined1 but the fractures are still visible1 as will be seen from our illustration4 ,it is now in the 8,gold medals room0 of the ,british ,museum1 and by its side is one of the fifty copies which ,wedgwood made for subscribers at fifty guineas apiece4 ,the vase itself once changed hands for eighteen hundred guineas1 and one of ,wedgwood's copies fetched two hundred and fifteen guineas in #ahib4 ,the body used for this vase was black jasper1 a body used on but three other occasions4 ,the figures on it were worked up and cut to the utmost degree of sharpness and finish1 by the seal and gem engraver--a striking piece of reproduction4 ,the original moulds are still in existence1 and ,messrs4 ,wedgwood still produce copies both in black and in a deep blue ground4 ,but the price is in shillings and not in guineas nowadays4 ,among the various catalogues issued by ,wedgwood1 some were issued in ,dutch and in ,french4 ,there is one1 dated #agge1 which contains a perfect little essay to the possible buyer of his ware4 ,from the point of view of the potter and artist1 he gives reasons for the genuine work of art costing more money than an unworthy and feeble imitation4 ,wedgwood writes so simply and naturally that it is worth the perusal of all who love china for china's sake1 to ponder over what the master potter says3-- 8,the proprietors of this manufactory hope it will appear to all those who may have been pleased to attend to its progress1 that ever since its establishment it has been continually improving both in the variety and in the perfection of its productions4 8,a competition for cheapness1 and not for excellence of workmanship1 is the most frequent and certain cause of the rapid decay and entire destruction of arts and manufactures4 8,the desire of selling much in a little time without respect to the taste or quality of the goods1 leads manufacturers and merchants to ruin the reputation of the articles which they manufacture and deal in2 and whilst those who buy1 for the sake of a fallacious saving1 prefer mediocrity to excellence1 it will be impossible for manufacturers either to improve or keep up the quality of their works4 8,this observation is equally applicable to manufacturers and to the productions of the ,fine ,arts2 but the degradation is more fatal to the latter than the former1 for though an ordinary piece of goods1 for common use1 is always dearer than the best of the kind1 yet an ordinary and tasteless piece of ornament is not only dear at any price1 but absolutely useless and ridiculous4 8,all works of art must bear a price in proportion to the skill1 the taste1 the time1 the expense1 and the risk attending the invention and the execution of them4 ,those pieces that for these reasons bear the highest price and1 which those who are not accustomed to consider the real difficulty and expense of making fine things are apt to call dear1 are1 when justly estimated1 the cheapest articles that can be purchased2 and such as are generally attended with much less profit to the artist than those that everybody calls cheap4 8,there is another mistake that gentlemen who are not acquainted with the particular difficulties of an art are apt to fall into4 ,they frequently observe that a handsome thing may be made as cheap as an ugly one4 ,a moment's reflection would rectify this opinion4 8,the most successful artists know that they can turn out ten ugly and defective things for one that is beautiful and perfect in its kind4 ,even suppose the artist has the true idea of the kind of beauty at which he aims1 how many lame and unsuccessful efforts does he make in his design1 and every part of it1 before he can please himself8 ,and suppose one piece is well-composed and tolerably finished1 as in vases and encaustic paintings1 for instance1 where every succeeding vase1 and every picture1 is made not in a mould or by a stamp1 but separately by the hand1 with the same attention and diligence as the first1 how difficult must it be to preserve the beauty of the first model4 8,it is so difficult that without the constant attention of the master's eye1 such variations are frequently made in the form and taste of the work1 even while the model is before the workman1 as totally to change and degrade the character of the piece4 8,beautiful forms and compositions are not to be made by chance2 and they never were made nor can be made in any kind at a small expense2 but the proprietors of this manufactory have the satisfaction of knowing1 by a careful comparison1 that the prices of many of their ornaments are much lower1 and of all of them as low as those of any other ornamental works in ,europe1 of equal quality and bisqu1 notwithstanding the high price of labour in ,england1 and they are determined rather to give up the making of any article than to degrade it4 ,they do not manufacture for those who estimate works of ornament by their magnitude1 and who would buy pictures at so much a foot4 ,they have been happy in the encouragement and support of many illustrious persons who judge of the works of ,art by better principles2 and so long as they have the honour of being thus patronised1 they will endeavour to support and improve the quality and taste of their manufactures40 ,such were ,wedgwood's ideals1 and he raised the making of pottery in ,england into a fine art4 ,the inscription on his monument at ,stoke-upon-,trent shows the esteem with which his contemporaries held him4 ,sacred to the ,memory of ,,josiah ,,wedgwood1 ,f4,r4,s4 ,s4,a41 ,of ,etruria1 in this ,county1 ,born in ,august1 #agcj1 died ,january #crd1 #agie1 ,who converted a rude and inconsiderable manufacture into an elegant art and an important part of national ,commerce4 ,by these services to his country he acquired an ample fortune1 ,which he blamelessly and reasonably enjoyed1 ,and generously dispensed for the reward of merit and the relief of misfortune4 ,his mind was inventive and original1 yet perfectly sober and well regulated2 ,his character was decisive and commanding1 without rashness or arrogance2 ,his probity was inflexible1 his kindness unwearied2 ,his manners simple and dignified1 and the cheerfulness of his temper was the natural reward of the activity of his pure and useful life4 ,he was most loved by those who knew him best1 ,and he has left indelible impressions of affection and veneration on the minds of his family1 who have erected this monument to his memory4 ,the marks used by the ,wedgwoods have been few4 ,it is usually the name ,wedgwood1 occurring in various sized type from time to time4 ,in passing1 we may say that the manufacture of china was never attempted by the great ,josiah4 ,his work was earthenware and not porcelain4 ,but some of it had many of the qualities of china1 the more delicate ware being nearly semi-transparent1 as is china4 ,about the year #ahjh1 and only for a few years1 was china made at ,etruria1 and then not to any extent2 consequently specimens are very scarce4 ,the mark on this china is the name ,,wedgwood in small capitals printed in red or blue4 ,illustration ,on all other wares the name ,,wedgwood is impressed1 in some specimens in large capitals1 in others in small capitals1 ,,wedgwood4 ,sometimes1 though rarely1 the name occurs in ordinary type1 ,wedgwood4 ,on other pieces the name occurs thus3-- ,,wedgwood ,,etruria4 ,during the period when ,bentley was associated with ,etruria the following were impressed3-- ,,wedgwood ,,bentley4 or ,wedgwood ,bentley4 ,the general mark used during this period was a circular one1 the letters on which were raised and not sunk as in the others4 ,the marks ,,wedgwood ,,co41 or simply the word ,,wedgewood1 are both spurious1 and were used by ,messrs4 ,william ,smith and others of ,stockton1 against whom the firm at ,etruria obtained an injunction restraining the imitators from using the name 8,wedgwood10 or 8,wedgewood0 with an additional e4 ,this was in #ahdh4 ,of the varying vicissitudes of the ,wedgwoods since the days of the great ,josiah1 we have had no space to allude4 ,but it is sufficient proof that he laid a very sure foundation to a fine business1 inasmuch as the firm is in flourishing condition at the present day1 and from #ahgj have made splendid porcelain4 ,his ,queen's ware1 which he made for the ,queen ,consort of ,george ,,iii41 was the prototype of the ordinary dinner ware of to-day4 ,we reproduce a quaint old ,wedgwood teapot with queer design upon it1 representing the mill to grind old folks young4 ,it is a far cry from ,queen ,charlotte to ,president ,roosevelt1 but it is surely a singular record of a great firm that the ,wedgwoods made the new service of china to be used on ,state occasions at the ,white ,house4 ,the design has been copyrighted1 thus ensuring its exclusive use4 ,it is of simple gold pattern1 bearing the great seal of the ,united ,states enamelled in colours upon it4 ,the set consists of over a thousand pieces1 and was ready early last year4 ,in the conclusion of the journey round the china shelf in this series of 8,chats10 the writer trusts that they have stimulated the interest of the readers in their old china and have helped to solve certain dark riddles1 and to give pedigree to 8family jars40 ,illustration3 ,,old ,,wedgwood ,,teapot4 ,the ,mill to grind ,old ,folks young4 ,,sale ,,prices4 ,,whieldon4 s4 d4 ,box and cover1 formed as a melon4 ,sotheby1 ,february #bd1 #aijb #c #j #j ,teapot and cover1 hexagonal in shape1 with ,chinese figures in panels1 the whole decorated in translucent colours4 ,sotheby1 ,february #bd1 #aijb #e #ae #j ,group1 8,summer ,arbour10 with two seated ladies1 top surmounted by a bird1 unusual colour4 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #bh #j #j ,group1 small1 two figures1 8,the ,lovers10 rare colours4 ,edwards1 ,son ,bigwood1 ,birmingham1 ,may #ac1 #aijb #aa #aj #j ,diamond-shaped teapot and cover1 painted with buildings1 figures1 and scale ornament in brilliant green and lake2 and a pair of double sauce-boats1 painted with figures and flowers in blue in the ,chinese taste4 ,christie1 ,january #ab1 #aijc #ag #ag #j ,,wedgwood4 ,bust1 black basalt1 nearly life size1 ,david ,garrick4 ,christie1 ,february #d1 #aijb #cg #af #j ,cabaret1 blue jasper1 with reliefs of ,nymphs and ,cupids1 consisting of teapot and cover1 two basins1 cup and saucer and oval plateau2 and a black basalt copy of a lamp4 ,christie1 ,february #d1 #aijb #f #f #j ,chatelaines1 three old ,english cut steel and seven ditto clasps1 set with blue and white ,wedgwood plaques1 in oval frame4 ,christie1 ,february #d1 #aijb #ha #ah #j ,pendants and clasps1 nine1 cut steel1 set with ,wedgwood plaques1 with ,nymphs and ,cupids2 and one other piece4 ,christie1 ,february #d1 #aijb #cf #ae #j ,plaque1 oblong1 blue jasper1 with figures sacrificing at an altar1 festoons of flowers above1 #d-a_/b in4 by #aj-a_/b in41 in gilt frame4 ,christie1 ,february #d1 #aijb #h #ah #f ,portrait medallions1 eight1 of ,addison1 ,hon4 ,w4 ,hastings1 c41 in octagonal frame1 and eight smaller plaques with classical subjects4 ,christie1 ,february #d1 #aijb #ga #h #j ,teapot and cover1 light blue jasper ground1 with white relief subjects4 ,sotheby1 ,february #bd1 #aijb #d #d #j ,vase1 of classical design1 the front ornamented with a group of ,cupids dancing1 in relief2 ,wedgwood ,bentley4 ,sotheby1 ,february #bd1 #aijb #ae #aj #j ,vases and covers1 pair1 two-handled1 light blue and white1 with raised figures and other emblems1 representing ,music and ,dancing1 having mask-head handles1 #ah in4 high4 ,alexander1 ,daniel ,co41 ,bristol1 ,may #g1 #aijb #ac #j #j ,vase1 the ,portland1 or ,barberini1 a fine example1 and one of the earliest1 in a dark slate-blue body1 the reliefs harmonising in tone with the field1 on revolving stand1 with metal tripod1 mirror1 c4 ,christie1 ,june #aa1 #aijb #cii #j #j ,vase and pedestal1 the vase of granulated ground1 with reliefs of ,flaxman's ,muses1 leafage1 c41 scroll handles1 a figure of ,pegasus on cover2 the pedestal of square form1 fluted1 with reliefs of the ,four ,seasons2 vase #ae in41 pedestal #h-c_/d in4 high4 ,christie1 ,june #aa1 #aijb #cc #ab #j ,vase1 on triangular base1 supported by three ,atlas figures1 reliefs of arabesque scroll1 festoons1 c41 figure of ,cupid on cover1 #ac in4 high4 ,christie1 ,june #aa1 #aijb #fc #j #j ,medallions1 three1 ,venus and ,adonis1 and ,cupid riding upon a swan2 black ground1 white relief2 ,wedgwood ,bentley4 ,christie1 ,june #aa1 #aijb #ed #ab #j ,medallion1 large oval tri-coloured3 ,the ,triumph of ,achilles at ,troy1 green ground1 border on black4 ,christie1 ,june #aa1 #aijb #bd #c #j ,portraits or ,heads of ,illustrious ,moderns4 ,portraits1 framed singly3--,hippocrates and ,terence1 ,wedgwood ,bentley1 metal frames2 ,frederick the ,great1 ,wedgwood ,bentley2 and ,prince ,charles ,stuart1 metal frames2 ,marie ,antoinette1 ,prince ,paul of ,russia1 and ,mrs4 ,barbauld1 one ,wedgwood ,bentley1 metal frames2 ,inigo ,jones1 black basalt1 high relief1 and ,alexander1 an early terra-cotta portrait1 in colour2 ,joseph ,,ii41 and ,dr4 ,benjamin ,franklin1 in white biscuit2 ,sir ,isaac ,newton1 ,admiral ,keppel1 and a male portrait1 looking left1 in white jasper1 c41 one ,wedgwood ,bentley2 ,general ,eliott 7,lord ,heathfield71 circular1 white1 and ,j4 ,p4 ,elers1 in a copper-lustred frame2 ,joseph ,priestley1 ,unitarian ,minister1 a portrait1 in glazed pottery1 and ,dr4 ,black1 in blue and white4 ,christie1 ,june #aa1 #aijbc #a1ejj #j #j ,figures1 pair1 large black4 ,foster1 ,december #bc1 #aijb #ai #h #f ,teapot and cover1 sage-green1 and basin1 with groups of classical figures1 ,nymphs1 ,cupids1 and foliage in relief4 ,christie1 ,december1 #aijb #af #e #f ,vase and cover1 oviform1 blue jasper1 decorated with rams' heads in relief1 and cameo figured panels1 on plinth1 #ac-a_/b in4 ,foster1 ,november #bg1 #aijb #g #aj #j ,vase and cover1 campana-shaped1 blue jasper1 with a frieze of ,cupids sacrificing1 masks1 laurel-branches1 and a wreath of vines under the lip2 on octagonal-shaped pedestal1 with figures of griffons at the corners1 with classical frieze1 #bj in4 high4 ,christie1 ,july #aj1 #aijc #baj #j #j ,wedgwood lustre ware wall ornament1 in shape of a nautilus shell and a lustre plate1 both marked4 ,sotheby1 ,may #ag1 #aibj #aj #aj #j ,black and white jasper copy of the ,portland vase1 numbered #fj1 #aj-a_/b in4 high1 on bronze stand1 with hoof feet1 and marble pedestal with mirror top4 ,sotheby1 ,may #ag1 #aibj #ba #j #j ,black basalt bust of ,newton1 on circular pedestal1 #ab in4 high2 another1 of the same1 #f-a_/d in4 high2 and a bust of ,seneca1 #aj-a_/d in4 high4 ,sotheby1 ,may #ag1 #aibj #e #e #j ,blue and white jasper copy of the ,portland vase1 #aj-c_/d in4 high4 ,sotheby1 ,may #ag1 #aibj #c #c #j ,dessert service1 modelled as leaves1 outlined with green1 and with gilt borders1 comprising an oval centre dish and stand1 two sauce tureens1 covers and stands1 a sauce ladle1 twelve dishes in four shapes1 and twelve plates1 impressed mark1 #cc pieces4 ,puttick ,simpson1 ,july #i1 #aibj #h #ah #f ,blue jasper oval jardinire1 decorated with acanthus foliage and honeysuckle ornament1 #aj in4 wide2 and a figure of ,britannia1 #i-a_/b in4 high1 on gilt-wood plinth4 ,christie1 ,july #ab1 #aibj #h #h #j ,three blue jasper candlesticks1 with figures of ,nymphs holding cornucopia-shaped nozzles1 #aj in4 and #aj-a_/b in4 high4 ,christie1 ,july #ab1 #aibj #h #h #j ,blue jasper oval plaque1 by ,wedgwood and ,bentley1 #aa-a_/d in4 by #h in42 and three smaller ditto1 with ,bacchanalian and amatory trophies in relief4 ,christie1 ,july #ab1 #aibj #ej #h #j ,two blue jasper plaques1 with ,muses in relief1 #e in4 by #g in41 in metal-gilt frames2 a plaque1 with ,hebe1 by ,wedgwood and ,bentley2 and two others4 ,christie1 ,july #ab1 #aibj #ab #ab #j ,oval blue jasper plaque1 with the ,infant ,academy1 in gilt frame2 an oblong plaque1 with the ,marriage of ,cupid and ,psyche1 #e-c_/d in4 by #h-a_/b in42 and a circular plaque1 with ,cupid sharpening his arrow4 ,christie1 ,july #ab1 #aibj #ai #ai #j ,illustration3 ,designed by ,lady ,diana ,beauclerk4 ,by kind permission of ,mr4 ,f4 ,rathbone4 ,,wedgwood ,,plaque4 ,,the ,,young ,,pan4 ,,footnotes3 #c ,this collection of portraits1 by ,josiah ,wedgwood1 is undoubtedly the most important one ever gathered together4 ,many are unique--all are of interest1 as faithful facsimiles in a permanent material that cannot be affected by time or climate4 ,,index ,abbey and ,graham1 8,herculaneum0 7,liverpool71 #bjj ,absolon1 potter1 ,yarmouth1 #bjj ,allen1 ,robert 7,lowestoft71 #aag ,america1 clay from1 used at-- ,bow1 #ea ,plymouth1 #ib 8,amherst1 ,japan10 as a mark1 #ahb ,anchor as a mark-- ,bow1 #ed ,caughley1 #acg ,chelsea1 #cd1 #ce ,liverpool1 #bda ,venice1 #cj ,worcester1 #gc ,angoulme sprig pattern imitated by ,derby1 #bb ,arms1 coats of1 on china-- ,lowestoft1 #aae ,oriental china1 #aae1 #abj ,aubrey1 ,lady1 designs on ,derby painted by1 #ab 8,b0 as a mark1 #ec 8,b4 ,a4 ,e410 initials on ,liverpool bowl1 #bdf 8,ballades in ,blue ,china10 quoted1 #d ,bamboo ware 7,wedgwood71 #beg ,banks1 ,sir ,joseph-- friend of ,cookworthy1 #ib letter concerning ,billingsley and ,walker1 #afi ,barberini ,vase 7,wedgwood71 #bfj1 #bfa1 #bfc ,basaltes 7,wedgwood71 #bef ,bath1 ,camden ,place1 view on ,worcester vase1 #hj ,batons1 crossed1 as a mark1 #g ,battersea1 #bi printing1 ,horace ,walpole on1 #bdj ,baxter 7painter71 ,swansea1 #agb 8,b ,b0 as a mark1 #ahb ,beauclerk1 ,lady ,diana1 design for ,wedgwood plaque1 #bgg ,beddoes 7painter71 ,swansea1 #agd ,bee and goats jug-- ,bow1 #fb1 #fc ,chelsea1 #ce ,bellarmine--mugs thus named 7,low ,countries71 #aig 8,benbow1 ,francis10 name on ,caughley mug1 #acg ,bentley1 ,thomas1 partner with ,wedgwood1 #bec ,bethnal ,green ,museum-- ,minton majolica fountain at1 #ahf pieces reproduced from collection at-- ,bow1 #di1 #ej ,chelsea1 #bi ,crown ,derby1 #c ,plymouth1 #ia ,spode1 #aeb ,staffordshire delft mug1 #bjf ,wedgwood ,puzzle-jug1 #bab ,worcester1 #hj 7removed to ,victoria and ,albert ,museum7 ,billingsley1 flower painter1 #adj1 #afe at ,nantgarw1 #afi at ,swansea1 #agj ,bird 7as a mark71 ,liverpool1 #bda ,biscuit1 definition of1 xxiii ,biscuit ware 7,derby71 #ba ,biscuit1 white porcelain 7,wedgwood71 #beg ,bloor1 ,robert 7,derby71 #ae ,bloor ,derby-- illustrations of-- tea-pot1 v vase1 #ag marks1 #af ,sale ,prices1 #bd ,blue dragon1 introduced at ,caughley1 #ach ,blue-printed table service1 the first made in ,england1 #ach ,bone-ash porcelain1 definition of1 xxv ,bone1 ,henry 7,plymouth71 #id ,bttcher1 ,j4 ,f4 7,dresden71 #aif ,bow1 #di-fe characteristics of ,bow china1 #fa discovery of fragments of china1 #eg marks1 #ec1 #ed1 #fj paste1 #ei printed wares at1 #fj ,sale ,prices1 #fc ,bow china illustrations of-- figure1 #ej ink-stand1 #di ,boyle1 ,john 7,minton71 #ahb ,brameld 7,rockingham71 #aah ,brislington1 copper lustre at1 #bba ,bristol1 #ig-aji blue delft1 #ig characteristics of1 #ajf end of factory1 #ajd ,sale ,prices1 #ajg ,bristol china1 illustrations of-- cup and saucer1 #ajb 8,mandarin0 decorated1 #ig vase1 #ajc delft bowl1 #bac pottery1 #bja ,st4 ,vincent's ,rock1 view on ,worcester vase1 #hj ,british ,museum-- ,portland vase1 #bfd recent ,lowestoft acquisitions at1 #abd specimen reproduced from collection at 7,chelsea71 #cb ,browne1 ,robert 7,lowestoft71 #aae ,brunel1 portrait of1 on mug1 #bad ,buckingham1 ,duke of1 connection with ,chelsea1 #cj 8,buckle1 ,elizabeth10 name on ,lowestoft china1 #aag 8,burges1 ,william and ,elizabeth10 names on delft mug1 #bjf ,burke1 ,edmund-- cup and saucer from service ordered by1 #ajb encouragement of ,richard ,champion by1 #aje ,bust1 copper lustre1 #bbg 8,c0 as a mark 7,caughley71 #adj 8,calder1 ,m4 and ,e41 ,norwich10 names on ,lowestoft1 #aaf 8,cambrian0 as a mark1 #aga 8,cambrian-,argil0 as a mark1 #baf ,cambrian ,pottery 7,swansea71 #agj1 #aga ,camelford1 ,lord1 clay on estate of 7,plymouth china71 #ia 8,c and ,g0 as a mark1 #aef ,carlyle quoted on ,worcester china1 #gb ,carpenter1 with tools1 figure of 7,chelsea71 #bi ,case1 ,mort ,co4 7,liverpool71 #bdb ,catherine ,,ii4 of ,russia1 ,wedgwood's service for1 #bfc ,caughley1 #ace-adg marks1 #adj1 #adc old blue mug1 #acg ,sale ,prices1 #adg ,cave1 ,edward1 of ,worcester1 #fi 8,c4 ,b4 ,d40 as a mark1 #adb 8,c4 ,d40 as a mark1 #adj ,chaffers1 ,richard1 ,liverpool1 #bdj mark of1 #bdj ,chamberlain-- marks of1 #gh scent-bottle1 #hj ,worcester1 #gh ,chamberlain1 ,lilley ,kerr1 ,worcester1 #gi ,champion1 ,richard-- ,bristol1 #ig-ajf his death in ,america1 #aje ,wedgwood's opinion of1 #ajd ,chantilly sprig pattern 7,derby71 #bb ,charlotte1 ,queen1 ,wedgwood's service for1 #bec1 #bfc ,chelsea1 #bi-dg best period of1 #cc characteristics of china1 #dj decline of1 #ce illustrations of-- figure of carpenter1 #bi 8,foundling0 ,vase1 #ch openwork vase1 #bg ,vase in ,british ,museum1 #ca marks1 #cd1 #ce1 #ci marks imitated at ,coalport1 #adc ,sale ,prices1 #db ,cherokee ,indians1 clay from1 used at ,bow1 #ea 8,chesterfield0 ,vase 7,chelsea71 #cg ,china1 definition of1 xxiii ,christening cup1 #bjh ,christian1 ,liverpool1 #bda ,clay-- from ,virginia 7,plymouth71 #ib from the ,cherokee ,indians1 7,bow71 #ea ,lowestoft1 used at ,worcester1 #aad ,cleopatra1 death of 7,chelsea vase71 #cb ,coalport1 #ace-adg ,billingsley at1 #afe ,chelsea1 ,dresden1 ,svres marks imitated at1 #adc illustrations-- plate 7modern71 after ,sir ,joshua ,reynolds1 #ade two-handled cup and saucer1 #ace vase1 #ada marks1 #adj1 #adb1 #adc ,nantgarw and ,swansea incorporated with1 #adj ,sale ,prices1 #adg service made for ,emperor of ,russia1 #adb ,colebrookdale1 #acf-h ,cook1 ,captain1 friend of ,cookworthy1 #ib ,cookworthy1 ,william 7,plymouth71 #ia-if 8,cooper1 ,john10 name on ,lowestoft china1 #abg ,copeland-- discovery of ,parian ware by1 #ba1 #aef-aeh excellence of ware of1 #aea1 #aeh illustration1 plates1 #aeg marks1 #aef ,sale ,prices1 #afa ,copeland ,garrett1 marks of1 #aef ,copeland1 ,w4 ,t4 ,sons1 marks of1 #aef ,copper ,lustre ,ware-- best period of1 #bbe illustrations of1 #bba1 #bbb1 #bbc1 #bbe1 #bbf ,courtney 7late ,bloor71 ,derby china1 #bj ,cradle1 old ,english earthenware1 #bjg ,crescent as a mark-- ,bow1 #ed ,caughley1 #adj1 #adc ,lowestoft1 #acj ,worcester1 #gj1 #ga1 #gh ,cross as a mark-- ,bow1 #ec1 #fj ,bristol1 #ajj ,caughley1 #adj ,lowestoft1 #acj ,crossed daggers1 ,derby mark1 #h1 #i1 #aa ,crown ,derby-- illustrations of1 #c1 #aa1 #ac1 #ag marks1 #g1 #h1 #af1 #bj peculiarities in crown mark1 #h ,sale ,prices1 #bc 8,c4 ,s4 ,n40 as a mark1 #adb1 #adc ,cumberland1 ,duke of1 contributes annual sum to ,chelsea1 #cc 8,curtis1 ,james and ,mary10 names on ,lowestoft mug1 #aah ,curtis1 ,thomas 7,lowestoft71 #aha 8,c4 ,w40 as a mark1 #afi 8,d0 as a mark1 #g1 #h1 #ci ,dagger as a mark1 #ed 8,daniell0 as a mark1 #adb ,davies1 ,william 7of ,worcester71 #fi ,delft1 blue-- ,bristol1 #ig illustration of 7,old ,staffordshire71 #bjf ,lowestoft1 #aae ,della ,robbia ware copied by ,minton1 #ahd ,derby1 #c-be biscuit ware1 #ba cause of decline of1 #af characteristics of1 #bb illustrations of-- ,bloor ,derby1 v1 #ag ,crown ,derby1 #c1 #aa1 #ac1 #ag marks-- ,bloor ,derby1 #af ,crown ,derby1 #g ,sale ,prices-- ,bloor ,derby1 #bd ,crown ,derby1 #bc ,derby1 ,chelsea1 #df ,derby-,chelsea1 #h1 #ci marks1 #ci ,sale ,prices1 #dd ,de ,witt1 ,cornelius1 portrait of 7,wedgwood71 #bee ,de ,witt1 ,john1 portrait of 7,wedgwood71 #bee ,dillwyn 7,swansea7-- ,etruscan ware1 #aga1 #agd illustration of1 #agc lustre ware made by1 #bbh marks of1 #aga ,dixon ,co4 7lustre ware71 ,sunderland1 #bbh ,dobson1 ,mr4 ,austin1 quoted1 #fh ,donaldson1 painter1 ,worcester1 #gh ,doulton1 ,messrs41 ,lambeth1 #bi1 #bje ,dragon blue1 introduced at ,caughley1 #ach ,dresden copied-- at ,chelsea1 #cg at ,worcester1 #hd marks imitated at ,coalport1 #adc origin of factory at1 #aif ,dudley ,house1 ,chelsea vases at1 #ci ,duesbury1 ,william-- the first1 #f1 #h the second1 #ab the third1 #ae ,duesbury ,sheffield 7,derby71 #ae ,dwight1 ,john1 #bjb the inventor of porcelain in ,england1 #bi ,earl ,st4 ,vincent1 friend of ,cookworthy1 #ib ,earthenware-- definition of1 xxiii old ,english1 #aic-bah ,egyptian ware 7,wedgwood71 #beh 8,england10 use of word on modern china1 #add ,english slip ware1 #bjh ,english ware universal on ,continent1 #bec ,etruria1 #bec first vase produced at1 #bed ,etruscan ware1 ,dillwyn 7,swansea71 #aga1 #agd illustration of1 #agc ,evans ,co41 ,swansea1 #agd 8,f0 as a mark1 #ec ,falstaff1 ,quin as1 ,bow figure1 #ee 8,fayence1 ,spode's new10 #aed ,felspar porcelain 7,coalport71 #adj ,minton ,boyle1 #ahb ,flaxman1 design on ,wedgwood 7,france and ,england71 #bfj1 #bfc ,flight ,barr1 #gh ,billingsley1 painter1 with1 #afe marks1 #gh ,flight1 ,thomas 7,worcester71 #gh marks of1 #gh ,flora1 ,bow figure of1 #fd ,fordyce1 ,lady ,margaret1 designs on china painted by1 #ab 8,foundling0 ,vase 7,chelsea71 #cg1 #ch ,frank1 ,r41 ,brislington1 #bbh ,frederick1 ,prince of ,wales1 portrait of1 painted by ,frye1 #ea ,frederick the ,great 7,worcester mug7-- ,carlyle's description of1 #gb illustration of1 #gc ,french sprig pattern 7,derby71 #bb ,frog mug1 ,sunderland1 #bjc ,frye1 ,thomas 7of ,west ,ham71 #ea as a mezzotint engraver1 #eb various signatures of1 #fj ,fuddling cup1 #bjg ,fulham pottery1 #bjb flip-mug1 ,alexander ,selkirk1 #bad ,garrick1 as ,richard ,,iii41 ,bow figure1 #ee ,george ,,ii41 patron of ,chelsea1 #cc ,german workmen brought to ,chelsea by ,george ,,ii41 #cc ,glass1 ,joseph1 potter1 #bjg ,glassy porcelain1 definition of1 xxv ,glaze-- definition of1 xxiii leadless1 #add ,globe as a mark1 #ahd ,goats and bee jug 7,bow71 #fb1 #fc ,chelsea1 #ce ,gold lustre ware1 #bcb1 #bcc jug1 #bcb ,grainger1 ,lee ,co41 ,worcester1 #ha marks1 #gi ,green1 ,guy1 ,liverpool1 #bch 8,h0 as a mark1 ,lowestoft1 #abi ,hancock1 ,robert1 engraver1 #gb1 #gf ,hard paste1 definition of1 xxiv ,hard porcelain-- first manufacture of1 in ,england1 #ia made at-- ,bristol1 #ig1 #ih ,new ,hall1 #aje ,plymouth1 #ia ,harrison1 ,john1 #bej 8,harvey1 ,william10 name on ,lowestoft1 #abc ,henri ,,ii4 faence1 copied by ,minton1 #ahe ,herculaneum ,pottery 7,liverpool71 #bjj1 #bda ,heylin1 ,edward 7of ,bow71 #ea ,hogarth1 8,midnight ,conversation0 of1 ,liverpool bowl1 #bdf ,hughes1 ,lowestoft1 #abi ,ironstone china-- ,mason1 xxiv1 #baf illustrated1 #bag ,isleworth1 #bje 8,i4 ,w40 as a mark1 #aii1 #baa ,jackfield1 factory at1 #ach ,japan patterns used at ,derby1 #bb ,japanese influence on ,spode1 #aee ,derby1 #bb ,jasper ware 7,wedgwood71 #beg illustrations of1 #bdi1 #beh1 #bei ,johnson1 ,dr41 experiments of1 at ,chelsea factory1 #dj 8,k ,b1 ,worcester10 as a mark1 #gi ,kaolin1 xxv1 #aie ,kean1 ,michael 7,derby71 #ae ,kerr ,binns 7,worcester71 #gi ,king of ,prussia mug1 ,carlyle's description of1 #gb ,kishere1 ,mortlake1 #bje 8,l10 two letters1 mark on ,lowestoft1 #acj ,lamb1 ,charles1 on ,old ,china1 #d ,lambeth1 ,dutch potters at1 in seventeenth century1 #bje ,lane1 ,delph1 #baf ,lang1 ,mr4 ,andrew1 verse quoted1 #d ,laurel wreath on ,bristol china1 #ajf1 #ajg ,lead glaze1 definition of1 xxiii ,lead1 large amount used in ,bow glaze1 #fb ,leadless glaze1 xxiii1 #add ,leeds pottery1 #bja ,limoges enamel1 copied at ,worcester1 #hc ,lister1 ,dr4 ,martin1 #cj ,liverpool-- pottery once its staple manufacture1 #bjj ,queen's ,ware 7,wedgwood71 decorated at1 #bec ,liverpool ware1 #bcg-bdf illustrations of1 #bcg1 #bdc1 #bdd1 #bde marks1 #bdj1 #bda ,sale ,prices1 #bdf tiles1 #bde ,locker ,co4 7late ,bloor7 7,derby71 #bj ,longbeards1 mugs thus named 7,low ,countries71 #aig ,lonsdale1 ,lord1 ,derby service1 sketches made by1 #ab ,lowestoft1 #aac-acb birthday tablets1 #abc ,bow and ,chelsea copied by1 #abg characteristics of1 #acj coats of arms on1 #aae delft1 old1 attributed to1 #aae errors concerning1 #aae1 #aai illustrations of1 #aac1 #aag1 #aah1 #abb1 #abc1 #abe1 #abh1 #abi marks1 #abg1 #abi1 #acj moulds and fragments recently discovered1 #abb old factory1 site of1 #aba ,oriental influence on1 #abg origin of1 #aad ,sale ,prices1 #aca spurious imitations made in ,france1 #abg ,worcester1 its resemblance to1 #abg ,luson1 ,hewlin 7,lowestoft71 #aba ,lustre ware-- copper1 #bba-bbg gold1 #bcb1 #bcc silver1 #bbg-bcb illustrations of-- copper1 #bba1 #bbb1 #bbc1 #bbe1 #bbf gold1 #bcb silver1 #bbg1 #bbh1 #bbi1 #bca 8,m0 as a mark1 #ahb 8,m ,b0 as a mark1 #ahb 8,m ,co40 as a mark1 #ahd ,mandarin decorated porcelain-- ,bristol1 #ig1 #ii ,lowestoft1 #aaf1 #abg ,worcester1 #hc ,marriage plates1 #aad1 #aae ,mason1 ,charles ,james1 #baf ,mason1 ,miles1 mark of1 #baf ,mason ,patent ,ironstone ,china1 xxiv1 #bae1 #baf illustrated1 #bag marks1 #baf ,sale ,prices1 #bah ,mayflower1 in relief1 ,bow pattern1 #eh ,meissen1 origin of factory at1 #aif ,mill to grind old folks young1 #bga ,minton1 ,thomas1 #aha-b ,minton ,ware1 #aha-ahi faence1 #aha illustrations1 #ahc1 #ahe1 #ahf1 #ahi majolica1 #ahf marks1 #ahb1 #ahd reproduction of ,henri ,,ii4 ware1 #ahe ,sale ,prices1 #ahg ,minton ,boyle1 mark of1 #ahb ,minton-,campbell1 ,colin1 #ahb ,sale ,prices of his china collection1 #ahg ,minton1 ,hollins ,co41 #ahd ,moore ,co41 lustre ware1 ,sunderland1 #bbh ,morris1 painter1 ,swansea1 #agd ,mortlake1 pottery at1 #bje ,mottoes on earthenware1 #bjf1 #bjh1 #baa-bad ,moulds1 xxiv disinterment of1 at ,lowestoft1 #abb illustration of1 #aac ,nankin pattern1 ,caughley1 #ach ,nantgarw1 #afe-aga characteristics of1 #age founders of1 solicit ,government patronage1 #afi glassy nature of1 #afi illustrations of1 #aff1 #afg marks1 #afi1 #agj1 #aga ,sale ,prices1 #agf ,nelson1 portraits of1 on jugs1 #bad ,new ,canton1 title of ,bow ,factory1 #di ,newcastle mugs and jugs1 #bja 8,new ,fayence1 ,spode10 #aed ,nollekens1 ,life of1 quoted1 #cj ,nottingham1 #bjb ,oiron faence 7copied by ,minton71 #ahe ,old folks1 mill to grind young1 #gab ,o',neale1 painter1 ,worcester1 #gh ,opaque1 xxiv porcelain 7,spode71 #aec ,oriental models copied-- at ,bow1 #eh at ,caughley1 #acg at ,chelsea1 #ce1 #cg1 #ci at ,coalport1 #add at ,worcester1 #fg1 #gj1 #he by ,minton1 #aha by ,spode1 #aed ,oriental-- marks on ,english china 7,chelsea71 #ci ,worcester1 #ga porcelain1 having ,english coats of arms1 #aae1 #abj ,over-glaze1 xxiv 8,p0 as a mark1 #bdj ,palissy ware copied by ,minton1 #ahd ,parian ware 7,copeland71 #aeh how discovered1 #ba 8,parrish0 7of ,norwich71 name on delft plates1 #aae ,parting cups1 #bjh ,paste-- definition of1 xxiv hard1 #ia1 #ig1 #ih1 #aje ,pastille-burner 7,crown ,derby71 #aa ,spode1 #aeb ,pastorella1 woman playing the 7,bow71 #ej1 #ec ,pennington1 mark of1 #bdj1 #bda ,perdita 7,mrs4 ,robinson71 portrait of1 on modern ,coalport1 #adf ,petersburg1 #aig ,petuntse1 xxv1 #aie ,philips1 ,richard 7,lowestoft71 #abg1 #abi ,piggin1 #bjh ,pinxton1 ,billingsley at1 #afe ,planch1 ,andrew1 originator of ,derby works1 #f ,plato1 portrait medallion of 7,wedgwood71 #bee ,plymouth1 #ia-if characteristics of1 #ajf illustrations of1 #ia1 #id1 #ie marks1 #id1 #if ,sale ,prices1 #ajg ,plymouth1 ,lady1 designs on ,derby painted by1 #ab ,porcelain-- definition of1 xxv1 #aie hard-- at ,bristol1 #ig1 #ih at ,new ,hall1 #aje at ,plymouth1 #ia first manufacture of1 in ,england1 #ia ,porphyry 7,wedgwood71 #bef1 #beh ,portland vase1 #bfj1 #bfa1 #bfc ,portrait medallions 7,wedgwood71 #bee1 #bgd1 #bge1 #bgf ,posset-mug1 #bjg ,posset-pot1 #bjg ,pottery1 definition of1 xxv1 #aid ,powles1 ,richard 7,lowestoft71 #abi ,prices1 why old china commands high1 #ajf ,printed table service1 first blue1 made in ,england1 #ach ,printing on china1 xxv ,printing transfer-- at ,battersea1 #bdj at ,liverpool1 #bcg1 #bci at ,worcester1 #gb ,purple lustre ware1 #bcb ,puzzle jugs1 #bjg illustration of 7,wedgwood71 #bab ,queen ,charlotte1 ,wedgwood service for1 #bjj1 #bec1 #bfc ,queen's ,ware 7,wedgwood71 #bec1 #bgj importance of1 in history of ceramics1 #bjj ,quin as ,falstaff1 ,bow figure of1 #ee 8,quinton0 7of ,yarmouth71 name on delft plates1 #aae 8,r0 as a mark1 #ahd initial on ,lowestoft1 #abi ,redgrave 7,lowestoft71 #abi ,reid ,co4 7,liverpool71 #bda 8,resist0 pattern 7lustre ware71 #bca 8,r4 ,h401 signature on ,worcester mug1 #gb1 #gf ,richard ,,iii41 ,garrick as1 ,bow figure1 #ee ,ring1 ,joseph1 ,bristol1 #bja ,robinson1 ,mrs4 7,perdita71 portrait of1 on modern ,coalport1 #adf ,rockingham1 unfinished ware from1 sold to ,robert ,allen 7,lowestoft71 #aah ,rose1 ,french refugee1 painter at ,lowestoft1 #aah ,rose1 ,john 7,caughley71 #ach-i establishes the ,coalport factory1 #aci ,swansea factory purchased by1 #agd ,rose1 ,i4 ,co41 marks of1 #adb 8,r4 ,p410 initials on ,lowestoft1 #abg ,russia-- ,catherine of1 ,wedgwood service made for1 #bfc ,emperor of1 modern service made for 7,coalport71 #adb 8,s0 as a mark1 #adj ,saddlers' ,hall1 portrait of ,frederick1 ,prince of ,wales1 at1 #ea ,sadler1 ,john 7,liverpool71 #ach signature on tile1 #bdf ,sadler ,green1 #bci ,wedgwood's ,queen's ,ware decorated by1 #bec ,sale ,prices-- ,bloor ,derby1 #bd ,bow1 #fc ,bristol1 #ajh ,caughley1 #adg ,chelsea1 #db ,coalport1 #adg ,copeland1 #afa ,crown ,derby1 #bc ,derby-- ,crown1 #bc ,bloor1 #bd ,chelsea1 #db ,lowestoft1 #aca ,mason's ,ware1 #bah ,minton1 #ahg ,nantgarw1 #agf ,plymouth1 #ajg ,spode1 #aei ,staffordshire1 #bah ,swansea1 #agg ,wedgwood1 #bgb ,whieldon1 #bgb ,worcester1 #he ,salopian1 #acf marks1 #adj ,schnorr1 ,john 7,dresden71 #aif ,schreiber1 ,lady ,charlotte1 collection of1 #gh ,selkirk1 ,alexander1 his mug1 #bad ,svres-- artist from1 at ,plymouth1 #id copied-- at ,chelsea1 #cg at ,coalport1 #adc at ,worcester1 #gg marks of1 imitated at ,coalport1 #adc 8,s4 ,h40 as a mark1 #bj ,sharp 7,stevenson1 ,sharp ,co471 ,derby1 #bj ,shaw 7,liverpool71 #bdj1 #bda ,shylock figure 7,chelsea71 #da ,silver lustre ware1 #bbi-bca illustrations of1 #bbg1 #bbh1 #bbi1 #bca modern imitations of1 #bbg ,slip ware1 old ,english1 #bjh ,smeaton 7builder of ,eddystone ,lighthouse71 friend of ,cookworthy1 #ib ,soft paste1 definition of1 xxiv ,soqui1 ,svres artist at ,plymouth1 #id ,spode1 ,josiah-- the first1 #aea the second1 #aec the third1 #aec ,spode ware-- characteristics of1 #aeh illustrations of1 #aea1 #aeb1 #aec marks1 #aec1 #aee ,sale ,prices1 #aei supersedes ,french wares on the ,continent1 #aec ,sprig1 ,angoulme-- ,chantilly pattern 7,derby71 #bb imitated by ,derby1 #bb ,sprimont1 ,nicholas1 at ,chelsea1 #cc ,square seal as a mark 7,worcester71 #ga ,staffordshire earthenware-- illustrations of1 #aih1 #aii ,sale ,prices1 #bah ,stevenson ,hancock1 #bj ,stevenson ,sharp ,co41 #bj ,stone china-- ,minton1 #ahb ,spode1 #aed ,sunderland1 #bja1 #bjb1 #bad frog mugs1 #bjb illustrations of mugs and jugs1 #aic1 #bjc ,swansea1 #aga-agd characteristics of1 #age chief painters at1 #agc illustrations of1 #agb1 #agc marks1 #aga sale of factory to ,john ,rose 7,coalport71 #agd ,sale ,prices1 #agg ,swords1 crossed1 as a mark1 #bj 8,t0 as a mark1 #fj1 #fc1 #ajj ,temple ,bar1 view of 7,bloor ,derby vase71 #be ,terra-cotta ware 7,wedgwood71 #bef ,thames ,tunnel1 view of1 on mug1 #bad ,tiles-- enamelled ,minton1 #ahd printed ,liverpool1 #bcg1 #bci ,tithe pig--subject on ,liverpool mug1 #bdf 8,to0 7signature of ,tebo71 as a mark1 #fj1 #fc ,toby jug1 #aig ,tortoiseshell ware1 #bej1 #bea ,toy sets1 ,lowestoft1 #abd ,transfer-printing1 xxv1 #gb illustrations of ,liverpool1 #bcg1 #bdc1 #bdd1 #bde ,worcester1 #fg1 #gc ,translucent1 xxv ,triangle as a mark1 #cc1 #ce1 #ci ,trident as a mark1 #aga ,true porcelain1 definition of1 xxv ,turner-- dark blue ,caughley1 #acf1 #acg mark of1 #adj ,tyg1 #bjh ,unaker1 #ea ,under-glaze1 xxiv ,venice-- anchor as mark1 #cj workmen from1 at ,chelsea1 #cj ,vicar and ,moses1 ,staffordshire figure1 #aii ,victoria and ,albert ,museum-- ,bow1 #eg ,oiron faence1 #ahe ,worcester1 #gh ,vienna1 #aig ,vincennes1 origin of1 #cj ,virginia1 clay from 7,plymouth71 #ib 8,w0 as a mark1 #ga1 #gi ,walker1 ,samuel1 #adj1 #afe at ,nantgarw1 #afi at ,swansea1 #agj ,wall1 ,dr4 ,john-- founder of ,worcester1 #fi his death1 #gg painting by1 in ,merton ,college1 ,oxford1 #fi ,walpole1 ,horace1 quoted-- on ,battersea printing1 #bdj on ,chelsea1 #cc ,wear1 cast-iron bridge across 7,sunderland mug71 #bjb ,wedgwood1 ,josiah1 #bdi1 #bej art of the potter1 views concerning1 #bfe monument to1 at ,stoke-on-,trent1 #bfh opinion of1 concerning ,richard ,champion1 #ajd opposes ,cookworthy and ,champion's patent 7,bristol71 #ig ,wedgwood catalogues1 #bfe ,wedgwood ,ware1 #bdi-bgh early imitation of jewels1 #beb illustrations of1 #bjg1 #bdi1 #bef1 #bei1 #bfj1 #bgg lustre ware1 #bbh marks of1 #bfi1 #bgj printed at ,liverpool1 #bdj ,queen's ,ware1 #bec ,sale ,prices1 #bgb ,wedgwood ,bentley1 marks of1 #bfi ,wedgewood1 spurious mark imitating ,wedgwood1 #bgj ,welsh ware1 ,isleworth1 #bje ,whieldon1 ,thomas1 #bea illustration of ,whieldon ware1 #bea ,spode apprenticed to1 #aea ,white porcelain biscuit 7,wedgwood71 #beg ,willow pattern plate1 introduced at-- ,caughley1 #acg ,spode1 #aeb ,wilson 7,staffordshire71 lustre ware1 #bbh ,wolcot1 ,dr4 78,peter ,pindar071 friend of ,cookworthy1 #ib ,wolfe1 ,general1 death of1 on jug1 #bad ,wood1 ,ralph 7,burslem71 #aii ,worcester1 #fg-ij ,billingsley1 flower-painter at1 #afe characteristics of old1 #hc illustrations of1 #fg1 #gc1 #gg1 #ha marks1 #gj1 #ga1 #gh1 #gi ,sale ,prices1 #he ,wrotham1 ,kent1 #bjb ,yarmouth1 pottery at1 #bjj ,young1 ,w4 ,w41 painter1 ,nantgarw1 #agj1 #aga ,printed in ,great ,britain by ,,unwin ,,brothers1 ,,limited1 ,,the ,,gresham ,,press1 ,,woking ,,and ,,london 99 99 99 99 99 ,transcriber's note3 the following changes have been made to this text4 ,frontispiece3 ,schrieber changed to ,schreiber--,lady ,charlotte ,schreiber4 ,page #de3 ,sotherby to ,sotheby--,sotheby1 ,may #ag1 #aibj4 ,plate facing page #gf3 ,wattean to ,watteau--,watteau style transfer4 ,page #ajh3 or to of--bouquets of flowers4 ,page #adc3 comparision to comparison--comparison of the dates4 ,page #bha3 ,sevrs to ,svres--,chelsea1 ,dresden1 ,svres marks4 ,page #bhf3 facfory to factory--establishes the ,coalport factory1 #aci4