THE
CERAMIC ART
OF
GREAT BRITAIN
FROM PRE-HISTORIC TIMES DOWN TO THE PRESENT DAY
BEING A HISTORY OF THE ANCIENT AND MODERN
POTTERY AND PORCELAIN WORKS
OF THE KINGDOM
_AND OF THEIR PRODUCTIONS OF EVERY CLASS_
BY
LLEWELLYNN JEWITT, F.S.A.
LOCAL SECRETARY OF THE SOCIETY OF ANTIQUARIES OF LONDON;
HON. AND ACTUAL MEMBER OF THE RUSSIAN IMPERIAL ARCHÆOLOGICAL
COMMISSION, AND STATISTICAL COMMITTEE, PSKOV;
MEMBER OF THE ROYAL ARCHÆOLOGICAL INSTITUTE OF GREAT BRITAIN AND
IRELAND;
ASSOCIATE OF THE BRITISH ARCHÆOLOGICAL ASSOCIATION;
HON. MEMBER OF THE ESSEX ARCHÆOLOGICAL SOCIETY AND OF THE MANX
SOCIETY, ETC.;
COR. MEMBER OF THE ROYAL HISTORICAL SOCIETY,
ETC. ETC. ETC.
_ILLUSTRATED WITH NEARLY TWO THOUSAND ENGRAVINGS_
IN TWO VOLUMES.--II.
LONDON
VIRTUE AND CO., LIMITED, 26, IVY LANE
PATERNOSTER ROW
1878
[_All rights reserved._]
LONDON:
PRINTED BY VIRTUE AND CO., LIMITED,
CITY ROAD.
CONTENTS OF VOL. II.
CHAPTER I.
PAGE
Potteries of the Tyne, Tees, and
Wear--Newcastle-on-Tyne--Warburton Pottery--Newcastle
Pottery or Forth Banks Pottery--Stepney Bank
Pottery--Ouseburn Bridge Pottery--Ouseburn Ford
Pottery--Ouseburn Potteries--Low Pottery--South
Shore Pottery--Phœnix Pottery--St. Peter’s
Pottery--Gateshead--Carr’s Hill Pottery--St. Anthony’s
Pottery--Sherriff Hill Pottery--Tyne Main Pottery--North
Shields--Low Light Pottery--South Shields--Tyne or Shields
Pottery--North Hylton--South Hylton or Ford--Southwick
Pottery--Wear Pottery--High Southwick Pottery--Deptford
Pottery--Monkwearmouth--Sheepfold Pottery--Sunderland
Pottery and the Garrison Pottery--Seaham
Harbour--Newbottle--Bishop Auckland--New Moor
Pottery--Stockton-on-Tees--Stafford Pottery--North Shore
Pottery--Middlesborough-on-Tees--Wolviston Pottery--Coxhoe
Pottery--Alnwick 1
CHAPTER II.
Liverpool Pottery--Shaw’s Delft Ware--Shaw’s
Brow--Zachariah Barnes--Sadler and Green--Transfer
Printing--Wedgwood’s Printed Ware--Drinkwater’s
Works--Spencer’s Pottery--Richard Chaffers--Reid and
Co.’s Works--The Penningtons--Patrick’s Hill Works--The
Flint Pottery--Herculaneum Works--Warrington Pottery and
China--Runcorn--Prescot--St. Helen’s--Seacombe 18
CHAPTER III.
Derby--Cock-pit Hill--Mayer--Heath--Derby
China--Andrew Planche--Duesbury and Heath--William
Duesbury--Purchase of the Chelsea Works--Weekly
Bills--Show Rooms in London--Sales by Candle--Changes
in Proprietorship--Bloor--Locker--Stevenson
& Co.--Hancock--Painters and
Modellers--Spengler--Coffee--Askew--Billingsley--Pinxton--
Nantgarw--Swansea--Other Artists employed at Derby--Cocker
and Whitaker’s China Works, &c., &c. 56
CHAPTER IV.
Chesterfield--Caskon--Heathcote--Brampton--Posset
Pots--Puzzle Jugs--Welshpool and Payne
Potteries--The Pottery--Walton Pottery--Wheatbridge
Pottery--Alma, Barker, and London
Potteries--Whittington--Bromley--Jewitt--Newbold--Eckington
--Belper--Codnor Park--Denby--Bournes Pottery--Shipley--
Alfreton--Langley Mills--Ilkeston--Pinxton--Pinxton China--China
Tokens--Wirksworth--Dale Abbey--Repton--Encaustic
Tiles--Tile Kilns, London--Tickenhall--Kings
Newton--Burton-on-Trent--Swadlincote Potteries--Church
Gresley Potteries--Gresley Common--Woodville--Hartshorne,
&c.--Wooden Box--Rawdon Works--Pool Works--Coleorton--&c.,
&c. 115
CHAPTER V.
Stoke-upon-Trent--Josiah Spode--Copeland and
Garrett--Copeland and Sons--Mintons--Hollins--Trent
Pottery; Jones--Albert Street Works--Copeland Street
Works--Glebe Street and Wharf Street Works--Copeland
Street--Bridge Works--London Road; Goss--Kirkham--Campbell
Brick and Tile Company--Harrison and Wedgwood--Bankes--Hugh
Booth--Ephraim Booth--Wolf--Bird--Adams and Son--H. and R.
Daniel--Boyle--Reade--Lowndes and Hall 167
CHAPTER VI.
Burslem--Early Potters--Earthenware
Gravestones--Toft--Talor--Sans--Turnor--Shawe--Mitchell--
Cartwright--Rich--Wood--Wood & Caldwell--Churchyard Works--
Bell Works--Red Lion Works--Big House--Ivy House--Lakin &
Poole--Waterloo Works--Boote & Co.--Washington Works--Nile Street
Works--Newport Pottery--Dale Hall--Stubbs--Bates--Walker
& Co.--Mayer & Co.--Dale Hall Pottery--Rogers--Edwards
& Son--Dale Hall Tile Company--Albert Street
Works--Mersey Pottery--Steel--Maddock & Son--New Wharf
Pottery--Over House Works--Swan Bank Pottery--Hill Top
Pottery--Hill Pottery China Works--Crown Works--Scotia
Works--Queen Street Works--Hill Works--Ralph
Wood--Sylvester Pottery--High Street Pottery--Sneyd
Pottery--Hadderidge Pottery--Navigation Works--Sytch
Pottery--Kiln Croft Works--Albert Pottery--Waterloo
Works--Central Pottery--Longport--Davenports--Terra
Cotta--Brownhills--Wood--Littler--Marsh and
Heywood--Brownhills Pottery Company--Cobridge--Cobridge
Works, Brownfields--Clews--Furnivals--Bates &
Bennett--Abbey Pottery--Villa Pottery--Cockson &
Seddon--Alcock & Co.--Elder Road Works--Warburton--Daniel, &c. 236
CHAPTER VII.
Hanley and Shelton--Miles--Phillips--Astbury--Baddeley--
Edwards--Voyez--Palmer--Neale--Wilson--New Hall
Works--Hollins--Keeling--Turner--Warburton--Clowes--Bagnall--New
Hall Company--Richard
Champion--Glass--Twyford--Mare--Twemlow--Old Hall
Works--Meigh--Broad Street Works--Mason--Ashworth--Cauldon
Place--Ridgways--Browne-Westhead & Co.--Trent
Pottery--Keeling--Booth & Co.--Stafford Street
Works--Church Works--Waterloo Works--Kensington
Works--Burton Place Works--Clarence Street Works--Nelson
Place--Phœnix and Bell Works--Bedford Works--Mayer
Street--Cannon Street Works--Brewery Street--Percy Street
Works--Taylor, Tunnicliffe & Co.--Biller & Co.--Albion
Works--Eastwood Vale--Eastwood Works--Dental Manufacturing
Company--Trent Pottery--James Dudson--Victoria
Works--Charles Street Works--High Street--Eagle
Works--Brook Street Works--Cannon Street--William
Stubbs--Norfolk Street Works--Broad Street--Albert
Works--Ranelagh Works--Swan Works--Mayer Street
Works--Brook Street Works--Dresden Works--Bath Street
Works--Waterloo Works--New Street Pottery--Castle Field
Pottery--Henry Venables 298
CHAPTER VIII.
Etruria--Josiah Wedgwood--The Wedgwood Family--Indenture
of Apprenticeship--Ridge House Estate--Etruria Works
founded--Thomas Bentley--Flaxman--Catalogues of
Goods--Jasper and other Wares--Portland Vase--Monument
to Josiah Wedgwood--Marks--Various productions of the
Works--M. Lessore 345
CHAPTER IX.
Longton--Sutherland Road Works--Market Street Works--High
Street Works--Park Works--Sheridan Works--Commerce
Street Works--Crown Works--Stafford Street Works--Peel
Pottery--King Street Works--Chancery Lane Works--St.
Mary’s Works--Commerce Street--New Town Pottery--Borough
Pottery--High Street--New Street--Prince of Wales
Pottery--High Street Works--Alma Works--Market
Street--Victoria Works--Stafford Street--Russell
Street--Mount Pleasant Works--High Street--British Anchor
Works--Royal Porcelain Works--Stafford Street--St.
Gregory’s Pottery--Gold Street Works--Wellington
Works--St. Martin’s Lane--Heathcote Works--Green
Dock Works--Chadwick Street--Baddeley--Waterloo
Works--Heathcote Road Pottery--Sutherland Potteries--Church
Street--Cornhill Works--Sutherland Works--St.
James’s Place--Daisy Bank--Park Hall Street--Viaduct
Works--Beech, King Street--Anchor Pottery--Dresden
Works--Palissy Works--Fenton, Minerva Works--Victoria
Works--Fenton Potteries--Fenton Pottery--Foley--Old
Foley Pottery--Anchor Works--Fenton Potteries--Lane
Delph Pottery--Grosvenor Works--Park Works--Foley
Pottery--Foley Potteries--Foley China Works--King Street
Works--Heath--Bacchus--Meir--Harrison--Martin--Miles
Mason--Whieldon--Wedgwood &
Harrison--Turner--Garner--Edwards--Johnson--Phillips--
Bridgwood--Greatbach--Greenwood--Heathcote, &c. 386
CHAPTER X.
Tunstall--Early Potters--Enoch
Booth--Child--Winter--Unicorn and Pinnox
Works--Greenfield Works--Newfield Works--George Street
Pottery--Phœnix Works--Sandyford--Lion Works--Victoria
Works--Swan Bank Works--Church Bank Works--Well
Street Works--Old Works--Black Bank--High Street
Works--Woodland Pottery--Greengate Pottery--Sandyford
Works--Tunstall Works--Highgate Pottery--Clay Hill
Pottery--Royal Albert Works--Soho Works--Marshall &
Co.--Walton--Stevenson--Birch--Eastwood--Shorthose
& Co.--Heath &
Son--Newcastle-under-Lyme--Tobacco-pipes--Charles
Riggs--Garden Edgings--Thomas Wood--Terra Cotta
Works--Armitage--Lichfield--Penkhull, &c. 423
CHAPTER XI.
Swansea--Cambrian Pottery--Dillwyn’s Etruscan Ware--Swansea
China--Glamorgan Pottery--Rickard’s Pottery--Landore
Pottery--Llanelly--South Wales Pottery--Ynisymudw--Terra
Cotta Works--Nantgarw--Billingsley--Nantgarw
China--Brown and Stoneware Potteries--Cardigan--Cardigan
Potteries--Hereford--Lugwardine Tile Works--Torquay--Terra
Cotta Works--Alderholt--Smethwick--Reading--Coley Avenue
Works--Wakefield Moor--Houghton’s Table of Clays--Ditchling
Pottery, &c.--Amblecote--Leicester--Spinney Hill
Works--Wednesbury--Winchester--Aylesford--Exeter--Lincoln 435
CHAPTER XII.
Irish Ceramics--Early Pottery of Ireland--The
Cairns--The Crannogs--Mediæval Pottery of
Ireland--Dublin--Delamain--Stringfellow--Grants by
Irish Parliament--Donovan--Delft Ware--Brown Ware
Manufactories--Belfast--Leathes and Smith--Delft
Ware--Coates’ Pottery--China Works--Florence Court
Pottery--Coal Island Pottery--Youghal Pottery--Captain
Beauclerc’s Terra Cotta--Larne Pottery Works--Castle Espie
Pottery--Belleek China and Earthenware Works, &c. 459
CHAPTER XIII.
Early Pottery of Scotland--Cinerary Urns--Mediæval
Pottery--Glasgow--Delft Ware--Verreville
Pottery--Garnkirk Works--Gartcosh Works--Heathfield
Pottery--Glasgow Pottery--North British Pottery--Saracen
Pottery--Port Dundas Pottery Company--Hyde Park
Potteries--Britannia Pottery--Annfield Pottery--Bridgeton
Pottery--Barrowfield Pottery--Coatbridge--Glenboig
Star Works--Glenboig Fire-Clay Works--Cardowan and
Heathfield Works--Paisley--Ferguslie Works--Shortroods
and Caledonia Works--Paisley Earthenware Works--Crown
Works--Grangemouth--Fire-brick Works--Greenock--Clyde
Pottery--Dumbarton--Rutherglen--Caledonia
Pottery--Portobello--Midlothian Potteries--Portobello
Pottery--Kirkcaldy--Sinclairtown Pottery--Kirkcaldy
Pottery--Gallatown Pottery--Boness--Boness
Pottery--Prestonpans Pottery--Alloa--Alloa Pottery--The
Hebrides 499
CHAPTER XIV.
A List of Patents relating to Ceramics from 1626 to 1877 524
CERAMIC ART IN GREAT BRITAIN.
CHAPTER I.
Potteries of the Tyne, Tees, and
Wear--Newcastle-on-Tyne--Warburton Pottery--Newcastle Pottery
or Forth Banks Pottery--Stepney Bank Pottery--Ouseburn Bridge
Pottery--Ouseburn Ford Pottery--Ouseburn Potteries--Low
Pottery--South Shore Pottery--Phœnix Pottery--St. Peter’s
Pottery--Gateshead--Carr’s Hill Pottery--St. Anthony’s
Pottery--Sherriff Hill Pottery--Tyne Main Pottery--North
Shields--Low Light Pottery--South Shields--Tyne or Shields
Pottery--North Hylton--South Hylton or Ford--Southwick
Pottery--Wear Pottery--High Southwick Pottery--Deptford
Pottery--Monkwearmouth--Sheepfold Pottery--Sunderland Pottery
and the Garrison Pottery--Seaham Harbour--Newbottle--Bishop
Auckland--New Moor Pottery--Stockton-on-Tees--Stafford
Pottery--North Shore Pottery--Middlesborough-on-Tees--Wolviston
Pottery--Coxhoe Pottery--Alnwick.
The following brief account of the earthenware works of
Newcastle-upon-Tyne and its district, drawn up for the British
Association, in 1863, by Mr. C. T. Maling, one of the manufacturers,
may serve as an introduction to this chapter. “The manufacture of
white earthenware was introduced into this district by Mr. Warburton,
at Carr’s Hill Pottery, near Gateshead, about 1730 or 1740. Those
works were very successfully carried on for seventy years, when they
gradually declined, and in 1817 were closed. A small portion of the
building is still used as a brown ware pottery. The next manufactory
was built by Mr. Byers, at Newbottle, in the county of Durham, about
1755, where brown and white earthenware still continues to be made.
In 1762, Messrs. Christopher Thompson and John Maling erected works
at North Hilton, in the county of Durham; their successor, Mr. Robert
Maling, in 1817 transferred his operations to the Tyne, where his
descendants still continue the manufacture. St. Anthony’s, Stepney
Bank, and Ouseburn Old Potteries were commenced about the year 1780 or
1790. Messrs. A. Scott & Co. and Messrs. Samuel Moore & Co. erected
potteries at Southwick, near Sunderland, the former in the year 1789,
the latter in 1803. The pottery carried on by Messrs. John Dawson
& Co., at South Hylton, was built by them in 1800. The works of
Messrs. John Carr & Sons, at North, Shields, were erected in 1814.
Messrs. Thomas Fell & Co. built St. Peter’s Pottery in 1817. The
establishment of Messrs. Skinner & Co., Stockton-on-Tees, dates from
1824. There are now about twenty-five potteries in this district, of
which, on the Tyne, six manufacture white and printed wares, four
white, printed, and brown wares, and three brown ware only, employing
1,200 people, and manufacturing yearly about 12,000 tons of white
clay and 3,000 tons of brown clay, and consuming in the process of
manufacture about 34,000 tons of coals. On the Wear there are two
potteries manufacturing white and printed wares, two white, printed,
and brown wares, and two brown ware only, employing about 500 people,
manufacturing yearly about 4,000 tons of white clay, 1,500 tons of
brown clay, and consuming in the manufacture about 14,000 tons of
coals. On the Tees there are four potteries manufacturing white and
printed wares, employing 500 people, manufacturing 5,000 tons of white
clay and consuming 13,000 tons of coals. Two potteries at Norton
manufacture brown wares; the particulars of their operations the author
has not been able to obtain. The potteries in this district, being
situated upon navigable rivers, have great advantages over their inland
competitors, Staffordshire and Yorkshire. The expenses on clay from
sea freight and inland carriage average 13s. per ton to Staffordshire,
and 5s. per ton to this district; and in flints the advantage is still
greater, in Staffordshire the average being 19s. per ton against 4s.
6d. per ton here. Coals, although a little dearer here per ton, are
so much superior in quality that 80 tons of Newcastle coals are equal
to 100 tons of Yorkshire or Staffordshire coals. About 1858 Messrs.
Skinner & Co., of Stockton-on-Tees, first applied Needham & Kite’s
patent filtering press for expelling the surplus water from the slip,
which had formerly been done by evaporation. This is a much cleaner
and better process than the old system, and is now adopted by thirty
or forty potteries in England and Scotland. With the exception of
three potteries in this district and at Glasgow, machinery has been
very little applied to the manufacture of earthenware, and even at
these works not nearly to the extent to which it is capable of being
profitably adopted. One manufactory on the Tyne, Ford Pottery, having
the best machinery, supplies at least 80 per cent. of the jars used by
confectioners for marmalade and jam, &c., in England and Scotland. The
description of goods manufactured in this district is that used by the
middle and working classes, no first class goods being made here. The
principal markets, in addition to the local trade, are the Danish,
Norwegian, German, Mediterranean, and London, for exportation to the
colonies. The trade to the United States being so very small from here,
the American war has affected this district less than any other.”
The potteries of the Tyne are:--
NEWCASTLE-UPON-TYNE.
_Warburton Pottery_ was established about 1730; its site was on
Pandon Dean, Newcastle-on-Tyne. Coarse ware was, I believe, its only
product. It was removed between 1740 and 1750 to Carr’s Hill, Gateshead
(which see).
* * * * *
_Newcastle Pottery_, or _Forth Banks Pottery_, commenced operations
about 1800, by Messrs. Addison and Falconer. Some years after it
passed into the occupation of Messrs. Redhead, Wilson, and Co., then
Messrs. Wallace and Co., who now make only brown ware, but formerly
manufactured white and printed ware also.
STEPNEY BANK.
The _Stepney Bank Pottery_ was established about 1780 or 1790, for
the production of the common earthenware. In 1801 it was occupied by
Messrs. Head and Dalton; in 1816 by Messrs. Dryden, Coxon, and Basket;
in 1822 by Messrs. Davies, Coxon, and Wilson; in 1833 by Messrs.
Dalton and Burn, who were succeeded by Mr. G. R. Turnbull, by whom the
character of the ware was considerably improved. About 1872 the works
passed into the hands of Mr. John Wood, who produces both white and
brown ware.
OUSEBURN.
_Ouseburn Bridge Pottery_ was commenced in 1817, by Mr. Robert Maling
(see North Hylton Pottery), who manufactured white and printed ware
chiefly for the Dutch market. He was succeeded, in 1853, by his son,
C. T. Maling, who in 1859 built Ford Pottery, and discontinued his old
works. They were re-opened under the name of the Albion Pottery, by
Bell Brothers, about 1863; next by Atkinson and Galloway, and lastly by
Mr. W. Morris, and were finally closed in 1872.
_Ford Pottery._--This pottery was built in 1859 by Mr. Christopher T.
Maling, son of Mr. Robert Maling, who, in 1817, had removed the Hylton
pottery[1] to Newcastle. The works were erected for the purpose of
manufacturing by machinery the various goods produced by Mr. Maling,
the main bulk of which are marmalade, jam, and extract-of-beef pots.
These are of a very fine and compact white body, with an excellent
glaze made from borax without any lead; and it is said that at least
95 per cent. of these pots used by wholesale manufacturers in Great
Britain are made at this establishment. The pots being entirely made
by machinery are necessarily much more uniform in size and weight and
thickness than those produced by any other process, and these, as well
as the excellence of body and glaze, are advantages which have been
appreciated. The mark used is simply the name or MALING impressed in
the clay, [image MALING]with, sometimes, the initial of the house for
whom they are made, as for “Keiller,” and so on.[image MALING and K]
* * * * *
_Ouseburn Pottery_ was built about the same date as Stepney Bank
Pottery, by Mr. Yellowley, who was succeeded by Messrs. T. and J.
Thompson, then by Mr. I. Maling; it was finally closed about 1864.
White, printed, and brown ware were its productions.
* * * * *
Another _“Ouseburn Pottery”_ was established, at the latter end of
last or the early part of the present century, by Mr. Ralph Charlton,
who carried on the business on a small scale for the manufacture of
brown ware. On his death he was succeeded by his son, John Charlton,
who after a few years gave up the business, and was succeeded by Mr.
George Gray who, or his predecessor, enlarged the kilns, &c. Mr. Gray
was succeeded in the business by Messrs. Morrow and Parker, from
whose hands it passed into those of Mr. Rogers, who erected another
kiln and otherwise extended the buildings. It was next worked by Mr.
William Blakey, who held it until 1860, when it passed into the hands
of Messrs. Robert Martin and Co., who still continue the business. The
goods made are brown ware, and brown ware lined with white, in all the
usual classes of domestic vessels.
Another “Ouseburn Pottery,” established some years ago, passed in 1860
into the hands of Mr. John Hedley Walker. Its productions are plain
and ornamented flower-pots, chimney-pots, and horticultural vessels of
various kinds, as well as the lead-pots and lead-dishes which are so
extensively used in the lead works of the district.
* * * * *
The _Low Pottery_, identical with the Ouseburn Pottery, now
discontinued, was carried on by Messrs. Thompson Brothers, for the
manufacture of white and Sunderland wares.
* * * * *
_South Shore Pottery._--Now discontinued.
* * * * *
_The Phœnix Pottery_ was built by John Dryden and Co., about 1821,
for the manufacture of brown ware. White and printed ware were made
afterwards. About 1844, it passed into the hands of Messrs. Isaac Bell
and Co. for a short time; it was afterwards purchased and carried
on by Messrs. Carr and Patton (who at same time had North Shields
Pottery); it was then carried on by Mr. John Patton; next by Messrs.
Cook Brothers, who discontinued manufacturing earthenware in 1860, and
converted the premises into a Chemical Factory.
Mr. John Charlton had also a small manufactory in the Ouseburn.
* * * * *
_St. Peter’s Pottery_ was established in 1817 by Messrs. Thomas Fell
and Thomas Bell under the style of “Thomas Fell & Co.,” by whom it
was carried on until 1869, when it became a limited liability company
under the same title; the shareholders being the descendants of the
original proprietors. The productions are still, as they have always
been, the ordinary classes of common earthenware, in white, printed,
and sponged varieties. The mark was formerly an anchor with the letter
_F_ [anchor] (for “Fell”) on one side, and the workman’s mark or number
on the other, impressed in the body of the ware. Later on this mark was
discontinued, and the name FELL substituted. Under the company only
printed ware is marked, and that bears the name FELL & Co.
* * * * *
_St. Anthony’s Pottery._--This is one of the oldest potteries for
fine ware on the Tyne, being established about 1780, but nothing is
known as to its earlier history. In 1803 or 1804 it passed into the
hands of a Mr. Sewell, in whose family it has continued to the present
day, under the styles of “Sewell & Donkin,” and “Sewell & Co.” The
following particulars were furnished to me by the aged manager of the
works, Mr. T. T. Stevenson:--
“I cannot go back to say when first begun as a Small White and
Common Brown Ware Works, but about 1803 or 1804 it was taken
by the Sewells, and gradually extended by them for Home trade
until 1814 or 1815, when a considerable addition was made to
manufacture entirely for exportation, chiefly _C.C._ or Cream
Coloured, Painted, and Blue Printed, and when I came to the
Works in 1819, the description of ware then produced say about
five Gloss Ovens and two or three Enamel Kilns per week, say
C.C. and best Cream Colour to _imitate Wedgwood’s_ Table Ware
then made in considerable quantities for Holland and other
Continental markets, all kinds of Biscuit Painted, Printed very
dark engraved patterns, also Stamping with _Glue_, and Printing
on the Glaze from Wood Engravings, also with _Glue_, I believe
the first that was done in this way, Gold and Silver lustre,
&c. So it has been continued up to the present period by the
Sewell family; but latterly not doing so much business, owing
to a change of partnership, and is at present in the market for
sale since the death of Mr. Henry Sewell, the natural son of the
late Joseph Sewell, who was the Potter for nearly sixty years,
and was a noble specimen of a good master and the old English
gentleman.”
The fact of printing on pottery from _wood_ engravings, being practised
at these works, is highly interesting, as I have been enabled to
ascertain that engravings by Bewick were thus brought into use;
specimens are, however, very rare. In the Museum of Practical Geology
are examples of St. Anthony’s ware; they bear the marks--
SEWELL
SEWELL & DONKIN
SEWELLS & DONKIN
SEWELLS & CO.
GATESHEAD.
The _Carr’s Hill Pottery_ was the first manufactory for white ware in
the North of England. Painted, enamelled, and brown ware was also made.
It was established about 1750, by a Mr. Warburton, who removed to this
place from Newcastle (see Warburton Pottery), and was successfully
carried on by him and his successors until 1817, when it was closed. A
part of the premises was afterwards carried on by Messrs. Kendall and
Walker, and later still by Messrs. Isaac Fell and Co.
SHERRIFF HILL.
_Sherriff Hill Pottery._--These works are carried on by Mr. George
Patterson, as the successor of the firm of Jackson and Patterson. His
chief productions are white ware, which are supplied largely to the
Norwegian Markets.
Messrs. Lewins and Parsons are also stated to have had a pottery here
for the manufacture of the common kinds of earthenware.
* * * * *
_Tyne Main Pottery_, on the opposite side of the river to St. Peter’s,
was built by Messrs. R. Davies and Co., in the year 1833, and carried
on by them, manufacturing white, printed, and lustre ware, chiefly for
the Norwegian market. It was closed in 1851. Mr. R. C. Wilson, the
managing partner, then commenced manufacturing at Seaham Harbour.
There was also a pottery at Heworth Shore, carried on by Patterson,
Fordy, and Co. It was closed about 1835.
There was also a pottery at Jarrow for a few years, which manufactured
brown ware only.
NORTH SHIELDS.
The “_Low Light Pottery_” was established in 1814, by Mr. Nicholas
Bird, and afterwards passed from him, in or about 1829, to Messrs.
Cornfoot, Colville, and Co. The firm was afterwards changed to
Cornfoot, Patton, and Co., and on the withdrawal of Mr. Cornfoot,
and the addition of Mr. John Carr, the style was changed to that of
“Carr and Patten.” Next the firm was “John Carr and Co.,” and when the
concern became the property of the first of these partners, the late
Mr. John Carr, he and his sons carried it on under the style of “John
Carr and Sons.” It is still continued by the same family under that
style. Originally brown and black wares of the usual common kinds were
made, in addition to the ordinary earthenware, but in 1856 these were
discontinued, and the ordinary white earthenware in cream coloured,
printed, painted, and lustred varieties substituted; these are the
only productions of the firm. These goods are exported principally to
the Mediterranean ports and to Alexandria, for transport to Cairo, and
by the Red Sea to Bombay, &c. It is for these markets that the goods
are mainly manufactured. In brown ware, common mugs, butter-jars,
pancheons, milk-pans, &c., were produced; and in black ware, Egyptian
black and smeared tea-pots, cream ewers, and other articles were
produced. The mark, which, however, has been but seldom used, is a
stag’s head.
SOUTH SHIELDS.
The _Tyne_ or _Shields Pottery_ was established about 1830, by a Mr.
Robertson, from whom, about 1845, it passed into the hands of Mr. John
Armstrong; by whom the works were considerably enlarged. In 1871 the
concern was purchased by Messrs. Isaac Fell and George Shields Young,
by whom it is still carried on under the style of “Isaac Fell and Co.”
The goods manufactured are “Sunderland” and “brown” wares, of which
large quantities are shipped for the Continent, as well as supplied
to the London, Scottish, and other home markets. The goods are, as
usual, made from the common brick clay, and after drying are lined
inside with white slip; and they are glazed with lead glaze. The “Tyne
Pottery” is, with the exception of the works of Messrs. Harwood, at
Stockton-on-Tees, the largest in the district for this kind of pottery.
The Potteries of the Wear are:--
NORTH HYLTON.
A pottery was established here in 1762, by Messrs. Christopher
Thompson and John Maling, for the manufacture of the ordinary brown
and white earthenware for the home trade, and also for France: the
first printed ware made in the North of England was manufactured here.
The works were also celebrated for their enamel and lustre wares. In
1817 their successor, Mr. Robert Maling, removed his works from Hylton
to the neighbourhood of Newcastle-on-Tyne, where he manufactured
principally for the Dutch markets. They were afterwards carried on by
Dixon, Austin, Phillips, and Co., who at the same time carried on the
Sunderland Pottery (which see).
In the Mayer Museum is an excellent example of this lustre ware. It
is a large jug, of creamy-white earthenware, very light, ornamented
with purple lustre in wavy lines, &c. On one side of the jug is an
engraved and coloured view of the iron bridge over the river Wear,
and underneath it (engraved and transferred from the same plate)
in three small ovals, with borders, &c., are the inscriptions:--“A
South-East View of the Iron Bridge over the Wear, near Sunderland.
Foundation-stone laid by R. Burdon, Esq., September 24th, 1795.
Opened, August 9th, 1796. Nil Desperandum. Auspice Deo.” “Cast Iron,
214 tons; Wrought do., 40.” “Height, 100 feet; Span, 256.” “J.
PHILLIPS, HYLTON POTTERY.” On the other side of the jug is another
engraving, having in its centre a tree, on one side of which, in the
distance, is a ship, and on the other a public-house. In the foreground
of the ship side of the tree is a sailor; and on the other a woman with
hat and feathers, an umbrella, and a little dog. Underneath are the
words--“Jack on a Cruise. ‘Avast there! Back your maintopsail.’” In
front of the jug, beneath the spout, in an oval, occurs the verse:--
“REST IN HEAVEN.
“There is an hour of peaceful rest
To mourning wanderers given;
There’s a tear for souls distrest,
A balm for every wounded breast--
’Tis found above in Heaven.”
In my own collection is another example of this white ware with purple
“lustre-splash” ornament. On one side is an engraving, in an oval, of
the same bridge; and around the oval the inscription--“A West View of
the Cast Iron Bridge over the River Wear; built by R. Burdon, Esq.
Span, 236 feet; height, 100 feet. Begun, 24 Sept., 1795. Opened, 9
Aug., 1796.” On the other side, a ship in full sail. Another example
is a punch-bowl. Like the others, it is decorated with purple lustre,
and with views, ships, and verses in transfer-printing. On the bottom,
inside, is a similar view of the Wear bridge to the one just described,
in an oval, with the same inscription. The inside is divided into three
compartments, in one of which is a ship in full sail, with the words--
“May Peace and Plenty
On our nation smile,
And Trade and Commerce
Bless the British Isle.”
in another, in a border of flowers, surmounted by a small ship, is this
verse:--
“Glide on, my bark, the summer’s tide
Is gently flowing by thy side;
Around thy prow the waters bright,
In circling rounds of broken light,
Are glittering as if ocean gave
Her countless gems to deck the wave.”
and on the third, is a similar border:--
“THE SAILOR’S TEAR.
“He leap’d into the boat,
As it lay upon the strand,
But, oh! his heart was far away
With friends upon the land;
He thought of those he lov’d the best,
A wife and infant dear;
And feeling fill’d the sailor’s breast,
The sailor’s eye--a tear.”
On the outside, are also three engravings. The first is a ship in full
sail; the next a border of flowers with a small “world” at top, with
the verse:--
“This is a good world to live in,
To lend, or to spend, or to give in,
But to beg or to borrow,
Or to get a man’s own,
It is such a world
As never was known.”
and the third has a border of flowers and the verse:--
“The loss of gold is great,
The loss of health is more.
But losing Christ is such a loss
As no man can restore.”
SOUTH HYLTON OR FORD POTTERY.
The works of Messrs. John Dawson & Co. were erected by them in 1800,
and were carried on by the firm until 1864, when, on the death of the
last of the family, Mr. Charles Dawson, they were closed and converted
into bottle houses; these were destroyed by fire. The flint mill was
taken by Mr. Ball, of the Deptford Pottery, who grinds large quantities
of flint for both home consumption and export. The mark was simply
the name “DAWSON” impressed in the ware. A part of the premises were,
several years afterwards, used as a brown ware manufactory, and later
still by Messrs. Isaac Fell and Co.
SOUTHWICK.
The _Southwick Pottery_ was built in 1788, by Mr. Anthony Scott, who
had, previously to that time, carried on a small potwork at Newbottle,
and it is still the property of one of his descendants, Mr. Anthony
Scott, and is carried on by that family, under the style of “Scott
Brothers and Co.” At these works, which are among the most successful
in the district, and where especial care is taken as to quality of the
productions, the usual classes of white, coloured and brown earthenware
are produced. In these works upwards of 150 “hands” are employed. The
goods are made for foreign markets, the greater part being exported to
Denmark and Germany. Messrs. Scott Brothers and Co., of these works,
stand--and deservedly so--high in the scale of manufacturers, and their
goods, whether of the finer or of the commoner classes, are in good
repute, and are well calculated for an extensive home trade.
* * * * *
The _Wear Pottery_, founded by Messrs. Brunton & Co., in 1803, and soon
after carried on by Messrs. Samuel Moore & Co., passed, about 1861,
into the hands of its present proprietor, Mr. Robert Thomas Wilkinson,
by whom it is carried on under the style of “Samuel Moore & Co.” The
goods manufactured are the ordinary descriptions of white, sponged, and
printed earthenware, and also brown ware, for the English, German, and
Danish markets.
* * * * *
The _High Southwick Pottery_, for Sunderland ware, is carried on by Mr.
Thomas Snowball.
* * * * *
_Deptford Pottery._--These works were established at Diamond Hall, in
1857, by Mr. Wm. Ball for the manufacture of flower-pots, in which he
effected many important improvements, one of the principal of which is
the “making them hollow footed, or with concave bottoms, with apertures
for drainage and air, and kept free from the attacks of worms. This
gives them a superiority over most, and has gained an extensive
patronage.” In 1863 the manufacture of “Sunderland Ware”--glazed brown
earthenware lined with white--was introduced, and is carried on very
largely for the London and Scottish markets. At these works, too,
suspenders, highly decorated, and other flower vases, seed-boxes, &c.,
are extensively made. Machinery has lately been introduced which very
much facilitates the manufacture of the ware.
MONKWEARMOUTH.
The _Sheepfold Pottery_, for Sunderland ware, is carried on by Messrs.
T. J. Rickaby & Co.
* * * * *
The _Sunderland Pottery_ or the _Garrison Pottery_, also established
by Mr. Phillips, and carried on by Dixon, Austin, Phillips, and Co.,
produced white and Queen’s ware, in all the usual variety of articles.
Sponged, printed, painted, and lustred earthenware were also produced.
The works are now discontinued. The marks were
PHILLIPS & CO.
_Phillips & Co._
PHILLIPS & CO.
SUNDERLAND, 1813
PHILLIPS & CO.
SUNDERLAND POTTERY.
In the Mayer collection is a well-painted quart mug, with allegorical
group of the arts, with the name “W. DIXON, 1811,” pencilled on the
bottom. Among other examples in the Jermyn Street Museum are a printed
coloured and lustred jug, bearing on one side the common view of the
bridge over the Wear, and on the other the Farmers’ Arms, while in
front are the words--“Forget me not,” within a wreath. It bears the
name DIXON AUSTIN & CO., SUNDERLAND. Figures were also produced, and
marked examples may be seen in the same museum. The name occurs in
various ways beyond those just given. Thus, among others, are “_W.
Dixon_,” “_Dixon & Co._,” “_Dixon & Co., Sunderland Pottery_,”
DIXON AUSTIN & CO
_Sunderland Pottery_
DIXON & CO
Sunderland Pottery
DIXON & CO
SUNDERLAND
SEAHAM HARBOUR.
A manufactory was built here about the year 1836 for the manufacture of
brown ware by Captain Plowright, of Lynn, and in 1838 it was altered
into a white and printed ware manufactory, by a number of workmen from
Messrs. Dawson and Co., of Hylton; it was closed about the year 1841,
and re-opened in 1851, by Mr. R. C. Wilson, and finally closed in 1852.
NEWBOTTLE.
These works were founded about 1755, by Mr. Byers, and he manufactured
both brown and white wares. They passed into the hands of Mr. Anthony
Scott, who carried them on until 1788 (see “Southwick”). They are now
discontinued. A pottery for the manufacture of common brown ware, and
flower-pots, &c., was also carried on by Messrs. Broderick, but is now
discontinued.
BISHOP AUCKLAND.
_New Moor Pottery_, at Evenwood, carried on by Mr. George Snowdon for
the manufacture of brown ware.
The potteries of the Tees are:--
STOCKTON-ON-TEES.
_Stafford Pottery._--Several earthenware manufactories have been
carried on at this place, and, at the present day, there are four
pot-works in operation, at each of which a considerable number of
hands are employed. The largest, called the “Stafford Pottery,” at
South Stockton, or Thornaby, was established, in 1825, by Mr. William
Smith, a builder of Stockton, for the manufacture of the ordinary brown
ware. Determining shortly afterwards to add the general earthenware to
its productions, he visited Staffordshire, and engaged and ultimately
took into partnership Mr. John Whalley, a Staffordshire potter of
considerable skill, to carry on the work. The firm commenced, under
the style of “William Smith & Co.” in January, 1826. In 1829, in order
further to extend the concern and increase its capital, a partnership
was entered into with Messrs. William and George Skinner, sons of Mr.
Skinner, banker, of Stockton, and continued for some years, when Mr.
George Skinner having purchased the interest of his brother, and of
Mr. William Smith, changed the name of the firm to that of “George
Skinner & Co.” By Mr. George Skinner and Mr. Whalley it was carried on
for some years, when the latter retired, and the management devolved
on Mr. Ambrose Walker, who, shortly after the death of Mr. Skinner
in April, 1870, succeeded to the business, and still carries it on
in connection with the executors of Mr. Skinner under the style of
“Skinner and Walker.” Mr. Walker is a native of Hanley, and in 1837,
when a boy, came to Stockton with his father, who at that time entered
the service of Messrs. Smith & Co. In 1843 he became junior clerk, and
was instructed in the art of potting by Mr. Whalley, who subsequently
transferred to him his valuable receipts.
It is worthy of remark that at these works for many years past, no
thrower is employed; this important branch of the art being entirely
superseded by machinery, for the application of which to potting the
firm has acquired a high reputation.
The goods manufactured were principally “Queen’s ware;” a fine white
earthenware; and a fine brown ware, which were shipped in large
quantities for Belgium, Holland, and some parts of Germany. I am
also informed that the firm at one time established a branch pottery
at Genappes, near Mons, in Belgium, sending workmen from Stockton;
and that the manufactory there was carried on under the style, of
“Capperman & Co.” One mark is--
W. S. & CO.
QUEEN’S WARE.
STOCKTON.
impressed in the body. Other examples have simply the words
STOCKTON.
or
S. & W.
QUEEN’S WARE.
STOCKTON.
or the same, without the initials impressed upon them.
In 1848 the firm consisted of William Smith, John Whalley, George
Skinner, and Henry Cowap, and in that year an injunction was granted
restraining them from using, as they had illegally done, the name of
“WEDGWOOD & CO.” or “WEDGEWOOD,” stamped or otherwise marked on goods
produced by them. The following is the official notification of this
matter, which I here reprint from my “Life of Wedgwood:”
“Vice-Chancellor of England’s Court,
“Lincoln’s Inn, 8th August, 1848.
“IN CHANCERY.
“_Wedgwood and others_ against _Smith and others_.
“MR. BETHELL on behalf of the Plaintiffs, Francis Wedgwood
and Robert Brown (who carry on the business of Potters, at
Etruria, in the Staffordshire Potteries, under the Firm of
‘Josiah Wedgwood and Sons’), moved for an Injunction against
the defendants, William Smith, John Whalley, George Skinner,
and Henry Cowap (who also carry on the business of Potters, at
Stockton, in the County of Durham, under the firm of ‘William
Smith and Company’), to restrain them and every of them, their
Agents, Workmen, or Servants, from stamping, or engraving,
or marking, or in any way putting or placing on the Ware
manufactured by them, the Defendants, the name ‘Wedgwood’ or
‘Wedgewood,’ and from in any manner imitating or counterfeiting
such name on the Ware manufactured by the Defendants since the
month of December, 1846, or hereafter to be manufactured by the
Defendants, with the name ‘Wedgwood’ or ‘Wedgewood,’ stamped,
engraved, or otherwise marked or placed thereon. M‘r. Bethell
stated that the trade mark ‘Wedgwood’ had been used by the
family of the Wedgwoods for centuries; he would not, however, go
further into the matter at present, because Mr. Parker appeared
for the Defendants, and it might become necessary--with whom,
and himself, it had been arranged by consent on Mr. Parker’s
application on behalf of the Defendants, for time to answer
the Plaintiffs’ Affidavits--that the Motion should stand over
until the Second Seal in Michaelmas Term next; and that in the
meantime the Defendants should be restrained as above stated;
except that for the words, ‘since the month of December,
1846,’ the words, ‘since the month of July, 1847,’ should be
substituted. Mr. J. Parker said he appeared for the Defendants,
and consented without prejudice; and on his application for time
to answer the Plaintiff’s Affidavits, the Court made an order
accordingly.
“On the 9th day of November, being the Second Seal in Michaelmas
term, 1848, Mr. E. Younge, as counsel for the above-named
Plaintiffs, moved for, and obtained, a perpetual Injunction
against the Defendants in the Terms of Mr. Bethell’s Motion,
substituting for the words, ‘since the month of December, 1846,’
the words, ‘since the month of July, 1874;’ the Defendants
consenting to pay to the Plaintiffs their costs.
“Solicitor for the Plaintiffs,
“SAMUEL KING,
“Furnival’s Inn, Middlesex.”
In 1845, Messrs. George Skinner and John Whalley took out a patent
for “certain improvements in the manufacture of earthenware pastes and
vitreous bodies, and also a new composition and material for the same,
with certain new modes of combination thereof, which improvements,
compositions, and combinations are applicable to the manufacture of
earthenware pastes, vitreous bodies, slabs, tiles, and pavement, and
various other useful and ornamental purposes, and is especially adapted
for grave indicators, hydrant indicators, etc., as it is impervious
to all weather and unaffected by change of atmosphere.” This consists
in “combining chalk or carbonate of lime in union with silica, flint,
or silex.” In the specification seven compositions are given, five
of which are for ware and the other two for glaze. The compositions
for ware are various “combinations of the above substances, and they
contain besides, some or all of the following substances, namely,
Cornwall stone, china clay, ball clay, felspar, helspar, or sulphate
of barytes.” The wares may be tinted with the oxides generally used.
Nos. 1 and 2 compositions do not require glazing; Nos. 3, 4, and 5 can
be glazed with glazes which either do or do not contain lead. In this
patent two glazes without lead are claimed. One of these is made of
felspar and chalk, and the other of chalk, silica, flint, or silex,
Cornwall stone, china clay, ball clay, and felspar, mixed in certain
proportions.
NORTH SHORE POTTERY.
The “_North Shore Pottery_” was established about 1840, by Mr. James
Smith, afterwards of Danby Grange, near Yarm, in Yorkshire, and was
carried on by his nephew, Mr. William Smith, Jun. (son of the William
Smith to whom I have alluded as the founder of the “Stafford Pottery”),
under the style of “William Smith, Jun., and Co.” Subsequently to
this the business was carried on successively under the styles of “G.
F. Smith and Co.” and “G. and W. Smith.” A few years ago the senior
partner, Mr. S. P. Smith, retired from the concern, and since then it
has been continued solely by Mr. William Smith, son of the founder and
still present owner of the works.
The classes of goods made at this pottery were both in white and
cream-coloured wares, and some of the examples of the first productions
are of excellent quality. The markets for which, principally, the
“North Shore Pottery” goods were and are made, are, besides the home
trade--which is principally confined to London and the South of
England--Holland, Germany, and Denmark. Large quantities of wares are
also exported to Constantinople, and other Mediterranean markets. The
goods now made are the usual classes of white earthenware, and printed
and coloured goods, in dinner, teas, toilet, and other services; bread,
cheese, and other trays of good design; mugs, jugs, basins, and all the
usual varieties of domestic vessels. In quality they equal the ordinary
classes of Staffordshire ware, and many of the printed patterns
(notably, perhaps, the “Danby”) are of a superior kind. The “sponge
patterns” for foreign markets are extensively used, and green-glazed
ware in flower-pots, &c., are also made.
The impressed mark at the present time is
W. S.
Stockton.
The printed marks, besides an ornamental border and the name of the
pattern, bear simply the initials W. S.
Other potteries are Mr. Ainsworth’s, at North Stockton, for white and
printed wares; Mr. Thomas Harwood “The Norton Pottery,” at Norton, for
Sunderland and yellow wares; and Messrs. Harwood Brothers, “_Clarence
Pottery_,” for Sunderland ware.
MIDDLESBOROUGH-ON-TEES.
The Middlesborough Pottery was established in 1831; the first oven
being fired in April of that year, and the first order shipped to
Gibraltar in September. They were the first public works established in
Middlesborough. From 1831 to 1844 the firm traded under the style of
“The Middlesborough Pottery Company,” and from that year until 1852 as
“The Middlesborough Earthenware Company.” From 1852 to the present time
the firm has traded under the name of the proprietors as “Messrs. Isaac
Wilson & Co.” The works, with wharf, occupy an area of about 9,702
square yards.
At the first commencement of the works the proprietors directed
their attention to the production of the better classes of ordinary
earthenware for the continental trade, and in the same year in which
the works were started, their present extensive warehouse at Roding’s
Mart, Hamburg, was established. The goods produced are the ordinary
“opaque china,” cream-coloured ware, and lustre enamelled ware in
dinner, tea, and toilet services, and all the general classes of
domestic vessels, enamelled flower pots, bread trays, &c. Some of these
are of very good quality, and the printed services are equal to the
more ordinary Staffordshire goods. The principal impressed marks, used
are the following--
The printed marks indicating the pattern have, in addition to the name
of the pattern (“Convolvulus,” “Trent,” “Nunthorpe,” &c.) the initials
of the firm, as “M. P. & Co.” for “Middlesborough Pottery Company,” and
“I. W. & Co.” for “Isaac Wilson & Co.”
* * * * *
_Wolviston Pottery_, now discontinued, formerly produced yellow ware.
* * * * *
_Coxhoe Pottery_, also discontinued, produced Sunderland ware.
ALNWICK.
There were formerly pot-works here; but no trace of them is now left,
save the name of the street, “Potter Gate,” where they existed. The
former name of this street was, in 1567, “Barresdale Street,” but
potters having there located themselves, it became gradually changed.
Another old street in this town now known as “Clayport,” was formerly
called “Clay-peth,” _peth_ being a provincialism for a steep road,
and _clay_ the nature of the soil; probably it was this clay that the
Alnwick potters turned to good account.
CHAPTER II.
Liverpool Pottery--Shaw’s Delft Ware--Shaw’s Brow--Zachariah
Barnes--Sadler and Green--Transfer Printing--Wedgwood’s
Printed Ware--Drinkwater’s Works--Spencer’s Pottery--Richard
Chaffers--Reid and Co.’s Works--The Penningtons--Patrick’s Hill
Works--The Flint Pottery--Herculaneum Works--Warrington Pottery
and China--Runcorn--Prescot--St. Helen’s--Seacombe.
LIVERPOOL.
It would, perhaps, scarcely be expected that in such a busy,
bustling, and gigantic place of enterprise and commercial activity
as Liverpool--in the midst of shipping of every description, and
surrounded by the most enormous and busy undertakings of one kind
or other--we should successfully look for the full and perfect
accomplishment of so quiet, so unostentatious, so peaceful, and so
delicate an art as that of the potter. But thus it is; and Liverpool,
which counts its docks by tens, its wharves and stores by hundreds, its
shipping by thousands, and its wealth by millions--which can boast its
half-million inhabitants, its overground and under-ground railways,
and every appliance which skill and enterprise can give or trade and
commerce possibly require--which has undertaken the accomplishment of
some of the most wonderful and gigantic schemes the world ever knew,
and has carried them out in that spirit of commendable and boundless
energy that invariably characterises all its actions--has not been
behindhand with its more inland and more modest neighbours in the
manufacture of delicate porcelain, and of pottery of the most fragile
nature.
It is more than probable that in mediæval times the coarse ware of the
period--the pitchers, porringers, dishes, &c.--was made on the banks of
the Mersey. The first mention of pottery, however, occurs in 1674, when
the following items appear in the list of town dues:--
“For every cart-load of muggs (shipped) into foreign ports,
6_d._ For every cart-load of muggs along the coasts, 4_d._ For
every crate of cupps or pipes into foreign ports, 2_d._ For
every crate of cupps or pipes along the coast, 1_d._”
[Illustration: A WEST PROSPECT OF GREAT CROSBY 1716
Fig. 1.]
_Shaw’s Delft Ware Works._--The earliest potwork of which there
is any reliable information, appears to have been that of Alderman
Shaw, situated at Shaw’s Brow, which afterwards became a complete
nest of pot-works belonging to different individuals. At these works
was most probably made the earliest known dated example of Liverpool
delft ware. This is a large oblong-square plaque, unique in its size
and decoration, which is preserved in the Mayer museum, and is shown
on Fig. 1. It is of fine delft ware, flat in surface, and measures 2
feet 7 inches in length, by 1 foot 8 inches in depth, and is nearly
three quarters of an inch in thickness. The body is composed of the
ordinary buff-coloured clay, smeared, like what are usually called
“Dutch tiles,” on the face with a fine white clay, on which the design
is drawn in blue, and then glazed. The plaque represents the village
of Great Crosby as seen from the river Mersey, and bears the name and
date, “A WEST PROSPECT OF GREAT CROSBY, 1716,” on a ribbon at
the top. In the foreground is the river Mersey, with ships and brigs,
and a sloop and a schooner. The large ship in the centre of the picture
has a boat attached to her stern, and another boat containing two
men is seen rowing towards her, while on the water around them are a
number of gulls and other sea-birds. On the sandy banks of the river
are several figures, consisting of a woman with a basket on her arm,
apparently looking across the river; another woman, also with a basket
on her arm, walking with a long stick; a man also walking with a stick;
a gentleman on horseback; and a man driving an ass before him. Beyond
these figures rise the sandbanks, covered with long grass and heather,
in which is a rabbit warren. The warren keeper’s house is shown, as
are also numbers of rabbits. Beyond this again, in the open space,
are a number of figures: men are seen galloping on horseback; women
are carrying baskets; men are walking about, some with dogs, others
without; and the intermediate space is pretty well studded with cattle,
rabbits, and birds; a milkmaid milking one of the cows. Behind this,
again, the ground is divided by hedgerows into fields, in which are
cattle, people walking to and fro, and a milkmaid carrying a milkpail
on her head. In the background is the town of Great Crosby, including
the school-house and numerous other buildings, with long rows of trees,
palings, gates, and other objects incidental to the scene. To the left
of the spectator is Crosby windmill, still standing; and those who are
best acquainted with the aspect of the place, as seen from the river
at the present day, say that little alteration has taken place in the
village; that this view, taken a hundred and fifty years ago, might
well pass for one just executed.
[Illustration:
Concordia Parua Res Crescunt
THIS SEAT WAS ERECTED BY
JOHN HARRISON AND
HENRY HARRISON OF
LEVERPOOLE 1722
Fig. 2.]
Another plaque, Fig. 2, is of a few years later date, 1722. It is
affixed to the wall over one of the seats of old Crosby Church, and
bears the arms of the Merchant Taylors’ Company, viz., _argent_, a
royal tent between two parliament robes, _gules_, lined _ermine_;
on a chief _azure_, a lion of England; crest, a Holy Lamb in glory,
_proper_; supporters, two camels, _or_; motto, “_Concordia parvæ
res crescunt._” Below is the inscription--“THIS SEAT WAS ERECTED BY
JOHN HARRISON AND HENRY HARRISON, OF LEVERPOOLE, 1722.” This plaque
measures sixteen inches on each side, and is nearly an inch and a half
in thickness. It is of precisely the same kind of ware as the view of
Crosby, and was doubtless the production of the same establishment.
John and Henry Harrison are said to have been natives of Crosby, the
grammar school of which village they erected and endowed, after having
made large fortunes as merchants in London, the trust being held by
the Company of Merchant Taylors. Mr. Mayer mentions that another of
these curious plaques, or slabs, was attached to the front of a house
at Newton-cum-Larten. It was circular, and bore the arms of Johnson
and Anton impaled, with the date 1753. The Mr. Johnson whose armorial
bearings it represents, was afterwards Mayor of Liverpool, and formed
St. James’s Walk. He married Miss Anton, an heiress, and built the
house where the slab was affixed, and which is believed to have been
made and presented to him for that purpose by his brother alderman, Mr.
Shaw, the potter. Another dated example is a mug in the Mayer museum
shown on the accompanying engraving. It is decorated with borders in
blue and black, and bears on its front the initials and date
P
I · R
1728
[Illustration: Fig. 3.]
There were, it appears, two potters, at least, of the name of
Shaw--Samuel Shaw, who died in October, 1775, and Thomas Shaw, who,
I believe, was his son. The works were, as I have stated, at a place
which, from that circumstance, took the name of Shaw’s Brow, a rising
piece of ground on the east side of the rivulet that ran at the bottom
of Dale Street. Here the early pot-works were established, and here
in after years they increased, until the whole “Brow” became one mass
of potter’s banks, with houses for the workmen on both sides of the
street; and so numerous were they that, according to the census taken
in 1790, there were as many as 74 houses, occupied by 374 persons,
the whole of whom were connected with the potteries. At these works,
Richard Chaffers, to whom credit is due for the advances he made in the
manufacture of porcelain, was apprenticed to Shaw, and on the Brow he
established his own manufactory. In 1754 the following very interesting
little notice of these pot-works occurs in “The Liverpool Memorandum
Book:”--
“The chief manufactures carried on here are blue and white
earthenware, which at present almost vie with China. Large
quantities are exported for the colonies abroad.”
[Illustration: Fig. 4.]
Of about this period are some examples in the Mayer museum. Fig.
4 is a magnificent punch-bowl, measuring 17½ inches in diameter,
and of proportionate depth. It is of the ordinary Delft ware; its
decorations painted in blue. At the bottom of the bowl, inside, is
a fine painting of a three-masted ship, in full sail, with streamer
flying at the mast-head, the Union Jack at the jib, and a lion for a
figure-head. This bowl was “made for Captain Metcalfe, who commanded
the _Golden Lion_, which was the first vessel that sailed out of
Liverpool on the whale fishery and Greenland trade, and was presented
to him on his return from his second voyage, by his employers, who
were a company composed of the principal merchants of Liverpool,
in the year 1753.” The size of the bowl, and the excellence of its
decorations and workmanship, show to what perfection Shaw had arrived
in this manufacture. Among other articles besides mugs and punch-bowls,
were char-pots; these, like the rest, are of Delft ware, and usually
decorated with fishes around their outsides. One (Fig. 5) bears the
initials I. B. Figs. 6 and 7 are two mugs, of the same body and glaze
as the plaques already described. The larger one, a quart mug, is
ornamented with flowers, painted in blue, green, and black, and bears
the initials and date T. F. 1757, the initials being those of Thomas
Fazackerley, to whom it was presented by its maker, a workman at Shaw’s
pottery. In 1758, Mr. Fazackerley having married, his friend made the
smaller of the two mugs, a pint one, on which he placed the initials of
the lady, Catherine Fazackerley, and the date C. F. 1758 within an oval
on its front. This mug is decorated with flowers, painted in green,
yellow, and blue. Fig. 8 is one of a pair of cows, 4¾ inches in height;
the upper half of each lifts off. They are excellently modelled, and
painted in flowers, evidently by the same artist as the Fazackerley
mugs, in yellow, blue, and green. Fragments of figures were, I believe,
found in excavating on the site of Shaw’s pottery.
[Illustration: Fig. 5.]
[Illustration: Figs. 6 and 7.]
Another dated example of about this period is a fine Delft ware bowl,
on the outside of which are painted birds, butterflies, and flowers,
and on the inside a man-of-war, painted in blue and colours, with the
inscription, “Success to the _Monmouth_, 1760.”
[Illustration: Fig. 8.]
[Illustration: Figs. 9 to 12.]
A most interesting matter in connection with the Delft ware works at
Shaw’s Brow is the fact of a number of broken vessels being discovered
on its site during excavations for building the Liverpool Free Library
and Museum, in 1857. On that occasion an old slip-vat was found
containing clay, which might probably have been prepared as early as
1680. The clay was of the common coarse kind, the same as the general
body of Delft ware. Of this clay so discovered Mr. Mayer had a vase
thrown and fired. Some of the Delft cups, &c., exhumed are shown on
Figs. 9 to 14. These are all of a pinkish white; one only having a
pattern painted in blue. Another example of Delft ware (Fig. 15), said
to be of Liverpool make, in Mr. Mayer’s collection, is one of a pair of
flower vases, of good design, with heads at the sides, and elaborately
painted in blue. It is marked on the bottom--
W
D A
in blue. Another example (Fig. 16), said to be of Liverpool make, is
the puzzle jug, and bears the very appropriate motto, painted in blue--
“Here, Gentlemen, come try y^r skill,
I’ll hold a wager, if you will,
That you Don’t Drink this liq^{r} all
Without you spill or lett some Fall.”
_Zachariah Barnes._--another maker of Delft ware in Liverpool--was
a native of Warrington, and brother to Dr. Barnes, of Manchester. He
was born in 1743, and having learned the “art, mystery, and occupation”
of throwing, &c., commenced business as a potter in the old Haymarket,
at the left-hand side in going to Byrom Street. He is said to have
first made China, but afterwards turned his attention to Delft ware,
and soon became proficient in the art. The principal varieties of goods
made by him were jars and pots for druggists; large dishes, octagonal
plates and dishes for dinner services; “Dutch tiles;” labels for
liquors; potted-fish pots, &c., &c. Of the druggist’s jars, of which
he made considerable quantities, it is said that the labelling in his
time underwent no less than three changes from alterations in the
pharmacopæia.
[Illustration: Fig. 13.]
[Illustration: Fig. 14.]
[Illustration: Fig. 15.]
[Illustration: Fig. 16.]
The large round dishes made by Barnes were chiefly sent into Wales,
where the simple habits of their forefathers remained unchanged among
the people long after their alteration in England; and the master of
the house and his guest dipped their spoons into the mess and helped
themselves from the dish placed in the middle of the table. Quantities
of this ware were sent to the great border fairs, held at Chester,
whither the inhabitants of the more remote and inaccessible parts of
the mountain districts of Wales assembled to buy their stores for the
year. The quality of this ware was very coarse, without flint, with the
usual Delft-like thick tin glaze. But Barnes’s principal _forte_
lay in the manufacture of square tiles, then much in vogue. When these
tiles were required to be printed, that part of the work was done by
Messrs. Sadler and Green. So large was the sale of this article, that
Mr. Barnes has been heard to say he made a profit of £300 per annum by
his tiles alone, he having a monopoly of the trade. He also made large
quantities of pots for potting char, which were sent to the lakes. The
ovens were fired with turf brought from the bogs at Kirkley, and on the
night of firing, the men were always allowed potatoes to roast at the
kiln fires, and a certain quantity of ale to drink.
[Illustration: WORMWOOD
Fig. 17.]
The labels for different kinds of liquors, to which I have just alluded
as being largely made by Barnes, were of various sizes, but generally
of one uniform shape; the one engraved (Fig. 17) being five a and half
inches long. Examples in the Mayer Museum are respectively lettered
for Rum, Cyder, Tent, Brandy, Lisbon, Peppermint, Wormwood, Aniseed,
Geneva, Claret, Spruce, Perry, Orange, Burgundy, Port, Raisin, and
other liquors. They are of the usual common clay in body, faced with
fine white slip and glazed.
[Illustration: Fig. 18.]
The tiles made by Zachariah Barnes were usually five inches square,
and about a quarter of an inch in thickness, and were used for lining
fire-places, forming chimney-pieces, and other domestic purposes.
Originally, the tiles were painted in the ordinary Delft style,
with patterns of various kinds--flowers, landscapes, ships, groups,
&c.--usually in blue, but sometimes in colours. A _plaque_ of
Liverpool Delft, painted in two or three colours (in the possession of
Mr. Benson Rathbone), is shown on Fig. 18; it represents a bird in a
cage, the perspective of which is more curious than accurate.
_Sadler and Green._--The tiles to which I have alluded bring me to
a very interesting part of the subject of this chapter. I mean the
introduction of _printing_ on earthenware, an invention which has
been attributed to, and claimed by, several places, and which will
yet require further research to entirely determine. At Worcester it
is believed the invention was applied in the year 1756, and it is an
undoubted fact that the art was practised there in the following year,
a dated example of the year 1757 being, happily, in existence.[2] At
Caughley transfer-printing was, as I have already shown, practised at
about the same period. At Battersea, printing on enamels was, it would
seem, carried on at about the same date, or probably somewhat earlier.
At Liverpool it is certain that the art was known at an earlier period
than can with safety be ascribed to Worcester. A fine and exquisitely
sharp specimen of transfer-printing on enamel, dated 1756, is in
Mr. Mayer’s possession. It is curious that these two earliest dated
exemplars of these two candidates for the honour of the invention of
printing on enamels and earthenware, Liverpool and Worcester, should be
portraits of the same individual--Frederick the Great of Prussia. But
so it is. The Worcester example is a mug, bearing the royal portrait
with trophies, &c., and the date 1757; the Liverpool one an oval enamel
(and a much finer work of art), with the name, “J. SADDLER, Liverp^l.
Enam^l.”
The art is said to have been invented by this John Sadler, of
Liverpool, in 1752. In Moss’s “Liverpool Guide,” published in 1790,
it is stated:--“Copper-plate printing upon china and earthenware
originated here in 1752, and remained some time a secret with the
inventors, Messrs. Sadler and Green, the latter of whom still continues
the business in Harrington Street. It appeared unaccountable how uneven
surfaces could receive impressions from copper-plates. It could not,
however, long remain undiscovered that the impression from the plate is
first taken upon paper, and thence communicated to the ware after it
is glazed. The manner in which this continues to be done here remains
still unrivalled in perfection.”
John Sadler, the inventor of this important art, was the son of Adam
Sadler, a favourite soldier of the great Duke of Marlborough, and was
out with that general in the war in the Low Countries. While there, he
lodged in the house of a printer, and thus obtained an insight into the
art of printing. On returning to England, on the accession of George
I., he left the army in disgust and retired to Ulverstone, where he
married a Miss Bibby, who numbered among her acquaintance the daughters
of the Earl of Sefton. Through the influence of these ladies he removed
to Melling, and afterwards leased a house at Aintree. In this lease
he is styled “Adam Sadler, of Melling, gentleman.” The taste he had
acquired in the Low Countries abiding with him, he shortly afterwards,
however, removed to the New Market, Liverpool, where he printed a great
number of books--among which, being himself an excellent musician,
one called “The Muses’ Delight” was with him an especial favourite.
His son, John Sadler, having learned the art of engraving, on the
termination of his apprenticeship bought a house from his father,
in Harrington Street, for the nominal sum of five shillings, and in
that house, in 1748, commenced business on his own account. Here he
married a Miss Elizabeth Parker, daughter of Mr. Parker, watchmaker,
of Seel Street, and soon afterwards became engaged in litigation.
Having got together a good business, his fellow townsmen became jealous
of his success, and the corporation attempted to remove him as not
being a freeman of Liverpool, and therefore having no right to keep
a shop within its boundaries. Disregarding the order of removal, the
corporation commenced an action against him, which he successfully
defended, and showed that the authorities possessed no power of
ejection. This decision was one of great importance to the trading
community, and opened the door to numberless people who commenced
business in the town.
Mr. John Sadler was, according to Mr. Mayer, the first person who
applied the art of printing to the ornamentation of pottery, and the
story of his discovery is thus told:--Sadler had been in the habit
of giving waste and spoiled impressions from his engraved plates to
little children, and these they frequently stuck upon pieces of broken
pot from the pot-works at Shaw’s Brow, for their own amusement, and
for building dolls’ houses. This circumstance gave him the idea of
ornamenting pottery with printed pictures, and, keeping the idea
secret, he experimentalised until he had nearly succeeded, when he
mentioned the circumstance to Guy Green, who had then recently
succeeded Mr. Adam Sadler in his business. Guy Green was a poor boy,
but spent what halfpence he could get in buying ballads at the shop of
Adam Sadler. Sadler liking the lad, who was intelligent beyond his age
or his companions, took him into his service and encouraged him in all
that was honourable. John Sadler having, as I have said, mentioned his
discovery to Guy Green, the two “laid their heads together,” conducted
joint experiments, and having ultimately succeeded, at length entered
into partnership. This done, they determined to apply to the king for a
patent; which, however, under the advice of friends, was not done.
The art was first of all turned to good account in the decoration of
tiles--“Dutch tiles,” as they are usually called--and the following
highly interesting documents relating to them, which are in the
possession of Mr. Mayer, and to whom the antiquarian world is indebted
for first making them public, will be read with interest:--
“I, John Sadler, of Liverpoole, in the county of Lancaster,
printer, and Guy Green, of Liverpoole, aforesaid, printer,
severally maketh oath that on Tuesday, the 27th day of July
instant, they, these deponents, without the aid or assistance
of any other person or persons, did within the space of six
hours, to wit, between the hours of nine in the morning and
three in the afternoon of the same day, print upwards of twelve
hundred Earthenware tiles of different patterns, at Liverpoole
aforesaid, and which, as these deponents have heard and believe,
were more in number and better and neater than one hundred
skilful pot-painters could have painted in the like space of
time, in the common and usual way of painting with a pencil;
and these deponents say that they have been upwards of seven
years in finding out the method of printing tiles, and in making
tryals and experiments for that purpose, which they have now
through great pains and expence brought to perfection.
“JOHN SADLER.,
“GUY GREEN.
“Taken and sworn at Liverpoole, in the county of Lancaster, the
second day of August, one thousand seven hundred and fifty-six,
before William Statham, a Master Extraordinary in Chancery.”
“We, Alderman Thomas Shaw and Samuel Gilbody, both of
Liverpoole, in the county of Lancaster, clay potters, whose
names are hereunto subscribed, do hereby humbly certifye that
we are well assured that John Sadler and Guy Green did, at
Liverpoole aforesaid, on Tuesday, the 27th day of July last
past, within the space of six hours, print upwards of 1,200
earthenware tiles of different colours and patterns, which is
upon a moderate computation more than 100 good workmen could
have done of the same patterns in the same space of time by the
usual painting with the pencil. That we have since burnt the
above tiles, and that they are considerably neater than any we
have seen pencilled, and may be sold at little more than half
the price. We are also assured the said John Sadler and Guy
Green have been several years in bringing the art of printing on
earthenware to perfection, and we never heard it was done by any
other person or persons but themselves. We are also assured that
as the Dutch (who import large quantities of tiles into England,
Ireland, &c.) may by this improvement be considerably undersold,
it cannot fail to be of great advantage to the nation, and to
the town of Liverpoole in particular, where the earthenware
manufacture is more extensively carried on than in any other
town in the kingdom; and for which reasons we hope and do not
doubt the above persons will be indulged in their request for a
patent, to secure to them the profits that may arise from the
above useful and advantageous improvement.
“THOMAS SHAW,
“SAMUEL GILBODY.”
“Liverpoole, August 13th, 1756.
“SIR,
“John Sadler, the bearer, and Guy Green, both of this town, have
invented a method of printing potters’ earthenware tyles for
chimneys with surprising expedition. We have seen several of
their printed tyles, and are of opinion that they are superior
to any done by the pencil, and that this invention will be
highly advantageous to the kingdom in generall, and to the town
of Liverpoole in particular.
“In consequence of which, and for the encouragement of so useful
and ingenious an improvement, we desire the favour of your
interest in procuring for them his Majesty’s letters patent.
“ELLIS CUNCLIFFE,
“SPENCER STEERS,
“CHARLES GOORE.
“Addressed to Charles Pole, Esq., in London.”
In the Mayer museum are found, among other invaluable treasures, some
enamels on copper bearing impressions from copper-plates transferred
to them, and having the name of “_J. Sadler, Liverp^l, Enam^l_,”
and other examples of enamels and of earthenware with the names of
“_Sadler, Sculp._,” or of “_Green_.” Messrs. Sadler and Green appear
to have done a very profitable and excellent business in the printing
on pottery. The process was soon found to be as applicable to services
and other descriptions of goods as to tiles; and these two enterprising
men produced many fine examples of their art, some of which, bearing
their names as engravers or enamellers, are still in existence. Josiah
Wedgwood, always alive to everything which could tend to improve or
render more commercial the productions of his manufactory, although at
first opposed to the introduction of this invention, as being, in his
opinion, an unsatisfactory and unprofitable substitute for painting,
eventually determined to adopt the new style of ornamentation, and
arranged with the inventors to decorate such of his Queen’s ware as it
would be applicable to, by their process. The work was a troublesome
one, and in the then state of the roads--for it must be remembered that
this was before the time even of canals in the district, much less of
railroads--the communication between Burslem and Liverpool was one
of great difficulty. Wedgwood, however, overcame it, and having made
the plain body at his works in Staffordshire, packed it in waggons
and carts, and even in the panniers of pack-horses, and sent it to
Liverpool, where it was printed by Sadler and Green, and returned to
him by the same kind of conveyance. The works of Sadler and Green were
in Harrington Street, at the back of Lord Street, Liverpool, and here
they not only carried on their engraving and transfer-printing for
other potters, but made their own wares, and carried on an extensive
business. It was here that they printed ware for Josiah Wedgwood. Of
this connection of Wedgwood with the Liverpool works, Mr. Mayer thus
writes:--
“About this time Josiah Wedgwood was making a complete
revolution in the art of pottery; and four years after Messrs.
Sadler and Green’s invention was announced to the world,
Wedgwood brought out his celebrated Queen’s ware. Dr. Gagerly
seizing upon the new style of ornamentation invented in
Liverpool, he immediately made arrangements with the proprietors
for decorating his hitherto cream-coloured Queen’s ware by their
process; and accordingly I find him making the plain body at
Burslem, and sending it in that state to Liverpool by waggon,
where it was printed, and again returned to him by the same
conveyance, except in the case of those orders that must go by
sea, fit for the market. This he continued to do until near the
time of his death, when we find by invoices in my possession
that ware was sent to Liverpool and printed by Mr. Guy Green
as late as 1794. A little before this time, his manufactory
at Etruria having been made complete in all other branches of
the art, and the manufacture at Liverpool being much decayed,
he engaged many of the hands formerly employed there: amongst
the indentures is the name of John Pennington, son of James
Pennington, manufacturer of china, dated 1784, to be taught the
art of engraving in aquatint, and thus he was enabled to execute
the printing on his own premises in Staffordshire, thereby
saving the expense of transport to and fro. In proof that Mr.
Wedgwood did this, I may quote a few passages from letters to
his partner, Mr. Bentley, in London. He says:--
“‘1776.--We wrote to Mr. Green in consequence of your letter,
acquainting that a foreign gentleman wanted a series of ware
printed with different landskips, but that he would not confirm
the order without knowing how many different designs of
landskips we could put upon them.’
“Mr. Green’s answer is:--
“‘The patterns for landskips are for every dish a different
landskip view, &c.; about 30 different designs for table, soup,
and dessert plates, and a great variety for various purposes of
tureens, sauce boats, &c.’
“‘1768.--The cards (address) I intend to have engraved in
Liverpool, &c.’
“‘1769.--One crate of printed tea-ware.’
“On the other hand I find letters from Mr. Green to Mr.
Wedgwood:--
“‘1776.--Your Mr. Haywood desires the invoice of a box of
pattern tiles sent some time ago. As I did not intend to make
any charge for them, I have no account of the contents. The
prices I sell them for to the shops are as follows:--For black
printed tile, 5_s._ per dozen; green vase tile, 4_s._ ditto;
green ground, 4_s._ ditto; half tiles for borders, 2_s._ 9_d._
ditto; rose or spotted tiles, 3_s._ 6_d._ ditto, &c.’
“‘1783.--I have put the tile plate to be engraved as soon as
I received your order for doing it; but by the neglect of the
engraver it is not yet finished, but expect it will be completed
tomorrow.’
“‘1783.--Our enamel kiln being down prevented us sending the
goods forward as usual.’
“‘1783.--The plate with cypher was done here. I think it would
be best to print the cypher in black, as I am much afraid the
brown purple that the pattern was done in would not stand an up
and down heat, as it would change in being long in heating.’
“‘1783.--For printing a table and tea-service of 250 pieces (D.
G.) for David Garrick, £8 6_s._ 1½_d._
“‘1783.--Twenty-five dozen half-tiles printing and colouring, £1
5_s._’
“The last invoice I find from Mr. Green is dated
“‘1793.--I am sorry I cannot make out the invoice you request of
goods forwarded you, April 4, for want of having received your
charge of them to me. Only directions for printing these came
enclosed in the package.’
“‘1798.--To printing two fruit baskets, 1_s._’
“This last item, of course, does not imply that Mr. Wedgwood
had the chief of his work done here, but no doubt the articles
were required to match some service previously sold, of which
Mr. Green had possession of the copper plates. In the following
year Mr. Green retired from business to enjoy the fruits of his
long and successful labours. The following memorandum, in the
handwriting of Mr. Sadler (from Mr. Sadler’s receipt-book in my
possession, date 1776), will give an idea of the extent of their
business:--
“J. Sadler and G. Green would be willing to take a young man
about 18 into partnership for a third of their concern, in the
printing and enamelling china, earthenware, tile, &c., business,
on the following conditions:--1st, That he advances his £200 for
the third part of the engravings and other materials necessary
for the business (N.B.--The engravings alone have cost above
£800). 2nd. That he should give his labour and attendance for
twelve months without any share of the profits, in consideration
of being instructed completely in the business. 3rd. After the
expiration of twelve months, the stock in ware should be valued
as low as is common in such cases, and he should immediately
enter as a partner into the profits of the whole concern
throughout, either paying the value for his third share of such
stock, or paying interest for it till it is cleared off. The
value of the stock is uncertain, being sometimes £200 more than
other time; but reckon it at the least may be about £600. The
sole reason of taking a partner is, J. Sadler not choosing to
confine himself to business as much as heretofore.”
Specimens of these early printed goods, bearing Wedgwood’s mark, are
rare. The curious teapot (Fig. 19) will serve as an example. It bears
on one side a well-engraved and sharply printed representation of the
quaint subject of the mill to grind old people young again--the kind
of curious machine which one recollects in our boyish days were taken
about from fair to fair by strolling mountebanks--and on the other an
oval border of foliage, containing the ballad belonging to the subject,
called “The Miller’s Maid grinding Old Men Young again.” It begins--
“Come, old, decrepid, lame, or blind,
Into my mill to take a grind.”
[Illustration: Fig. 19.]
The teapot is marked WEDGWOOD. In the possession of Mr. Beard, of
Manchester, is a fine dinner service of the printed “Queen’s ware,”
and other pieces of interest. In the Museum of Practical Geology is an
example of this printing, the design on one side of which is a group at
tea--a lady pouring out tea for a gentleman, and on the opposite side
the verse:--
“Kindly take this gift of mine,
The gift and giver I hope is thine;
And tho’ the value is but small,
A loving Heart is worth it all.”
Examples of Liverpool made pottery, printed by Sadler and Green, are
also of uncommon occurrence. In the Mayer Museum the best, and indeed
only series worthy the name in existence, is to be found, and to these
wares I direct the attention of all who are interested in the subject.
Of TILES printed by John Sadler and Guy Green, many examples
are in existence--a large number, some bearing their names, being in
Mr. Mayer’s Museum. Of these I also possess examples, and others again
are found in other collections. They are remarkable for the sharpness
of the engraving, the wonderful clearness and beauty of the transfers
(the ink used being evidently far superior to that usually used at the
present day), and excellence of the glazes. They are printed either in
black, green, red, or purple, and the devices are extremely varied.
It is interesting to add, that the same copper-plates which were used
for decorating these Delft ware tiles were used also for ornamenting
mugs, jugs, &c., of finer earthenware. Adam Sadler died on the 7th of
October, 1788, aged eighty-three, and his son, John Sadler, the 10th of
December, 1789, aged sixty-nine, and they were buried at Sefton.
* * * * *
_Drinkwater._--Another Delft ware pottery was situated at the bottom
of Duke Street, in a small street which, from that establishment, took
the name which it still retains, of “Pot-House Lane.” These works were
conducted by Mr. George Drinkwater (who was born in the neighbourhood
of Preston), brother to Mr. James Drinkwater, who, in the navy,
acquired considerable riches and honour, and was ancestor of Sir John
Drinkwater. The works were not, however, of very long continuance,
and except they can be authenticated by evidence of descent, &c., the
productions cannot be distinguished from those of the other potteries
of the time. In the Mayer museum are some authenticated specimens of
Drinkwater’s make, among which a large plate, twenty-three inches in
diameter, is the most interesting.
* * * * *
_Spencer._--Another potwork of a similar kind was established by a
Mr. Thomas Spencer, at the bottom of Richmond Row. These works were,
however, carried on only for a few years, when Mr. Spencer removed to
the “Moss Pottery,” near Prescot, where he continued to make coarse red
ware for common use.
[Illustration: Fig. 20.]
* * * * *
_Chaffers._--One of the most noted men connected with the ceramic art
in Liverpool was Richard Chaffers, who made great advances in that art,
and to whom his native town owed the introduction of the manufacture
of china. He was the son of a shipwright of considerable eminence and
means; was born in Mersey Street, Liverpool, in the year 1731, one year
only after the birth of Josiah Wedgwood; and was apprenticed to Mr.
Alderman Shaw, the Delft ware potter, of whom I have already spoken.
About 1752 he commenced business on his own account, for which purpose
he took, or erected, some small works on the north side, and nearly at
the bottom of Shaw’s Brow, where he began making the ordinary kind of
Delft ware of the period, the same as he had learned to manufacture
during his apprenticeship. These productions he, as well as the other
makers in Liverpool, in great measure exported to what were then our
American colonies, now the United States of America. In the manufacture
of this ordinary blue and white ware--the staple of the trade as it
then existed--Chaffers continued for some years actively employed. From
the Delft ware Chaffers passed on to the manufacture of fine white
earthenware, and produced an excellent body, and an almost faultless
glaze. The rapid strides which Wedgwood was making in the art served
as a strong incentive to Richard Chaffers, and he determined to go on
improving until his productions should equal those of his great rival.
In this, of course, he did not succeed, but he _did_ succeed in making
the pottery of Liverpool better than that of most localities. A dated,
though not very early, example of Chaffers’s make is fortunately in the
Mayer museum and is here engraved (Fig. 20). It is, Mr. Mayer says, “a
pepper-box of the hour-glass shape,” painted in blue on a white ground,
with a chequered border at top and bottom, and the name,
[Illustration: Richard Chaffers 1769
Fig. 21.]
round the waist. “So well known was the ware of Mr. Chaffers in the
American colonies,” continues Mr. Mayer, “that it was a common saying
of a person that was angry, that ‘He’s as hot as Dick’s pepper-box,’
alluding to those made by Mr. Chaffers, who exported a very large
portion of his manufacture to the then English colonies.” But here I
think he is decidedly in error. The example is, no doubt, a pounce-box
or pounce-pot of the ordinary and not at all uncommon form, and was
made and painted with his name and date so prominently, for use on his
own desk. This pounce-box remained in the family of its maker until it
was presented to Mr. Mayer by the grandson of Richard Chaffers, Mr.
John Rosson.
In 1754 or 1755 William Cookworthy, of Plymouth, as I have already
shown in my account of those works, discovered the “moor stone,
or growan stone, and growan clay”--two important materials in the
manufacture of china--in Cornwall, and in 1768 he took out his patent
for the manufacture of porcelain from those materials. Chaffers having
determined upon prosecuting researches into the nature of china ware,
and of endeavouring to produce it at Liverpool, entered into a series
of experiments, but finding that the “soap-stone” was essential for
his purpose, and that the district where it was found was held by
lease for its production, so as to keep the monopoly of its use to
Cookworthy and those whom he might supply with it, he determined to try
and seek the stone in a fresh locality. About this time a Mr. Podmore,
who had for some years been employed by Josiah Wedgwood, and who was
a good practical potter, and a man of sound judgment, left Wedgwood’s
employment, intending to emigrate to America, and establish himself as
a potter in that country. To this end he went to Liverpool, intending
thence to embark for the colony. On reaching Liverpool, he called
upon Mr. Chaffers, who was then the leading man in the trade at that
place, and the result of their meeting was, that Mr. Chaffers finding
Podmore to be a man of “so much intelligence and practical knowledge,
induced him, by a most liberal offer, to forego his American project,
and enter into his service.” This Podmore entirely confirmed the views
of his new master as to the importance of getting a supply of the
Cornish materials, and the two practical men together soon effected
improvements in the then manufacture of earthenware, and laid their
plans for future operations. Of the manner in which Chaffers set about
his search, and the successful results at which he arrived, Mr. Mayer
gives the following graphic account:--
“Mr. Chaffers’s object now was to come into the field with
Staffordshire _pari materiâ_, if I may be allowed that play
upon words. He therefore determined to set out for Cornwall
upon the forlorn hope of discovering a vein of soap-rock. The
operations would be most expensive and laborious, somewhat akin
to the process of boring for coal in our country. But where
was he to begin? On whose estate, was it to be found? What
description of men was he to employ? He was, however, in the
prime of manhood, of untiring energy, of fine address, and,
what was then necessary, an excellent horseman. He obtained
letters of introduction from the Earl of Derby, Lord Strange,
his eldest son, and other men of consequence in our county, to
some of the leading landowners in Cornwall, then attending their
duties in Parliament. In those days there were no mail-coaches
and railways to aid the weary traveller. A stout horse was the
only means of conveyance for a man of the higher class. Imagine
Mr. Chaffers, having taken leave of his wife, and his numerous
family and friends, mounted with a pair of saddle-bags under
him, containing a supply of linen, &c., a thousand guineas,--the
first instalment to pay the wages of the miners,--a brace of
pistols in his holsters, pursuing his journey to London. He
had made considerable progress in practical geology, though
the science was then but little cultivated. Having, during his
stay in London, obtained permission to bore for soap-rock from
more than one of the principal proprietors of mountain land he
judged most likely to yield it, he proceeded to Cornwall and
commenced operations. His first efforts were not successful.
He moved to another quarter with no better result; in a word,
he expended large sums of money without finding the wished-for
vein. Somewhat disheartened but not subdued, he determined to
return home, where his presence was much wanted. He did not,
however, intend to abandon, but only suspend, his operations.
He accordingly assembled all the miners in his employ, and
announced to them, to their great regret, his determination.
Previously to his departure, he scrupulously paid every man his
wages. One of them was missing: he was told the man in question
was gone up the mountain to try another place. He then left
that man’s wages in the hands of the ‘captain of the gang,’
and, mounting his horse with a heavy heart, took leave of the
men, to whom his animated and conciliatory manners had greatly
endeared him. The road to the nearest town, the name of which
I never could learn, was precipitous and rugged. A traveller
on horseback made so little progress, that a mountaineer on
foot, by taking a short cut over the rocky crags, could easily
come within earshot of him. After journeying for some time, he
thought he heard a faint cry in the distance; he dismounted,
and, ascending a hill, plainly saw the signal of discovery
flying from a lofty peak. It appeared that the man who had
separated from his fellow-miners, and pursued his researches
alone, had discovered a vein, and finding Mr. Chaffers had
left them, he hoisted the preconcerted signal, and pursued him
across the mountain with the pleasing intelligence, shouting at
times to attract the somewhat dispirited traveller’s attention.
Mr. Chaffers immediately returned, took the whole gang into
permanent employment, and obtained an ample supply of the
long-sought-for clay, which was conveyed to the nearest port,
and shipped thence to Liverpool. On its arrival the vessel
entered with its precious freight into the Old Dock, dressed
in colours, amidst the cheers of the assembled spectators.
During his absence, Mr. Chaffers had regularly corresponded
with his wife, but on his arrival in London on his return home,
the continued fatigue he had endured, together with anxiety of
mind, brought on a dangerous fever, under which he laboured for
several weeks. He was unknown at the inn where he stayed; but
the landlord, seeing that his guest--a very handsome man--had
the dress and demeanour of a gentleman, called in an eminent
physician, who sedulously and skilfully attended his patient.
The doctor examined his saddle-bags, and having ascertained
his name and address from the letters and papers therein,
communicated to his anxious wife all the particulars of his
illness, and concluded with the consoling intelligence that ‘he
could that day pronounce him out of danger.’ As soon as he could
travel, he delighted his family and friends with his presence in
Liverpool. No sooner had Mr. Chaffers arrived at home, than he
set to work with his new materials, and soon produced articles
that gained him much reputation, as was frankly acknowledged by
the great Wedgwood, to whom Mr. Chaffers presented a tea-set
of his china ware, and who, on looking at one of the cups,
admiring the body and examining the colours used in decoration,
exclaimed, ‘This puts an end to the battle! Mr. Chaffers beats
us all in his colours and with his knowledge; he can make
colours for two guineas which I cannot produce so good for
five!’”
William Cookworthy discovered the Cornish stone about the year 1754
or 1755, and Richard Chaffers must soon afterwards have prosecuted
his researches in the same direction, for in December, 1756, we find
him making his “porcelain or china ware” in considerable quantities,
both for home sale and for exportation. This is shown by the evidence
of _Williamson’s Liverpool Advertiser and Mercantile Register_
for the 10th of December, 1756, in which the following advertisement,
discovered by Mr. Mayer, occurs:--
“Chaffers and Co., China Manufactory.--The porcelain or china
ware made by Messrs. Richard Chaffers & Co., is sold nowhere in
the town, but at the manufactory on Shaw’s Brow. Considerable
abatement for exportation, and to all wholesale dealers.
N.B.--All the ware is proved with boiling water before it is
exposed for sale.”
Liverpool may therefore boast of producing its china in 1756, if not
in 1755, which is an early date in the annals of English porcelain
manufacture. Not only, however, in this year did Richard Chaffers and
Co. make china-ware, but another firm, that of William Reid and Co.,
held at the same time, as I shall presently show, the “Liverpool China
Manufactory,” where they produced blue and white ware in considerable
quantities.
[Illustration: Fig. 22.]
Of the “china ware” made by Richard Chaffers some excellent examples
are in the Mayer collection. They are unmarked, but remained in the
possession of the family until they passed from Chaffers’s descendant
to Mr. Mayer. One of these is the cup (Fig. 22.) It is, of course,
of “hard paste,” and is of remarkably compact and excellent texture.
It is painted, after the Indian style, with figure and landscape of
good and rich colours, and is faultless in manipulation and in its
glaze. Examples of Chaffers’s china are of exceeding rarity, but in
the Mayer collection is a fine jug, bearing in front a portrait of
Frederick the Great, with trophies of war on either side. This jug has
the peculiarity of being painted inside as well as out. At the bottom,
inside, is the Prussian Eagle in a border; in the spout is a trophy,
and all around the inside of the vessel roses and other flowers are
spangled about.
Chaffers carried on his works for some years, making both earthenware
and china--the former largely, the latter but to a limited extent--but
was suddenly cut off in the midst of his usefulness, and at an
early age. It appears that Podmore, his foreman, being seized with
a malignant fever, and beyond hope of recovery, sent a message to
Chaffers, expressing “his wish to see his dear master once more before
their final separation.” With this request Mr. Chaffers, who was a man
of full and sanguine habit, most kindly but unfortunately complied,
and at once visited the sufferer. The consequence was he took the
fever, and soon afterwards died, and master and servant were interred
near to each other in St. Nicholas’s churchyard. “This unfortunate
event, by taking away both master and principal assistant, put an
end to the prosecution of the trade, and was the commencement of the
breaking up of that branch of the art which Mr. Chaffers had mainly
brought to such a high state of perfection. A great number of the
potters ultimately emigrated to America, whilst many of the best hands
transferred themselves to the service of Mr. Wedgwood, or were hired by
other Staffordshire manufacturers.”
* * * * *
_Reid & Co._--About the year 1753 or 1754, I believe, works were
established in Liverpool by a Mr. William Reid, who afterwards took
a partner and conducted his business under the style of Reid & Co.
These works, in 1756, were called “the Liverpool China Manufactory.”
In that year Messrs. Reid & Co. opened a warehouse in Castle Street,
as is shown by the following announcement in Williamson’s _Liverpool
Advertiser_ of November 19, 1756:--
“Liverpool China Manufactory.--Messrs. Reid & Co., proprietors
of the China Manufactory, have opened their warehouse in Castle
Street, and sell all kinds of blue and white china ware, not
inferior to any make in England, both wholesale and retail.
Samples sent to any gentlemen or ladies in the country who will
pay carriage. Good allowance for shopkeepers and exporters.”
In 1758, Messrs. Reid & Co. removed their warehouse to the top of
Castle Hey, where, having largely increased their business, they
occupied much more extensive premises. In the same year they were found
advertising for apprentices for the painters in the china manufactory.
In 1760, again, the works appear to have considerably increased, and
“several apprentices for the china work” were advertised for, as well
as “a sober, careful man, who understands sorting and packing of ware
and merchants’ accounts.” Messrs. Reid & Co. continued in business
many years, and produced, besides their “china ware,” a considerable
quantity of the ordinary blue and white earthenware, most of which was
exported.
* * * * *
_Pennington._--Another of the principal manufacturers of Liverpool
pottery was Seth Pennington, of whose works, as well as those of
his two brothers, a few words may well be here introduced. Of the
Penningtons, three brothers were potters, and each had separate works.
Their names were James, John, and Seth, and they were sons of John
Pennington, a maltster, by his wife, formerly a Mrs. Johnson, of
Everton. James Pennington, the eldest, had his works on Copperas Hill,
but produced only the commoner varieties of ware, and being dissipated,
and having done his youngest brother a serious injury by divulging
a secret in the mixing of colour, he removed to Worcester, where he
obtained employment, and where, at a later period, one of his sons
painted a fine dinner service for the Duke of York.
[Illustration: Fig. 23.--Part of Pennington’s Works.]
John Pennington, the second son, had his pot-works at Upper Islington,
which he carried on for some time. Ultimately he sold the concern to a
Mr. Wolf, “who being a scientific man, made great improvements in the
ware, but ultimately finding it did not answer, as the Staffordshire
potters were making such rapid strides towards monopolising the whole
trade, he gave up the manufacture, and the works were closed, never to
be resumed.”
[Illustration: Figs. 24 and 25.]
Seth Pennington, the youngest of the three brothers, it appears, had
his pot-works in that nest of potters, Shaw’s Brow. His factories were
very large, extending as far as Clayton Street, and were conducted
with much spirit. At these works, Seth Pennington, besides the
ordinary classes of earthenware then in use, and which he produced
in large quantities both for home consumption and for exportation,
made a remarkably fine kind of ware that successfully competed, for
vases and beakers, with the oriental, both in its colour, its glaze,
and its decoration. He also produced many remarkably large and fine
punch-bowls both in Delft ware, in fine earthenware, and, latterly, in
china. The largest size bowl I have met with was made by Pennington,
at these works, and is here shown. This fine bowl, which is 20½ inches
in diameter and 9 inches in height, is painted in blue on the usual
white ground. Outside it is decorated with a landscape with two bridges
in the foreground, on which men are standing to fish, trees, houses,
church, &c., &c. Inside the upper part of the bowl is decorated with
a series of six trophies, composed of flags, swords, cannons, drums,
trumpets, spears, &c., divided from each other by different kinds
of shot, viz., chain, crescent, arrow or triangle shell with fusee
burning, cross or bar, and grape. In the centre, and filling up the
inside of the bowl, with the exception of the border, is a group of
ships and boats on the water, with the inscription beneath it--
Success to the Africa Trade,
George Dickinson.
[Illustration: Figs. 26 to 30.]
This bowl was painted probably about the year 1760–70 by John Robinson,
who was apprenticed, and afterwards employed, at Pennington’s works.
Robinson subsequently removed into Staffordshire, and ultimately
presented the bowl to the Potteries Mechanics’ Institution at Hanley,
where it is now carefully preserved along with his note--“John
Robinson, a pot painter, served his time at Pennington’s, in Shaw’s
Brow, and there painted this punch-bowl.” Several other bowls of
Pennington’s make are in the Mayer collection. Of these, two of the
finest are dated. One bears on its outside a design of trees, birds,
and butterflies, painted in yellow and green, and on its inside a
ship in full sail, with the words, “Success to the Monmouth, 1760.”
The other has on the outside a soldier and a sailor, one of whom is
seated on the stock of an anchor, and holding in one hand a sword,
and in the other a punch-bowl; and the other sitting, Bacchus-like,
astride a barrel. Between them is a chest, bearing the words “Spanish
gold;” while inside the bowl is a painting of a ship in full sail, with
the words, “1779. Success to the Isabella.” Of the fine earthenware
vases and beakers illustrations are given on Figs. 26 to 30. They
form part of a set of chimney ornaments, purchased by Mr. Mayer from
the only and aged daughter of Seth Pennington, by whom they had been
treasured as examples of her father’s manufacture. In the making of
blue colour, Pennington succeeded in beating all his competitors, and
it is said that a Staffordshire manufacturer offered him a thousand
guineas for his recipe. This he refused, “as it was a source of great
profit to him, being kept so secret that none ever mixed the colours
but himself.” His brother James, however, whom I have spoken of as
being a dissipated man, persuaded him to tell him his secret, and soon
afterwards, in one of his drunken bouts, told it to a pot-companion,
who at once sold it to the Staffordshire house, and thus did Pennington
a grievous injury. Seth Pennington took into partnership a Mr. Port,
but the connection was not of long duration. Having turned his
attention to the manufacture of china, he produced some excellent
services and other pieces in that material. In china[3] he also
produced punch-bowls, as well as services. Pennington is said to have
used the following marks--
[Illustration: Figs. 31 and 32.]
* * * * *
_Christian._--Philip Christian was another of the famous Liverpool
potters, and had his works also on Shaw’s Brow, but higher up than
those of Pennington. They were on the site of what is now known as
Islington Terrace. His house was at the corner of Christian Street,
which was called after his name. At these works he produced octagonal
and other shaped plates of tortoiseshell ware, as well as bowls
and other pieces of the same material. He also made the ordinary
earthenware of the time. Here, later on, he manufactured china[4] to a
considerable extent, and, after the death of Richard Chaffers, is said
to have become the leading potter in the place. Mr. Christian is said
to have produced in china ware some remarkably good dinner, tea, and
coffee services, as well as a number of vases and other ornaments. It
is, however, impossible at present to authenticate his productions, so
similar are they to those of other makers of the same time and place.
* * * * *
_Patrick’s Hill Pot-house._--In 1760 the firm of Thomas Deare & Co.
took the old Delft ware pottery at Patrick’s Hill, known as the
“Patrick’s Hill Pot-house,” where they manufactured “all sorts of the
best blue and white earthenware.”
* * * * *
_The Flint Pot Works._--About the same time a Mr. Okell carried on “The
Flint Pot Works,” which were situated at the upper end of Park Lane,
near the Pitch House. Here he made blue and white earthenware, and
afterwards the more fashionable cream-coloured ware. Mr. Okell died in
1773–74, and the works were then taken by Messrs. Rigg and Peacock,
who immediately advertised their intention of “making all kinds
of cream-coloured earthenware, &c.” Mr. Rigg was, I have reason to
believe, from Newcastle-under-Lyme, and a descendant of the celebrated
Charles Rigg, the pipe-maker of that town. In the same year there was
also a pot-house, called the “Mould Works,” carried on by Messrs. Woods
& Co., near the infirmary, but where nothing of a finer description
than jars, sugar-moulds (for sugar refiners), crucibles, chimney-pots,
melting-pots, black mugs, and the like, were made.
In 1761 Liverpool was the scene of a strongly contested election
between three rival candidates, viz., Sir William Meredith, Bart.,
Sir Ellis Cuncliffe, Bart., and Charles Pole, Esq., and the election
was carried by the potters, one hundred and two of whom gave plumpers
for Sir William. This is proved by the poll and squib book, which was
published by John Sadler, and I allude to the circumstance for the
purpose of introducing an engraving of one of the drinking-mugs made
specially for the occasion by the “jolly potters” of Liverpool. This
mug is of common white earthen ware, and has a rude border, with the
words,
Ser William
a
Plumper,
scratched in, in blue, in the soft clay before firing.
[Illustration: Fig. 33.]
In connection with this election, a song written especially for the
potters, and no doubt sung while this very mug was filled with strong
ale, and passed round from mouth to mouth, is worth reprinting:--
THE POTTER’S SONG.
_To the tune of “Ye mortals whom fancy,” &c._
ADDRESSED TO THE PLUMPING POTTERS.
Ye true-hearted fellows, free plumpers and men,
Independent in Britain, how great is your claim!
Not power without candour can soothe with a smile,
Or forms of vain grandeur e’en fancy beguile.
CHORUS.
And thus sings the parent of liberty’s cause,
If my son you would be,
If my son you would be,
Like Britons undaunted, like Britons be free.
Tranquillity, heightened by friendship’s supply,
Degraded may censure, with malice stalk by!
Auspiciously reigning, those plumpers, they say,
Unluckily carry the spoils of each day.
And thus, &c.
Regardless of great ones, we live uncontrolled,
We’re potters and plumpers, we’re not to be sold.
No purchase but merit can cheapen such souls,
Thus circled in friendship, we live by our bowls.
And thus, &c.
Regained, now preserve the true blessing of choice,
And strike at the wretch that would blast a free voice;
Thus rich in possession of what is our own,
Sir William’s our member, Squire Charley may moan.
And thus, &c.
[Illustration: Fig. 34.--Herculaneum Pottery.]
The HERCULANEUM POTTERY,--the largest earthenware manufactory ever
established in Liverpool,--was founded in the year 1796, on the site
of some old copper works on the south shore of the river Mersey at
Toxteth Park. The pottery had originally been established about the
year 1793–4, by Richard Abbey, who took into partnership a Scotchman
named Graham. Richard Abbey was born at Aintree, and was apprenticed to
John Sadler, in Harrington Street, as an engraver, where he produced
many very effective groups for mugs, jugs, tiles, &c. Of these, one
of his best productions was the well-known group of the “Farmer’s
Arms.” After leaving Sadler’s employment, Abbey removed to Glasgow,
where he was an engraver at the pot-works, and afterwards served in
a similar capacity in France, before he began business in Liverpool.
Messrs. Abbey and Graham were successful in their factory at Toxteth
Park, but Abbey growing tired of the business, they sold it to Messrs.
Worthington, Humble, and Holland, and he retired to his native village,
where he died in 1801, “at the age of eighty-one, after breaking a
blood-vessel whilst singing in Melling Church, where, being a good
musician, he used to lead the choir on a Sunday. He was buried at
Walton.”
In the Mayer museum is a teapot of cream-coloured ware, with black
printing, of Richard Abbey’s making. On one side is “The Farmer’s
Arms,” with supporters quarterly: viz., 1st, a sheaf of corn; 2nd,
two scythes in _saltier_, across them in _fess_ two flails, knitted
together by a sickle; 3rd, a hay rake and hay fork in _saltier_, with
a three-pronged fork, prongs upwards, in _pale_; 4th, a riddle and a
bushel measure; crest, a plough; supporters, a dairymaid with a churn,
and a mower with a scythe; motto, “In God is our trust.” On the other
side is the appropriate verse;--
May the mighty and great
Roll in splendour and state;
I envy them not, I declare it;
I eat my own Lamb,
My Chicken and Ham,
I shear my own sheep, and I wear it.
I have Lawns, I have Bowers,
I have Fruits, I have Flowers,
The Lark is my morning alarmer;
So you jolly Dogs now,
Here’s “God bless the Plow,”
Long Life and content to the Farmer.
On taking to these works, Messrs. Worthington, Humble, and Holland
engaged as their foreman and manager, Mr. Ralph Mansfield, of Burslem.
This person served them for some years, and afterwards commenced a
small pottery on his own account at Bevington Bush, where he made only
the commoner kinds of earthenware. These works ceased at his death.
Besides Mansfield the foreman, the new Company engaged about forty
“hands,” men, women, and children, in Staffordshire, and brought them
to Liverpool to work in different branches of their art. As Wedgwood
had chosen to call _his_ new colony “Etruria,” the enterprising company
determined on christening _their_ colony “Herculaneum,” which name they
at once adopted, and stamped it on their wares. The buildings acquired
from Richard Abbey were considerably enlarged, the arrangements
remodelled, new ovens and workshops erected, houses for the workmen
built, and then workpeople were brought from Staffordshire. The story
of the removal of this band of artisans is thus pleasantly told by my
friend Mr. Mayer: “After enlarging and remodelling the works, and the
little group of emigrants, who were chiefly from Staffordshire, being
ready to start, their employers gave them a dinner at the Legs of Man
public-house at Burslem, to which a few of their friends were invited.
There they spent the parting night in jollity and mirth; and at a
late hour, in conformity with an old Mercian custom, still prevalent
in some parts of Staffordshire, the parting cup was called for, and
each pledged the other to a loving remembrance when absent, and a safe
journey and a hearty goodwill. Next morning at an early hour they
started on their journey, headed by a band of music, and flags bearing
appropriate inscriptions, amongst which was one, ‘Success to the Jolly
Potters,’ a motto still met with on the signs of the public-houses in
the Staffordshire pot districts. When reaching the Grand Trunk Canal,
which runs near to the town of Burslem, after bidding farewell to all
their relatives and friends, they got into the boats prepared for them,
and were towed away amid the shouts of hundreds of spectators. Now,
however, came the time for thought. They had left their old homes, the
hearths of their forefathers, and were going to a strange place. Still
the hopes of bettering themselves were strongest in their thoughts,
and they arrived in Runcorn in good spirits, having amused themselves
in various ways during their canal passage, by singing their peculiar
local songs, which, as ‘craft’ songs, perhaps stand unrivalled in
any employment for richness of material, elegance of thought, and
expression of passion and sentiment, and it is to be regretted that
many of them are daily becoming lost. Amongst other amusements was one
that created much merriment--drawing lots for the houses they were to
live in, which had been built for them by their employers; and as they
had not seen them, nor knew anything about them, the only preference to
be striven for was whether it should be No. 1, 2, 3, &c.
“At Runcorn they stayed all night, as the weather was bad and the river
very rough, after one of those storm-days frequent in the Mersey,
when the waters are lashed by the wind into such fury, that few boats
dare venture out, and many who had never seen salt water before, were
afraid to trust themselves upon it in a flat. Next morning, November
11, 1796, the wind had subsided. They embarked on board the flat, and
at once, with a fair wind, got into the middle of the Mersey, where it
becomes more like an inland sea surrounded by lofty mountain ranges.
This much surprised the voyagers, alike by its picturesque beauty and
the vast extent of water. They had a pleasant voyage down the river,
and arriving at their destination, were met on their landing by a band
of music, and marched into the works amidst the cheers of a large crowd
of people, who had assembled to greet them. Thus commenced the peopling
of the little colony called Herculaneum, where a few years ago, on
visiting the old nurse of my father, who had accompanied her son there,
I heard the same peculiar dialect of language as is spoken in their
mother district in Staffordshire, which to those not brought up in that
locality, is almost unintelligible.”
From this it will be seen that the little colony was peopled in the
middle of November, 1796. The works were opened on the 8th of December,
on which occasion an entertainment was given to the workpeople, as will
be seen from the following interesting paragraph from _Gore’s General
Advertiser_ of December 13th, 1796:--
“On Saturday last, the new pottery (formerly the copper
works)[5] near this town was opened, and a plentiful
entertainment given by Mr. Worthington, the proprietor, to
upwards of sixty persons employed in the manufactory, who were
preceded by a military band, from the works along the docks
and through Castle Street. Two colours were displayed on the
occasion, one representing a distant view of the manufactory.
We have the pleasure to say, that these works are very likely
to succeed, from their extent and situation, and will be of
infinite advantage to the merchants of Liverpool.”
The first productions of the Herculaneum works were confined to
blue-printed ware, in which dinner, toilet, tea, and coffee services,
punch-bowls, mugs, and jugs, were the principal articles made; and
cream-coloured ware, which was then so fashionable. At a later date,
terra-cotta vases and other articles were produced, as were also
biscuit vases, figures, &c.
Of the cream-coloured ware, or Queen’s ware, the examples which have
come under my notice are of remarkably fine quality, and are as well
and carefully potted as those of any other manufactory, scarcely even
excepting Wedgwood’s own. In colour they are of a somewhat darker shade
than Wedgwood’s and Mayer’s, and not of so yellow a cast as the Leeds
ware. The collector will find some good examples of this ware in the
Mayer Museum at Liverpool, which will serve for comparison with other
makes. The Herculaneum works also produced some remarkably good jugs
with bas-relief figures, foliage, &c, of extremely fine and hard body.
These pieces, which rival Turner’s celebrated jugs, are marked with the
name HERCULANEUM in small capitals, impressed.
In terra-cotta, vases of good design, as well as other pieces, were
produced. In the possession of Mr. Beard is a remarkably fine pair
of covered vases, with boldly-modelled heads of satyrs for handles,
and festoons on the sides. The vases are black, and the heads
and festoons gilt. This fine pair is marked HERCULANEUM. In Mr.
Rathbone’s collection is a wine cooler of vine leaves and grapes, of
similar design, and of the same reddish colour as some of Wedgwood’s
terra-cotta coolers. It is marked HERCULANEUM, impressed on the bottom.
In Blue Printing the Herculaneum Works produced many remarkably good
patterns, and the earthenware bearing those patterns was of a fine
hard and compact body, of excellent glaze, and the potting remarkably
good and skilful. Some services had open-work basket rims, of similar
design to those produced by Davenport. One service bore views of the
principal towns in England, the names of which were printed in blue
on the bottoms of each piece, which mostly bear the impressed mark of
HERCULANEUM in large capitals. Batt printing was also practised.
[Illustration: CAMBRIDGE
Fig. 35.]
In 1800 the manufactory was considerably increased, and again in 1806
it received many additions. At this time, in order to augment the
working capital, the number of proprietors was increased. Early in the
present century china was made at these works, and continued to be
produced, though not to a large extent, to the time of the close of
the works. Of the china produced several examples may be seen in the
Mayer museum. In 1822 it was ordered by proprietors at a meeting held
in that year, that “to give publicity and identity to the china and
earthenware manufactured by the Herculaneum Pottery Company, the words
‘Herculaneum Pottery’ be stamped or marked on some conspicuous part of
all china and earthenware made and manufactured at the manufactory.”
In 1833 the company was dissolved, and the property sold for £25,000
to Mr. Ambrose Lace, who leased the premises to Thomas Case and James
Mort, who are said to have carried on the business for about three
years only. By these gentlemen, it is said, the mark of the “Liver” was
introduced. About 1836 the firm of Case, Mort & Co. was succeeded by
that of Mort and Simpson, who continued the manufactory until its close
in 1841. During the time the works were carried on by Case, Mort & Co.,
a fine dinner-service, of which a portion is in Mr. Mayer’s museum, was
made for the corporation of Liverpool. It was blue-printed, and had on
each piece the arms of Liverpool carefully engraved, and emblazoned.
In the same collection is part of another service of somewhat similar
description, but with the earlier mark of HERCULANEUM impressed. The
marks used at the Herculaneum Works at different periods appear to have
been the word
HERCULANEUM HERCULANEUM
impressed in large capitals. The same in small capitals, also
impressed. These have generally a number attached, which, of course,
is simply the mark of the workman or of the pattern. The same name
also occasionally occurs in blue printing. A crown, with the word
Herculaneum in a curve, above it, impressed. A crown within a garter,
bearing the word Herculaneum; impressed. (Figs. 36 and 37.) The words
in capitals, impressed,
HERCULANEUM
POTTERY.
[Illustration: HERCULANEUM
Fig. 36.]
[Illustration: HERCULANEUM
Fig. 37.]
The crest of the borough of Liverpool, a bird called the _Liver_, or
_Lever_, with wings expanded, and bearing its beak a sprig of the plant
liverwort. Of this mark of the crest three varieties are shown on Figs.
38 to 40; they are all impressed in the ware. An anchor, with and
without the word LIVERPOOL in a curve, above it (Fig. 41), impressed.
Another, and more imposing looking mark, has the name of the pattern
(“PEKIN PALM,” for instance) within a wreath of foliage, surmounted
with the crest of Liverpool, on an heraldic wreath.
[Illustration: Figs. 38 to 40.]
[Illustration: LIVERPOOL.
Fig. 41.]
Among the men of eminence who have been connected with the potteries
of Liverpool, besides those named, were William Roscoe, the eminent
Art-critic and biographer; Peter Pever Burdett, the engraver, who also
worked for Wedgwood, and who introduced the process of transferring
aquatints to pottery and porcelain; Paul Sandby, who assisted other
manufactories; and other artists of note. It may also be well to say
a word or two on those pieces which more than others are considered
to be “Liverpool pottery,” and which, indeed, I believe are thought
by many collectors to be the only kind ever made there. I allude to
the mugs, plates, &c., of cream-coloured ware which are decorated with
ships or with flags of different merchants, and signals. These were
principally made at the works of Guy Green, in Harrington Street, of
whom I have already spoken. Some pieces have the engraving of the
lighthouse and flags, with the name, “An east view of Liverpool Light
House and Signals on Bidston Hill, 1788.” The flags are all numbered,
and beneath are references, with the owner’s names, to forty-three
different flags. Another piece with the same date has forty-four flags
and owners’ names, showing the addition of a new merchant in that year.
Others again, without date, show fifty and seventy-five flags, and are
therefore interesting as showing the rapid extension of the port. These
pieces are very sharply engraved and printed in black, and the flags on
some of the pieces are coloured.
WARRINGTON.[6]
This pottery was one of but short duration, but during the time it was
in operation some very good ware was produced. The works were commenced
about 1797 or 1798, by Messrs. James and Fletcher Bolton, who were
brothers, and members of the Society of Friends. These gentlemen got
their idea of starting an earthenware manufactory at Warrington from
the fact that the great bulk of the raw materials from Cornwall, &c.,
used in the Staffordshire manufactories for the finer kinds of wares,
was brought by sea to Liverpool, where it was unshipped and sent on
again by boats on the Trent and Mersey Canal, and thus passed within a
short distance of Warrington. Messrs. Bolton, with this knowledge, and
with the further fact before them that the Liverpool potters drove a
very successful trade, very shrewdly argued that if the Staffordshire
manufacturers could make money, with the longer freightage from
Ellesmere, they, at Warrington, with the shorter freightage, might
hope for equal success. Soon after the establishment of the works
they associated themselves with Mr. Joseph Ellis, of Hanley, in
Staffordshire, who was practically conversant with every branch of the
manufacture. Joseph Ellis was born in 1760, and was apprenticed to
Wedgwood, as a _turner_. He is said to have been very clever and
ingenious, of careful and sober habits, and of a plodding disposition.
He married a daughter of Ralph and Ellen Simpson, of Hanley, a family
then considered to be in very fair circumstances, from whom he derived
considerable pecuniary help, which, together with his own thrifty
habits, soon placed him in comfortable circumstances. Mr. Ellis became
superintendent of the Tabernacle Independent Chapel Sunday-school, now
said to be the oldest place of worship of that denomination left in the
Potteries. As his family began to increase, he disposed of his property
in the potteries, joined Messrs. Bolton at Warrington, and became the
managing partner of the firm. He is said to have directed his special
attention in all his spare time to the discovery of new colours,
glazes, and bodies, and to have been very successful in jasper and
enamelled ware. To the manager of some adjoining glass-works he also
gave many useful recipes for colours. Mr. Ellis’s manuscript recipes
for different glazes and colours required in the manufacture are still
preserved in the hands of his descendants, and show him to have been a
man of considerable practical knowledge and skill.
A number of potters were engaged at Hanley and the other pottery towns,
and they, with their wives and children, forming quite a little colony,
and their household goods, tools, and everything requisite for their
use and for the trade they were engaged in, were brought by canal to
Warrington, where kilns, sheds, and other buildings were erected.
Here they commenced operations. The goods made at these works were
intended principally for the American markets, and a good trade was
soon established. The works continued to flourish until 1807, “when the
embargo which was laid by the Americans upon all articles of British
manufacture, and the subsequent war between Great Britain and America,
in 1812, caused the failure, by bankruptcy, of the firm.”
In 1802, Mr. Ellis appears to have fallen into a weak state, and
his share in the concern was given up on condition of an annuity
being granted to himself and his widow and children, so long as the
pot-works were carried on. With the failure of the works of course this
arrangement ceased. He died at Warrington, and was buried in the old
dissenting burial-ground at Hill Cliff, near that town.
The potters, with their wives and families, their household goods
and tools, and all their other belongings, on the failure of the
firm, returned to Staffordshire in the same manner as they arrived.
During their stay at Warrington, they are described as having held
little or no communication with the townspeople; marrying only and
solely amongst themselves; preserving their own manners, customs, and
amusements; and, beyond purchasing at shop or market the necessaries
of life, keeping quite aloof from “the natives,” with a pertinacity
so remarkable as still to be the subject of occasional remark. The
expressions, “as proud as th’ potters!” and “as close as th’ potters!”
are still to be heard, and serve to perpetuate the remembrance of the
class-feeling which existed. They dwelt in “Pottery Row, Bank Quay,” on
the bank of the river Mersey, and this name is the only local record
which Warrington now possesses of this little colony of industrious
workpeople. The factory itself has been successively converted into
lime-kilns and an iron ship-building yard, and is now used as a
chemical works.
Of the productions of the works Dr. Kendrick has got together a
number of examples, which he has deposited in the Warrington museum.
The wares produced were an ordinary quality of white ware; blue and
white printed goods, and common painted goods; as well as an inferior
description of black-jasper ware, and both gold and silver lustre.
Besides these, a china ware is said to have been made to some extent,
but of this, although the matter is generally believed, there is,
perhaps, some little doubt. Among the examples in the Museum is a black
teapot of somewhat curious character. It is of a hard, but somewhat
inferior black ware, and is ornamented with raised borders and groups
of figures--some of the borders, the figures, and the swan knob of the
lid, being surface-painted in yellow, red, &c. The lid is attached by
a hinge. Another curious piece is a “tobacco-jar, comprising within
itself a drinking mug and a candlestick,” and also a small upright jar,
capable of holding exactly half-an-ounce of tea,--the quantity, we are
told, which was served out to each visitor to the tea-gardens of that
day. The china ware attributed to these works is somewhat curious.
It is of a kind of creamy colour, and of inferior quality, and is
ornamented with raised borders, &c, and with groups of figures in blue.
In general appearance it is more like earthenware than porcelain. Among
the examples, stated by Dr. Kendrick to have been made at Warrington,
is a lantern of Delft ware, ornamented with flowers in blue. There
are, however, grave doubts as to this having been made in this
locality. No mark is known. This distinction is believed to have been
omitted in consequence of the jealous dislike of the Americans of that
day to anything emanating from the mother country.
* * * * *
_Warrington Pottery._--These works, in a locality where older ones
had long existed, were established in 1850 in Dallman Lane, by the
late Mr. John Welsby, who manufactured stoneware, Rockingham and black
tea-pots, coarse red ware, terra cotta chimney tops (the construction
of the “Dallman Chimney Pot” being very effectual for preventing
smoky chimneys), ornamental garden vases, flower-pots, pancheons,
&c. On his death, in 1863, the works passed into the hands of Mr.
Thomas Grace, who, in 1871, removed them to their present site, on the
Winwick Road. Mr. Grace’s productions consist of plain black ware of
various descriptions, chimney tops, and plain and fancy garden vases,
flower-pots, &c., which he supplies largely to the home markets. Most
of the goods are made from clays found on the spot, and those of Arpley
Moor, a mile or two distant from the works.
SUTTON.
At Sutton, near Warrington, where some potteries for the manufacture of
the commoner descriptions of wares are still worked, Dr. Kendrick is
of opinion pottery was made in mediæval times. His opinion is founded
on the fact of a fragment of a vessel in form of a mounted knight (of
somewhat the same character as those already described in last volume)
being said to be made of Sutton fire-clay. The fragment was found in
Winwick Churchyard, and is preserved in Warrington Museum; fragments of
similar ware are frequently dug up in the district.
RUNCORN.
_Old Quay Pottery._--These works were carried on in 1869 by Mr. John
Cliff who, in that year, removed from the Imperial Pottery, Lambeth, to
this place, where he manufactures largely chemical stoneware and other
goods. Mr. Cliff has taken out patents for an improved kiln, and for
wheels for throwers, and lathes for turners, which have the reputation
of being the most effective, simple, and valuable of any in existence.
PRESCOT.
_The Moss Pottery._--Mr. Thomas Spencer, who last century established
pot works at the bottom of Richmond Row, Liverpool (see Page 33) for
the production of Delft ware, removed them to Prescot, where he founded
the “Moss Pottery,” and made coarse brown ware from the native clays of
the district. At his death the works passed into the hands of his son,
who, in turn, was succeeded by his son, the present owner of the place,
Mr. Thomas Spencer. White stone ware was afterwards manufactured to a
large extent, but of late years the operations have been principally
confined to sanitary ware, one of the most notable features of which
are the socket drain pipes, for which Mr. Spencer holds a patent, dated
April 10th, 1848. Sugar moulds for sugar refiners were at one time a
staple production of the Moss Pottery, but these have been superseded
by the iron moulds now in general use. Mr. Spencer, too, has taken out
a patent (in 1861) “for improvements in apparatus for the manufacture
of articles of earthenware, and of other plastic materials” by which
saggars for burning earthenware in glass cisterns, crucibles, etc.,
are made by direct action of steam pressure. The principal goods
produced are vitrified and glazed earthenware; sanitary and chemical
wares; garden, sea-kale and other pots; black ware articles; filters;
stoneware bottles, jars, pans, barrels, foot warmers, and other useful
domestic articles.
ST. HELEN’S.
Messrs. Case, Mort & Co., of the Herculaneum Works at Liverpool, had,
at one time, a manufactory at St. Helen’s, where goods of common
quality were produced. Messrs. Doulton, of the Lambeth Pottery, have
also established a branch manufactory here for drain pipes, sanitary
ware, &c.
SEACOMBE.
Mr. Goodwin, a potter of Lane End, in Staffordshire, in 1851,
established a pottery at Seacombe, on the opposite shore of the Mersey
from Liverpool. He brought his workmen from Staffordshire, and fired
his first oven in June, 1852. Of this pottery, now closed, Mr. Mayer
thus wrote in 1855: “The ware manufactured here at present consists
principally of earthenware and stoneware, chiefly of blue and colour
printed ware, and, lately, parian has been made of a good quality.
Here has been introduced one of the throwing tables for making hollow
ware, cups, bowls, &c., by machinery, with the aid of which four
boys who are quite unacquainted with the art can, in a day or two’s
practice, produce as much work as by the old process of hand throwing
could formerly be made by five men in the same space of time. The
success of the undertaking may be considered fairly established,
and a very large and increasing trade is now carried on with the
east and west coast of South America, Turkey, California, and India.
So admirably arranged are the buildings on this work that all the
different parts work together. The ware after being fired is carried
direct from the ovens into the bisque warehouse which adjoins them, and
on the other side the coal is conveyed along a railway and deposited
close to the mouths of the kilns. The whole may be looked upon as a
model for all future buildings and arrangements for pot works. Indeed,
so perfect is it that it has been visited by several manufacturers from
France and Germany, who, by permission of Mr. Goodwin, have taken plans
of it as a guide for new works to be erected in those countries.”
CHAPTER III.
Derby--Cock-pit Hill--Mayer--Heath--Derby China--Andrew
Planché--Duesbury and Heath--William Duesbury--Purchase of the
Chelsea Works--Weekly Bills--Show Rooms in London--Sales by
Candle--Changes in Proprietorship--Bloor--Locker--Stevenson
& Co.--Hancock--Painters and Modellers--Spengler--Coffee--Askew
--Billingsley--Pinxton--Nantgarw --Swansea--Other Artists
employed at Derby--Cocker and Whitaker’s China Works, &c., &c.
DERBY.
_Cock-pit Hill._--There is nothing yet known as to the time when these
works were first established. It is certain that at a tolerably early
period coarse brown ware was made here, of much the same general
character as that made at Tickenhall and by the Tofts, but researches
have as yet failed to bring to light any particulars regarding them.
There is a positive certainty that the Mayer or Mier family were
potters in Derby for more than one generation. A John Mier--an ancestor
probably of the Mayers or Meers, of Staffordshire--was a pot-maker
in 1721. Some vessels bearing his name are extant. One of these, a
posset-pot, bears the words IOHN MIER MADE THIS CUP 1721. Another has
been described as “a three-handled pot that holds about two gallons,
which is said to have been made at these pot works.” It is of coarse
brown ware, glazed, and bears the words:--
“Drink be merry and mary
God Bles creae George & Queen ann
John Mier made this cup 1708.”
Another, a large pitcher in my own possession, traditionally said to
have been made in Derby, bears the initials I S between the date 1720
(Fig. 42), and below the I S the letters D F, about which it is perhaps
scarcely worth hazarding a conjecture. It is 16½ inches in height,
and is of dark brown glazed ware. The name best known in connection
with these works is that of Heath, and they were carried on by this
family for a considerable number of years. How, or when, the works
came into the hands of the Heaths, remains to be discovered. In 1772,
in some very curious and unique MS. “Lists of Gent., &c., in Derby,
1772,” in my own possession, occurs in one, under “Cock-pitt Hill,”
“Mayer Mr...... pott merchant,” and in another, “Cock-pitt Hill,” “Mr.
Mayer...... pott merchant.” In the same list, dealers are put down as
keeping a “pott shop,” while Mayer is returned as a “pott merchant.”
In this same list “John Heath” is entered as an “Alderman;” and “Mr.
Chris. Heath” as a “Comon Council Man.”
[Illustration:
I S 2
DF
Fig. 42.]
On the 1st of January, 1756, a draft of an agreement was drawn up
“between John Heath, of Derby, in the County of Derby, gentleman;
Andrew Planche, of ye same place, china maker; and Wm. Duesberry, of
Longton, in ye County of Stafford, enameller,” by which they became
“co-partners together as well in ye art of making English china as
also in buying and selling of all sorts of wares belonging to ye art
of making china” for ten years, with power on Heath’s part to extend
for another ten years. In this agreement, the original MS. of which
is in my own possession, Heath (who, it will be seen, is described as
a “gentleman,” while the others are respectively described by their
trades of “china maker” and “enameller”) agrees to pay in £1,000 to the
concern, as his share “as stock,” “to be used and employ’d in common
between them for ye carrying on ye said art of making china wares,”[7]
for which he was to receive one-third of the profits till the principal
sum of £1,000 be paid back.
One of the clauses in this agreement is as follows:--“Also it is agreed
between ye sd parties to these Presents that ye sd Copartners _shall
not at any time hereafter use or follow ye Trade aforesaid or any
other Trade whatsoever_ during ye sd Term to their private Benefit
and advantage.” From this it would seem that John Heath could not at
that time be carrying on the Cock-pit Hill Works. There is nothing to
show that this deed was ever legally executed, and two years later--in
1758--I find him named as one of the proprietors of the Cock-pit Hill
Works, along with two partners, “William Butts, gentleman,” and “Thomas
Rivett, Esquire”--Butts, I presume, being the practical man of the
concern. The document in which this appears is in my own possession,
and is a commitment of a man named John Lovegrove, one of the workmen
“at their pottery in the said Borough of Derby,” for running away from
his said service. The commitment is as follows:--
“BOROUGH OF DERBY.
“To the constables of the said borough of Derby and to each and
every of them and also to the Keeper of the House of Correction
for the said borough.
“WHEREAS Information and complaint hath been made before me Samuel
Crompton Esquire Mayor and one of his Majesties Justices of the peace
for the said Borough by William Butts of the said Borough Gent upon his
oath that John Lovegrove was on the Thirteenth day of January last duly
hired as a Labourer and Servant to the said William Butts and to Thomas
Rivett Esquire and John Heath Gent for one year then next ensuing to
work at their Pottery in the said Borough of Derby and that the said
John Lovegrove hath departed and run away from his said service, his
said year not being expired, And Whereas in pursuance of the Statute in
that case made and provided, I have had the said William Butts and John
Lovegrove before me and have duly examined the Proofs and allegations
of both the said parties touching the matter of the said Complaint and
upon due consideration had thereof have adjudged and determined and
do hereby adjudge and determine the said Complaint to be true. These
are therefore to Command you the said constables and each and every
of you forthwith to convey the said John Lovegrove to the said House
of Correction for the said Borough of Derby and to Deliver him to the
Keeper thereof together with this warrant. And I do hereby Command you
the said Keeper to receive the said John Lovegrove into your Custody in
the said House of Correction there to remain and be corrected and held
to hard Labour for the space of [ ] from the Date hereof and for
your so doing this shall be your sufficient Warrent Given under my Hand
and seal the[ ].”
It will be seen that this commitment is not dated, but I am enabled
to fix it with certainty to 1758. Samuel Crompton was Mayor of Derby
in 1758, 1767, 1777 (to complete the year of office of Robert Hope,
deceased), 1782, and 1788, and High Sheriff of the County in 1768,
while holding office as Mayor. There is nothing in the commitment
to show to which of these years of Crompton’s Mayoralty it can be
assigned, but as Thomas Rivett, one of the partners named in it,
died in 1763, it leaves no doubt that 1758 is the correct date. This
Thomas Rivett, one of the partners, was Mayor of Derby in 1715 and
1761, and High Sheriff of the County in 1757. In 1747 he was elected
Member of Parliament for the Borough of Derby in room of John Stanhope,
deceased, and served till 1754. He died in 1763, and was buried in All
Saints’ Church. John Heath was Mayor in 1763 and 1772, and his son,
Christopher Heath, was Mayor in 1774.
The works were situated on Cock-pit Hill, at the commencement of
Siddal’s Lane. The site is still known as the “Pot Yard.” It is
distinctly marked on some of the old maps of Derby, and appears to
have stood immediately opposite the “Cock-pit” itself--an octagonal
building, with a spire-roof terminated with a vane. Buildings existed
on this spot as early as 1610, and at that time probably were employed
for the making of the rough ware of the period. In the last century
they seem to have formed three sides of a quadrangle, and to have been
of considerable extent. In 1772 it is thus spoken of in “A Short Tour
in the Midland Counties;” after speaking of the china works, the writer
says:--“Here is also a pottery, and I was showed an imitation of the
Queen’s ware, but it does not come up to the original, the produce of
Staffordshire.”
In 1780, in consequence of the failure of the Heaths (who were bankers
and men of property, besides one of them being at one time the partner
of Duesbury, and, later, the owners of these pot works), the Cock-pit
Hill Pottery sold off its stock of goods. The following is one of the
announcements of this sale.--
“TO THE MERCHANTS, TRADERS, AND DEALERS IN EARTHENWARE.
“To be Sold without Reserve (and considerably under the usual
wholesale prices) at the Derby Pot Manufactory a large quantity
of Earthenware, being the whole stock in trade of that great and
extensive Factory commonly known by the name of the Derby Pot
Works, consisting of an assortment of Enamelled, and Blue and
White useful China, a large quantity of Enamelled Creamware and
plain Cream Tea-table-ware, a great quantity of White Stone and
Brown ware.
“N.B.--The aforesaid Earthenware, &c., will be opened for sale
on the 4th and 6th of April and continued every Tuesday and
Thursday until the whole is disposed of; on which days (but no
other in the week) a proper person will attend the sale. The
Earthenware will be sold in different lots, and is well worth
the notice of Pot Carriers in and about the neighbourhood of
Coleorton Moor. No less a quantity than two horse loads will be
sold to any one person.”
In the same year, 1780, a sale of “a large quantity of earthern and
china ware from the Pot Works on Cock-pit Hill, in Derby, being the
stock-in-trade of Messrs. John and Christopher Heath, of Derby,
bankrupts,” was advertised to take place by auction at the King’s
Head Inn, Derby. The works were carried on for a year or two by the
assignees of Messrs. Heath, but in 1782 “a lease of the Pot Works
situate on Cock-pit Hill, in Derby, twelve years after which have yet
to come, and unexpired, at Lady Day next, at the yearly rent of £6, and
the lessee has a right by the lease to take away the buildings (except
only leaving a fence-wall), and except a barn that was built on the
premises before the lease was granted,” was advertised for sale by
auction, along with other property, by the Heaths, “at the house of Mr.
George Wallis (being the New Inn, in Derby), on Tuesday, 12th March.”
The lease, however, does not seem to have found a purchaser, for in
the _Derby Mercury_ of March, 1785, another sale is announced
“in Messrs. Heath’s bankruptcy,” in lots, of “the materials of some
buildings at the late Pot Works on Cock-pit Hill, in Derby, consisting
of brick, tile, and timber; also some old iron, old lead, Hopton stone,
a quantity of deal boards, and some lumber.”
Although these works were very extensive, and produced a large
quantity of goods of various kinds during the Heaths’ time, but few
specimens can, unfortunately, be correctly appropriated. This, of
course, is owing to the fact that no mark was used by the owners of
the works, and therefore, doubtless, scores of examples pass as “early
Staffordshire,” and as the productions of other places. Three or four
well-authenticated pieces, however, may be named. The first is a jug
in my own possession. It is of the “imitation of the Queen’s ware,”
alluded to in a previous page, and bears on one side, within a border
of foliage, the quaint and characteristic drinking inscription, “One
Pot more and then, why what then, why another Pot.” On the other side
and front, within one continuous border, is a blacksmith busy at his
forge, working the immense bellows with his left hand, and holding the
iron in the fire with his right; while in front is a youth standing by
the anvil waiting, as a “striker”; tools and other things lying about;
and the inscription, “Thos. Burton, Winster, 1778.” This jug was made
at the Cock-pit Hill Works, for Mr. Thomas Burton, a blacksmith, of
Winster, whose name it bears, and who is represented at his forge, and
from his family passed into my own hands. It is engraved, Fig. 43.
[Illustration: Fig. 43.]
Another excellent example belonged to my friend, the late Mr. Lucas.
It is a teapot, of the same kind of ware, and bears on one side the
words, “Harper for ever fow play and now fair dealing”--probably in
commemoration of the contested election of 1768, when Sir Henry Harpur
was defeated by Godfrey Clarke, Esq.
DERBY CHINA.
It is no little thing to say of Derby that the town in which the
silk manufacture of England first took its rise--for here the first
silk-mill ever built in this kingdom was erected by John Lombe; in
which the cotton trade made its first gigantic stride--for here
Arkwright and Strutt completed their invention for spinning, and
within a few miles erected the first cotton-mill in England; in which
the hosiery trade was first brought to perfection--for here Strutt
invented his famed “Derby Ribbed Stocking Machine,” and carried on his
manufacture of those articles; and in which many other branches of
manufacture have also had their rise--should likewise have been one of
the few places, and one of the _first_, in which the manufacture of
porcelain was matured, and in which the biscuit was first invented.
But so it is, and it is no little for Derby to be proud of, that
these branches of industry, which are among the most important in
the kingdom, should have had their birth, and in their infancy been
carefully nurtured, within its boundaries. The stories of Lombe and his
silk, Arkwright and Strutt and their cotton, and Jedediah Strutt and
his stockings, have been often told, and will bear telling again and
again; but that of Duesbury and his china has never been fully told,
and it was only by the most laborious research that I was enabled,
in 1862, to tell it, and to show to what an extent the manufacture,
under the care of three generations of one family, was carried. That
information I now, after many years of patient research, considerably
amplify. Alas! that so important, so beautiful a branch of Art should
ever have been allowed to decay in the town by which it has so long
been fostered.
One of the earliest printed notices of the Derby China Works occurs in
a scarce old book, “A Short Tour in the Midland Counties of England
performed in the summer of 1772, together with an account of a similar
excursion undertaken September, 1774.” It is as follows:--
“The manufacture of porcelain employs, in all, near a hundred
men and boys; several of the painters earn a guinea and a half
per week. Mr. Duesbury (who has also bought the manufactory at
Chelsea) is every day bringing the art nearer to that perfection
at which it has arrived in other countries. Derby porcelain is
at present by no means contemptible: figures and other ornaments
are among their most capital articles. Here is also a pottery,
and I was showed an imitation of the Queen’s ware, but it does
not come up to the original, the produce of Staffordshire.”
In the “Poll Book” of 1775, when Christopher Heath was Mayor of Derby,
the following names occur:--
Bakewell, Thomas, Derby, Pot-man.
Dewsberry, William, Derby, China-man.
Hill, Joseph, Derby, China-man.
Needham, Henry, Derby, Pipe-maker.
Simpson, Moses, Derby, Potter.
Strong, Benjamin, Derby, Pipe-maker.
Wood, William, London, China-man.
Withers, Robert, Rotherham, Potter.
Mosley, Thomas, Derby, Potter.
Bray, who wrote his “Tour” in the year 1777, says, speaking of Derby:--
“The china manufactory is not less worthy of notice. Under
the care of Mr. Duesberry it does honour to this country.
Indefatigable in his attention, he has brought the gold and blue
to a degree of beauty never before obtained in England, and the
drawing and coloring of the flowers are truly elegant. About
one hundred [this number is in his second edition corrected to
seventy] hands are employed in it, and happily many, very young,
are enabled to earn a livelihood in the business.”
Dr. Johnson visited the Derby China Works in 1777, and the following is
Boswell’s note on the visit:--
“When we arrived at Derby Dr. Butter accompanied us to see the
manufactory of China there. I admired the ingenuity and delicate
art with which a man fashioned clay into a cup, a saucer, or
a teapot, while a boy turned round a wheel to give the mass
rotundity. I thought this as excellent in its species of power
as making good verses in its species. Yet I had no respect
for this potter. Neither, indeed, has a man of any extent of
thinking for a mere verse-maker, in whose numbers, however
perfect, there is no poetry, no mind. The china was beautiful;
but Dr. Johnson justly observed it was too dear; for that he
could have vessels of silver of the same size, as cheap as what
were here made of porcelain.”
Pilkington, in his “View of the Present State of Derbyshire,” published
in 1789, says:--
“About forty years ago the manufacture of porcelain was begun
by the late Mr. Duesbury. This ingenious artist brought it
to such perfection as, in some respects, to equal the best
foreign china. The ornamental part of the business was at first
almost solely attended to. But the foreign demand being much
interrupted by the last war, the proprietor turned his thoughts
to the manufacture of useful porcelain. At this work a very
rich and elegant dessert service, consisting of one hundred
and twenty pieces, was lately made for His Royal Highness the
Prince of Wales. The number of hands at present employed by Mr.
Duesbury is seventy-two, and the manufacture is in a flourishing
state.”
William Hutton, the historian of his native town and of Birmingham, who
wrote his “History of Derby” in 1791, says:--
“Porcelain began about the year 1750. There is only one
manufactory, which employs about seventy people. The clay is not
of equal fineness with the foreign, but the workmanship exceeds
it. The arts of drawing and engraving have much improved within
these last thirty years. The improvements of the porcelain have
kept pace with these. They adhere to nature in their designs,
to which the Chinese have not attained. A dessert service of
one hundred and twenty pieces was recently fabricated here for
the Prince of Wales. The spot upon which this elegant building
stands, which is internally replete with taste and utility, was
once the freehold of my family. It cost £35, but the purchaser,
my grandfather’s brother, being unable to raise more than £28,
mortgaged it for £7. Infirmity, age, and poverty, obliged him
to neglect the interest, when, in 1743, it fell into the hands
of my father as heir-at-law, who, being neither able nor anxious
to redeem it, conveyed away his right to the mortgagee for a
guinea.”
And again, in his MS. “History of the Hutton Family,” 1799,[8] he says,
speaking of John Hutton:--
“He was the man who purchased the house east of St. Mary’s
Bridge, now the China Works, for £35, but being master of only
£28, mortgaged the premises to Mr. Crompton, a banker, for
the other seven. He becoming old and poor, and inheriting the
supineness of the Hutton family, suffered the trifling interest
to remain unpaid till the mortgagee seized the premises.
The freehold in 1743 fell into the hands of my father, as
heir-at-law, who assigned over his interest to Mr. Crompton for
a guinea.”
The manufactory was situated on the Nottingham Road, near St. Mary’s
Bridge, in a locality then named Suthrick, or Southwark. On its site,
in 1845–6, the Roman Catholic nunnery of St. Marie, designed by Pugin,
was erected, but this has now, like the China Works, become “a thing
of the past”--the nunnery having been purchased by the Midland Railway
Company, and taken down in 1863. Hutton’s remark as to this site being
his patrimony, is very curious, and adds an increased interest to the
locality. The very premises he speaks of were those first occupied for
the making of porcelain, and, curiously enough, they were opposite to
Lombe’s silk-mill, from which they were divided by the road and the
broad expanse of water of the River Derwent.
It is generally believed that in 1750, perhaps a little earlier, the
manufacture of china first sprang into existence in Derby--about a year
or so before the works at Worcester were established; and there is a
tradition that the first maker was a Frenchman, who lived in a small
house in Lodge Lane, and who modelled and made small articles in china,
principally animals--cats, dogs, lambs, sheep, &c.--which he fired in
a pipe-maker’s oven in the neighbourhood, belonging to a man named
Woodward. There were, at this time, as I have shown, some pot works on
Cock-pit Hill, which afterwards belonged to Alderman Heath, a banker;
and the productions of this French refugee, or rather son of a French
refugee, having attracted notice, an arrangement was made between him
and Heath and Duesbury, by which the manufacture of porcelain was to
be carried on jointly. This man’s name, to whom I take it belongs
the absolute honour of commencing the Derby China Works, was Andrew
Planché; and I am enabled to arrive at this conclusion by means of a
draft of a deed now in my possession, by which a partnership for ten
years was entered into by the three already named. In this arrangement
I apprehend Planché found the knowledge of mixing bodies and glazes,
Heath the money (£1,000), and Duesbury the will, ability, and skill to
carry out the scheme. These articles of agreement are as follows:--
“ARTICLES OF AGREEMENT between John Heath of Derby in the County
of Derby Gentleman, Andrew Planche of y^e same Place China Maker
& W^m Duesberry of Longton in y^e County of Stafford Enamellor.
Made and enter’d into the 1_{st} of Jan_{y} 1756.
“FIRST IT IS AGREED by y^e said John Heath Andrew Planche &
W^m Duesberry to be Copartners together as well in y^e Art
of making English China as also in buying and selling of all
sorts of Wares belonging to y^e Art of making China w^{ch} said
Copartnership is to continue between them from the Date of these
Presents for & during y^e Term of Ten years from thence & then
fully to be compleated & ended And to that end He y^e said John
Heath hath y^e day of y^e date of these Presents deliver’d in
as a Stock y^e sum of One Thousand Pounds to be used & employ’d
in Common between them for y^e carrying on y^e s^d Art of
making China Wares And that one third share of Profits arising
therefrom It is mutually agreed between all y^e s^d parties
shall be receiv’d by & paid to y^e said John Heath till y^e
said Prin^l Sum of £1000 be paid in ALSO it is agreed between
y^e s^d parties to these Presents that y^e s^d Copartners shall
not at any time hereafter use or follow y^e Trade aforesaid
or any other Trade whatsoever during y^e s^d Term to their
private Benefit and advantage. And also that y^e s^d Copartners
shall during y^e said Term pay and discharge equally and
proportionably between them all expenses they shall be at in
managing y^e Art and Trade aforesaid[F1: period?] And also
that all Gain or Profit that shall arise from y^e Art & Trade
aforesaid during y^e said Term shall be divided between them y^e
s^d Copartners Share and Share alike And likewise that all such
Losses as shall happen by bad Debts Ill Commodities or otherwise
shall be borne equally between them AND it is further agreed by
y^e s^d Parties that there shall be kept during y^e s^d Term
Just & True Books of Accounts to w^{ch} s^d Books any of y^e s^d
Copartners shall have free access without Interruption of y^e
other AND it is further agreed that at any time hereafter at y^e
request of y^e said John Heath New Articles shall be made & an
additional Term of years not less than Ten shall be added with
such alterations and additions as may be found necessary AND
that y^e said Copartners shall from time to time communicate to
each other every Secret of y^e said Art AND that y^e said John
Heath shall have it in his power to appoint any other Person to
Act for him if he should chuse so to do w^{ch} Person shall be
as fully impowered to Act with regard to all Covenants herein
contained as y^e s^d John Heath himself. WITNESS OUR HANDS the
Day & Year above written.”
These articles are not signed, and as in no instance which has come
under my notice the name of Planché again appears--and as I can only
trace the firm as that of “Duesbury and Heath”--I fear one is driven to
the inference that the usual fate of clever men awaited Andrew Planché,
and that when his knowledge was fully imparted, he was, from some
cause or other, discarded by those who had taken him in hand. At all
events, this is the only instance in which his name appears in any of
the papers connected with the works which I have examined. Of Planché,
however, whom I was the first to discover and note in 1862, but who,
despite all I had written, was spoken of by Mr. A. Wallis, eight years
later, as “an apocryphal French refugee,”[9] I am enabled to give some
additional particulars.
Andrew Planché was one of the five sons of Paul Planché, a French
refugee, by his first wife, Marie Anne Fournier, also a refugee, whom
he married in 1723. Andrew was born on the 14th, and baptized on the
24th, of March, 1727–8, and his youngest brother was Jacques Planché
(born in 1734), who married his cousin (the only daughter of Antoine
Planché by his wife Mary, daughter of Herr Abraham Thomas and his wife
Catherine), and was father of my old and valued friend, J. R. Planché,
F.S.A., the well-known dramatist and antiquary. This fact I brought to
his knowledge in 1862, and again when he was writing his interesting
“Recollections,” in which he has embodied some of the information I
supplied him with. Through the re-marriage of their father, the two
boys, Andrew and Jacques, had early to shift for themselves; the latter
made his way to Geneva, where he learned the business of watch-making,
and the former, I believe, went into Saxony, and there learned the art
of making porcelain at Dresden. How he came to Derby is at present a
mystery, but he was there at all events as early as, if not earlier
than, 1751. This is proved, as I shall presently show, by the birth of
one of his sons. In 1751 he would be 23 years of age, and was living
in the parish of St. Alkmund, in Derby. The following entries are
extracted from the parish register of St. Alkmund’s:--
1751. Sept. 21. Baptized Paul Edmund, the son of Andrew Planché and
Sarah his wife.
1754. 12 Oct. Bap. James, the son of Andrew Planché and Sarah his
wife.
1754. Dec. 10. Buried James, the son of Andrew Planché and Sarah
his wife.
1756. March 4. Bap. James, the bastard son of Andrew Planché and
Margaret Burroughs.
1756. July 3. Bap. William, the son of Andrew Planché and Sarah
his wife.
That Andrew Planché was not very strict in his morals is revealed by
these extracts, which show that in 1756 he had two sons baptised within
four months of each other, the first by a young woman named Margaret
Burroughs, and the second by his wife. This was the year, 1756, in
which the articles of agreement were drawn up. What became of Planché
after he left Derby is not known. He appears to have been a very
erratic individual, and his whereabouts uncertain. He was living at
Bath at the ripe age of 76, in 1804, and died there soon afterwards. At
all events, I have proof that he was in Derby eight years--how much
longer I know not--and I have also, as will be seen, indisputable proof
that William Duesbury had no connection with Derby till 1755–6, the
date of the deed I have printed above.
When Duesbury, whether in conjunction with Planché and Heath or not,
commenced business, it appears to have been in the small premises which
had not long before been relinquished for a guinea by the father of
William Hutton; and in them was thus commenced, in a very small way,
that manufacture of porcelain which afterwards grew to so immense an
extent. In the year 1756 the draft of agreement was drawn up, and the
ware made at the manufactory must soon have found a ready sale, for
in the course of a very few years Mr. Duesbury was carrying on a good
trade, had a London house for the sale of his productions, and became a
thriving and well-to-do man.
William Duesbury was of Longton Hall, in the county of Stafford,
and was the son of William Duesbury, currier, of Cannock, in the
same county, who in 1755, as is evidenced by the original deed in
my possession, made over to him his household furniture, leather,
implements of trade, and other effects, on condition that he should
find him “during the term of his natural life, good and sufficient
meat, drink, washing, and lodging, wearing apparel, and all other
necessaries whatsoever.” The following is a verbatim copy of this
curious deed, from the original. It is fully stamped, signed, and
attested, and runs as follows:--
“THIS INDENTURE made the Twenty-seventh day of September in
the twenty-ninth Year of the reign of King George the second
over Great Britain and so forth and in the Year of our Lord
One Thousand Seven Hundred and fifty-five BETWEEN William
Duesbury of Cannock in the County of Stafford Currier of the
one part and William Duesbury of Longton Hall in the Parish
of Stoke-upon-Trent in the said County of Stafford Son of the
said William Duesbury of the other part WITNESSETH that for
and in Consideration of the natural Love and affection which
he the said William Duesbury hath and beareth to the said
William Duesbury the younger And of the Covenant or Agreement
hereinafter contained on the part and behalf of the said William
Duesbury the younger to be done and performed and of the Sum
of Five Shillings of lawful British Money to the said William
Duesbury in hand paid by the said William Duesbury the younger
at or before the execution of these presents the receipt whereof
is hereby acknowledged He the said William Duesbury Hath given
granted bargained and sold and by these presents DOTH give grant
bargain and sell unto the said William Duesbury the younger All
and singular the Household Goods Leather Implements of Trade
and all other the goods Chattles and Personal Estate of him the
said William Duesbury situate and being at Cannock aforesaid or
elsewhere in the said County of Stafford and every of them and
every part thereof And all the Estate right title Interest &
property claim and demand whatsoever both in Law and Equity of
the said William Duesbury of in or unto the same every or any
part thereof TO HAVE AND TO HOLD take retain and enjoy the said
Household Goods Leather Implements of Trade and every of them
And all other the goods Chattles and personal Estate above given
granted bargained and sold or mentioned and intended so to be
with their appurtenances unto the said William Duesbury the
younger his Extors. admors. & assigns from henceforth absolutely
and for ever to his and their own Use and benefit And the said
William Duesbury for himself his Extors. & admors. doth covenant
promise and grant to and with the said William Duesbury the
younger his Extors. admors. & assigns that he the said William
Duesbury his Extors. & admors or some of them All and singular
the said Goods Chattles and personal Estate above given granted
bargained and sold or mentioned & intended so to be to the said
William Duesbury the younger his Extors. & admors. against
all Men shall and will warrant & for ever defend And the said
William Duesbury hath put the said William Duesbury the younger
into possion. of all & singular the said Goods and Chattles by
delivering him one Pewter Plate in the name of all and singular
the said Goods and Chattles at the execution of these presents
AND THIS INDENTURE FURTHER WITNESSETH And the said William
Duesbury the younger in Consideration of the Premises for
himself his Heirs Extors. & admors. doth covenant promise grant
and agree to and with the said William Duesbury his Extors. &
admors. That he the said William Duesbury the younger his Heirs
Extors. and admors. or some of them shall and will from time to
time and at all times hereafter find and provide for the said
William Duesbury during the term of his natural Life good &
sufficient meat drink washing and Lodging wearing apparel and
all other necessaries whatsoever at the proper Costs and Charges
of him the said William Duesbury the younger his Heirs Extors.
Admors. or assigns IN WITNESS whereof the said Parties to these
presents have hereunto set their Hands and Seals the day & year
first above written.
Sealed and delivered } WILLIAM DUESBURY.[circle]
in the presence of }
MARY KNIGHT.
JO: KNIGHT. WILLIAM DUESBURY.[circle]
I next find William Duesbury, the enameller, of Longton, entering into
partnership with Heath and Planché on the first January in the year
following his executing this deed for the maintenance of his father;
and entries in the family Bible prove that at this time he removed to
Derby, to carry on his newly-acquired business “in ye art of making
English china, as also in buying and selling of all sorts of wares
belonging to ye art of making china.” The partnership deed bearing
date the first of January, 1756, shows that the negotiations must have
been made in the previous year, 1755, and as the deed of gift from his
father is dated September 27th of that year, it is evident that the one
was consequent on the other, and that the arrangement with his father
was the result of his determination to come to Derby. The father lived
until 1768, and died and was buried in Derby. In the parish register is
the entry, “1768. Buried, Mr. Duesbrie, March 17.”
William Duesbury was born on the 7th of September, 1725, and married
Sarah James, of Shrewsbury (who was born on the 12th of August, 1724).
In 1755 he was residing at Longton, as an enameller on china ware, &c.,
and in 1756 removed to Derby to carry on the porcelain works there. By
his wife Sarah, who died on the 14th of September, 1780, and was buried
at St. Alkmund’s Church, Derby, he had several children. These were, so
far as I have been able to ascertain, William, born in London in 1752,
and died there in infancy; Anne, born at Longton, Oct. 3, 1754, who
became the wife of Richard Egan, linendraper, of London, and afterwards
china, earthenware, and glass dealer, of Bath; Mary, born in London,
in 1753, but baptised at St. Alkmund’s, Derby, who died in infancy;
another Mary, born at Derby, Nov., 1756, and died in 1783; Sarah, born
in 1758, and died an infant; another Sarah, born in 1759, and buried
in 1767; Dorothea, born in 1761, who married the Rev. John Chawner, of
Church Broughton, in 1786; William, born in 1763, who succeeded his
father; and James, born in 1765, who, after an erratic and evidently
misunderstood and unfortunate life, died in obscurity. Mr. Duesbury
himself, after a long and useful life, in the course of which he not
only established the Derby China Works, but became the purchaser of
those of Chelsea, Bow, Vauxhall, and Kentish Town, died at Derby,
and was buried at St. Alkmund’s Church, in that town, on the 2nd of
November, 1786.
William Duesbury, son and successor of the last named, was born at
Derby, and baptised at St. Alkmund’s Church there, March 1, 1763. On
the 4th of January, 1787, he married Elizabeth, daughter of William
Edwards, Esq., solicitor, of Derby, the lady having three days before
completed her twentieth year. By her he had issue three sons--William,
who succeeded him; Nathaniel, who died in 1809, aged 19; and Frederick,
who became an eminent physician in London--and two daughters, viz.,
Sarah, who remained unmarried, and died in 1875; and Anne Elizabeth,
who became the wife of Francis Jessop, Esq., solicitor, of Derby. So
far it has been necessary to summarise this bit of family genealogy,
but the remainder will form a part of the thread of the history of the
works.
The manufacture of china under the first William Duesbury must have
rapidly risen into eminence, for in 1763, in an account of “goods sent
to London,” no less than forty-two large boxes appear at one time to
have been despatched to the metropolis, and the proceeds, I presume,
of the sale of a part of them, on the 2nd of May, in that year,
amounted to no less a sum than £666 17_s._ 6_d._ It is very
interesting, at this early period of the art, to be enabled to say of
what varieties of goods the consignment to London consisted, and I
therefore give the list of contents of some of the boxes entire, and
also a few items from others. I do this the more readily because it has
been recently said by the writer to whom I have already alluded, “We
doubt very much whether the higher sorts of fine porcelain (figures,
vases, &c.) were made upon the Nottingham Road until the purchase of
the Chelsea Works in 1769 and the commencement of what is called the
Chelsea-Derby period, which lasted until 1785 or 1786.”
Box No. 41 contained--
8 Large Flower Jarrs, at 21_s._
3 Large Ink Stands, at 42_s._
1 Small ditto, at 24_s._
4 Large Britanias, at 36_s._
6 Second-sized Huzzars, at 12_s._
4 Large Pidgeons, at 7_s._
12 Small Rabbets, at 2_s._
12 Chickens, at 2_s._
16 Small Baskets, at 2_s._ 6_d._
Box No. 31--
4 Large Quarters, at 40_s._
4 Shakespeares, at 42_s._
6 Miltons, at 42_s._
24 Bucks, on Pedestals, at 2_s._ 6_d._
Box No. 29--
4 Large Quarters, at 40_s._
2 Jupiters, at 68_s._
2 Junos.
5 Ledas, at 36_s._
1 Europa, at 36_s._
2 Bird-catchers, at 10_s._ 6_d._
12 Sixth-sized Solid Baskets.
18 Second-sized Boys, at 1_s._ 6_d._
Box No.11--
24 Enammelled, round, fourth-size, open-worked Baskets.
12 Blue ditto.
12 Open-worked Spectacle Baskets.
9 Second-size Sage-leaf boats.
There were also, of various sizes, blue fluted boats, Mosaic boats,
sage-leaf boats, potting pots, caudle cups, blue strawberry pots,
fig-leaf sauce boats, octagon fruit plates, vine-leaf plates, coffee
cups, flower vases, standing sheep, feeding sheep, cats, sunflower
blows, pedestals, honeycomb jars, coffee pots, blue guglets and basins
to ditto; butter tubs, Chelsea jars, tea pots, honeycomb pots, figures
of Mars and Minerva, sets of the Elements, Spanish shepherds, Neptune,
the Muses, bucks, tumblers, roses, Jupiter, Diana, boys, garland
shepherd, Spaniards, Chelsea-pattern candlesticks, Dresden ditto, jars
and beakers, polyanthus pots, &c., &c.
It is worthy of note that at this time, although much within the ten
years stipulated for the partnership, the name of William Duesbury
alone usually occurs. It is true that in some instances “Duesbury
and Co.,” and “Duesbury and Heath,” are met with, but these are the
exception. The works at Derby continued now rapidly to extend, and
fresh articles and subjects were being continually added to those
already made. The best available talent was got together, apprentices
were taken to the modelling, the painting, the making or “repairing”
of china, and other parts of the manufacture, and it was soon found
advisable to have a regular warehouse in London.
The mark used in the earliest days of the works is not certain, but I
believe, and I have reason for that belief, that it was simply the
letter D, which, would stand either for “Duesbury” or for “Derby;”
probably in gold. The figures and groups, too, were numbered and
registered for reproduction.
On the 17th of August, 1769, Mr. Duesbury arranged for the purchase of
the Chelsea China Works, their purchase being completed on the 5th of
February, 1770, when a payment of £400, in part of the purchase-money,
was made by Mr. Duesbury, who thus, as the proprietor of the Derby and
the Chelsea Works, became the largest manufacturer in the kingdom.[10]
The history of the Chelsea Works has already been fully given in the
first volume of this work, and therefore it is only necessary here to
say, that in 1862, in my paper on the Derby China Works, in the _Art
Journal_, I was for the first time enabled to state the fact that
Mr. Duesbury purchased “the Chelsea Porcelain Manufactory, and its
appurtenances and lease thereof,” on the 5th of February, 1770, and
that it was covenanted to be assigned over to him on or before the 8th
of that month; the date of the arrangement to purchase being August
17th, 1769. For some few years, then, Mr. Duesbury carried on both
establishments, and subsequently removed the models and some of the
workmen to Derby, where also he removed such of the models, &c., from
Bow, which had likewise come into his possession. The purchase of the
Chelsea Works soon entailed upon him the commencement of some heavy law
proceedings which lasted many years. The cause of these proceedings
was the attempt at recovery of a quantity of goods claimed by Duesbury
as a part of his purchase, being goods made by Spremont, and of his
material, but which were afterwards sold, it was said, wrongfully, by
Francis Thomas, to a person named Burnsall. The action was commenced
in 1770, and in 1771 Mr. Spremont, the old proprietor of the Chelsea
Works, died. The proceedings, however, continued for several years.
During the time Mr. Duesbury carried on the Chelsea Works, from
February 1770 to 1773, the “weekly bills” are now in my possession,
and are particularly interesting as showing the nature of the articles
then made, and the names of the painters and others employed, and the
amount of wages they earned. The following examples will be read with
interest. The first I give is quite one of the early ones--of the same
month in which the works were delivered over to Duesbury:--
1770. _A Weekly Bill at Chelsea from the 24 of March to the 31._
£ _s._ _d._
Barton, 6 days att 3_s._ 6_d._ 1 1 0
Boyer, 6 days att 3_s._ 6_d._ 1 1 0
3 dozen of Seals of the Lambs, made overtime 0 3 6
3 dozen of Lyons, ditto 0 3 6
Roberts, 6 days att 2_s._ 6_d._ 0 15 0
Piggot, 6 days att 1_s._ 9_d._ 0 10 6
Ditto, Taking Care of the Horse on Sunday 0 1 6
Inglefield, 6 days at 1_s._ 8_d._ 0 10 0
------------
£4 6 0
Work done this Week at Chelsea--
6 Large Ornement Pedistols for the Grand Popore.
5 Large Popore Perfume Pots to Ditto.
1 Square Perfume Pot Deckarated with heads of the 4 seasons.
Roberts, Making Cases hall the week.
Piggot, Working the hors in the Mill, and fettling of rims.
Inglefield, Pounding of the glass, and cutting of wood.
Recd. of Mr. Duesbury in full of all Demands for self and
the a Bove.
RICHD. BARTON.
1770. _A Weekly Bill at Chelsea from Decr. 1 to the 8._
£ _s._ _d._
Boarman,[11] 6 days att 5_s_ 3_d._ 1 11 6
Wolliams, 6 days att 4_s._ 6_d._ 1 7 0
Jenks, 6 days att 3_s._ 6_d._ 1 1 0
Boyer, 6 days att 3_s._ 6_d._ 1 1 0
Barton, 6 days att 3_s._ 6_d._ 1 1 0
Roberts, 3 days att 2_s._ 6_d._ 0 7 6
Piggott, 6 days att 1_s._ 9_d._ 0 10 6
Ditto, Sunday, taking care of the Horse 0 1 6
Inglefield, 6 days att 1_s._ 8_d._ 0 10 0
Overtime by Barton and Boyer, 10 Globe Cover Jarrs 0 10 0
72 Seals painted in Mottords[12] by Boarman and
Wolliams 0 7 6
42 Seals, painted by Jinks at 2_d._ each, figures 0 7 0
A Letter from Darby 0 0 5
2 Tons of fine clay Shipping to Darby 2 7 0
And 1 Ton to Chelsea of Corse 0 17 0
A Letter to Darby 0 0 1
Tax’s of the Factory 2 0 3
Turpentine for the Painters 0 0 6
Peaper for the Use of the factory 0 0 4
-------------
£14 1 1
Deduct for 2 Tun Clay[13] 2 7 0
-------------
£11 14 1
Rec. of Mr. Duesbury in full of all demands for Self and the a Bove.
_Exd. and Ent._
RICHD. BARTON.
Amongst other interesting entries from week to week in the bills, I
have chosen a few examples to illustrate the kind of work then carried
on in this factory.
£ _s._ _d._
Paid for the Plaister Mould
from Darby, the 9 of August 0 0 6
Paid for a box from Darby 0 0 6
Overwork by Barton and Boyer, 2 Junquill Beakers 0 4 0
And 1 Vincent Pattern Perfume Pot 0 1 6
Seals painted by Jinks, 33 Lambs 1½_d._ 0 4 1½
33 Covers Painted Overtime by Jinks at 1½_d._ each 0 4 1⅓
Cord[14] for the Kilns 1 17 4
Overtime by Boyer and Barton, 5 Sweet Meat Basons
at 1_s._ each 0 5 0
----4 hart shaped Perfume Pots with handles, at
1_s._ 3_d._ each 0 5 0
1 Cupid Forgin Harts at 1_s._ 3_d._ 0 1 3
Overtime, Painting by Jinks 2 dozen of Tom titts
at 1½_d._ each 0 3 0
Seals made overtime 3 dozen Chineas Men with a Bird 0 3 6
3 dozen Cupids as a Backus 0 3 6
24 Strawberry Compotiers made with the Darby clay.
1 dozen and 6 Cupid Booted and Spurd 0 1 9
1 dozen and 6 Harts on a Cushin 0 1 9
1 dozen and 6 Cupid as a Doctor 0 1 9
1 dozen and 6 Turks a Smokin 0 1 9
1 dozen and 6 Shepherds Shearing of Sheep 0 1 9
12 Tooth Picks with Head of Turk and Companions,
painted with emblematick Mottoes, ditto at
1_s._ 6_d._ 0 18 0
Examples of this kind[15] could be multiplied to any extent, but to
bring the extracts a little later down in date, I shall content myself
by giving the “weekly bill at Chelsea from June 19 to the 26, 1773,” to
show that the same hands, with the addition of a modeller named Gauron,
were still employed:--
£ _s._ _d._
Gauron, 5¾ days at 8_s._ 9_d._ 2 10 3½
Boreman, 5¼ days at 5_s._ 3_d._ 1 7 7
Woolams, 5½ days at 4_s._ 6_d._ 1 4 9
Jenks, 6 days at 3_s._ 6_d._ 1 1 0
Snowden, 6 days at 3_s._ 6_d._ 1 1 0
Boyer, 6 days at 3_s._ 6_d._ 1 1 0
Barton, 6 days at 3_s._ 6_d._ 1 1 0
Roberts, 6 days at 2_s._ 6_d._ 1 15 0
Painting, overwork, Smelling Bottles of boys
catching Squirrel at 1_s._ 3_d._ 0 2 6
2 Ditto, with a Bird’s Nest at 1_s._ each 0 2 0
1 Ditto, Piping with a Dog at 1_s._ 0 1 0
1 Ditto, Double Dove 0 1 0
Mottoing 60 Seals at 1¼_d._ each 0 6 3
Modling Clay 0 0 6
A Parsel 0 0 2
A Letter 0 0 1
------------
£10 15 1¾
Recd. of Mr. Duesbury in full of all demands for Self and the a Bove.
RICHD. BARTON.
Before Mr. Duesbury purchased the Chelsea works the mark of that
manufactory was an anchor, [Illustration: Fig. 44.] and to this Mr.
Duesbury added the letter D; and the mark now known as distinguishing
the “Derby Chelsea” ware was thus--generally in gold. Examples of this
period are of comparative rarity, and are eagerly sought after by
collectors.
[Illustration: Fig. 45.]
In 1772, in the very curious MS. “Lists of Gent., &c., in Derby, 1772,”
in my own possession (a list prepared for official purposes over
elections), are the following entries under “Southwark,” as that part
of Derby was called. In one:--
Duesbury, Mr. W^m China Manufacturer.
Steer, Mr. John A^t to China Manufactory.
Wood, Mr. W^m Do.
and in the other list:--
Mr. Duesbury China Manufacturer.
Mr. W^m Wood Clerk to Do.
Mr. John Steer Do.
In June, 1773, Mr. Duesbury took the lease of premises (late the Castle
Tavern) in Bedford Street, Covent Garden, for a warehouse for his
Derby and Chelsea ware, and here, with this William Wood as his agent
(afterwards succeeded by J. Lygo), he exhibited and kept a large stock
of his manufactures, and carried on, in conjunction with his two works,
a very thriving and lucrative trade. Here he issued a “List of the
principal additions made this year to the new invented Groups, Jars,
Vases, Urns, Beakers, Cups, Chalices, &., of Mr. Duesbury’s Derby and
Chelsea Manufactory of Porcelaines, Biscuits, and China Ware, both
Ornamental and Useful.” This “list” is printed in small quarto. Among
the articles enumerated, one hundred and twenty-three in number, the
following will be sufficient to show their beautiful and elaborate
nature, and the amount of labour and artistic skill which they
exhibited:--
“1. Their present majesties, the king and queen, and royal
family, in three grouped pieces of biscuit. The centre piece
represents the king in a Vandyke dress, on a blue and gold
basement, supported by four lions leaning on an altar richly
ornamented in blue and gold, with hanging trophies of the polite
arts and sciences. The crown, _munde_, and sceptre reposing on a
cushion, of crimson, embroidered, fringed, and tapelled in gold.
14 inches.
“42. A large _beaker_, sky-blue ground spotted in white; two
dolphins, lion footed, standing on white goats’ heads, form the
two anses in crimson and white edged with gold, the mouth of
the beaker and the top of the vase are furrowed with twisted
crenures in white and gold; the zone of the top is adorned with
golden lions, turned toward white and gold marks; the rim of the
cup part is foliated and crenulated friese, white and gold, with
detached patera, the pediment striped with gold in alternate
triangles, the foot covered with gilt leaves; the pedestal in
white and gold has four white sphinxes for angular supporters,
over which runs a gold festoon fixed to the surbase; the whole,
with the pedestals, 20 inches.
“105. A white _gallon cask_, with gold edged hoops, adorned
with four trophies of music emblems of love, in chiaro-oscuro,
surmounted by a young coloured Bacchus, sitting on the bung
tasting a grape, of which he holds a basket full between his
legs, and a cup in his left hand, the barrel is made to turn
round on a pivot fixed in an _ormolu_ pediment, a satyr’s mask
holds an _ormolu_ cock in his mouth, which opens and shuts by a
spring. 18 inches.”
The works at Chelsea were not finally discontinued until the year 1784,
when they were destroyed by Mr. Duesbury, the kilns and every part
of the work pulled down, and what was available sent down to Derby.
The removal of the kilns, and the work of demolition, was entrusted
to Robert Boyer, the painter, &c., the old and faithful servant whose
name appears in the “weekly bills” above given; and when his work was
done he removed to Derby at twenty-five shillings per week in place
of a guinea, with house rent free, and fire as heretofore.[16] It is
also worthy of remark that Mr. Duesbury purchased the Bow business, and
owned the pottery at Pedlar’s Acre, at Lambeth, the rents of which he
assigned in 1781.
[Illustration: Fig. 46.]
Periodical sales of stock were held in London by Mr. Duesbury, and
judging by the catalogues of “Sales by Auction” by Messrs. Christie
and Ansell, of Pall Mall, and “Sales by Candle,” by Mr. Hunter, the
articles sent up for the purpose were excellent examples of the
manufacture, and just such as were likely to be sought after by the
traders--the “chinamen” of London. The descriptions of the goods were
of much the same character as in the “list” referred to, with this
addition, that in the late catalogues the price (the trade price
possibly) was attached to each article. I have by me the priced
catalogues of several years’ sales, and it is highly interesting to
examine them, and to see the prices the different articles realised
at the sales. They give, perhaps, one of the best insights into the
porcelain trade of that period of anything I have seen. A few items,
taken at random, from some of these catalogues, will be useful to
the collector. The “Catalogue of an elegant and extensive assortment
of Derby and Chelsea Porcelaine” for sale on May 10th, 1781, and
four following days, has a long and full title-page, and occupies
thirty-two octavo pages. The company were invited to this sale by
cards, of which the following is a copy:--
“At Mess^{rs} Christie and Ansell’s great Room, next _Cumberland
House, Pall Mall_, will be sold by Auction on _Tuesday_ next,
the 7th of _May_ 1782, and the Four following Days, an elegant
and extensive Assortment of the DERBY and CHELSEA PORCELAIN,
consisting of TABLE and DESERT SERVICES, TEA and COFFEE
EQUIPAGES, BISCUIT ORNAMENTS, &c., &c.
“To be viewed on _Saturday_ the 4th of _May_, and till the Sale
(Sunday excepted), which will begin each Day at 12 o’clock.
“N.B.--Mr. _Duesbury_ flatters himself the Produce of his
Manufactory this Year will be found far superior to any Thing
he has ever yet exhibited, and therefore humbly hopes he shall
experience the wonted generous Countenance of the Nobility, and
his Friends in general, whose Patronage (with the highest Sense
of Gratitude) he will be ever studious to deserve.”
The following are a few of the lots offered. It was a five days’ sale,
and there were 529 lots in all. The figures I have placed in brackets,
thus [ ] are the prices the lots realised at this sale:--
A complete set of tea china, waved, shank’d, enamel’d with a
border of green flowers and gold edge, 41 pieces. [£3 3s.]
Six French-shape chocolate-cups and saucers, enamel’d with
festoons of green husks and pink and gold border. [18s.]
One small-size group representing Music, in biscuit. [21s.]
One pair of element-groups representing Air and Water, and 4
standing seasons, in ditto (biscuit). [£1 18s.]
An elegant Etruscan-shape vase, enamel’d in compartments with a
figure of Shenston, and fine blue ground striped with gold.
One set of five beautiful vases, enamel’d in compartments with
landscapes and figures, richly finished with green and gold.
A beautiful dejune, enamel’d in compartments with Cupids and
striped with gold.
A beautiful large group of figures of the three Virtues, in
biscuit. [30s.]
A beautiful desert-service, enamel’d with coloured flowers and
fine blue and gold leafage border, consisting of 24 plates, 2
large oblong compotiers, 1 ditto with a foot, 2 heart-shape, 4
round, and 4 square ditto, 1 pair cream-bowls, covers, stand,
and spoons.
One beautiful vase, enamel’d in compartments with a landscape on
one side and Romeo and Juliet on the other, richly finished with
chas’d and burnish’d gold.
One pair of ewer-shape vases, enamel’d in compartments with
figures and richly gilt.
An elegant inkstand, fine blue and gold. [10s. 6d.]
One group of Jason and Medea before Diana.
One set of (three) vases, beautifully painted in compartments
with jett figures, and richly finished with chas’d and burnish’d
gold. [£7.]
One pair of Etruscan-shape vases, enamel’d with trophies and
figures richly gilt.
A beautiful dejune, enamel’d with vases, &c., rich, finished
with fine blue and gold. [63s.]
Six caudle cups, covers and stands, peacock pattern, white and
gold. [25s.]
A superb and elegant pair of caudle cups, covers and stands,
enamel’d in compartments with figures and striped with gold.
One pair of small foxes, in biscuit. [10s.]
A figure of Time and a set of the Seasons, enamel’d. [35s.]
One small group representing Music, 1 pair Sportsman and
Companion, 4 small groups, and 4 small flower vases, in biscuit.
[£2 6s.]
One pair of Dragon candlesticks, green and gold.
A beautiful three-quart punch-bowl, enamel’d with flowers and
rich blue and gold border [17s.]
One superb and elegant vase with therms, beautifully enamel’d
with figures, the Three Graces on one side and a landscape on
the other, in compartments, enriched with chased and burnished
gold, and 2 ewer-shape vases to match, figure of Virtue on one
side and Prudence on the other.
One pair of basket-work antique-handled vases, enamel’d with
figures, Pomona and Prudence on one side and a landscape on the
other, in compartments, gilt to match.
One beautiful large group of two Virgins awaking Cupid, in
biscuit. [42s.]
One ditto to match of two Bacchants dressing Pan with a garland
of flowers.
One pair of beautiful groups representing Poetry and Music, in
biscuit.
One set of figures, the four quarters and four small groups, in
biscuit. [30s.]
One large punch-bowl, enamel’d with festoons of coloured flowers
and gold edge. [12s.]
One large perfume-vase, beautifully painted in figures in
compartments representing Eneas meeting Venus before he enters
Carthage, richly gilt.
One pair of large beakers to match, enamel’d in compartments
with figures, on one side Bacchus and Ariadne, and on the other
Venus and Adonis, richly gilt.
A very rich and beautiful compleat desert service, enamel’d
with different vases, festoons of green husks, and fine blue
and gold, consisting of 24 plates, 2 large oblong compotiers,
1 ditto with a foot, 4 round, 2 heart-shape, 4 oval, 4 oblong
ditto, and a pair of cream-bowls, covers, stands, and spoons.
[£22 1s.]
Four pierced desert flower-vases, 1 pair fitting figures, and 4
shooting Cupids, in biscuit.
One pair of fox-hunters’ cups.
A very beautiful Seve-pattern compleat desert service, enamel’d
with roses, fine mosaic border, richly finished with chased and
burnish’d gold, consisting of 24 plates, 3 oblong compotiers, 2
heart-shape, 4 round, 4 square, 4 small oblong ditto, and a pair
cream-bowls, covers, stands, and spoons. [£25 4s.]
One pair of sitting religious figures, in biscuit. [9s.]
One pair Satyr-head drinking-mugs, enamell’d and gilt. [8s.]
One beautiful figure of Shakespear, in biscuit, and fine blue
and gold pedestal. [21s.]
One pair large rummers, enamel’d with festoons of coloured
flowers, and gilt. [6s. 6d.]
Two large leaves, 4 small ditto, and one round fruit-dish. [13s.]
One group of 3 boys playing at hazard, and one ditto of a
galanter show, in biscuit.
Six Egg-spoons, 6 artichoke-cups, and 6 asparagus-servers,
enamel’d, fine blue and white. [9s.]
One sett of 3 vases, enamel’d with birds and gilt.
One large-size group representing Poetry and Music, in biscuit.
[22s.]
One pair of large gardeners, 2 pair of muses, and 4 small
flower-vases in ditto.
An elegant stand for different cheeses and butter, enamel’d with
vazes and fine mazarine blue and gold (rivetted). [21s.]
1 sett of 5 elegant jars, enamel’d in compartments with groups
of natural flowers and fine blue and gold.
A beautiful large group of 3 graces and 2 cupids, supposed to be
crowning her Majesty with garland of flowers, in biscuit.
One pair of element groups, 1 pair of large fruit and flower
figures, and one pair figures representing earth and water, in
ditto. [42s.]
A neat chimney-piece embellished with composition ornaments.
Six beautiful coffee or chocolate cups and saucers, enamel’d
with Cupids, fine blue ring and gilt.
A very rich and beautiful desert-service, enamel’d with roses
and fine mazarine blue and gold border, consisting of 24 plates,
2 large oblong compotiers, 1 ditto with a foot, 2 heart-shape,
4 oval, 4 octagon, and 4 shell-shape ditto, and a pair of cream
bowls, covers, stands, and spoons. [£28 7s.]
One beautiful group of 2 Virgins awaking Cupid, and a ditto of
2 bacchants dressing Pan with a garland of flowers, in biscuit.
[£3 18s.]
One superb and elegant vase with therms, beautifully enamel’d
with figures of wisdom and Vigilance on one side, and a
landscape on the other in compartments, and richly ornamented
with fine blue and gold, 2 ewer-shape vases to match, figure of
Virtue on one side and fortitude on the other, with landscape
and fine blue and gold.
One pair of elegant tripods richly ornamented with fine blue and
gold.
One pair of beautiful antique lamps.
One beautiful vase, enamel’d in compartments, with a figure of
rhetoric and a landscape enrich’d with gold stripes.
Two Neptune-head drinking-mugs.
One figure of Andromache weeping over the ashes of Hector, and
one pair of Madona groups, in biscuit.
A large dove-house ornamented with natural flowers and richly
gilt.
One large oval-shape vase and two egg-shape, enamel’d with
Cupids gathering the vintage, richly finished with burnished
gold.
One pair of elegant figures, Bacchus and Ariadne, 1 pair
sportsman and companion, and 1 pair harlequin and columbine, in
biscuit. [37s.]
One group of 4 Cupids, in biscuit. [17s.]
Four pierced flower vases, 2 pair gardeners, and 1 pair small
dancing groups in ditto. [34s.]
A superb and elegant large vase with therms, beautifully
enamel’d with figures of the three Graces on one side and a
landscape on the other, 1 pair of ewer-shape vases to match,
figure of Virtue and History on one side and landscapes on the
other, in compartments, enrich’d with chased and burnished gold.
One pair of Egg-shape vases to match, enamel’d with figures of
Prudence and Rhetoric.
Four small desert flower-vases, in biscuit. [9s.]
A beautiful group of 4 Cupids, 2 pair of small music figures, 1
pair French shepherds, and 4 small vases, in biscuit. [£2 3s.]
One pair large dancing groups, in biscuit. [24s.]
A pair of uncommonly large octagon jars (near 2 feet high)
decorated with natural flowers and finely enamel’d with figures,
landscapes, &c., richly ornamented with chased and burnish’d
gold, the figures represent a votaress of Bacchus and Innocence
washing her hands at an altar.
Six breakfast basons and saucers, enamel’d with green festoons
and gold edges.
One pair of large perfume-vases, enamel’d with flowers,
ornamented with dogs, rabbits, &c., and gilt.
An elegant Seve-pattern complete desert-service, enamel’d with
roses and rich mosaic and gold border, consisting of 3 dozen
plates, 2 large oblong compotiers, 4 round, 2 heart-shape, 4
large square, 4 small oblong, and one large ditto with a foot
for the center, and a pair of cream-bowls, covers, stands, and
spoons. [£30 9s.]
One pair groups, the arts and sciences, and a pair large
gardeners, in biscuit. [30s.]
One superb and elegant large vase with therms, enamel’d in
compartments with figures, the three Graces, enrich’d with
chas’d burnish’d and gold. [£8 8s.]
One pair of beautiful oval jars to match, the figures represent
Apollo and Agrippina lamenting over the ashes of Germanicus. [£6
6s.]
One of pair small enamel’d foxes. [10s.]
A pair of hares’ heads, enamel’d, after nature. [10s.]
Three elegant vases, enamel’d with rose-coloured figures from
Ovid, and enriched with gold. [£9 19s. 6d.]
One pair large dogs, enamel’d.
A desert-service, enamel’d with roses, festoons of green husks,
and pink and gold border, consisting of 24 plates, 3 large
oblong compotiers, 4 round, 2 heart-shape, and 4 small oblong
ditto, and a pair of cream-bowls, covers, stands, and spoons.
[£13 2s. 6d.]
Six elegant ice cream cups, enamel’d with festoons of red husks,
and fine blue and gold.
Two pair of large boys riding on dolphin and fawn, in biscuit.
One of these sale catalogues, at the risk of occupying much space, I
here reprint entire, because I conceive nothing could more completely
show the character of the goods, ornamental as well as useful, which at
that time were the staple productions of the Derby works. It cannot,
I opine, but be of immense use to collectors in assisting them to
correctly appropriate and date their examples. The catalogue which
I now reprint (one of several years in my possession) is of folio
size, and occupies twelve pages. The selling prices are printed in the
catalogue; the prices realised at the sale, however, were not, on the
average, more than one-half the printed ones. The proceeds of the whole
sale was £276 4_s._ It is of the year 1785. The title-page is as
follows:--
“_Four Months Promp._----CHINA, for SALE, by the CANDLE,
at Mr. WILLIAM DUESBURY’S Warehouse, in _Bedford-Street,
Covent-Garden,_ On _Wednesday_ the 9th, and _Thursday_ the
10th of _March_, 1785, at Six of the Clock in the Afternoon,
A very good ASSORTMENT of Derby Figures and Candlesticks,
compleat Tea and Desert Services, Caudle and Chocolate Cups,
&c. of the newest and best Patterns. To be viewed on _Monday_
and _Tuesday_, and ‘till the Time of Sale. To be Sold by
AUCTION by WILLIAM HUNTER, _Sworn Broker_, No. 59, _New
Bond-Street_.--Printed by Joseph Good, Stationer, &c., No. 79,
Fleet Street.”
At the back of the title are the conditions, thus:--
“_Bedford-Street, Covent-Garden, March 9, 1785._--CONDITIONS OF
THE SALE.--I. The Goods are all to be taken away without any
Allowance at the Buyer’s Expence, on or before the 14th day of
_March_, 1785, and paid for on delivery.--II. Buyer’s Notes,
approved of by the proprietor, will be taken payable four Months
after date.--III. The Proprietor will allow a discount of 2½
_per Cent._ to those who chuse to pay ready money.--IV. Such
goods as shall not be taken away as aforesaid, the Proprietor
shall be at liberty to re-sell without further notice, either by
public sale or private contract; and all losses attending such
re-sale shall be made good by the respective Buyer or Buyers at
this Sale.--V. If any dispute shall arise between any Bidders
concerning any lot, such lot to be put up again.--VI. The Buyer
to pay Six-pence per lot deposit, in order to bind the bargain,
which is not returnable.”
Then follows:--
A CATALOGUE, &c.
LOT. £ _s._ _d._
1 A Tythe pig group, 1 pair of large gardeners,
1 pair of Jupiter and Juno, 1 pair of Harlequin
and Columbine, and 2 pair of basket boys 3 11 0
2 A set of 3 jars, decorated with natural flowers,
and gilt
3 Five dozen of small boys
4 A pair of large singers, 1 pair of sitting pipe and
guitar figures, 1 pair of less ditto, 1 pair of
sporting figures, and 12 boys 3 17 0
5 A compleat set of tea china, double shape,
enameled with roses, festoons of green husks,
and purple and gold border, 40 pieces 5 5 0
6 Two Cupid groups, 1 pair of large Bacchus and
Ariadne, 1 pair of pheasant figures, and 12 boys 5 14 0
7 Six double shape caudle cups and stands, enameled
with Dresden flowers, and gilt
8 A pair of figures Shakspeare and Milton 3 3 0
9 Two second size Dianas, 1 pair of piping shepherds,
1 pair of large gardeners, 1 pair of sporting
figures, and 1 pair of Mars and Venus 4 15 0
10 Two breakfast sets, enameled fine blue and white,
15 pieces each 3 5 0
11 A figure of Andromache, 1 pair of figures Diana
and Apollo, 1 pair of boys riding on goat and
panther, and 2 pair of small singers 6 1 6
12 A very elegant compleat set of tea china,
Devonshire shape, enameled with roses, and
richly finished with fine blue and gold, 41
pieces 10 10 0
13 A pair of figures Andromache and Plenty, 1 pair
of haymakers, 1 pair of Mars and Minerva, and
2 basket boys 4 15 0
14 A pair of Madona groups, and 2 pair of sitting
fruit and flower figures 3 6 0
15 Twelve very elegant cups and saucers, slop bason,
cream ewer, and 4 plates 6 13 0
16 A large pastoral group, and 1 pair of groups
Poetry and Music 5 15 6
17 Five dozen of small boys
18 A beautiful breakfast set, fluted, enameled fine
blue and gold, 18 pieces 3 18 0
19 A pair of grotesque Punches, 1 pair of sitting
figures, 1 set of standing seasons, and 1 pair
of gardeners 3 15 0
20 Two groups of the four seasons, 2 pair of fruit
and flower figures 4 18 0
21 A compleat set of tea china, plain shape,
enameled, fine blue and gold border, the Prince
of Wales’s pattern, 41 pieces 8 8 0
22 A breakfast set handled cups, small waved flute,
18 pieces 2 0 0
23 Twelve French shape cups and saucers, ditto 2 2 0
24 A pair of figures Diana and Apollo, and 1 set of
small elements 4 10 0
25 A set of large antique seasons, 1 pair of large
singers, 1 pair of pipe and guitar figures,
and 2 pair of basket boys 4 1 0
26 A compleat set of tea china, white and gold,
41 pieces
27 Six very elegant caudle cups covers and stands,
enameled with flowers and fine blue and gold 6 0 0
28 A group of Poetry, 1 pair of Mars and Venus
candlesticks, 1 pair of piping shepherds, and
1 pair of boys riding on goat and panther 4 12 0
29 A pair of large pipe and guitar candlesticks,
1 pair of garland shepherds, and 1 pair of
large pipe and guitar figures 4 0 0
30 A figure of Falstaff, a figure of Neptune, 1
pair of large gardeners, and 2 figures of
Prudence 5 4 0
31 A very capital compleat set of tea china,
fluted, richly enameled with fine blue and
gold, 41 pieces 14 14 0
32 A compleat set of tea china, waved shanked,
enameled with roses, festoon of red husks, and
green and gold border, 41 pieces
33 A group of Jason and Medea before Diana, and 1
pair of groups, Poetry and Music 5 5 0
34 A figure of Diana, two pair of pheasant figures,
1 pair of boys riding on goat and panther, 3
pair of small music figures, and 4 busts 5 5 0
35 Six half-pint basons and stands, slop bason,
sugar box, cream ewer, and 2 plates, enameled
fine blue and white 2 6 0
36 A beautiful compleat desert service, enameled
with roses, and fine blue and gold borders,
consisting of 24 plates, 13 comporteers, 1 pair
of cream bowls, covers, stands, and spoons 26 5 0
37 A figure of Justice, 1 set of small elements,
1 pair of Cupids, and 12 boys 4 8 0
38 A group of Jason and Medea before Diana, 1 pair
of pipe and guitar candlesticks, and 2 pair
of haymakers 4 17 0
39 A pair of figures Shakspeare and Milton, and a
figure of Mr. Garrick 4 14 6
40 An elegant compleat set of tea china, new shape,
white and gold, 41 pieces 8 8 0
41 A figure of Andromache, 1 pair of Bacchus and
Ariadne, 1 pair of pipe and guitar figures,
and 1 pair of fruit and flower 4 15 0
42 A pair of Madona groups, a pair of large
gardeners, and 1 pair of sitting figures 4 8 0
43 A very elegant bason and ewer, richly ornamented
with fine blue and gold 2 10 0
44 A compleat set of tea china, Devonshire shape,
enameled with roses, festoons of red husks,
and green and gold borders, 41 pieces 5 5 0
45 A pair of pipe and guitar candlesticks, one pair
of Mars and Venus figures, 1 pair of pipe and
tabor, 1 pair of sporting figures, and 1 pair
of small pipe and guitar 4 9 0
46 A pair of Mars and Venus candlesticks, 2 pair of
sacrifice figures, 6 Cupids, and 12 small boys 4 0 0
47 A group of Poetry, and 1 pair of figures
Andromache and Plenty 4 7 0
48 A beautiful dejune, enameled fine blue and gold 3 13 6
49 A compleat set of tea china, waved shanked,
enameled with festoons of coloured flowers,
and green and gold border, 41 pieces 6 6 0
50 A figure of Falstaff, 1 pair of grotesque Punches,
1 set of Seasons, and 1 pair of Cupids riding
on goat and panther 4 11 0
51 Two Cupid groups, 2 pair of large music figures,
4 seasons, and 4 busts 5 8 0
52 A large figure of Britannia, 1 figure of Justice,
and 1 figure of Falstaff 4 19 0
53 A very elegant breakfast set of plain shanked,
enameled fine blue and gold, 18 pieces 4 9 0
54 A ditto 4 9 0
55 A tythe pig group, 1 set of standing seasons,
1 pair of Mars and Minerva, 1 pair of large
gardeners, and 12 small boys 4 3 0
56 A pair of Madona groups, 2 pair of sacrifice
figures, 1 small group, and 3 pair of small
music figures 5 3 0
57 A compleat set of tea china, new embossed,
enameled with a fine blue and gold border
(the Queen’s pattern) 41 pieces 6 6 0
58 Six caudle cups, covers and stands, ditto 3 12 0
59 A pair of large groups 4 4 0
60 A pair of groups, Poetry and Music, and 1 pair
of boys riding on goat and panther 4 7 0
61 Two figures of Diana, 1 pair of sitting pipe
and guitar figures, and 2 pair of music figures 4 13 0
62 A very elegant compleat set of tea china, fluted,
richly ornamented with fine blue and gold, 41
pieces 14 14 0
63 A figure of Falstaff, 2 pair of Cupids, 1 set
of standing seasons, and 12 small boys 3 15 0
64 A compleat desert service, enameled fine old
japan pattern, consisting of 24 plates, 13
comporteers, and 1 pair of cream bowls,
covers, stands, and spoons 20 0 0
65 A large pastoral group, 2 figures of Diana,
and 1 pair of large singers 5 5 0
66 A pair of groups, Poetry and Music, and 1 pair
of large pipe and guitar figures 4 4 0
67 A very elegant set of tea china handled cups,
white and gold, 41 pieces 8 18 6
68 A group of the Virtues, and 1 ditto of the
quarters 4 4 0
69 Five dozen of small boys
70 A compleat set of tea china, fluted, enameled
fine blue and gold, 41 pieces
71 A set of small elements, 2 pair of large
gardeners, 1 pair of sporting figures, and
3 pair of basket boys 5 3 0
72 Two sets of breakfast sets, small waved flute,
enameled fine blue and white, 17 pieces each 3 19 0
73 A compleat set of tea china, waved shanked,
white and gold, 41 pieces
74 A pair of spring candlesticks, 1 pair of boys
ditto, 1 pair of haymakers, 1 pair of Mars and
Venus figures, 1 pair of small singers, and 2
pair of buck and doe 4 10 0
75 Six Devonshire shape caudle cups, covers, and
stands, enameled fine green and gold 3 12 0
76 Two figures of Neptune, 3 pair of large fruit
and flower figures, 6 squarrels, and 12 boys 5 16 0
77 A set of 3 vauses, enameled with flowers, and
green and gold
78 A pair of figures Andromache and Plenty, and
1 pair of large pipe and guitar candlesticks 4 12 0
79 A very elegant compleat set of tea china,
peacock pattern, enameled fine blue and gold,
41 pieces 11 11 0
80 A tythe pig group, 1 pair of Jupiter and Juno,
2 pair of Harlequin and Columbine, 1 set of
standing seasons, and 12 small boys 4 11 0
81 A pair of groups, Poetry and Music, and 1 pair
of boys riding on goat and panther 4 7 0
82 A breakfast set of bell-shape cups with handles,
enameled fine blue and gold, 18 pieces 3 13 0
83 A ditto 3 13 0
84 A set of elements, 1 pair of singers, and 1 pair
of Mars and Venus figures 5 8 0
85 A pair of figures Shakspeare and Milton 3 3 0
86 A compleat set of tea china, white and gold, 41
pieces
87 A group of 2 Baccants, 1 figure of Andromache,
and 1 figure of Neptune 4 14 0
88 A figure of Diana, 2 pair of sitting pipe and
guitar figures, 1 set of grotesque seasons, 1
pair of Jupiter and Juno, and 12 boys 4 8 0
89 A pair of Madona groups, 1 set of quarters, and
2 pair of basket boys 4 4 0
90 A pair of figures Andromache and Plenty, and a
pair of pipe and guitar chandeliers 4 18 0
91 A figure of Falstaff, 1 set of small elements,
2 Cupids and 2 pair of sporting figures 4 14 0
92 Five dozen of small boys
93 A group of 3 virgins distressing Cupid, and 2
Cupid groups 5 16 0
94 A figure of Diana, 1 pair of haymakers, 2 pair
of small gardeners, 5 desert gardeners, 4
busts, and 12 boys 3 4 0
95 A tythe pig group, 1 pair of sitting pipe and
guitar figures, 1 pair of Harlequins, and 3
pair of basket boys 3 2 0
96 A group of Poetry, 2 pair of small elements,
and 1 pair of sitting pipe and guitar figures 4 11 0
97 A figure of Justice, 1 pair of piping shepherds,
1 set of standing seasons, and 1 pair of
grotesque figures 4 12 0
98 A pair of large groups 4 4 0
99 A pair of Madona groups, 2 pair of sitting
fruit and flower figures, and 3 pair of
small music figures 4 7 0
100 A pair of figures Diana and Apollo, 2 pair
of large gardeners, and 1 pair of sitting
figures 4 14 0
101 A set of large French seasons
102 A pair of pipe and guitar candlesticks, 1 pair
of spring ditto, and a set of standing seasons 3 3 0
103 Æsculapius and Hygiæa, 1 pair of sacrifice
figures, 4 pair of small Turks, 2 pair of
salutation figures, 2 basket boys, 13 birds,
2 dogs, and 4 boys
104 A group of Poetry, 2 pair of sporting figures,
and 1 pair of boys riding on goat and panther 4 2 0
105 A pair of large ice-pails, white and gold 5 5 0
106 A group of Jason and Medea, 1 pair of large
singers, 1 pair of Mars and Minerva, and 2
pair of basket boys 5 1 0
107 A compleat set of tea china, white and gold,
41 pieces
108 A group of Poetry, 8 antique seasons, 1 pair
of sitting figures, 1 pair of music figures,
and 12 boys 4 14 0
109 Four elegant broth basons, covers, and stands,
enameled fine blue and gold pearl border 3 0 0
110 A pair of Madona groups, 1 pair of Jupiter and
Juno, and a set of sitting seasons 4 1 0
111 Twenty-two sundry small figures
112 A beautiful bason and ewer, and 2 punch jugs,
with covers, enameled fine blue and gold 3 18 0
113 A large pastoral group, 4 antique seasons, and
a pair of large gardeners
114 A pair of groups Poetry and Music, and a pair
of boys riding on goat and panther 4 7 0
115 A breakfast set, small flute, enameled with a
fine blue and gold pearl border, 18 Pieces 4 3 0
116 A compleat set of tea china, new embossed,
enameled with a fine blue and gold border,
41 pieces 6 6 0
117 A pair of figures Andromache and Plenty, a
pair of Cupids, and 2 pair of sitting pipe
and guitar 4 13 0
118 Five dozen of small boys
119 A compleat desert service, enameled, fine old
Japan pattern, consisting of 24 plates, 13
comporteers, and 1 pair of cream bowls,
covers, stands, and spoons 26 5 0
120 A figure of Falstaff, 2 pair of Bacchus and
Ariadne, and 1 pair of boys riding on goat
and panther 5 18 0
121 Twelve new shape cups and saucers, 1 slop
bason, sugar-box, cream ewer, and plate,
enameled with fine blue springs, and narrow
blue border 2 0 0
122 A very elegant compleat set of tea china
handled cups, richly enameled with fine
blue and gold scrole border, 41 pieces 12 12 0
123 A group of the virtues, 1 pair of large
Bacchus and Ariadne, 1 pair of haymakers, and
1 pair of sitting figures 5 3 0
124 A tythe pig group, a set of standing seasons,
a pair of Cupids, a pair of gardeners, and 3
pair of basket boys 4 2 0
125 Twelve chocolate cups and saucers, enameled
with festoons of green husks, and pink and
gold border 3 18 0
126 A beautiful dejune, enameled, with vauses, &c.
and fine blue and gold 4 4 0
127 A pair of figures Shakspeare and Milton, and a
pair of sitting pipe and guitar figures 4 4 0
128 A figure of Falstaff, and a set of elements 4 5 0
129 Two breakfast sets, enameled fine blue and white 4 6 0
130 A pair of pipe and guitar candlesticks, and a
pair of spring ditto 2 3 0
131 Six elegant caudle cups, covers, and stands,
enameled fine blue and gold
132 Two breakfast sets, enameled fine blue and
white, 18 pieces each 4 6 0
133 Two Cupid groups, a pair of singers, and a pair
of boys riding on goat and panther 4 11 0
134 A figure of Falstaff, 4 small elements, and 2
pair of Jupiter and Juno 4 13 0
135 A beautiful compleat set of tea china, enameled
with festoons of gold husks, and fine blue
and gold border (Prince of Wales’s pattern) 10 10 0
136 A pair of large groups 5 15 0
137 A pair of figures Shakspeare and Milton 3 2 0
138 Six elegant caudle cups, covers, and stands,
enameled fine blue and gold
139 A breakfast set, enameled with blue and gold
springs, and blue and gold border, 18 pieces 3 13 0
140 A pair of large pipe and guitar candlesticks,
and a set of small French seasons 3 18 0
141 A tythe pig group, 1 pair of large gardeners,
2 pair of sitting pipe and guitar figures,
and 3 pair of basket boys 3 14 0
142 A compleat set of tea china, white and gold
143 A season group, 1 pair of Bacchus and Ariadne,
and 3 odd figures
144 A pair of large Bacchus and Ariadne, 1 pair
of boys riding on goat and panther, 1 pair
of large fruit and flower figures, 3 pair
of small ditto, and 1 pair of basket boys 4 16 0
145 A compleat set of tea china, peacock pattern,
enameled green and gold, 41 pieces 8 8 0
146 Four caudle cups, covers, and stands, enameled
with roses, festoons, and purple and gold
border 2 8 0
147 Two large pastoral groups 4 4 0
148 A pair of figures Andromache and Plenty, and
1 pair of grotesque Punches 3 17 0
149 Five dozen of small boys
150 A elegant compleat set of tea china, white
and gold, 41 pieces
151 A group of Jason and Medea before Diana,
1 pair of large singers, 1 pair of large
gardeners, and 1 pair of sporting figures 4 13 0
152 A large pastoral group, and 1 pair of pipe
and guitar candlesticks 3 17 6
153 A beautiful compleat desert service, enameled
with roses and fine blue and gold borders,
consisting of 24 plates, 13 comporteers,
and 1 pair of cream bowls, covers, stands,
and spoons 26 5 0
154 A figure of Andromache, a pair of antique
seasons, a pair of Bacchus and Ariadne, a
pair of sacrifice figures, and a pair of
fruit and flower 4 13 0
155 A compleat set of tea china, white and gold,
41 pieces
156 Five dozen of small boys
157 A large group of three virgins, a pair of
large seasons, and 2 pair of music figures
158 Six chocolate cups and saucers, enameled with
fine blue and gold borders, and 6 ditto,
enameled with Dresden flowers and gold edge 3 6 0
159 Four basons, covers, and stands, enameled with
red husks, and fine blue and gold border 3 3 0
160 A group of Baccants, and 2 pair of large elements 5 14 0
161 A pair of figures Andromache and Plenty, and
2 pair of sporting figures 4 4 0
162 A compleat desert service, enameled fine old
blue and gold Japan pattern, consisting of
24 plates, 13 comporteers, and a pair of
cream bowls, covers, stands, and spoons 18 18 0
163 A pair of Mars and Venus candlesticks, 2 pair
of haymakers, and 1 set of quarters 4 6 0
164 A very elegant compleat set of tea china,
enameled with roses, and fine blue and
gold border, 41 pieces 8 8 0
165 Twelve breakfast basons and stands, slop bason,
sugar box, and 12 bread and butter plates,
white and gold 4 10 0
166 A tythe pig group, 2 pair of small singers, 2
pair of sporting figures, and 3 pair of
basket boys 3 16 0
167 A group of three virgins, a pair of large
seasons, and a pair of Bacchus and Ariadne 5 15 6
168 A compleate set of tea china, enameled fine
blue and gold, 41 pieces
169 A group of the quarters, 1 pair of large
elements, and 6 antique seasons 4 18 0
170 A pair of Madona groups, and 2 pair of Mars
and Minerva 3 18 0
171 A compleat set of tea china, white and gold
dontel edge, 41 pieces 4 4 0
172 A Cupid group, a pair of season groups, and 2
pair of small Bacchus and Ariadne 5 0 0
173 Five dozen of small boys
174 A very elegant compleat set of tea china,
fluted, richly enameled with fine blue
and gold, 41 pieces 14 14 0
175 A pair of pipe and guitar chandeliers, 1 pair
of garland shepherds, and 1 pair of French
shepherds 4 2 0
176 A pair of Welch taylors, 2 pair of sporting
figures, 2 pair of small gardeners, and 1
set of sitting seasons 4 8 0
177 A compleat desert service, enameled with groups
of flowers, and fine blue and gold vini
border, consisting of 24 plates, 13
comporteers, and 1 pair of cream-bowls and
stands 25 0 0
178 A pair of figures Andromache and Plenty, 1
pair of fruit flower figures, and 1 pair
of sacrifice figures 4 2 0
179 A figure of Diana, 1 pair of sitting pipe
and guitar figures, 2 pair of Harlequin
and Columbine, and 2 pair of basket boys 3 19 0
180 An elegant compleat set of tea china, 41 pieces
181 A group of the 4 seasons, 1 set of French
seasons, 2 antique seasons, and 6 small
Turks
182 A Cupid group, 1 pair of Bacchus and Ariadne,
6 antique seasons, and 12 boys
183 A set of 5 large vauses, enameled compartments,
with figures, and richly gilt
184 A group of poetry, and 1 pair of large figures 3 6 0
185 A pair of groups Poetry and Music, and 4 odd
figures
186 Five dozen of small boys
187 A tythe pig group, 1 set of standing seasons,
1 pair of sitting figures, and 2 pair of
small gardeners 3 11 0
188 A pair of boy candlesticks, 2 pair of large
gardeners, 1 pair of sitting pipe and
guitar figures, and 2 pair of small fruit
and flower 3 18 0
189 Sundries
190 Ditto
191 Ditto
192 Ditto
193 Ditto
194 Ditto
195 Ditto
196 Ditto
197 Ditto
198 Ditto
[Illustration: Figs. 47 to 50.--From the Museum of Practical
Geology.]
A few months before Mr. Duesbury’s death--which, as I have stated, took
place in November, 1786--he took his son William into partnership,
and the business was carried on under the style of “Messrs. William
Duesbury and Son.” It thus appears upon the title-pages of the sale
catalogue of 22nd September in that year, but is altered back to “Mr.
William Duesbury” alone in that for 21st December following. For some
years before the death of his father the younger Mr. William Duesbury
had devoted himself untiringly to the advancement of the works. No
man could have been more highly respected, both by his workmen and by
all who knew or had dealings with him at home and abroad, than was
this second William Duesbury, and under his care the works continued
to grow in importance with an astonishing rapidity, and soon became
by far the most prosperous and most successful in the kingdom. The
connection which had previously been formed with the principal
families, from royalty downwards, spread and increased, and among the
hundreds of names of purchasers on the sale sheets and other papers,
I come across, at random, those of the King, the Queen, the Prince of
Wales (afterwards George IV.), who was a large customer for dessert,
tea, coffee, and other services; the Duchess of Devonshire, William
Pitt, Sir Hugh Pallisser, the Margravine of Anspach, the Duke of
Northumberland, Lord Howe, and indeed almost every title then in the
peerage. Besides this, several ladies of distinction painted groups
of flowers and other pictures on porcelain, supplied to them for the
purpose by Mr. Duesbury, who afterwards fired and finished them for
their own special use. Of these ladies, Lady Margaret Fordyce, Lady
Plymouth, and Lady Aubrey executed some beautiful drawings, which
probably may still remain in their families. Lord Lonsdale also had
twenty-four plates painted with landscapes in Cumberland, from his
own sketches, and many other noblemen and gentlemen did the same;
many sets of china being painted with views of different parts of the
estates of those for whom they were manufactured. Bronze figures of
horses--probably originally belonging to the famous Duke of Newcastle,
whose work on Horsemanship is the finest ever produced--were lent to
Mr. Duesbury from Welbeck Abbey; and Lady Spencer also sent some choice
moulds for working from. Altogether the Derby works, during the latter
part of the first Mr. Duesbury’s time, and during the life of his son,
were, as I have said, the most successful, the best conducted, and the
most fashionable establishment of the kind in the kingdom.
[Illustration: Fig. 51.--“King’s vase,” Museum of Practical
Geology.]
Constant application to business, and the wear and tear of the brain
from incessant anxieties, about 1795 made such fearful inroads on the
health of Mr. Duesbury, that he was induced by his friends to take into
partnership a Mr. Michael Kean, a very clever miniature painter, an
Irishman by birth, who brought his talents to bear on the works, and
by his skill in designing and drawing added much to the beauty of the
articles manufactured. His connection however, seems to have been a
source of still greater anxiety to Mr. Duesbury, whose mind gradually
gave way under his load of care. In 1796 Mr. Duesbury died, and after
a time Mr. Kean (who had for a time the management of the business for
the widow and her young family) married the widow, but not long after,
from reasons into which it is needless to enter, as they do not affect
the narrative, withdrew hastily from the concern, and the works were
then continued for, and afterwards by, the third William Duesbury. Mrs.
Duesbury, by her second marriage (with Michael Kean) had a family of
five children. She died in 1829, after having passed a not altogether
happy life. This third William Duesbury (grandson of the founder of the
works) was the eldest son of William Duesbury by his wife, Elizabeth
Edwards. He was born in 1787, and on the 26th September, 1808, married
Annabella, daughter of William E. Sheffield, Esq., of the Polygon,
Somers Town, London, and for a time the concern was carried on under
the firm of “Duesbury and Sheffield.”
In 1815, Mr. Duesbury leased the premises to Mr. Robert Bloor, who had
been a clerk to his father, and had carried on the business during Mr.
Duesbury’s minority, and the entire concern ultimately passed into his
hands, and was carried on by him for the first few years with much
judgment and skill.
[Illustration: Fig. 52.]
Before Mr. Bloor’s time it had been the constant plan of the
Duesburys--so worthily tenacious were they of their reputation, and of
keeping up the high and unblemished character of their works--to allow
none but _perfect_ goods to leave their premises, and no matter
how costly the article, or how trivial the fault (frequently so trivial
as to be only perceptible to the most practised eye), all goods which
were not perfect were stowed away in rooms in the factory, and had
accumulated to an enormous extent. When Mr. Bloor took the concern,
this stock of seconds goods became an almost exhaustless mine of wealth
to him. Having to pay the purchase money by instalments, he found the
easiest method of doing so was to finish up these goods, take them to
different large towns, and there sell them by auction, and also to
have sales at the manufactory; one of these sales, in 1822, continued
twenty-five days. By this means Mr. Bloor amassed large sums of money,
as the “Derby china” found ready and liberal purchasers wherever it
was thus offered. This system, however, though it had a temporary
good, produced a lasting evil. The temptation to produce large
quantities of goods specially for auction sale was so great as not to
be withstood, and as by this means they were disposed of “with all
their imperfections thick upon them,” less care was devoted to their
manufacture, and the decline of the works, principally from this cause,
commenced.
Mr. Robert Bloor was assisted in his works by his brother Joseph, by
whom the “mixing” was mainly done, and from 1828, when Mr. Robert
Bloor’s health began to fail, they were carried on for him by a manager
named Thomason. The two brothers died within a short time of each
other. Robert, who had lost his mind for many years before his decease,
died in 1845, and Joseph the year following. The works then passed
into the hands of Mr. Thomas Clarke, who had married a grand-daughter
of Robert Bloor’s, who discontinued them, and sold most of the models,
&c., to the Staffordshire manufacturers--the greater bulk going into
the hands of Mr. Boyle, a manufacturer, of Fenton, who was son of Mr.
John Boyle, and for a short time before his death a partner with the
Wedgwoods. The final dissolution of the old works took place in 1848,
when a number of the workmen naturally migrated into Staffordshire and
Worcestershire.
At this time, however, several of the old hands--actuated by the
laudable desire of securing the continuance of a business which for
a century had been so successfully carried on, and of continuing it
as one of the trades of their native town--clubbed together (to use
a characteristic expression), and commenced business on their own
account. They each and all threw into the common stock what knowledge,
experience, money, and tools, &c, they possessed, took premises in King
Street (on the site of old St. Helen’s Nunnery), and under the name
of “Locker and Co.” commenced making “Derby china,” and adopted, very
properly, a distinctive mark, which shows this epoch in the works. It
is a somewhat curious circumstance, that on the site of the old china
works the modern Roman Catholic nunnery of S. Marie was erected; while
on the site of the old nunnery of St. Helen, the present china works
are now carried on. Great difficulties were encountered by this band of
workmen, but their zeal and determination overcame them.
Mr. Locker (who was a native of Blackfordby, and had been clerk and
warehouseman at the old works in the latter part of their existence)
died in 1859, and the works were next conducted under the style of
“Stevenson and Co.,” and “Stevenson, Sharp, and Co.,” till the death of
Mr. Stevenson, when the style was changed to that of “Hancock and Co.,”
and the works are now continued by Mr. Sampson Hancock, and bid fair,
if not to rival the early glory and success of the works, at least to
do credit to the town of Derby, in which they are situated. Some of the
productions are highly creditable to the taste and skill of the men,
and show that “ye art of making English china,” imparted to William
Duesbury in 1756, is not forgotten, but remains with his successors to
the present day.
One of the last large services made by Bloor was a magnificent dessert
made for her present Majesty, and some large additions to that set, and
pieces for replacing, have been from time to time made by the present
owners of the works, which are still therefore as fully entitled to
the name of “Royal” works as any of their predecessors. The marks used
by these later firms will be found engraved on page 93; I give them to
complete the chronological series. The name of Courtney, which appears
on one of these marks, was Bloor’s agent.
Having now gone through the HISTORY of the works, it only remains to
speak of the artists employed, and of one branch of the manufacture,
that of “Biscuit,” which requires more than a passing notice. This
material was a discovery of, and quite peculiar to, the Derby Works,
and the secret of its composition is still preserved. To it the
beautiful material Parian thus owes its origin. One of the Derby
workmen having engaged himself to Mr. Copeland, was trying experiments
to recover the secret of the biscuit composition, when instead of
it he produced accidentally that which has been named “Parian,”
and in which all the exquisitely beautiful figures and groups that
characterise their, and other equally admirable, productions have
since, with modifications and improvements, been worked. It is pleasant
thus to know, that although the art of making Derby biscuit figures
has been discontinued, the Parian has sprung from it, and was first
produced by a Derby man. Nothing could exceed the sharpness and beauty
of the biscuit figures as produced in the best days of the Derby
Works, and some examples, for delicacy and fineness of modelling, and
for sharpness of touch, have never, in any ceramic material, been
surpassed, or scarcely equalled.
Transfer printing on china appears to have been introduced at Derby in
1764--some years before even Wedgwood printed his own ware, but while
he was in the habit of sending it off to Liverpool to be printed by
Messrs. Sadler and Green. The process, however, did not obtain much
favour at Derby, and Mr. Duesbury evidently found it better, and more
satisfactory, to adhere to hand-work in all his goods. The person who
introduced the process, and whom he engaged to carry it on, was Richard
Holdship, of Worcester, who, by deed, covenanted for the sum of £100
paid down, and a yearly sum of £30 so long as the works continued on
his process, to impart in writing to Messrs. Duesbury and Heath his
secret process for making china according to proofs already made by him
at the Derby Works; to supply them with all sufficient quantities of
soapy rock at fair prices; and to print all the china or porcelain ware
which might have occasion to be printed. The engagement with Holdship
lasted, at all events, many years, but during that time the printing
evidently was not much followed, as in his letters to his employers
he is constantly complaining of having no work for his presses, and
in having no goods made according to his process. He had an assistant
named William Underwood, and in one of his letters he values his press
at ten guineas in cash, and his copper-plates at a large amount, while
he says “for his process for Printing Enamell and Blew, he hath been
offered several Hundred Pounds.” His stock of enamel colours, 151 lbs.
in weight, he offers to sell for £35. It is needless to write more
in this place of Holdship’s connection with Derby, as I have already
given more full particulars in the first volume, page 232. At one time
John Lodge, the eminent engraver, engraved some plates for printing at
Derby. The following is his bill for some engraving done in 1771:--
Mr. DEUSBERRY Dr. to JOHN LODGE,
£ _s._ _d._
Engraving a Plate of Chinese Figures 0 10 6
Copper to do. 0 2 6
To Engraving Eight Borders 0 16 0
Copper to do. 0 1 11
To Engraving two Plates for Cups and Saucer 1 1 0
Copper 0 4 5
To Engraving two Plates for Cup and Saucer 1 1 0
Copper to do. 0 2 4
To Engraving two Plates for Small China 1 4 0
Copper to do. 0 5 10
----------
£5 9 6
==========
Sept. 28, 1771.
Recd. the Contents in full of all demands, JOHN LODGE.
Fruit dishes, and other articles were at one time made with open-work
reticulated rims or sides; a raised “Dresden” flower being placed
on each of the outer sections in much the same manner as was
characteristic of one period of Worcester work. These were made both in
blue and white, and in enamel; they are somewhat scarce.
[Illustration: Fig. 53.]
In 1789 Mr. Duesbury endeavoured to introduce batt-printing into his
manufactory, and for that purpose prevailed on his former assistant, J.
Hancock, then in Staffordshire, to inquire into and describe to him the
process. I must not omit to say that earthen ware, called the “Cream
Ware,” very closely resembling Wedgwood’s celebrated “Queen’s Ware,”
was made at Derby for a short time, and was of great beauty. Specimens
of this ware are of great rarity.
In 1790 Mr. Duesbury invented a machine for exhibiting the contraction
of earthen bodies when in the fire; this he had constructed by Spooner
and Son.
[Illustration: Figs. 56 to 58.]
The marks used at the Derby China Works may be thus briefly summarised.
The simple writing letter _D_ is said to have been the first mark used
by William Duesbury. The _D_, which stands either as the initial of
Derby or of Duesbury, conjoined with the anchor of Chelsea [anchor
symbol] is the distinctive mark of the Chelsea-Derby period--the period
when William Duesbury, who had purchased the Chelsea works, carried on
both the manufactories, and, later, produced goods at Derby from the
Chelsea moulds. Two or three varieties of this mark, according to the
taste or whim of the workmen, occur (see Figs. 56, 57, and 58).
[Illustration: Figs. 59 to 61.]
Two other marks, the one a _D_ surmounted by a crown, and the other
an anchor, similarly surmounted, are said to have denoted respectively
the articles made at this period at Derby and at Chelsea (Figs. 59 to
63). Now and then the first of these is met with in connection with the
anchor (Fig. 63).
[Illustration: Figs. 62 to 67.]
The most usual mark is that of the letter D, with crossed swords, dots,
and crown, of which several varieties occur. Sometimes the initial is
the writing letter _D_, and sometimes a Roman capital D, and the
crown also varies according to the caprice of the painter. Figs. 64 to
67 show some of the varieties.
[Illustration: Fig. 68.]
A variety of this, in which a _D_ and a _K_ are conjoined, denotes the
period when the works, in their later days, were carried on by Duesbury
and Kean. It was, however, only very sparsely used. For some years, at
all events up to about 1825 or 1830, Mr. Bloor continued to use the
old mark of the Duesburys--the crown, cross daggers with dots, and D
beneath--but about that period discontinued it, and adopted instead a
mark with his own name (Fig. 68). It is well to note, that down to the
discontinuance of the old mark, it had invariably been done with the
pencil, _by hand_, but that those adopted by Mr. Bloor were _printed_
ones. The first printed mark I believe to be Fig. 69, and somewhat
later the same was used, but slightly larger in size (Fig. 71). Other
marks are shown on the engravings. Figs. 74 and 75 have an old English
[Illustration: D] surmounted by a crown; another (Fig. 76) a crown,
with a riband bearing the word DERBY in Roman capitals beneath it.
[Illustration: Figs. 69 to 73.]
[Illustration: Figs. 74 to 78.]
Other marks, said to have been for one purpose or other--of course as
imitations--used at Derby, are the following:--
[Illustration: Figs. 79 to 84.]
In my own possession is a design, in pencil, by Mr. Duesbury, by his
own hand, for a mark, which I engrave on Fig. 84, although I believe
it was never adopted. At all events I have failed in discovering a
single specimen so marked. Mrs. Palliser, however, engraves a mark as
occurring on a cup and saucer, which somewhat assimilates to it. She
also gives, from a specimen in her own possession, the word _Derby_
in writing letters. This, she states, occurs “in black on a biscuit
statuette;” but I fear the mark has been added at a later date. Another
mark, which has been described to me, but of which I have not seen an
example, is very similar to Fig. 84, but has the cross daggers and
crown added, with the encircling words “DUESBURY, DERBY,” Fig. 85. It
may be well, _en passant_, to notice a mark which appears on one of
the copper-plates of the Caughley works (see Vol. I., p. 273). It is
an anchor over the word “Derby.” As the initials RH conjoined also
appear along with the anchor and word “Worcester,” and may mean either
R. Hancock or Richard Holdship, the probability is they belong to the
latter (who was connected with the Derby works), and that the _anchor_
was adopted in allusion to his name, _hold ship_--a very clever and
ingenious device. Another variety belonging to Mr. Robinson differs
slightly from these.
[Illustration: Figs. 84 to 89.]
On some services, notably on the royal service, mentioned on page 88,
Mr. Bloor had his name painted in full--
[Illustration:
_Messrs. Robert Bloor & Co.,_
_34, Old Bond Street_,]
on the back of plates, &c. The “Co.” in this instance was Mr. Thomas
Courteney, the London agent, through whom the order was procured.
His place of business was 34, Old Bond Street, and many of the goods
afterwards made for him bore the accompanying mark, Fig. 91. Messrs.
Locker & Co., at the modern King Street works, used the mark, Fig. 92,
and their successors, Stevenson, Sharp, and Co., the next one. The next
firm, Stevenson and Hancock, used, in accordance with my suggestion,
and a sketch I made for them, in 1862, the old Derby mark of the crown,
crossed daggers, dots, and letter [Illustration: _D_], with the
initials of the firm S. H. (for Stevenson and Hancock); this is still
continued by the present sole proprietor, Sampson Hancock--the letters
S. H. being, fortunately, his own initials.
[Illustration: Figs. 91 to 94.]
Of the artists employed at the Derby China Works, the principal
modellers appear to have been Spengler, Stephan, Coffee, Complin,
Hartenberg, Duvivier, Webber, and Dear, and many others, including
Bacon the sculptor, were employed in London, and the models sent down
to the works.
Of the painters, the principal ones were Bowman, who was originally of
Chelsea, afterwards of Derby, and then again of London, and who was
one of the best flower and landscape painters of his day; Billingsley,
who received instruction from Bowman, and whose flower pieces have
certainly never been surpassed, or even equalled; Hill, a famous
painter of landscapes, who delighted in sylvan scenery; Brewer, also
an excellent landscape and figure painter, and whose wife, Bernice
Brewer, was also a painter; Pegg, who surpassed in faithful copying
of nature, in single branches and flowers, and in autumnal borders;
Samuel Keys, a clever ornamentalist, who ended his days in the employ
of Mintons; Steel, who excelled all others in painting fruit; John
Keys, a flower painter; Cotton and Askew, two highly-gifted painters of
figures; Webster, Withers, Hancock (two, uncle and nephew), Bancroft
and others as flower painters; Lowton, clever at hunting and sporting
subjects; and Robertson, at landscapes.[17] But besides these, there
were many other really clever artists employed. It is pleasant, too,
to know, that “Wright, of Derby,” the celebrated portrait painter, the
contemporary and fellow pupil with Reynolds, lent his powerful aid on
some occasions,[18] in supplying drawings and giving advice, as did
also De Boeuff, Bartolozzi, Sanby, Glover, and many others of eminence;
and it is also interesting to add, that one of the Wedgwood family,
Jonathan Wedgwood, was at one time employed at Derby. The draft of
agreement between himself and William Duesbury, dated 1772, is in my
own possession, and by it he binds himself for three years to work at
“the arts of repairing or throwing china or porcelaine ware,” for the
sum of fourteen shillings per week. A few brief notes upon some of the
artists of the Derby works will doubtless be of service to collectors;
I therefore dot down the following memoranda:--
J. J. SPENGLER, a Frenchman, had been occasionally employed in
London by Mr. Duesbury to model figures for him, and in 1790, on
the recommendation of Mr. Vulliamy, entered into an agreement
to come to Derby. Mr. Wallis, in his not very reliable account
of the Derby China Works, to which I have before referred, says
Spengler “was brought to Derby from London by Mr. Kean,” but
this is an error. He was in Derby years before Mr. Kean had any
connection with the works. The original agreements, dated July
13 and September 15th, 1790, are in my own possession (as are
also a number of original letters, accounts, and other documents
connected with him), and is as follows:--
“A COPY.
“A Memorandum. London, July 13, 1790.
“That the Bearer, Mr. J. Spengler, has agreed to come down
to the Manufactory at Derby, to work as Modeller, &c, and to
receive for the first month after the rate of three Guineas per
week, and his expenses paid down by the Coach. His hours of work
is to be from Seven o’clock in the morning till the rest of the
People in the Manufactory give Over work in the Evening. It is
further agreed on, that after the expiration of the first Month,
if the parties like each other and they agree for a fixed time
to come, The bearer, Mr. J. Spengler, is then only to receive
after the rate of two pounds ten shillings per week from the
first day he began to work in the manufactory.
“Witness: (Signed) “For Mr. W. Duesbury.
“B. Vulliamy. “J. Spengler. “J. Lygo.”
He accordingly came to Derby and a more full agreement was drawn
up in September. On the 15th of that month he drew up and signed
a memorandum to the effect that as he knew nothing either
of the laws or language of England, he was to go to London
to cause to be examined the agreement made between himself
and “Monsieur Duesbury Maitre de la fabrique de Porcelaine a
Derbey,” and should it be found right, to return at once to
Derby and sign and execute it; Mr. Duesbury agreeing to pay the
expenses of the journey and half the loss of time at the rate
fixed in the agreement. This memorandum, which is well written,
but in wretched French, is signed by “J. Spengler” and by “Mr.
Duesbury” thus:--
“Sep. 15th, ’90. As far as I can understand the French Language,
I conceive the above to be right.
W^m Duesbury.”
Spengler first went down to Derby in the beginning of August,
1790, soon after the date of the agreement of July 13th (having
just previously modelled a “Figure of Astronomy, in London,”
for which Mr. Duesbury paid him ten guineas, and for extra time
expended over it at Derby, in finishing, an additional two and
a half guineas), and his first pieces of work were “Figure
with a Vase (Morning),” and its companion, a “Figure with a
Vase (Noon),” for each of which he was paid seven guineas; and
the “Three Graces,” for the time expended on which he was paid
six guineas.[19] Before long, unpleasantness arose through
Spengler’s inattention to work, breach of contracts, and
getting into debt, and in 1792 he left Derby surreptitiously.
Proceedings were taken by Mr. Duesbury; his goods (the inventory
of which, dated March 18th, is before me) were sold; and he was
captured at Ramsgate, and placed in the King’s Bench Prison.
The result of law proceedings was that Spengler entered into a
fresh agreement with Mr. Duesbury (I have the draft) by which
he covenanted “Not to lose more time in any one week than half
a day, sickness excepted, under the penalty of paying after
the rate of 7s. per day to Mr. D., Mr. S. to continue to serve
Mr. D. to the best of his skill (without working for any other
person) until he shall have paid Mr. D. the ballance due to him,
and all lawful expences; Mr. D. receiving two-thirds of his
earnings, Spengler to have liberty to attend any number of hours
(that the manufactory is open for others) over and above those
work’d by himself and the rest of the other hands for overtime,
and to receive in the same proportion for such time as for the
regular day’s time,” and so on. He was, evidently, for the
purpose of carrying out the agreement, bailed out of the King’s
Bench by a friend, whose letters I possess, but by November of
the same year had again left his employment.[20]
Spengler was then again in the King’s Bench, from which, on
the 31st of January, after other correspondence, he wrote a
very pathetic letter (in French, as all his letters are) to Mr.
Duesbury, and ultimately it appears that an arrangement was come
to for him to work in London. In 1794, fresh arrangements were
again in progress (Spengler, who was living at Chelsea, in the
meantime having continued to work for Mr. Duesbury), and much
correspondence took place; the result being that in February,
1795, Spengler returned to Derby, under a fresh agreement,
which, as it contains much valuable information as to figures
and groups, and prices for modelling them, I give entire:--
“_Heads of an Agreement to be enterd into between Wm. Duesbury
of Derby in the County of Derby & J. J. Spengler, Modeller,
Viz._:--
“J. J. S. to serve W^m. D. his Ex^s. Adm^s. or Ass^s. in his
Manufactory at Derby for so long as W. D. his Ex^s. Adm^s. or
Ass^s. shall have occasion for the assistance of J. J. S. W. D.
his Ex^s. Adm^s. & Ass^s. reserving to themselves the power of
Terminating this Agreement by giving J. J. S. 1 Month’s notice
at any time. J. J. S. to have the like power of Terminating it
at any time by giving 1 M^s. notice unless he shall not be able
in that time to complete any Set of work he may have undertaken
in which case J. J. S. to stop with W. D. his Ex^s. Adm^s. or
Ass^s. till such work is so finishd if required by W. D. his
Ex^s. Adm^s. or Ass^s.
“W. D. having been a great looser by J. J. S. under a former
Agreement, it is now agreed that W. D. his Ex^s. Adm^s. or
Ass^s. shall have the liberty to pay J. J. S. for his Work
either by the day at four shillings p^r day of 10 hours (to be
the same hours which other Workmen work for a day from time to
time in the Porc^n. Manufactory at Derby) or by the piece as
aftermentiond at their option when any piece of Work shall be
finished.
“The prizes for each Male or Female Human Figure to be Modeld
by J. J. S. from any sketch either on paper or in Clay &c. as
highly finished as the Russian Shepherd Group--Palemon & Lavinia
Group--Blind Beggar & Daughter D^o. modeld for W. D. by J. J. S.
some time since to be
£ _s._ _d._
If 4 Inches high & not exceding 5 In. 6 6
„ 5 „ „ 6 „ 8 0
„ 6 „ „ 7 „ 11 6
„ 7 „ „ 8 „ 13 6
„ 8 „ „ 9 „ 16 0
„ 9 „ „ 10 „ 18 6
„ 10 „ „ 11 „ 1 1 0
„ 11 „ „ 12 „ 1 4 0
„ 12 „ „ 13 „ 1 8 0
„ 13 „ „ 14 „ 1 13 0
„ 14 „ }
„ 15 „ }
„ 16 „ } and so on in proportion.
„ 17 „ }
„ 18 „ }
Intermediate Sizes in proportion.
“J. J. S. to go to Derby at his own expence & to begin work in
28 Days after his signing this Engagement. In the mean time
Mr. Lygo to pay him from the Time he signs this Agreem^t. 5/-
p^r. Week to be repaid by J. J. S. by Weekly Stoppages of Eight
Shillings.
“J. J. S. in all other particulars to work at & be subject to
the same rules, orders, & regulations as the rest of the Workmen
of the Manufactory at Derby.
“All Sketches to be made whether in Clay or on paper, &c., under
the direction of Mr. D. his Ex^s.] Adm^s. or Ass^s]. by the day
without limitation of time. J. J. S. to do the best he can in
this particular to dispatch business.
“J. J. S. & W. D. agree hereby to execute regular articles of
agreements conformable to the above specified heads so soon as
the same can conveniently be prepared, under the Penelty of One
Hundred Pounds. Signd this 10^{th} day of Jan^y 1795.
“SPENGLER
“Witness--JOSEPH LYGO.” “_Modeler._
In a letter dated February 3, 1795, it is said “Spangler will
set off for Derby tomorrow, he intends walking as it will not be
so expensive and he may as well be walking to Derby as stay here
doing nothing.” How long he remained in Derby after this I have
not ascertained but as Mr. Duesbury died the following year,
and things went very awkwardly, it is probable he did not long
remain.
PIERRE STEPHAN, another Frenchman, was for some years a modeller
and china maker at Derby, and produced many lovely groups and
single figures. He removed to Jackfield, where he commenced a
small pot-works, producing not only earthenware, but encaustic
tiles. His son, Mr. Peter Stephan, is, at the time I write, a
skilled modeller at the Coalport China Works. (See page 305,
vol. I.) By articles of agreement entered into on the 17th
September, 1770, “between Peter Stephane of Derby in the County
of Derby, Modeler and China or Porcelaine Repairer of the one
part and William Duesbury of the same place China or Porcelain
Manufacturer of the other part” he binds himself for three
years “to employ himself in the art of Modelling and Repairing
China or Porcelaine Ware” at £2 12_s._ 6_d._ per week. The
agreement is signed “Pierre Stephan” and “William Duesbury,”
and is attested by “Constantine Smith,” “Friederick Decuber,”
and “Thos. Morgan, Junr.”--names which will be found noticed
elsewhere. In 1795 Stephan was at Shelton, and while there
continued to model for and send moulds to Mr. Duesbury.
FIDELE DUVIVIER, a Frenchman, entered into an engagement with
the elder Mr. Duesbury in 1769. The agreement (duly signed by
both Duesbury and Duvivier, and attested by “John Bosher” and
“S. Horrocks,”) is dated 31st October, 1769, and is “between
Fidelle Duvivier of the borough of Derby China or Porcelain
Painter,” and “William Duesbury of the same place China or
Porcelain Manufacturer,” and covenants that the former shall,
for four years from that date, “diligently and faithfully
according to the best and utmost of his skill and knowledge,
exercise and employ himself in the Art of Painting China or
Porcelain Ware,” for the weekly wages of 24_s._; Mr. Duesbury
agreeing, at the end of that time, to give him an additional
five guineas “in case he shall merit the same.” He became the
principal flower painter at the Derby Works, and his style
was much followed by the later painters. Duvivier remained
some years at Derby, and then left, being afterwards employed
at Wedgwood’s and various other places. In 1790, being then
employed at the New Hall Works (which see), he wrote the
following letter to the then Mr. Duesbury, and in consequence, I
believe, he returned for a time to Derby:--“Hanley green, the 1
novebr 1790, Mr. Dousbery, Sir,--take the liberty Adressing you
with a few lines, as mine Engegement in the new Hal Porcelaine
manufatory is Expierd, and the propriotors do not intend to
do much more in the fine line of Painting, therefor think of
Settling in new Castle under lime being engag’d to teech Drowing
in the Boarding School at that place, one School I have at
Stone, so as to have only three days to Spare in the week for
Painting, wich time Could wish to be employ’d by you preferable
to eany other fabricque, because you like and understand good
work, as am inform’d, my painting now to watt I did for your
father is quit diferent but without flatering my Self, Hope to
give you Satisfaction, in Case you Schould like to inploy me,
Sir,--your anser will much oblige your Humble Servant, DUVIVIER
P.S. the conveyance would be much in fevoir for to Send the ware
to and from as ther is a waggon Every week from darby to new
Castle”
WILLIAM J. COFFEE, a modeller, who “made his mark” at Derby,
was the son of William Coffee, who worked either at Hempel’s
or Triquet’s pottery at Chelsea, and afterwards entered into
domestic service in a gentleman’s family. Coffee was, I believe,
brought up to some branch of the business with his father at
these Chelsea works, and was afterwards employed at Coade’s
Lambeth Pottery.[21] He first came down to Derby, I believe,
about the year 1791, and agreements were entered into between
him and Mr. Duesbury. I believe he at first came as a kiln-man.
He does not, as a modeller, seem to have made much head-way at
first, and even in 1794 the London agent wrote, “I do not much
admire Mr. Coffee’s modelling from what I have yet seen. The
figure No. 359 is one of the most stupid looking things I ever
saw, and the figure of Apollo in group No. 379 is very vulgar
about the bosom, for sure never such bubbys was seen and so much
exposed--the design is pretty enough.” Soon after this a fresh
agreement was entered into as to prices to be paid for figures
according to size by the piece, or at day’s wages; Mr. Duesbury
covenanting to have the option of paying him after the rate
of 3_s._ 6_d._ per day for each day of 10 hours that he works
at the manufactory, “or at the rate of 7_s._ for any single
human figure of 6 inches high, whether standing or in any other
action, which if standing would be 6 inches high; and that all
figures shall be roughed out naked in correct proportions before
draped;” three pence for every half inch additional in height
being paid, and so on. On the 30th of January, 1795, a fresh
agreement was entered into:--“Memorandum--Whereas Heads of an
Agreement between Wm. Coffee and Wm. Duesbury were Executed by
W. C. and W. D. wherein 6 Months notice was agreed upon between
them when either wished to close the Agreement--It is hereby
agreed between W. D. and W. C. that the said Agreement shall
be cancell’d, and this Agreement stand in its place viz--W.
C. shall Modell for W. D. untill the 6th of July next at the
prizes which shall be paid by W. D. to the Modeller he has now
engaged to come down who is to have 4_s._ pr. day for such work
as he shall do by the day and various prizes by the piece in
proportion to their value when he works by the piece in lieu of
by the day--NB--This Agreement is not to be construed to imploy
that W. D. has agreed to raise W. C.’s wages by the day above
3_s._ 6_d._ when he shall chuse to imploy W. C. by the day in
preferance to his working by the piece--Signed this 30th of
Jany. 1795. NB--W. C. remarks, that he would wish to know before
he begins any piece of work whether the said work is to be
Executed by him by the day or by the piece, W. D. certifies by
this proviso that such was always his intention--W. COFFEE, W.
DUESBURY, Witness, Charles King.”
In the same year Coffee left Derby, and engaged himself with
Sir Nigel Gresley, Bart., and Mr. Adderley, at their china
works at Burton-on-Trent,[22] and immediately wrote as follows
to Mr. Duesbury:--“Burton on Trent J 4 1795, Sir,--My being
your Debtor makes it my Duty to inform you immediately of my
arrival here and likewise of my engagement with Sir Nigel
Gresley and Mr Adderley lest you should suppose that I had
forgot the Obligation I lie under to you--but am extremely
sorry to understand that you meant to injure me respecting my
Business as that would totally deprive my honest intention of
paying you, the mode of which I shall be happy to submit to
your own satisfaction when I wait on you, I intend as soon as
possible.--I am sir your h servant, W. COFFEE.” To this Mr.
Duesbury returned a manly letter, denying the imputation, asking
for the name of Coffee’s informant, and assuring him that he has
only to make the mode of repayment quite convenient to himself.
In the same year the father of Coffee thus wrote:--“London Sepr
9th 1795, Sir,--My Son since He left you has been at Work near
your Manufactory for Sir Nigel Gresley which He says He inform’d
you of at the time--having finished all there was to do there He
is now return’d to London and out of Employ. As I was very sorry
for his leaving you and severely reflected on Him for it--He
now assures me that He shou’d be extremely happy to serve you
again--for a constancy if you thought proper under an Article
for a Term of Years--at the lower rate of 18 or 17 Shillings pr
week--He gave Sir Nigel the greatest satisaction both in His
behaviour and in His Business--as a proof of which Sir Nigel
has offer’d to give Him the best of Characters at any time it
shou’d be requir’d of Him--therefore Sir you cou’d be satisfied
in that respect at any time you pleas’d--hoping whatever may
have happen’d at any time disagreeable your goodness will
forget--Your condescention in favouring me with an Answer
directly will much oblige Sir Your most humble Servant WILLIAM
COFFEE P.S. He is wiling to repair or do what work you think
proper. I will attend Mr Ligo hopeing your kind Answer.” The
result was that Coffee returned to Derby; worked at the china
factory as of old; and afterwards commenced business on his
own account in Derby. Here he produced terra-cotta figures of
considerable merit and in tolerable variety. Of these, a wolf,
a lion, a dog, and others are strikingly good. He stamped his
productions with his name, “W. COFFEE, DERBY,” and occasionally
the number, or the date. He also gave lessons in modelling, and
turned his attention to oil-painting and sculpture. His statue
of Æsculapius, on the roof of the Infirmary at Derby, was his
principal work. It was executed in or about 1810.
RICHARD ASKEW was employed at the Chelsea works when taken to by
Duesbury, and came from there to Derby in 1772. His name occurs
regularly in the “weekly bills” at Chelsea where he received
4_s._ 2_d._ a-day wages. The following is an account for extra
work done by him:--
£ _s._ _d._
2 Perfume pots in figuars 1 16 0
2 Row wagons in figuars 1 10 0
----------
£3 6 0
Recid. £2 2_s._ ----------
April the 30, 1771. RICHARD ASKEW.
ROBERT ASKEW, his son, was employed at Derby in 1772, and
in that year, along with John Laurence, absconded from his
employment, and was advertised three different times in the
Birmingham newspapers. In 1794 Askew, “enamel painter of
Birmingham,” was living in Birmingham (at 8, Friday Street),
and on the 2nd of August an agreement was drawn up, by which
he bound himself “to work by the piece in lieu of the day, and
at prizes mentioned in the ajoining list;” the subjects to be
executed in the best manner in his power, and not agreeable to
the coffee cans already executed, viz., Duke of York, King and
Queen of France, and Spinning Wheel, &c., but in quality and
effect equal to the Cupids on two flower pots by James Banford
having R. Askew’s name written upon them (to prevent a mistake
in alluding to them) in ink, subscribed this day in presence
of Mr. C. King. The list of prices by the piece, attached to
the draft of the agreement, is of great interest, but too long
to insert. The coffee cans here named were some then recently
painted by Askew, and as the bill for them contains many curious
items and much valuable information on the Art-productions of
that day, I give it entire. This bill, and many others which are
still extant, show that Askew was the principal figure-painter
employed at the Derby China Works. It is headed, “_Mr. Wilm.
Duesbury, Deptur to Rich^d. Askew, July 1794_.”
“a coffe can, with the king of france, one days work 0 5 3
a coffe can, with the Queen of france, one day 0 5 3
a coffe can, with a woman spining, one Day 0 5 3
a coffe can, with the head of the Duke of york, one day 0 5 3
2 coffe cans, with cupeds, tow Days & a half 0 13 1
a cadle cup, with a woman & child, tow days 0 10 6
a cadle cup, with a begar-Girl & child, tow days 0 10 6
a coffe can, a woman holding flowers siting, a day &
half 0 7 10
a flower Pot, with a woman & child, tow days 0 10 6
a cadle cup, with a woman & a Lion, tow days 0 10 6
2 coffe cans, figuors of fath & hope, to days & a half 0 13 1
a cadle cup, with the fourting-teller, three and a
half days 0 18 4
a coffe can, with the head of the Prince of Wails,
tow days 0 10 6
a coffe can, with a Girl & bird, one Day & a half 0 7 10
2 coffee cans, with cupids, tow Days and a half 0 13 1
a cadle cup, with a woman siting at Woark, tow days 0 10 6
a cadle cup, with Doatage and beauty, three days 0 15 9
a cadle cup, with Age and youth, three Days 0 15 9
2 coffe cans, with cupieds, tow Days and a half 0 13 1
a coffe can, with a man & woman offiring to Cuped,
3 days & a half 0 18 4
a coffe can, with cupied chiding Venus, 3 days & a half 0 18 4
2 cadle cups, first & scount lasson of love, Eaght Days 2 2 0
a Plate, with a head, half a Day 0 2 7
a cup & scarcer, with landsceps, one Day 0 5 3
a coffe can, with a Girl & a Rabbet, tow Days 0 10 6
a coffe can, with bebe & Eagle, tow Days 0 10 6
2 coffe cans, with the Prince of Wails & Dutches of
york, 4 days 1 1 0
a coffe can, with maid of Corinth, four Days 1 1 0
a coffe can, with love sleeps, four Days 1 1 0
a coffe can, with sapho & cuped, 3 Days & a half 0 18 4
a coffe can, with a offering to cuped, 3 Days & a half 0 18 4
for Drawings, tow Days & a half 0 13 1
a cup & sacer, in brown, half a day 0 2 7
a coffe can, in brown, half a Day 0 2 7
a Plate, with Plamon & lavinea, 3 Days 0 15 9
2 coffe cans, with single figuars, tow Days 0 10 6
a Plate, with a cupied & Emblems, tow Days & half 0 13 1
12 Tea cups, in brown figuars, three Days & a half 0 18 4
a Plate, with a cupied only, a Day & a half 0 7 10
8 coffe cans, single figuars, Eight Days 2 2 0
2 coffe cans, with figuars, Day & a half Each 1 11 6
4 coffe cans, with the four Elements, 4 Days Each 4 4 0
to three weekes Drawing of cupieds 4 14 6
4 coffe cans, with figuars, a Day & half Each 1 3 7
4 coffe cans, with figuars, a Day & half Each 1 10 6
a coffe can, with the Duke o york, tow Days 0 10 6
a Pair, with figuars, 5 Days 1 6 3
2 chamber Pots, with cupieds in the inside, 4 days 1 1 0
a coffe can, with the Prince of Wails 0 10 6
to Drawing of cupieds, 5 Days 1 6 3
a stand, with cupieds, in Rose couler, Day & half 0 7 10
a cram Pot, in D^o, half a Day 0 2 7
a cram Pot, with figuar in brown, half a Day 0 2 7
4 coffe cans, with dancing figuars, 5 Days 1 6 3
4 coffe cans, with the Elements, 4 Days 4 4 0
a cadle cup, with a woman & children a brakefarst,
3 Days & half 0 18 4
a cadle cup in D^o, at supper, 3 Days & a half 0 18 4
a stand, a tay Pot, 2 coffe cans, a sugar Bason and
cram Pot, work warry heily & neatly finish^d by
Pertickler Desier, 5 weekes 7 17 6
5 cups, in landskips, 2 Days 0 10 6
------------
£61 0 4
------------
the subjects on the stad, 3 womans & cupied tyde to a tree.
on the coffe cans, to woman offereng to Pan & to woman awaking
of cupied.
on the Tea Pot, maid of Corinth & love sleeps.
on the sugar-Bason, Euphorsnay & cuped.
on the crame Pot, a flying cupied.
Dilevered October the 3, 1795.
£ _s._ _d._
1. 2 coffe cans, with the King & Queen of france 0 10 0
2. 1 Do, with the duke of yorke 0 5 0
3. 1 D^o, with the spining weele 0 3 0
4. 2 D^o, with Cupets 0 10 0
5. 1 cadle cup, with a woman & child 0 7 0
6. 1 D^o, with Begar Girl & child 0 7 0
7. 1 coffe cup, with a woman siting 0 5 0
8. a flower Pot, with a woman & cupet 0 9 0
9. a Cadle cup, with Hosea & a Leon 0 7 0
10. 2 coffe cans, with hope & fath 0 10 0
11. a cadle cupe, with the fortin teller 0 14 0
12. a coffe can, with a head of the Prince of Wales 0 7 6
13. a coffe can, with a Girl & bird 0 5 0
14. a cadle cup, with a woman siting at work 0 7 0
15. a cadle cup, with doatage & beauty 0 12 0
16. D^o, with age and youth 0 12 0
17. 2 coffe cans, with cupets 0 10 0
18. 2 cadle cups, first & secont leson of love 1 8 0
19. 2 coffe cans, with venus and cupet &
sacrafise to love 1 10 0
20. a Plate, with hand 0 2 0
21. a cup & saucer, with Landsceps 0 6 0
22. 2 coffe cans, hebe & the child & rabbet 0 18 0
23. 2 coffe cans, with heads of the Prince of
Wales & Dss of York 0 15 0
24. a coffe can, with the maid of corneth 0 15 0
25. a coffe can, with love slepes 0 15 0
26. a coffe can, with sappho to Phaon 0 15 0
27. a coffe can, with offering to cupet 0 15 0
28. for Drawings 0 12 0
Deliverd. November the 26, 94. ------------
RICHARD ASKEW. £15 11 6
------------
WILLIAM BILLINGSLEY, whose name is more intimately mixed up
with the history of porcelain than most of his contemporaries,
was a china painter of unusual excellence, and a practical
maker as well. Like many another man of genius, he was,
however, unstable and erratic in his movements; but to this
very quality we are indebted for the establishment of more than
one eminent manufactory. To him and his practical skill is due
the establishment of china-works at Pinxton, at Mansfield, at
Nantgarw, and at Swansea, and to some extent the improvement
of the ware at Coalport and at Worcester, as well as much of
the high class of decoration at the old Derby Works; and he has
thus “left his mark” on the history of Ceramic Art. Billingsley
was a man of great genius, of extraordinary talent, of extreme
ability as an artist, and of skill as a practical potter; but
wanting stability, he became but a living illustration of the
adage which says “a rolling stone gathers no moss.” He settled
only for a very short time anywhere before he again moved; but
wherever he did remain, if only for a short time, he left the
impress of his name and the most indisputable evidence of his
skill behind him. William Billingsley was the eldest son of
William and Mary Billingsley, of the parish of St. Alkmund,
Derby. He was baptized in that church on the 12th of October,
1758. The following is the entry of his birth:--“1758, Oct.
12, Baptized, William, the son of--Billingsley and--his wife.”
Other entries in the register show that the names of his parents
were “William” and “Mary.” His father died in March, 1770, when
he was only twelve years of age.[23] Four years afterwards,
on the 26th of September, 1774, when sixteen years of age, he
was bound apprentice to William Duesbury. In the indenture he
is described as “William Billingsley, son of Mary Billingsley,
of Derby, in the county of Derby,” and he is bound apprentice
for five years to “William Duesbury, of Derby aforesaid,
China or Porcelain Maker,” to “learn the Art of Painting upon
China or Porcelain Ware.” He was to receive as wages five
shillings per week for the whole time of his servitude; not an
advancing scale year by year as was usual. The indenture is
signed by “William Billingsley,” “Mary Billingsley,” and “Wm.
Duesbury,” in the presence of “Wm. Clarke.” To Mr. Duesbury
he served the full time of his apprenticeship, during which
time he received considerable instruction as a painter, from
Zachariah Boreman,[24] one of the best artists of the old
Chelsea Works, who had removed with those works to Derby. On
the 4th of November, 1780, William Billingsley, then just over
twenty-two years of age, married, at St. Alkmund’s Church,
Derby, Sarah Rigley, of that parish, by whom he had several
children, three of whom were baptised at St. Alkmund’s Church.
On the expiration of his apprenticeship, William Billingsley
continued in the service of Mr. Duesbury, and by his extreme
skill as a flower-painter became the best artist in that line
of decoration. In 1785, Mr. Duesbury died; and the business
was carried on by his son, with whom Billingsley and other
artists remained for some years. Soon after this time some
correspondence having taken place between Mr. Duesbury and Mr.
Coke concerning the properties of a bed of clay at Pinxton,
in Derbyshire, which it was considered would be useful for
the manufacture of china, trials were made, which ultimately
resulted in Billingsley making an arrangement with Mr. Coke for
the establishment of a manufactory at that place (see Pinxton).
Billingsley’s name frequently occurs in papers and memoranda
relating to the Derby China Works in my possession, and certain
patterns and designs in the old pattern-books of the works
are distinguished as “Billingsley’s flowers.” As it is highly
interesting to know what artists and other principal “hands”
were employed at the same time as, and worked along with,
William Billingsley, I give the following copy of a document
relating to the keeping of the men employed on one part of the
works from entering any other part:--“Derby China Manufactory,
23rd Nov., 1787. If any person in Future, either within the
working Hours or at any other time, is seen or discover’d in
the Rooms, Kilns, Apartments, or other Premises of the other
(not having any proper Business relative to his particular
Occupation there) he will positively be fined the sum of five
Shillings. The Fines (if any are incur’d) to be put into the Box
of Donations at pay time, on the Saturday after the detection.
“J. Duesbury.
Boreman.
Smith.
Billingsley.
Stables.
Jno. Yates.
Wm. do.
Longdon.
Tayler.
Blood.
Cooper.
Butler.
Soar.
Dickinson.
Kay.
Fogg.
Webster.
Clarke.
Barton.
Mason.
M. do.
Atkins.
Wedgwood.
Ash.
Morledge.
Watthews.
Lawrence.
Whitaker.
Porter.
T. Moore.
Shipley.
B. Orme.
-----[26]
Wells.
Keen.
Parish.
Spooner.
Son.
Wardle.
Rogers.
Musgrove.
Morrell.
Robins.
Horsley.
Green.
Lovegrove.
Whitiall.
G. Holmes.
Hill.
Farnsworth.
Whitaker.
Laurance.
Atkins.
Morledge.
Wedgwood.
Ash.
Wathews.
Ball.
Thos. Soare.[27]
Jos. Stables.
Wm. Cooper.
Jno. Yates.
Wm. Billingsley.
Jno. Blood.
Wm. Yates.
Wm. Longdon.
Wm. Taylor.
Jno. Buttler.
Wm. Smith.
Z. Boreman.”
Again, in 1788:--
“In November last notice was given that persons of _one_ branch
of the manufactory were not to go into the premises of the
_other_, unless they had real business there relative to theire
_particular occupation_, notwithstanding which the practice
is still by some Individuals continued. Notice is therefore
hereby _finally_ given, that if any person in future (having
received this Notice) shall intrude themselves contrary to this
injunction they will positively be fined 5 shillings.
“Sept. 24th, 88.
“Boreman.
Billingsley.
Jno. Yates.
Wm. do.
Taylor.
Smith.
Borton.
T. Rogers.
T. Simes.
Webster.
Soare.
Stables.
Cooper.
Josph. Doe.
Longdon.
Blood.
Buttler.
Key.
Fogg.
Clarke.
Dickinson.
M. Mason.
Shirley, Arthr.”
The following is also an interesting document, signed by
Billingsley along with other artists:--“From the many injuries
done to the trade by employing Women in Painting of China, &c.,
Particularly not being employ’d in London in any Painting or
Gilding Shop whatsoever, we hope you will not withstand Granting
us the favour of their not being employ’d here.
“Edwd. Withers.
Samuel Keys.
Jno. Brown.
Wm. Cooper.
Wm. Longdon.
Wm. Yates.
Thos. Rogers.
Benj. Brocklesby.
Jos. Stables.
Billingsley.
Soare.
Jno. Yates.
Wm. Taylor.”
In this matter of opposition to the employment of women
Billingsley seems, later on, to have relented, as will be seen
by the following very nice letter from Bernice Banford, one of
the female painters employed, and wife of one of the men:--“Sir,
I hope you will excuse me for takeing the liberty to trouble
you again, as my motive for writeing is to Return you thanks
for the Favour you was pleased to confer in allowing me some
work. I have only painted 4 Dozen and 3 plates, at 3_d._ each,
which I believe is Charged Right, but know not whether I am
so happy to merit your approbation in the Performance. Mr.
John Duesbury would have sent me more work, but Mr. Banford
Declin’d it till your return, as all the men (Mr. Bilinsley and
Mr. Complin Excepted) treated him in a very unbecoming manner,
and even threaten’d him if the work was continu’d to me, which
would at this time be of the greatest service to my Family, and
should be very happy to contribute to its support. Pardon me,
Sir, if I presume to say I am certain one word from you would
ease their Doubts and effectually silence them. I am, Sir, with
the greatest Respect, your Obliged, Humble Servt., BERNICE
BANFORD.--March ye 3.”
Billingsley appears to have been paid from about £1 10_s._ to £2
per week at the Derby China Works, and several of his accounts
and receipts are in my possession. In one of these (September
23rd, 1793), the balance due to him being £34 7_s._ 2_d._, he
asks for “a draft on London for £30 at twenty-one days’ date,”
on account, as usual, and acknowledges to having “lost some
little time, which in some degree differs from our agreement,
but it has been a matter of necessity, not choice;” and states
that as he shall “in the course of a fortnight quit the public
business,”--he at this time, as I gather, being landlord of a
public-house (the “Nottingham Arms” in Bridgegate, Derby)--he
shall be able to make up the time so lost. Again, receipts in
1793–4–5, show that he was still at that time in Mr. Duesbury’s
employ in Derby. It may be well, before proceeding further,
to say that, from a curious draft of an order to the painters
employed at the Derby China Works, in my own possession, William
Billingsley’s number which he was supposed from that time (not
long before he left) to mark on such pieces as he painted was
7. The document is so curious, and will be so interesting to
collectors, that I give it entire. It is as follows, and is in
the second William Duesbury’s own handwriting:--
“Every Painter to mark underneath each Article he may finish,
the number corresponding to his name, and any other mark which
may be required, in such manner as he may be directed (viz.):--
Thos. Soar 1
Jos. Stables 2
Wm. Cooper 3
Wm. Yates 4
Jno. Yates 5
6
William Billingsley 7
Wm. Longdon 8
Wm. Smith 9
Jno. Blood 10
Wm. Taylor (except on blue and white) 11
Jno. Duesbury 12
Jos. Dodd 13
The Painter in fine blue, and in laying grounds to use for his
mark the like colours.
Ditto, in other colours Orange-red.
Ditto, in Gold Purple.
“On omission of the above Injunctions, for the first Offence
(after this public notice), the person so offending shall
forfeit to the Box which contains donations for the Manufactory
at large, one-fourth of the value of the Article or Articles
found to be deficient in marking; for the second, one-half
of the value; and for the third, the whole of the value, and
discharged the Manufactory. And if any Painter is found working
at any hour contrary to those already appointed for Business,
without Permission or Orders, such person shall, for the first
offence forfeit to the Box 6_d._; for the second, 1_s._; for the
third, 2_s._, and so on, doubling each time.”
In 1795 Billingsley determined upon bringing his connection
with the Derby China Works to an end, and for that purpose
gave notice to his employer, Mr. Duesbury. Knowing how ill he
could be spared from the decorative part of the manufactory,
his employer endeavoured to retain his services, and, not
unnaturally, put various obstacles in the way of his leaving
Billingsley; however seems to have determined on the removal,
and much to his credit that that removal should be an honourable
one. The following letter shows his determination:--
“SIR,--From the circumstance that occurr’d when I was last
in Conversation with you, I am induc’d to take this mode of
informing you of my opinion on the subject then in question.
My opinion is, that I have fulfill’d the warning[28] I gave
(my reasons in support of which it is not necessary to advance
at this time). But as I am inform’d that you believe I have
some further time to work for you before the Warning is
fulfill’d--namely, to make up the time I lost in the six months
I was under warning, and as it is my wish to leave no ground
for dissatisfaction, I take this opportunity of informing you
that I am willing to come and Work that time according to that
opinion of the case. If the foregoing is according to your
opinion and desire, your being so kind as to send me advise to
that effect at any time in the course of a week, and likewise
the time I have to work according to the rule and opinion above
stated, I will attend your works accordingly. If I do not hear
from you in the course of the time above stated, I must then
conclude that you are satisfy’d, and the information that I have
receiv’d is without foundation. I am, Sir, your Humble Serv.,
WM. BILLINGSLEY.--Derby, Oct. 14, 1796.”
Shortly before this time Mr. Joseph Lygo, the London agent and
manager of the business of the Derby China Works, wrote to
his employer, Mr. Duesbury:--“I hope you will be able to make
a bargain with Mr. Billingsley for him to continue with you,
for it will be a great loss to lose such a hand, and not only
that, but his going into another factory will put them in the
way of doing flowers in the same way, which they are at present
entirely ignorant of.” Despite all this, Billingsley left the
Derby China Works, where he had been apprenticed, and in which
he had worked for twenty-two years, and in 1796 commenced, for
or with Mr. Coke, a small manufactory at Pinxton, near Alfreton.
Here his practical skill stood him in good service, and the
experiments he had long tried in china bodies were brought
to bear satisfactory results. He succeeded in producing a
granular body (the fracture having much the appearance of fine
loaf-sugar), very soft, but of extreme beauty. Here Billingsley
remained for about four years only, removing in 1800 to
MANSFIELD, where he started a small concern, which he continued
for about three or four years longer. Having once become
unsettled by his removal from Derby, Billingsley does not appear
ever afterwards to have rested long in any one place. In 1804 he
is stated to have commenced, or joined, some small china works
at TORKSEY in Lincolnshire; and a few years later he appears to
have started a china manufactory at WIRKSWORTH in Derbyshire--no
doubt being in part actuated in locating himself there through
the fact of the existence of a beautiful white clay being found
in connection with the lead mines at Brassington and other
places in its neighbourhood. In 1811 Billingsley removed to
Worcester, where he engaged himself with Messrs. Flight and
Barr, of the Worcester China Works. Here, as in some of his
other migrations, he was accompanied by his son-in-law, George
Walker, the husband of his daughter Sarah. Of the engagement of
these two at WORCESTER, Mr. Binns says: “In 1811, Billingsley,
the Derby artist, came to Worcester. As a clever flower-painter,
he was no doubt an acquisition, but that does not appear to have
been the object of his visit. Billingsley knew something of
making porcelain, and was possessed of a receipt which there is
no doubt he valued very highly. From Messrs. Flight and Barr’s
letter to Mr. Dillwyn, it would appear that he had endeavoured
to introduce this special body at Worcester, but we do not think
he was allowed to interfere to any extent in the manufacturing
department. Walker, Billingsley’s companion and son-in-law,
introduced a more important invention to the Worcester Works in
the _reverberating enamel kiln_. These kilns had been in use
in London and at Derby, but were now for the first time built
at Worcester. Up to this time iron muffles were used, but from
their arrangement requiring a preparatory kiln or muffle, after
the same manner as the annealing oven of a glass-house, they
were most objectionable, the ware having to be removed from one
to the other whilst very hot. Previous to this iron muffle, a
more original muffle still was used. The description given
to us quite accords with the engraving in Biancourt, with the
exception of the arrangement of the fire. In the old Worcester
kilns the space between the bricks and the iron case was filled
with small pieces of charcoal, and when the iron cover was
finally placed, it was also covered with charcoal; the fire was
then applied to the centre of the cover, and gradually extended
all over and down the sides until it got to the bottom; the
object of this arrangement was to get an equal heat all over,
which would not have been the case had the bottom been heated
first. The method of building these new enamel kilns was kept
as a great secret, Walker always working by night. He built
them both for Messrs. Flight and Barr and Messrs. Chamberlain.”
After remaining two years only at Worcester, in 1813 Billingsley
and Walker (the former under a name he had for cogent reasons
assumed--that of _Beeley_, this name being a contraction of
his own B[illings]ley, or B’ley, otherwise _Beeley_) left that
place and went to NANTGARW, a small, out-of-the-way village
in Glamorganshire, near Pontypridd, where they established
themselves and commenced making china. From here they sent up a
specimen of their ware to Government,[29] to show their special
body, and to seek Government aid; and the Board of Trade,
through Sir Joseph Banks, requested Mr. Dillwyn, of the Swansea
pot-works, to visit Nantgarw and report on the quality of the
ware. This visit of Mr. Dillwyn’s resulted in his entering
into an arrangement with Billingsley and Walker to transfer
themselves and their works to SWANSEA, where he built a small
manufactory for them, closely adjoining his other works. Not
long after this Mr. Dillwyn received a notice from Messrs.
Flight and Barr, of Worcester, informing him that Billingsley
and Walker “had clandestinely left their service,” and warning
him not to employ them. This occurred, I believe, in about two
years from the time of founding the Swansea China Works, and on
Mr. Dillwyn being assured by Messrs. Flight and Barr that china
with the granulated body could not be made to be commercially
successful, he gave up the manufacture, and dismissed
Billingsley and Walker, who then at once returned to Nantgarw,
where they resumed their manufacture of china, and produced many
beautiful services and pieces, which now fetch remarkably high
prices. The productions of this small manufactory having found
their way into some of the best London dealers’ hands, Mr. Rose,
of the Coalport China Works, feeling that the Nantgarw trade, if
allowed to continue, would seriously affect his business, went
over to Nantgarw, and after some negotiation, made a permanent
engagement with Billingsley and Walker, and bought up from them
at once their stock, their moulds, and their receipt for the
body, and removed them and all their belongings (as he did also
those of Swansea) to COALPORT. Thus the manufacture of Nantgarw
porcelain, just as it was approaching perfection and becoming
known, was, unfortunately, at once and for ever closed.
William Billingsley remained at Coalport[30]--living in a small
cottage a short distance on the Shiffnal Road--for the rest of
his days, which, however, were but few in number. In 1827 or
1828 (I am uncertain which), this remarkable man--one of the
_most_ remarkable in the whole line of English potters, and one
to whose artistic genius the exquisite decorations of some of
the Derby and of the Worcester productions are indebted, and to
whose practical skill and life-long energies so many important
factories owed their origin--passed away in complete obscurity
and in much greater poverty than his talents deserved.
George Walker, after the death of William Billingsley, removed
with his family to America, where he founded and built a
manufactory in New Troy, which he called “Temperance Hill
Pottery,” at which he and his family were, I am enabled to add
from reliable information, working to great advantage a few
years ago, and where, I believe, they still continue.
JONATHAN WEDGWOOD, “of the Borough of Derby, China or Porcelain
Repairer or Thrower,” was employed for some time at the Derby
Works. On the 2nd of December, 1772, articles of agreement[31]
were drawn up between him and William Duesbury, by which he
was to serve Mr. Duesbury for three years “in the Arts of
Repairing or Throwing China or Porcelain Ware,” at the weekly
wages of fourteen shillings “for every whole week” he “shall
work according to the usual hours of Repairing at the said Wm
Duesbury’s Manufactory in Derby aforesaid.” In the contested
election of 1776, a John Wedgwood, son of William Wedgwood, of
St. Peter’s Parish, Derby, claimed, through apprenticeship, to
be admitted and vote as a freeman, and before the Committee of
the House of Commons, was accordingly admitted. By the registers
of St. Alkmund’s, Derby, it appears that a Jonathan Wedgwood was
married on the 12th November, 1785--thirteen years after the
date of this agreement--to Mary Stenson; and that three years
before this time, 22nd Sept. 1782, an Amy Wedgwood was married
to Abijah Tyrrell, both of that parish. The probability is that
the Jonathan Wedgwood whose agreement I have quoted was born at
Ellenborough in 1735; that he migrated to Burslem (where one of
his children was born in 1757), and afterwards to Derby; and the
Jonathan and Amy, whose marriages are noted, were his son and
daughter. His name appears as one of the workmen in 1787.
Other artists, &c., were as follows:--
JOHN ASH, a thrower and presser in 1794.
JOSEPH BANCROFT, who belonged to the old Derbyshire family of
Bancroft, of Swarkestone and elsewhere, was apprenticed at the
Derby Works, and became a proficient in painting flowers, birds,
insects, and shells. He did not remain long after the expiration
of his apprenticeship, but worked for Copelands and others, and
lastly for Minton’s, in whose employ he died.
JAMES BANFORD, of London, a clever painter, was employed from
1790 till 1795. He removed from London to Derby in the middle
of 1790, his wife, Bernice Banford, and family following him
in August of that year. He appears, from penitent letters, to
have been, like many of the other hands, addicted to drinking,
and to have been of improvident habits. In one of his letters
(Feb. 1, 1794) he says, “I cannot help informing you that I
have been dissatisfied some time at the difference of wages
between Mr. Boreman and self. I am not conceited of my work, but
every man knows what he is capable of doing, and in any line of
painting china except landscapes, I have the advantage of Mr. B.
Cannot help observing that in the landscape line, when there is
anything minute or requires neatness, my optic nerves are to be
strained for 18_s._ pr week less, and tim’d to ten hours each
day at the manufactory.”
BERNICE BANFORD, wife of James Banford, china painter, was also
employed as a painter, but at her own house or lodgings. She
had a somewhat unsteady husband and a family to look after,
and seems to have been a great help to them. Here is her first
letter, asking for work, showing that she had been employed at
Wedgwood’s works in London; and another letter by her, when
objection was taken to her being so employed, is given on page
103. “S^{IR}, I beg pardon for addressing you on a Subject which
nesessety oblidge’s me to which is to Solicit the favour of a
little work in the painting way at home, I was brought up to the
business at Mr. Wedgwoods manufactory in London, and flatter
my Self I should be able to do the Slightest paterns on China.
I would S^{ir} very willinly Contribute any thing towards the
Suport of my family, and to assist my Husband to pay Some Debts
which we owe in Derby, which if I Should be so happy to obtain
Such a favour I Doubt not but we Should be soon able to Effect
and do better for our Family than at present. if S^{ir} you
would please to take it into Consideration by Permiting me a
little work, you would for Ever oblidge, S^{ir} your Hume Sert,
BERNICE BANFORD.”
W. BARKER, formerly of London, was employed between six and
seven years at the Derby Works, and left them in March, 1795.
RICHARD BARTON, the manager at Chelsea (it is he who makes out
all the “weekly bills” and receives and pays) was a modeller. In
1773 “Barton, modling 2 small antiquit vauses, £1 1_s._”
JOHN BLOOD was an apprentice at the Derby works, and became a
clever painter.
ROBERT BLORE, a late apprentice at the Derby works, afterwards
for a time produced on his own account small figures, vases,
&c., at a small place in Bridge Gate; he removed into
Staffordshire.
ZACHARIAH BOREMAN, one of the old Chelsea painters, employed by
Spremont, and afterwards by Duesbury, and came down to Derby
on the closing of those works, was for some time employed. In
1784 he left Derby and returned to London; but about 1794 fresh
articles of agreement were entered into, and a supplemental
agreement drawn up same day covenanted that “wherever three
shillings and sixpence per day occurs in the aforesaid
agreement, the words ‘seven shillings’ shall be inserted in Z
Boreman’s agreement, when regularly executed on stamps.” He
was to employ himself in painting, and in improving the enamel
colours, &c. He is said to have died in London in 1810.
R. B. BOWMAN, of Goswell Street, London, was engaged by articles
of agreement, dated May 6th, 1793, to come down to Derby, and
agreed to be there in three weeks from the 12th of that month.
A week afterwards, however, he begged to have the agreement
cancelled, as he had had “a beneficial offer in London, in the
engraving branch,” at 30_s._ a week.
GEORGE BRADBURY, son of William Bradbury, of Little Chester, Labourer,
was bound apprentice on the 10th of March, 1765, for seven years, to
“William Duesbury of Derby aforesaid (altered by the pen to “in the
said county”) China or Porcelain Maker,” “to learn the Art of Repairing
China or Porcelain Ware.” (The indenture is printed on a skin of
parchment; the name “William Duesbury, of Derby, China or Porcelain
[ ],” being printed with the rest, and a blank left for writing in
“maker,” “painter,” or the like.)
THOMAS BRENTNALL, a flower-painter.
JOHN BREWER, an artist of repute in London, who had previously,
as early as 1782, been employed by Mr. Duesbury, was engaged
by him in 1795, and removed with his family to Derby. He was
engaged to paint figures, animals, landscapes, and flowers by
the piece, a schedule of prices being drawn up for that purpose;
and to be assured that he should not have less than a guinea and
a half a week for the first year, and two guineas afterwards.
Until his engagement with Mr. Duesbury he had not painted on
china, and therefore had to make himself acquainted with the art
after his arrival. Brewer later on gave lessons in drawing in
Derby, and in 1811 held an exhibition of his drawings:--
“Mr. Brewer most respectfully informs the Nobility, Gentry,
Clergy, and others in Derby and its vicinity, that he has
arranged for their inspection his Specimens of Water-colour
Paintings as an Exhibition, consisting of more than two
hundred different Subjects, many of them quite new, and the
whole designed and painted by himself, which he hopes during
the interval of time not given to the festival will afford an
agreeable change of amusement. May be viewed from 8 in the
morning until dark at his house near St. Mary’s Bridge, Bridge
Gate, Derby. Admittance--Ladies and Gentlemen 1s., Children half
price. Mr. Brewer’s pupils free, also purchasers of Drawings.”
_Finished from April 29th._
2 Coffee cans and stands, Shipping N 1
6 Plates of plants 2
4 Comports of Landscapes 3
6 Comports of plants 4
2 Comports of plants 5
2 Coffee Cans Moonlight and fire 6
2 Coffee Cans and stands Birds 7
2 Tea pots Landscapes from Gilpin 8
1 Dejuneé of Birds 9
20 Plates of Rose border 10
1 Cream jug of Birds 11
1 Sugar bason Do. 12
2 Cabinet cups 1st and 2d Lesson of Love 13
12 Coffee cups of Landscapes 14
12 Plates of Landscapes 15
3 Comports Do. 16
1 Tea pot of Birds 17
--
83 Pieces to Sept^{br}. 8th.
_In hand._
2 Comports of plants.
4 Plates of do.
4 Coffee Cans of flowers.
1 Dejuneé of Ships.
1 Comport of Landscape, finished.
1 Cream jug Birds
1 Tea pot Do.
12 Saucers Landscapes.
2 Cans shipping.
1 Cream jug Do.
1 Sugar Bason Do.
--
30 Sept. 8th.
JN_o. BREWER.
ROBERT BREWER is stated to have been a brother to John Brewer.
He was a pupil of Paul Sanby. On leaving the Derby works he
commenced practising as a drawing master, and died in 1857.
BENJAMIN BROCKLESBY, son of John Brocklesby, of Derby, labourer,
was apprenticed, for seven years, on the 16th of September,
1783, to learn “the Art or Business of Painting Porcelain or
China Ware.” On the 24th of August, 1787 (Mr. Duesbury, to
whom he had been apprenticed, having died on the 30th October,
1786) he absconded, and on the 13th January, 1789, a warrant
was issued for his apprehension, and endorsed to be executed in
Middlesex and Westminster.
GEORGE BROUGHTON, a painter.
THOMAS BROUGHTON, painter, 1776.
JOSEPH BULLOCK, son of Joseph Bullock, of the borough of Derby,
Framework Knitter, was bound apprentice on the 23rd September,
1765, by the same printed indentures “to learn the Art of
Painting upon China or Porcelain ware.”
SEBASTIAN CLAIS, a Frenchman, was employed as a painter about
1772–9.
JAMES CLARKE, a painter and gilder, was apprenticed, and for
nearly 30 years remained, at the works.
WILLIAM CLEAVEY was also an apprentice, and became a
flower-painter.
GEORGE COCKER, born in Derby in 1794, was apprenticed at the
Derby Works about 1808, as a figure maker, and continued to work
there till 1817, when he removed to Coalport, where he is said
to have been much employed in making raised flowers. He next, in
connection with two partners, also workmen, commenced a small
manufactory at Jackfield, which, however, was closed in a few
months. He then got employment at the Worcester works, and in
1821 returned to Derby and again worked at the Derby China Works
till 1826. In that year he left, and in partnership with another
of the “hands,” Thomas Whitaker, commenced a china manufactory
in Friar Gate, Derby, under the style of “Cocker and Whitaker.”
The following is the announcement of the opening of these
works:--
“DERBY.--NEW CHINA WORKS, _For the Manufacture of Porcelain
Figures, Ornaments, &c._--MESSRS. COCKER and WHITAKER beg
most respectfully to inform the nobility, gentry, and the
public, that they have commenced the above business in FRIAR
GATE, DERBY, where they manufacture, and have now ready for
inspection, and sale, a numerous assortment of Goods in Biscuit
and Enamel, such as they hope will be found not inferior to
anything of the kind at present produced in this kingdom.
“Messrs. C. and W. have also a variety of TEA and DESSERT
SERVICES of modern and approved patterns; and by arrangements
already made, and a strict attention to the orders with which
they may be favoured, they hope to obtain the honor of that
patronage they now venture to solicit, and which it will ever be
their most earnest endeavour to merit.
“N.B.--Ladies or Gentlemen may have Figures, Ornaments, &c.
executed from models or drawings of their own.
“Friar Gate, Derby, Feb. 28, 1826.”
Their place of business was at the bottom of Friar Gate, near
St. Werburgh’s church; Cocker living on the opposite side of
the street, a little higher up, where he erected a kiln and
all the necessary appliances. The business, however, did not
answer well; the partnership with Whitaker was terminated;
and in 1840 Cocker removed with his family to London. Here,
in Chenies Street, Tottenham Court Road, he carried on his
business of china figure making, and had a small shop in
Regent’s Quadrant for their sale. This again not answering, he,
in 1853, obtained an engagement with Messrs. Minton and removed
to Stoke-upon-Trent, where he died, at the age of 74, in 1868,
His figures and busts, of which he produced a goodly variety,
were of small size, and were produced both in biscuit and
painted. They were very clever and meritorious. He also made,
rather extensively, as they met a ready sale, small baskets
of beautifully-formed raised flowers; and brooches and other
trinkets in the same way. In these he was assisted by his sons,
daughters, and nephew. Groups of animals were also produced.
GEORGE COMPLIN was one of the most noted painters at the works,
many of his landscapes being of high character. He must have
been an old man in 1794, for in one of his letters (Sept. 18) of
that year he says, “I think my hair admits of more respect.” In
the same letter he speaks of his employment, “the variety I do,
and the variableness of the work.”
WILLIAM COOPER was a clever flower painter, 1770–76.
WILLIAM COOPER, son of Sarah Cooper, of Derby, was apprenticed
for seven years on the 1st of January, 1777, to learn the “Art
of Painting upon China or Porcelain Ware.” His father also,
I believe, had been employed at the works about 1770, to his
death, in 1776.
WILLIAM CORDEN, born at Ashbourne, 28th Nov. 1797, and was
apprenticed to the Derby China Works in 1811. He remained some
time after the conclusion of his apprenticeship, and then
commenced as a miniature and portrait painter. In 1829 he was
employed in painting portraits at Windsor Castle, and from that
time continued to receive royal commissions. In 1843 he was
employed to paint by the Queen, and in the following year was
sent by the Prince Consort to the Castle of Rosenau, in Coburg,
to copy family portraits for him. He died at Nottingham, 18th
June 1867. A workman named Corden was also connected with the
Liverpool pot-works.
WILLIAM COTTON, a painter of landscapes and rural scenes, in the
early part of this century.
WILLIAM CRESSWELL, a flower-painter.
J. DEARE was a modeller of considerable note, in London, and was
employed by Duesbury to model various groups and figures in 1784.
WILLIAM DEXTER, a fruit, flower, and bird painter; became a
noted enamel painter and draughtsman. He died in 1860, and
his wife--Mrs. Dexter--was the celebrated costume lecturer on
“Bloomerism.”
RICHARD DODSON, a clever painter of birds, was the son of
William Dodson, one of the late foremen.
WILLIAM DIXON, a painter of humorous figure subjects.
JOHN DUESBURY, overlooker and private timekeeper.
ELIN was a painter and gilder from 1786 to 1795.
J. FARNSWORTH was an apprentice, and remained when out of his
time. He died in 1822.
JOHN FROST, son of William Frost, of Nottingham, was bound
apprentice to Edward Phillips, “China or Porcelain Painter,”
on the 16th of April, for seven years, “to learn the art of
Painting upon Porcelain ware,” and on the 25th of February
in the following year (1771) he was transferred, by fresh
indenture, to Mr. Duesbury.
WILLIAM GADSBY, of Little Chester, mould maker, bound himself
by agreement, dated September 2, 1772, for four years (“in the
Art of Making Molds”), at ten shillings per week; Mr. Duesbury,
in addition, agreeing “to give William Gadsby a Waggon Load of
Coals at the end of every year.”
WILLIAM HALL, a flower-painter.
JOHN HANCOCK, son of George Hancock, of Derby, was bound
apprentice for seven years, on the 29th of September, 1769,
“to learn the Art of Painting upon China or Porcelain or China
Ware;” to receive 1_s._ 6_d._ a week for the first year, 2_s._
for the second, 2_s._ 6_d._ for the third, 3_s._ for the fourth,
4_s._ for the fifth, 5_s._ for the sixth, and 6_s._ for the
seventh year. He became a very clever and successful flower
painter. From Derby he is said to have gone to Swansea for
a time, and from thence to have removed into Staffordshire.
In 1786–7, he was settled at Hanley, where he seems to have
remained many years, and occasionally supplied Mr. Duesbury
with enamel colours. He had a brother (probably George Hancock)
working for Mr. Duesbury in 1790. To him is due the invention
of gold, silver, and steel lustre, which, according to his own
account, written when at the age of 89, he first put in practice
at Spode’s manufactory. After working at many places--Spode’s,
Turner’s, and others--Hancock, about 1816, was engaged by
Messrs. Wedgwood as colour-maker and manager of one of the
departments of their works. He died in 1847, in the 90th year
of his age. Some receipts of his and of Aaron Hancock are given
in Shaw’s Chemistry. His five sons were all brought up to their
father’s business.
J. HANCOCK, jun. There appears to have been a second J. Hancock,
who was an apprentice and who absconded. He is described as “5
ft. 5½ inches high; dark brown long hair; between 18 and 19
years of age; had on a dark blue coat with yellow metal buttons
(rather too short for him), velvet breeches, and either a
striped velvet waistcoat, or red and white washing waistcoat.”
GEORGE HANCOCK, second son of John Hancock, removed to Derby
in 1819, and became a painter at the Derby works; and in 1820
his elder brother, John, also was there engaged as a colour
maker and painter. He died in 1840. George Hancock is said for
a time to have been employed by Billingsley at Pinxton and at
Mansfield. In 1835 he removed to Burton-on-Trent, having been
engaged by Mr. Edwards for those works. After many changes he
died in 1850. These two were uncles of Mr. Sampson Hancock, the
proprietor of the present Derby China works, whose father was
James Hancock. William Hancock, a son of the younger John, was
one of the last apprentices at the Derby works, and is now one
of the most successful designers in the potteries.
WILLIAM HAND, a handler and presser.
FRANCOIS HARDENBURG (lodged with a Mrs. Johnson), as he spelled
it himself, or Heartenburg, as it was spelled by Mr. Duesbury,
was a modeller in Derby in 1788 and 1789; having previously been
employed at Caughley. On the 8th of December in the latter year,
he was dismissed through repeated “idleness and ignorance.”
“Brosley, February 16th, 1789. Hon^d Sir, I take the Libberty of
wrightng to you not knowing aney other Name to truble in what
I ham going to aske I am a pirson in bunisness was a frend and
trusted Frances Hartinbirg. When at Mr. Turners Manufactory it
was not in His power to pay me before he Left, but Promised to
returne some as soon as he got worke as it is more than I Can
afford to loose Shall Esteeme it as a great favor if you will be
so good as to give leafe for one of your Servants to answer this
to let me know if he is there or not as he is not so gratfull to
answer aney letter That is sent to him. And ham Sir your Most
Obed. and Humbe. Sarvt., ANN OAKES. P.S. plest to Direct for Me
at the Tirkes armes, near Jacfield in Brosley, Shropshire.” He
afterwards resided in London.
JOHN HASLEM, a very late painter of flowers, figures, and
animals.
JOHN HENSON, one of the last apprentices, became a partner with
Mr. Hancock, in the present works in King Street; he died in
1873.
HICKEY,--“A Mons^r Mons^r Hickey, pres l’Hotel d’Angleterre a
Bruxelles,”--entered into negotiations with Mr. Duesbury in
1792; the correspondence having gone on since 1789. He was “a
native of Ireland,” “a man of reputation,” and a clever painter,
and “the first china burner in the world, who understands the
whole from the beginning to the end; if he (Mr. Duesbury) would
establish a Saxon manufactory,” &c.
HILL, a native of Warwickshire (commonly known by the
soubriquets of “Jockey Hill,” and “The Flying Painter,” through
his partiality for horses and horse-racing), a landscape and
flower painter of considerable note. After leaving Derby he
settled in London as a buyer and seller of old Government
stores, and died there about 1827.
JAMES HILL, one of the latest apprentices, became a clever
flower-painter. At the close of the works he became one of the
partners at the King Street works, and died in 1854.
HOLLAND, a flower painter.
WILLIAM HOLMES, a modeller of small animals.
WILLIAM HORSLEY, kiln man or labourer, and private
timekeeper, 1794.
DAVID KEEN, }
JOSEPH HALL, } “Fire-men,” all bound themselves by agreement
JACOB SPOONER, } for three years each, on the 2nd September,
ROBERT WOODWARD, } 1772, to employ “themselves in glazing and
THOMAS WARDLE, } burning of Porcelain, or in such other branch
SAMUEL WEAVER, } of the business” as Mr. Duesbury might think
WILLIAM WHITEHALL,} proper to employ them in, at six shillings
JOHN BUTLER, } per week each.
WILLAM YATES, }
SAMUEL KEY, son of Thomas Key, of Derby, who let out horses for
hire, was, in 1785, apprenticed to Mr. Duesbury, and died in
1850, in his 80th year. He was a painter of considerable skill,
especially in the fashionable Dresden style. After leaving
Derby, he worked for Minton’s at Stoke-upon-Trent. He drew up
a MS. account of the old Derby China Works, from memory, in
1837, of which he seems to have made two or three copies; one
of these is in my own possession. Three of his sons, John, a
flower-painter; Edward, a modeller; and Samuel, also a modeller;
were apprenticed at the works. The latter became a famous
modeller, and his statuettes of theatrical celebrities and
others were of a high order and became popular. He removed into
Staffordshire.
JOHN KEY, son of Samuel Key, also an apprentice, was a clever
painter of flowers, and afterwards a teacher of drawing, but
died young. His brother Samuel is a clever modeller.
JOSEPH LAKIN was employed in 1789.
JOHN LAWRENCE, “repairer,” was one of the earlier hands, and
in 1772 he, along with Robert Askew the younger, absconded
while under articles of agreement, and was advertised in the
Birmingham papers. On April 11, 1790, he wrote, “I now am in
employ for Mr. Turner, the Salop china manufactory.” This was
after he left Derby. In July of the same year, dating from
“Broasley, July 12, 1790,” he desires letters to be addressed to
him “at the China Works, near Bridgnorth, Shropshire.”
STEPHEN LAWRENCE was a clever moulder of ornamental ware.
CUTHBERT LAWTON, or LOWTON, was a painter of figures and general
subjects, including hunting scenes, which are said to have been
his forte.
LEONARD LEAD, of Belper, “wood collier,” executed articles of
agreement on the 20th May, 1790, by which he bound himself to
“burn, manufacture, and convert into charcoal in a good and
workmanlike manner, all the cord wood which he the said William
Duesbury shall have occasion to have converted into charcoal;”
not to work for any one else when he has any in hand for him;
and to be paid 7_d._ a quarter for every quarter of charcoal so
made. In this he continued till 1795, when Mr. Duesbury finally
gave up the use of charcoal. In a letter of Lead’s he says that
“for generations back, both of father’s side and mother’s, have
followed the above-mentioned business” of “coaling and cording
line”--_i.e._, charcoal burning. A son of his, of the same name,
was, I believe, apprenticed at the works as a flower-painter.
WILLIAM LONGDON, sen., was a china painter of considerable note
at the Derby Works.
WILLIAM LONGDON, jun., son of William Longdon, sen., china
painter, became an apprentice to Mr. Duesbury, July 5th, 1790,
“for painting or embellishing porcelain or earthenware.” In an
order in bastardy in 1799, he is described as a “china-painter.”
JOHN LOVEGROVE (the same as named on page 58 in my notice of the
Cock-pit Hill Works), EDMUND HOPKINSON, and JOSEPH KIRKLAND,
gilders.
WILLIAM LOVEGROVE entered into an agreement to work for Duesbury.
DANIEL LUCAS, a landscape and general painter, died in 1867. His
sons, John, William, and Daniel, were all apprenticed at the
Derby works.
MACLACHLAN, a painter of landscapes.
THOMAS MASON, of Derby, “China or Porcelain repairer,” bound
himself by an agreement, dated September 2, 1772, for four years
to Mr. Duesbury, at one guinea per week; Mr. Duesbury, by an
additional clause, promising “to make Thomas Mason a present
of five guineas at the end of each year over and above what is
specified in the articles (according to his service).” Later on
a Thomas Mason was a timekeeper.
M. MASON was an apprentice to Mr. Duesbury as a painter. He left
Derby and engaged himself to Mr. Barr of Worcester, in October,
1792.
GEORGE MELLOR, whose forte was painting flowers and insects, was
an apprentice but left and went to Pinxton. After that he was
employed at Coalport, and then in Staffordshire, but returned to
the Derby works. He died in 1861. His son, George Mellor (now
of London), was also a painter and gilder, as likewise was his
daughter Sarah.
WILLIAM MOORE, EDWARD BELFIELD, JOHN MORLEDGE, THOMAS TRUNDELL,
and JOSEPH SHIPLEY, were throwers in 1774–6.
JOHN MORLIDGE, son of William Morlidge, of Derby, hatter, was
apprenticed for seven years, on the 21st August, 1777, “to learn
the Art of Repairing of China or Porcelain Ware.”
MULLINS, a figure and landscape painter, was engaged for one
year certain to come down from London in 1795, to paint in
enamel on porcelain by the piece, at a fixed scale of charges,
on which for the first month he was to have 20 per cent., and
the second month 10 per cent. additional. The prices, in the
original list in my possession, are very curious.
JOHN MUSGROVE, kiln man and labourer about 1796.
WILLIAM PEGG, a Quaker, was a remarkable man in more ways than
one. He was a tolerably clever painter, but of a very erratic
and changeable character, and a religious enthusiast; indeed,
judging from his writings, there can be but little doubt that
he was not in all things perfectly sane. He wrote a singular
account of himself, “Traits in the singular life of that
persecuted man, for his obedience to the Truth, W_{m} Pegg, who
joined the Society of the People called Quakers in the year
1800,” in which he traced his descent from Abraham, “who is
said to be the Father of the Faithful,” because his family were
of the seed of Esau, red; and that on his mother’s side he was
descended from Ishmael, because she (his mother) and “all her
kin are swarthy and marked with a brown freckle.” William Pegg
was the son of Thomas Pegg, of Etwall, near Derby, who was a
gardener at Etwall Hall, and a member of the parish choir, where
he played the hautboy; from here he removed to Whitmore, in
the Staffordshire pottery district. William Pegg was born in
1775, and two years afterwards his father removed to Shelton,
where, at the age of ten, William Pegg was sent to work at a
pottery. At fourteen he was put to learn the painting on china
and earthenware, and when of age removed to Derby, and engaged
himself at the china works till he was twenty-three, when he
gave it up, and took to the stocking frame, at which he worked
at one place or other for twelve years. He then, in 1812,
returned to his old occupation, “making drawings and pictures
and painting china,” till 1820, when he again gave it up, and
commenced a small shop. He married Anne Hendley of Derby in
1814, and died in 1851. Pegg was a clever painter of flowers,
and his productions had the merit of being, in almost every
instance, painted from nature.
THOMAS PEGG, a brother of William Pegg, was one of the gilders
for many years.
WILLIAM PEGG, of a different family, was an apprentice at the
works in the beginning at the present century, but left, and
became a clever designer for calico printers.
ROBERT PENNINGTON, painter, 1775.
EDWARD PHILLIPS, of Derby, “China or Porcelain Painter,” by
agreement entered into September 2, 1772, bound himself as a
china painter, at twenty-five shillings per week. He afterwards,
I believe, removed into Staffordshire, where he carried on
business on his own account.
JOHN PORTER, son of Elizabeth Porter, of Spoondon, widow, was
apprenticed for seven years, on the 7th of April, 1777, “to
learn the Art of Painting upon China or Porcelain Ware.”
HENRY L. PRATT, a landscape painter, was apprenticed at the
Derby works, and afterwards, employed in Staffordshire. He
became a clever artist in oil, and died in 1873.
E. PRINCE, a landscape painter.
RICHARD ROBERTS, one of the Chelsea workmen, under Duesbury at
Chelsea, was a soldier and pensioner at Chelsea Hospital, and
was allowed occasional furlough to paint at Derby. Mr. Duesbury
endeavoured to procure his discharge, so that he might remain
with him. Here is one of the orders regarding him: “By Order of
Sir George Howard, K.B., General of His Majesty’s Forces, and
Governor of the Royal Hospital at Chelsea. Permit the Bearer,
Richard Roberts, a pensioner in the above-said Hospital to pass
from hence to Darby in Darbyshire, for the space of Two Months
from the Date hereof, and then to return to the above-said
Hospital. He behaving as becomeith. Given under my hand this
first Day of Dec^r. 1781. “L. GRANT, Adj^t.”
GEORGE ROBERTSON, a landscape painter, died in 1835.
ROBINSON, a landscape painter.
JOHN ROCKLEY, labourer; agreement for three years, from 1795 and
forward, at 9_s._ per week to be employed in the kilns, or in
any other manner.
THOMAS RODGERS was employed, at all events, from 1778 in which
year his wages were raised a shilling per week. He received this
addition for three years (£7 16s.) in January, 1782, after that,
till 1793, he received an addition of 3s. a week.
THOMAS ROGERS, timekeeper and labourer, 1780–95.
JONATHAN ROSE, a painter, came from London to Derby in 1780, and
was employed some time.
JAMES ROWSE, a late flower-painter. Now employed at the King
Street Works.
SARTINE was a modeller in London, employed by Duesbury in 1790,
on the recommendation of Vulliamy, to model figures.
CHARLES SHEEN, a clever thrower and presser, formerly of
Worcester, and in 1791, at the New Hall works at Shelton, was
engaged for Derby.
THOMAS SIMES (or SIMS) was an apprentice, from the age of 11 to
21, to Mr. Duesbury; in 1792 he absconded, and a warrant was
issued for his apprehension, and endorsed for the county of
Stafford.
MUNDY SIMPSON, a gilder and general painter.
WILLIAM SLATER, born at South Normanton, was an apprentice at
the Pinxton works, but came to Derby in 1813. He was a good
general painter. He died in Staffordshire in 1867. Two of
his sons, William and Joseph, were apprenticed at the Derby
works. They and their sons rank among the best painters in the
Staffordshire potteries.
CONSTANTINE SMITH, of Derby, in the county of Derby, preparer of
colours and porcelain painter and enameller, was one of the best
“hands” at the Derby works. On the 28th of October, 1773, his
son William Smith was bound apprentice to him.
WILLIAM SMITH, who had on the 28th October, 1773, been bound
apprentice to his father, Constantine Smith, to learn “the art
of preparing colours, and Painting and Enameling Porcelain,”
agreed with Mr. Duesbury, to whom he had “finished his time,”
and been since employed, in 1790, to employ himself “in
preparing enamel colours, painting china, or otherwise at
the discretion of Mr. Duesbury.” Up to this time he had been
receiving a guinea a week, but on the signing of this fresh
agreement Duesbury was to pay him £10 down, and to raise his
wages to 25_s._
JOSEPH SMITH was a landscape painter; he had 7_s._ a dozen for
painting teas No. 115 in 1792.
WILLIAM SMITH, son of Hannah Smith, of Derby, agreed “to make
colours for painting on china or porcelain ware,” and by
covenant entered into on the 23rd of November, 1778, agreed
as follows:--“I do hereby promise to pay to my mother, Hannah
Smith, weekly, and every week, out of the wages I may get under
Mess^{rs} Duesbury & Co., the sum of eighteen shillings, to
commence from this date and expire the 28th October, 1780.
Witness my hand, this 23_{d} Nov^r 1778.--W. SMITH.”
THOMAS SOARE was an apprentice to Duesbury, and afterwards
employed by him. He was son of ---- Soare, of Little Chester,
and was a clever gilder and arabesque painter. After leaving
the China Works, Thomas Soare commenced, in 1810, a small
business on his own account. The following is his advertisement,
copied from the “Derby Mercury” of April 5th, 1810:--“Enamelled
China.--Thomas Soare, with the greatest respect, begs to inform
the Nobility, Gentry, and Public at large that he enamels
Dessert, Breakfast, and Tea Services with Arms, Crests, Cyphers,
&c., in the most elegant manner and on the most reasonable
terms. His long experience in the Derby Porcelain Manufactory
encourages him to look with confidence for support, which it
will be his study to deserve and his pride to acknowledge.
N.B.--Ladies instructed to Paint china at their own apartments,
on reasonable terms. Navigation Row, near St. Mary’s Bridge,
Derby.”
THOMAS SOUTHALL, “son of Humphrey Southall, of the Borough
of Derby, Pincher,” was apprenticed on the 25th of December
(Christmas Day) 1772, for seven years “to learn the Art of
Painting upon China or Porcelain Ware.”
J. STABLES, a clever gilder, was employed for very many years.
JOHN STANESBY, a flower painter in the latter days of the works.
THOMAS STEELE, one of the later and more celebrated painters of
flowers and fruit, in the latter of which he excelled. He died
in 1850, in his 79th year. Three of his sons, Edwin, Horatio,
and Thomas, were apprenticed at the works.
MARTIN STEPHENS, then of Duke Street, St. James’s, London,
signed articles of agreement in 1794.
FRANCIS STONE, a skilled workman, was employed at all events
from 1770 to 1772, and probably much longer.
JOSEPH and THOMAS TATLOW were late apprentices and became clever
painters.
TAYLOR, at first a blue painter, afterwards became a clever
arabesque and Indian pattern painter. He painted the centres of
a service of plates for Mr. Digby in 1784.
JAMES TURNER, a late flower-painter.
S. or J. VIDAL, a painter, who, in August, 1793 till May,
1795, was living at “No. 1, Grosvenor Row, near the Bun-house,
Chelsea,” arranged, in the latter year, to leave London for
Derby “for six months every year, from June to January.” In
1793, he had sent specimens of his flower-painting to Mr.
Duesbury, and in doing so said, “As I have not painted anything
on china in this country, I am for that reason induced to show
what I am capable of doing in that line, being perfectly master
of the employment and direction of employing the colors, having
painted for about eleven years in the Porcelaine line,” &c.
JOHN WARDLE, “china painter” in 1800 (so described in an
affiliation order).
WATHEWS, a thrower and presser, was employed in 1787–90.
WILLIAM WATSON, a general painter.
H. WEBBER, a noted modeller, was employed in London by Mr.
Duesbury, and afterwards, in 1795, removed to Derby; the terms
of his engagement being shown in a letter from which the
following is an extract:--“London, Wed_{y}, July 15, 95.
{ N^o 4, Lisson Grove,
{ near Lisson Green.
“DEAR SIR,--When I had the pleasure of seeing you in Town, I
understood (or rather misunderstood) you was about to depart
for the Lakes; not for Derby: Therefore I had no intention
of writing to you ’till I shou’d have heard of your return
home;--But a call from M_{r} Lygo has set me right on that
head, and I lose no time to perform my promise; which I think
was, that as soon as I cou’d make up my mind on the matters
spoken of, to communicate it to you. Permit me then Sir briefly
to say, that the terms you propose--namely £100 pr. An^m. I
accept; with the allowance of a months vacation in the year
without deduction. But I find many obstacles arise which I am
sorry for--the detail of which I will not trouble you with;
but only beg leave to point out one of them,--which is--how to
get a tenant for the house I live in, and what relates to it.
However, I have requested the favor of M^r. Lygo to speak of
it to any friend he may suppose wou’d wish such a thing, and
have also spoken to other acquaintances and friends; and you
may rest assur’d Sir, that as soon as I can get rid of this
Stumbling-block (_which is indeed the principal_), I shall not
fail to use the utmost diligence in doing away every other in
hope to realize the pleasure I anticipate of paying my respects
to you at Derby. I am Sir, with Deference and Regard, Your Most
obed^t and very Humble Servant, H. WEBBER.”
MOSES WEBSTER, a flower-painter, was an apprentice, and
afterwards employed at the works. He was afterwards a teacher of
drawing, and died in 1870.
JOHN WELLS, a labourer, to be employed in any part of the
manufacture of china; fresh articles of agreement dated 1794.
WILLIAM WHEELDON (whose mother was a sister of the wife of
William Billingsley), was a clever flower painter.
JOHN WHITAKER, one of the workmen, in partnership with Mr.
Cocker, began in February, 1826, a china manufactory in
Friargate, Derby, but he failed in the same year. His son,
John Whitaker, began to work at the Derby China Works in 1818,
when only eleven years old, and in 1821 (Feb. 23rd) was bound
apprentice to Mr. Blore. In 1831 he became overlooker, and so
continued until the close of the works. Later on he was employed
at Minton’s and other places. He died in 1874.
RICHARD WHITAKER, a thrower and presser, employed in the
ornamental department, in which he was very clever, from about
1769 till 1786, when he died.
WILLIAM WINGFIELD, apprenticed at the works, was a clever
modeller, but died young.
JOHN WINROW, son of John Winrow, of Duffield, Innholder, was
apprenticed, by the same printed indentures, for seven years, on
the 6th of June, 1766, “to learn the Art of Painting on China or
Porcelain ware.”
EDWARD WITHERS, “of London, porcelain or china painter,” entered
into an agreement with Mr. Duesbury, on the 8th of May, 1789,
engaging himself for three years from the 27th of September
in that year “as a painter on porcelain” at the rate of 3_s._
6_d._ per day. It is said that he had previously been employed
at Derby, and from thence removed into Staffordshire, where he
worked as a china painter; then to Birmingham, where he worked
as a painter of japanned tea-trays. He is stated to have died in
Bridge Gate, Derby. A William Withers, potter, residing in 1778
at Rotherham, was in that year a voter at Derby.
WILLIAM YATES, a gilder.
JOHN YATES, general and flower painter and gilder, apprenticed
to, and afterwards employed by Duesbury about 1772. He is said
to have excelled in hunting subjects and flowers.
In 1876, while this chapter is passing through the press, new China
Works, on a large scale, are about to be established on the Osmaston
Road, Derby, by Mr. Edward Phillips, one of the proprietors of the
Royal Porcelain Works at Worcester; there is therefore at last the
pleasant prospect of one of the old staple trades of the town, that of
porcelain, being brought back in all its integrity, and carried on with
vigour and enlightenment.
CHAPTER IV.
Chesterfield--Caskon--Heathcote--Brampton--Posset Pots--Puzzle
Jugs--Welshpool and Payne Potteries--The Pottery--Walton
Pottery--Wheatbridge Pottery--Alma, Barker, and London
Potteries--Whittington--Bromley--Jewitt--Newbold--Eckington--Belper
--Codnor Park--Denby--Bournes Pottery--Shipley--Alfreton--Langley
Mills--Ilkeston--Pinxton--Pinxton China--China
Tokens--Wirksworth--Dale Abbey--Repton--Encaustic
Tiles--Tile Kilns, London--Tickenhall--Kings
Newton--Burton-on-Trent--Swadlincote Potteries--Church Gresley
Potteries--Gresley Common--Woodville--Hartshorne, &c.--Wooden
Box--Rawdon Works--Pool Works--Coleorton--&c., &c.
CHESTERFIELD.
The earliest potter in Chesterfield of whom there is any record is
William Caskon, or Kaskon, who died 8th Henry VIII. (1517), and
the next is Ralph Heathcote, who was both a potter, brazier, and
bell-founder. This Ralph Heathcote, who had married Elizabeth, daughter
of John Tomson (or Tomason, as it is variously spelled), brazier, of
Chesterfield, became by will of his father-in-law (will dated October
1, 1496) executor. Tomson lived in Saltergate, in a house previously
held by William Forneday and Margaret his wife, which was surrendered
to him in 1483. This house was afterwards, in 1501, released to
“Ralph Heathcote, of Chesterfield, Potter.” This is evidenced by two
deeds, one by Thomas Moore, of Cuttethorpe, releasing the messuage in
Saltergate to “Ralph Hethcote, of Chesterfield, Potter”; and the other
from Thomas Moore, of Cuttethorp, and James Moore, of Syrley Grange,
“to Ralph Hethecote, of Chesterfield, Potter,” a bond for £20 to secure
peaceable possession of the messuage in the Saltergate, Chesterfield,
late in the occupation of John Tomson, deceased, and W. Forneby,
deceased.”
It is evident, from a deed of 8th Henry VIII. (1517), that Ralph
Heathcote took to the trade and goods of William Caskon, potter,
of Chesterfield, in that year. The deed is a receipt from “Isabel
Kaskon, ye daughter of William Caskon, of Chesterfield, Potter, lately
deceased,” to “Rauff Hethcote, of ye same place, brasier, for her
child’s part of the goodes and money of the said William Caskon.”
In 1557–8 Robert Parker, of Chesterfield, gent., and Mary, his wife,
son and heir of George Parker, deceased, of the one part, and Rauf
Heathcott, of Chesterfield, potter, of the other part, released a
tenement in Saltergate, and lands at Tapton Lane.
The manufacture of pottery continued uninterruptedly from Heathcote’s
time downwards, although the names of the potters are not always to be
found. In a scarce little book, entitled “A Short Tour in the Midland
Counties of England performed in the Summer of 1772,” the following
interesting notice of Chesterfield occurs:--
“Chesterfield is a large town; but, as I passed through, I saw
nothing uncommon but the ugly church; it is old and built of
bad stone, but rendered most disgusting by its wooden spire
(covered with lead) being so much warped that I discovered
its crookedness at three miles distance. In the town is
a manufacture of pots. At Asher and many villages in the
neighbourhood camomile is much cultivated.”
Pilkington, who wrote in 1789, says, speaking of the manufactures of
Chesterfield:--
“Nor should it be omitted, that a large quantity of coarse
earthenware is manufactured here. In this business three
potteries are worked, which afford employment to about sixty
hands.”
Sir Richard Phillips, who wrote his “Tour” in 1828, says, speaking of
Chesterfield:--
“There are some potteries in this neighbourhood which employ
about 200 persons, at wages of from 10s. to 13s. per week,
and for better workmen, from 18s. to 25s. The description of
manufacture is exclusively brown ware, except in one instance,
which includes black also. The number of potteries is ten,
and the larger part is for home consumption, though a small
proportion is sent to the Dutch market.”
BRAMPTON.
The manufacture of brown ware at Brampton has probably been established
a couple of centuries. In the early part of the present century there
were here six earthenware manufactories, which were carried on by the
following persons:--Mrs. Blake (this now forms part of the works of
Mr. Matthew Knowles); Mr. William Briddon (now continued by his son);
Mr. Luke Knowles (now forming part of Mr. Matthew Knowles’ works);
Mr. Thomas Oldfield (now continued by his nephew, Mr. John Oldfield);
Mr. John Wright (now discontinued; it stood on what is now the site
of the present rectory of St. Thomas’s Church); and that of Edward
Wright and Son (still carried on by the family). At the present time
there are eight manufactories, which will be separately spoken of
presently. At these, brown ware of a remarkably hard and durable
quality, and stoneware of the most impervious character, are made in
great perfection and in immense quantities. The clays principally used
are “Stone Edge,” or “Lidd clay,” found at East Moor, or Wadshelf,
about three miles away, and “Brampton clay,” found in the immediate
neighbourhood.
[Illustration: Figs. 95 and 96.]
[Illustration: Figs. 97 and 98.]
At Brampton, “posset pots” have, for some centuries, been, and still
continue to be, made. Of these some notice is already given in vol. i.,
pp. 107, 108, and 418. The two here engraved (Figs. 95 and 96) show
their general form; the one is dated 1750 and the other 1819. I have
myself examples as late as 1874. Usually the name of the parties for
whom they are made are incised in same manner as the pattern.
Another marked feature of Brampton, or “Chesterfield Ware,” has for a
long period been the “puzzle jugs” there made. These, which are still
produced on the old models, as well as in more modern applications of
the principle, are made in a variety of shapes and of various sizes.
In some the perforations in the neck and rim are more elaborate and
intricate than in others, and some have three, five, or seven spouts.
Commonly, as in Fig. 97, they are ornamented with figures or other
designs in relief, but sometimes are plain.
Another usual class of design is that which includes jugs, mugs, and
other vessels whose handles (Fig. 98) are formed of more or less
cleverly modelled greyhounds. Some of the larger of these mugs have
two, others three, and others four, handles thus formed.
* * * * *
_The Welshpool and Payne Potteries._--These works, belonging to
Messrs. Matthew Knowles and Son, are among the largest in Brampton.
They embrace the old works carried on last century by Mr. Blake,
and afterwards by his widow, and those of Mr. Luke Knowles, with
considerable additions. They came into the hands of Mr. Matthew Knowles
about 1840, and were by him considerably enlarged. Recently he has
been joined in partnership by his son, under the style of “Matthew
Knowles & Son,” and the works were again in 1875 very much extended.
At these works all the general descriptions of brown and stone ware
goods are produced; but an immense number of articles are made for
the Australian, Russian, African, and Jamaica markets, as well as for
the home trade. Among the articles produced in large quantities at
these works are stoneware spirit-bottles, and spirit kegs and barrels,
which are much esteemed for their hardness and durability and their
fine quality; ginger-beer bottles, both in stone ware and brown ware;
jam jars, for wholesale preserve manufacturers (such as Grey, Dennett
& Co., and others), in gallon and half-gallon sizes, in brown ware
glazed inside, forming one of the staple productions of Mr. Knowles,
and of which, with one exception, he is the only maker in the district;
stew and sauce pots; fruit and other jars; flat dishes; turtle and beef
pots; bowls and collanders; tobacco-jars, highly ornamented; “Punch”
jugs of striking design, “hunting” jugs, “game” jugs, and other jugs
designed and modelled with great taste; puzzle-jugs; posset-pots;
candlesticks of classical design and good execution; bread-baskets;
toast-racks; tea-kettles; flower-pots and vases; foot and carriage
warmers; grotesque tobacco-pipes, and a large variety of other goods,
besides the usual domestic vessels, are made at these works, and are as
good as the common nature of the material will admit. The filters made
by Mr. Knowles, of which he produces a large number, are of excellent
construction, and of good design. They are among the best produced, and
being in the fine deep rich colour of the “Chesterfield ware,” are very
effective, and perhaps more pleasing in appearance than many others
in the “Bristol ware,” &c. In china clay ware also a large variety of
articles of remarkably good quality are made. It may be well to add
that at these works the clay is prepared by steam. It is “blunged,” and
then passed through a fine sieve, driven at considerable speed on a
large flat iron boiler, heated by steam, where it is boiled to a proper
stiffness. It is then passed through a pug-mill, and is ready for use.
Mr. Knowles’s are the only works in Brampton where this process is
adopted.
* * * * *
“_The Pottery._”--These works were established, in 1810, by “Messrs.
Oldfield, Madin, Wright, Hewitt & Co.,” by whom they were carried on.
After various changes and retirements, Mr. John Oldfield became, in
1838, sole proprietor of the works, and under his name they continue at
the present time. The works have from time to time been considerably
extended; they are now nearly the largest in the district, and
employ a large number of hands. The goods manufactured are the usual
descriptions known as “New Brampton” or “Chesterfield ware,” or,
as more frequently falsely called in the London and other markets,
“Nottingham ware,”--a remarkably hard, compact, and durable salt-glazed
brown ware; and stoneware, which is dipped in different “slips.” In
“brown ware,” the principal goods produced are dishes and bowls of
various kinds; turtle, beef, butter, Dutch, stew, sauce, and other
pots; bottles and jars of all shapes and sizes, and for all uses;
pitchers and jugs in endless variety; churns: milk-pans and pancheons;
nappies and porringers; tea and coffee-pots; Welsh trays; carriage
and feet-warmers; hare-pans and dog-troughs; spirit and wine-barrels
and kegs; figured flower-pots and stands; scent jars; “hunting,”
“cottage,” “tulip,” and other figured jugs and mugs; moulds for
puddings, blanc-mange, jellies, &c., of great beauty and of excellent
and even artistic design, and many other articles. In “antique ware,”
Mr. Oldfield makes remarkably effective and well-designed hunting,
game, cottage, tulip, and other jugs; figured Stilton-cheese stands;
fruit-dishes and trays; tea and coffee-pots; tobacco-pots, some of
which, with goblet and candlestick, are very striking; watch-stands;
“Toby Fill-pot” jugs; small figures of stags, dogs, &c.; grotesque and
twisted pipes; puzzle-jugs, &c. In stoneware many articles are also
produced, the great bulk being bottles and spirit kegs of various kinds
and of every size, from one pint up to ten or more gallons in capacity;
and sanitary goods.
Filters also form a staple branch of the manufacture, and these are
filted up on an exceedingly good principle, with vegetable charcoal,
sand, &c., on the premises, and are supplied in large quantities both
at home and for exportation. The manufacture of filters was here
commenced in 1826.
The clays used and the processes observed in the manufacture may be
briefly alluded to as follows:--
Five kinds of clay are here used, viz., _Barclay_, which is
procured from Stanedge, near Wingerworth. This clay is used to
make the arches which are technically called “Bars,” and two of
them form nearly a semicircle that spans from side to side of
the ovens and whereon the pots are placed. _Setting-clay_ is
a clay that is found on the peat-moss, near Stanedge, and is
quite of a sandy nature: it acquires the name from its being
rolled by the hands into “nobs” and placed upon the “Bars” to
“set” the pots upon; unless this was used, the pots would have
to be broken to get them off the “Bars.” The _Lidd-clay_ (what
is commonly called Fire-clay) is used in the lower parts of the
“Ovens” or “Kilns,” because of its being stronger to resist the
fire; this clay is procured from Loads, near Holymoorside, about
two miles from Brampton. The next clay is the _Brampton-clay_
which is burnt in the upper portion of the “Ovens,” because
it will not stand the amount of fire that the Lidd-clay will,
although it is of a much closer body, and, when glazed, will
resist the action of any acids. _Mixed-clay_ is burnt in the
middle portion of the “Ovens;” it is, as its name implies, a
mixture of the Brampton and Lidd-clay, of each about equal
portions to suit the fire or heat in that portion of the ovens.
At these works spirit bottles of a similar character to the one
engraved on Fig. 105 were made. One was a representation of Lord
Brougham, with the words, “The true Spirit of Reform.”
Among the marks used by this firm are--
ESTABLISHED
1826
J. OLDFIELD & CO.
CHESTERFIELD
WATER FILTER
MANUFACTURERS,
WHOLESALE AND RETAIL
AND FOR
EXPORTATION.
OLDFIELD & CO
MAKERS
OLDFIELD & CO.
CHESTERFIELD.
J. OLDFIELD.
[Illustration: Figs. 99 to 102.]
The _Walton Pottery_ was built by William Briddon, the grandfather
of the present proprietor, in 1790, and at his death was continued
by his son, William Briddon. This gentleman died in 1848, and was
succeeded by his son, William Briddon, the present proprietor. It has
consequently, from the first to the present moment, been carried on
by three generations of William Briddons. The goods made are brown
ware and stoneware in all their varieties. In these are produced stew,
souse, turtle, beef, and butter pots; jugs of every variety; preserve
and pickle jars; pancheons, bowls, and cullenders; porringers and
patty-pans; bottles of every conceivable size and shape; filters;
spirit-barrels and kegs; foot-bottles and carriage-warmers; tea and
coffee-pots; twisted and grotesque pipes, and many other articles. In
quality they are much the same as those of other Brampton manufactories.
_Wheatbridge Pottery._--These works have been in the family of their
present proprietor for three generations. They are now carried on by
Mrs. J. Walton Wright, the widow of the late proprietor. The staple
trade of the manufactory is general brown ware for the Dutch markets.
The _Alma Pottery_ was commenced by its present proprietor, Mr.
Samuel Lowe, and his then partners, about 1852. After a few years Mr.
Lowe’s two partners withdrew from the concern, and it has continued
in his hands solely to the present time. The goods produced are the
same general kinds, both of wares and articles, as the other Brampton
potteries. In brown ware and in stoneware Mr. Lowe produces filters,
bottles of every kind and size, jugs and mugs, jars of various
descriptions, and all the articles usually produced in these wares, and
of the same general quality as those of other works in the district.
* * * * *
_Barker Pottery_, belonging to Mr. Henry Briddon. Here all the usual
articles in brown ware are made.
* * * * *
_The Pottery_ of Mr. William Briddon, Jun., produces the usual kinds of
wares, and most of the articles, of the district.
* * * * *
The _London Pottery_, belonging to Messrs. F. Lipscombe & Co., of
London, was established by them for the purpose of manufacturing their
filters.
WHITTINGTON.
At Whittington, pot works have existed from an early date, and are
still continued. At these much good ware and many specialities of
design, &c., were produced; it is only necessary to premise that the
goods are commonly known by the general term of “Chesterfield ware”
or “Nottingham ware”--it being a fact that London houses still sell,
and persist in calling, the products of these Derbyshire works by the
latter name.
The Whittington Potteries[32] are of very old establishment, having
been in existence since about the middle or latter end of the
seventeenth century, if not longer. Here the ordinary brown ware
of the period was manufactured; the ware being of extreme hardness
and closeness of texture, and having a rich warm reddish-brown
colour. About the year 1800, and for some years later, the works,
which were near the race-course, were held by Mr. William Bromley,
who, in addition to the ordinary brown ware, made also a white, or
cream-coloured, earthenware of fine quality. In this fine body he
manufactured dinner, tea, and other services, principally decorated,
in the prevailing manner, with transfer-printing in blue. He also
practised batt-printing for some of his goods. Mr. Bromley also made
some experiments in, and succeeded in producing, a very good china
ware, but he did not prosecute this branch of manufacture to any
extent. At that time, when Mr. Bromley was making the fine earthenware,
and was experimenting on porcelain bodies, my late father, Mr. Arthur
Jewitt, then a young man, was residing at Brampton, and was in habits
of close intimacy with him. My father being a man of scientific,
as well as of high literary attainments, and being, moreover, a
good artist, took considerable interest in his friend Mr. Bromley’s
manufacture, and at his own house at Brampton entered with spirit into
a series of experiments in enamelling and enamel-printing, and in
other processes for decorating the wares. For this purpose he caused
to be erected in his own house two enamel kilns, one of which he had
constructed on the ordinary simple principle of heating, and the other
on the spiral principle. He also fitted up, for the purpose of these
private experiments, a small printing-room, and here, being, as I
have said, a good artist, he tried various processes for transferring
aquatints and etchings (which he etched and prepared himself) by the
batt-process, both on to the biscuit and on to the white glazed ware.
By this process he produced many remarkably successful transfers; but,
like the boy who dug up the seeds in his garden day by day, to see if
they were sprouting, and so killed them, he was always so impatient to
see the result of his experiments that he did not wait for the fire in
the kilns to die out, but opened the doors, and so frequently spoiled
all the pieces. Sufficient, however, remained each time to show that he
was right in his experiments, and that his trials were all that could
be desired.
[Illustration: Fig. 103.]
Besides transfer-printing, he tried some interesting experiments in
surface-painting on the biscuit. Only one example of this ware is known
to exist, and this fortunately is now in my own possession. It is here
engraved (Fig. 103). It bears a view of (I believe) Renishaw Hall, and
part of the park, with deer, &c. The body is extremely light, and the
painting highly artistic. It is simply surface-painted on the biscuit.
It is a small flower-pot, or “bow-pot,” and saucer, and is only 3⅜
inches in height.
These experiments are highly interesting in connection with the
Whittington and Brampton potteries. They were very successful, and
showed that had my father devoted his time and his talents to the
process, great results would have been achieved. As it was, he
prosecuted his inquiries as an amateur only, and from a simple love of
the art, and his name, until I made it known in the _Art-Journal_
a few years ago, has never been publicly associated with the fictile
history of the country. I felt that it was due to the memory of one
of the most talented of men, and the best of parents, that I should
place his name on record in connection with an art in which, for a
short time, in midst of a busy literary life,[33] he took such a lively
interest.
Mr. Bromley continued the works for some years, when they changed
hands. He was a man of great ability and of much spirit, and did more
to further the standard of excellence of the works in his district than
any of his contemporaries. He had three sons, Rev. Samuel Bromley,
who was a poet of no ordinary stamp, and was a Baptist missionary to
Jamaica and other countries; Joseph Bromley, who entered the army; and
the Rev. James Bromley, whose name is well known in connection with the
Wesleyan persuasion. The works afterwards belonged to Messrs. Robert
Bainbrigge & Co. The pot-works at Whittington, in the early part of the
present century, were carried on by Mr. William Johnson and Mr. Aaron
Madin. At the present time there are two manufactories at this place;
viz. those of Mr. Samuel Lancaster, successor to Mr. Madin, and Mr.
James Pearson.
* * * * *
_Stone Bottle Works._--These works, at Whittington Moor, were
established in 1818 by Mr. Aaron Madin, and they are now carried on in
his name by his son-in-law, Mr. Samuel Lancaster. The goods produced
are in stoneware, brown ware, and coarse black ware. The stoneware
is made of fire-clay, found underneath the Tupton coal-measures at
Brampton and elsewhere, and glazed with the usual compound of flint,
Paris white, Cornwall stone, barytes, and ground glass. It is of good
quality, and very hard and durable. The ground ware is, as is usual in
the district, salt-glazed; and the black ware, which is made of the
common brick-clay, is glazed chiefly with lead-ore. The goods produced
are the usual domestic and other articles made in the neighbourhood,
and their quality is equal to most others.
* * * * *
_Whittington Pottery._--At these works, belonging to Mr. James Pearson,
the usual classes of goods, as made at the other potteries of the
district, are produced.
* * * * *
_Whittington Moor Pottery._--Mr. S. Lancaster (late A. Madin) has a
manufactory of coarse pancheon ware at this place; the body, as usual,
coarse red outside, and lined with a black glaze inside.
NEWBOLD.
There is a manufactory of coarse brown ware--pancheons, bread-pans,
stein-pots, &c.,--carried on by Mr. W. Sharratt at this place. The
productions are of much the same character as those of Whittington
Moor, Tickenhall, &c.
ECKINGTON.
Pilkington in 1789 says, “A manufacture of sickles is carried on. There
are also two potteries in the town.”
BELPER.
About the middle or towards the latter part of last century, a small
manufactory of common coarse brown ware existed here, and about 1800
Mr. William Bourne took to the works carried on by Messrs. Blood,
Webster, and Simpson, at Belper Pottery. Mr. William Bourne, sen.,
was, it appears, very much engaged in the business of the then new
canal. Letters of his, and of his son, William Bourne, jun., in which
reference is made to his connection with the canal, and show business
transactions between them and Mr. Duesbury of the Derby China Works,
are in my own possession. Mr. Bourne carried on the manufacture of
salt-glazed blacking, ink, ginger-beer, and spirit bottles. The
ordinary brown ware, produced from a less vitreous clay, found on
the spot, consisted of bowls, pans, pancheons, dishes, pitchers, and
all the commoner varieties of domestic vessels, and these were of
excellent and durable quality. The stoneware bottles, &c., were made
from a finer and more tenacious bed of clay, at Denby, a few miles
distant. The finer, or figured wares, were made from clay procured from
Staffordshire. By Mr. Bourne all these descriptions of goods were made,
but he principally confined himself to the manufacture of stoneware
bottles of various kinds. A good antique-shaped hunting jug, and other
similar articles, with figures in relief, was also extensively made.
In 1812, Mr. Joseph Bourne (son of William Bourne) took to the Denby
Pottery (which see) then carried on by Mr. Jäger, and the two works
were carried on simultaneously until 1834, when the Belper Pottery was
finally closed, the workpeople, plant, and business being removed to
Denby, and incorporated with those works, and the premises converted
into cottages. From that time no pottery has been made at Belper. The
site of the works was at Belper-Gutter, and “Pot-House Lane,” the name
of one of the streets, perpetuates the manufacture.
[Illustration:
BELPHER & DENBY
BOURNES
POTTERIES
DERBYSHIRE
Fig. 104.]
[Illustration:
WILLIAM, IV,th’s
REFORM
CORDIAL.
Figs. 105 and 106.]
The mark used while these works were carried on in conjunction with
those at Denby was this; and it may be well to remark that a series of
political bottles, bearing representations of various Reform leaders,
were made. On these the head of the individual--the King, Sir Francis
Burdett, Earl Grey, or whomsoever was intended--formed the neck of
the bottle, and the arms and bust the shoulder; political references,
and the name of the political leader, were impressed on the clay. One
of these, which represents the King (William IV.) is engraved on Fig.
105. It bears in front the words “WILLIAM IV.’S REFORM CORDIAL,”--the
“cordial” being the brandy or other spirit it was intended to contain.
Another is a representation, in smaller form, of Lord John Russell
(afterwards Earl Russell); it bears, in front, the name “LORD JOHN
RUSSELL,” and on a scroll which he holds in his hand are inscribed the
words, “THE TRUE SPIRIT OF REFORM.” At the back is the mark Fig. 104.
At these works too, I believe, quaintly designed inkstands, of which
Fig. 106 is an example, were made. The projecting lower jaw formed the
well for the ink, while holes on the shoulders served for places to put
the pens in when not in use. They were made of the ordinary vitrified
stoneware.
In 1827 a coarse-ware pottery was carried on here by Mr. Heapey.
CODNOR PARK.
The pottery at Codnor Park was built in the year 1820, by the
world-renowned Butterley Iron Company, the owners of the famed iron
works of Butterley and Codnor Park. At this time the Butterley works
were under the management of the late Mr. William Jessop, son of one
of the partners, and afterwards senior partner of the firm. Some
years before this time the Company had constructed a large cast-iron
bridge for the Nabob of Oude, and on its despatch a brother of Mr.
William Jessop accompanied it to India to superintend its erection,
taking with him several workmen, among whom was an engine-fitter named
William Burton. From some cause or other the bridge was not erected
by the Nabob, and after remaining several years in India, the parties
returned to England. On their return, this William Burton was induced
to commence the pottery, and having engaged a skilled workman from the
Brampton Potteries, near Chesterfield, he commenced operations in 1821.
The pottery was situated near the Codnor Park Iron Works, from which
it took its name, and pretty close to the Butterley Canal, and was
successfully carried on for several years. Sir Richard Phillips, in his
“Tour,” in 1828, thus notes the pottery:--
“Over near Codnor Castle, I viewed a rough and ill-built
manufactory, where they turn and bake those opaque bottles used
for ginger-beer, soda-water, liquid blacking, &c. About 50 women
and children finish 100 gross per day, and they sell the pints
at 15_d._ and 16_d._ per doz., and all pints at 2_s._, and
quarts at 3_s._ 6_d._ They are made of the clay of the vicinity,
and the agent for selling them is Kemp, in Milk Street, London.
They are harder and less liable to burst than glass bottles.”
In 1832, Mr. Burton having got into pecuniary difficulties, the works
were closed. After remaining unworked for many months, the concern was,
in 1833, taken by Mr. Joseph Bourne, of the Denby Pottery. They gave
employment to about sixty persons.
The Codnor Park Works were carried on by Mr. Bourne until 1861, when
they were finally closed, and the workmen, plant, &c. were transferred
to the Denby Works, where additional work-rooms had been erected for
their accommodation.
The clay was of a similar kind to that used at Denby, but owing to a
larger impregnation of iron the ware produced therefrom was not equal
in appearance to that made at Denby, though the bottles were highly
vitreous, and had an extensive sale. This clay was obtained at Cupet
Green, in the immediate neighbourhood, and the coal from Birchwood
Colliery. (The hard coal is the only kind adapted for burning in the
salt-glazed kilns.) London was the chief market, the crates being
forwarded by canal.
The classes of goods produced at Codnor Park were all the usual classes
of household vessels, and also stoneware bottles of various kinds, and
of all sizes up to six gallons, and pans, bowls, jugs, pitchers, and
other articles. Besides these, however, a remarkably fine, compact,
light, and delicate buff-coloured terra-cotta was produced. In this
were made butter-coolers, vases of various kinds, flower-baskets and
pots, ewers, spill-cases, and numberless other articles. Many of these
were of excellent design, and beautifully decorated with foliage and
other ornaments in relief. Puzzle-jugs, &c. were also made of this
material, and surface-painted with a peculiar mottled effect. The mark
during Mr. Burton’s time was his name and “Codnor Park,” or simply the
name “Wm. Burton,” impressed on the clay. The manufacture of ordinary
household earthenware was discontinued when Mr. Bourne took to the
concern, his operations being confined to the manufacture of bottles.
For some of this information I am indebted to Mr. Humphrey Goodwin
(through Mr. Bourne of Codnor Park), who was connected with the works
from their opening in 1821 until their close.
DENBY.
The “Denby Pottery” is situated in the parish of Denby, seven miles
from Derby and two from Ripley,--a village memorable as being the
birthplace of Flamstead, the astronomer,--in the midst of the rich
ironstone and coal-fields of Derbyshire, the former of which are said
to have been regularly worked from the time of the Romans.[34] The
works were commenced in 1809 by a Mr. Jäger, on the estate of W. Drury
Lowe, Esq., where, some time before, a valuable and extensive bed of
clay had been found to exist. This clay, previous to the establishment
of the Denby Works, was used at the Belper Pottery, for the manufacture
of stoneware ink, blacking, and other bottles. The Denby clay was
also supplied to the Derby China Works, in considerable quantities,
where it was used for saggers, and for a few other articles which were
produced. In 1812, Mr. Joseph Bourne, son of William Bourne, of the
Belper Pottery, succeeded Mr. Jäger, and the Belper and Denby works
were carried on simultaneously until 1834, when the Belper Works
were discontinued, and the plant and workpeople removed to Denby.
The works were at this time much increased, and gradually extended
their operations. In 1833, the Codnor Park Works (which see) passed
into the hands of Mr. Bourne, and were carried on by him, along with
those of Denby, until 1861, when they were closed, and the workpeople,
plant, &c., as in the case of the Belper Works, removed to Denby.
Considerable additions were made for this increase of workpeople, and
the manufactory was much extended. In 1845, Mr. Bourne also became
possessed of the Shipley Pottery (which see), and in 1856 removed those
works to Denby. With the Denby Pottery are therefore incorporated those
of Belper, Codnor Park, and Shipley.
Mr. Joseph Bourne having taken his son, Joseph Harvey Bourne, into
partnership, the business was carried on under the style of Joseph
Bourne and Son, and has so continued until the present day. Joseph
Bourne died in 1860, and his son in 1869, and the works are still
carried on, under the old trading style, by the family. In 1851 a medal
was awarded to Mr. Bourne for his stone bottles.
In addition to the extensions required from time to time at Denby to
provide for these continual augmentations arising from the closing
of the smaller works, the business has so extended as to necessitate
considerable additions and improvements. Excellent machinery has been
applied to the blunging and other processes, and instead of the old
process of getting rid of the water from the slip by evaporation,
the clay is obtained therefrom by the patented process invented by
Messrs. Needham and Kite, Vauxhall, London, ten of their presses being
employed, turning out at least 25 tons per day of workable clay. The
class of ware produced has not varied to any extent, though an advance
in shape and quality is evident from a comparison with some of the
earlier specimens extant. The great bulk of the stoneware produced by
Messrs. Bourne and Son is the kind known as the salt-glazed stoneware,
which, on account of its peculiar vitreous and non-absorbent qualities,
is in great demand not only in the home market, but in all parts of
the world. About the year 1836 a considerable change was made in the
size and form of the salt-glazed kilns, and for these improvements
Mr. Joseph Bourne obtained a patent. The old kilns were only half the
height of the present ones, and had each five chimneys. To these, what
may be called an upper storey has been added, and, while the lower
half is fired by mouths opening into the kiln and the flame passing
_perpendicularly up the kiln_, the upper portion is fed by fires
passing out of the kiln by means of _flues at the side_, and the
modern kilns have only one chimney, thus securing a better consumption
of smoke and lessening the objectionable results which would follow
from such a dense volume of smoke proceeding from a low chimney. Since
this patent was taken out an additional improvement has been made by
the erection on the top of each kiln of a separate small oven, in which
biscuit or terra-cotta fancy articles can be burnt, these being simply
burnt by the heat passing up the chimney and from the top of the kiln,
but no flame or salt-glaze reaching the goods. Much thought and care
as well as considerable expense have been expended during the last
twenty years to perfect the manufacture of telegraph insulators, and
the very large business transactions in this department proves that the
enterprise of the firm has not been fruitless.
Messrs. Bourne and Son have for many years possessed the exclusive
right to manufacture Mr. Varley’s Patent Double V. Insulators, and
since the transfer of the telegraphs to the Government, the firm have
executed immense quantities for that department of the public service.
A demand having recently arisen for white-glazed ink and other bottles,
additional appliances have been provided on the most approved and
modern principles, which have enabled the firm to produce a class
of ware of this description unrivalled alike for its excellence and
appearance.
[Illustration: Figs. 107 to 109.]
The main productions of the works are as follows:--
In bottles, which are the staple production, almost every variety are
manufactured in large quantities both in the patented vitreous stone,
and white glazed, varieties of ink-bottles of every shape and size
are made by thousands weekly, as are also ale, porter, ginger-beer,
blacking, fruit, and every other kind of bottles. Spirit and other
liquor bottles, with handles, up to a very large size, are also made.
Feet-warmers, carriage-warmers, and medical appliances, with or without
patent screw stoppers; spittoons, tobacco-jars, churns, mortars
and pestles, pipkins, bird fountains, inkstands, feeding-bottles,
candlesticks, pork-pie moulds, and every variety of domestic
vessels, are made. Druggists’ shop-jars, snuff-jars, spirit-barrels,
pudding-moulds, &c., many of them highly ornamented, are also made. The
filters are of excellent construction, and good form, and are made to
purify from 5 to 30 gallons per day each.
“Hunting Jugs”--a name by which a certain class of jugs with raised
ornaments consisting of hunting subjects, sometimes a stag, at others
a fox, chased by horsemen and dogs; and with other relief subjects of
trees, bee-hives, windmills, and men seated smoking or drinking, &c.,
are called--are made here to a great extent, and of the hardest and
most durable quality, and with an excellent glaze. Some of these are
made with greyhound handles of very clever and effective design, of the
class shown on Fig. 98. Upright jugs, or canettes, of the same general
character, are also made, as are also plain jugs. Jars, too, are a
staple branch of the Denby manufacture, and for preserves, pickles,
jellies, marmalades, &c., are considered to be of the best quality.
They are made of the most approved shapes, and of every variety of
size, covered and uncovered; one great advantage of this make being
the great width of the mouth, ensuring cleanliness, and preventing the
waste that occurs with an overhanging shoulder. The same remark holds
good with regard to the stew-pots.
In terra-cotta, which is of a remarkably light and fine quality, and
of a warm buff colour, many elegant articles are made. These are
flower vases of various designs, lotus vases, garden and other vases,
wine-coolers, water-bottles, ewers with snake handles, flower-stands,
Stilton-cheese stands and trays, fern stands, fonts, Indian scent jars,
butter coolers, mignionette boxes, and many other articles of artistic
excellence.
The marks used by the Denby Pottery are as follows:--
[Illustration:
VITREOUS STONE BOTTLE
BOURNE & SON
PATENTEES,
DENBY POTTERY
NEAR DERBY.
BELPER & DENBY
BOURNES,
POTTERY
DERBYSHIRE.
J. BOURNE & SON.
PATENTEES
DENBY POTTERIES
NEAR DERBY.
J. BOURNE & SON.
PATENTEE S
DENBY POTTERY
NEAR DERBY.
Figs. 110 to 113.]
But besides these, which, by the way, are only used upon some of the
goods, the great bulk being made without any mark at all, there are
others which it is not necessary to particularise.
SHIPLEY.
These works were commenced about 1825 on the estate of Edward Miller
Mundy, Esq., of Shipley Hall, by whom the buildings were erected, in
consequence of the discovery of valuable beds of clay. They were first
carried on by some working potters from the Staffordshire district,
and the ordinary classes of goods in “cane” or “yellow” ware were
produced, as were also Rockingham ware tea-pots and other articles.
These were made to a considerable extent, and of good quality, but the
works did not answer. They were next taken by a Mr. Waite, a blacking
manufacturer, from London, who commenced making stoneware bottles
for his own blacking, and other articles of general use. Eventually,
in 1845, the works passed into the hands of Mr. Bourne, of the Denby
pottery, and were carried on by him. The clay at Shipley was of two
kinds--one was obtained from the hard seam coal after the coal was
worked, at a depth of 250 yards. This was of a beautiful and extremely
fine quality, but was of itself difficult to work owing to a want of
tenacity. It was found, however, that by using in equal proportions
this clay and another known as the Waterloo seam, which was about 100
yards from the surface, an excellent body was produced. At this period
the coal mines on the estate furnished saline and chalybeate waters,
which were much in repute; and bottles, specially designed for these
waters, were made in large quantities at these works. Some of these
bottles are still preserved, and are of excellent material. They bear
impressed on the side a garter ribbon, on which are the words In me
suprema Salus, enclosing the name SHIPLEY SALINE WATER in three lines.
In 1856 the Shipley pottery was closed; the workmen, plant, &c., being
removed to, and incorporated with, the Denby pottery.
ALFRETON.
During the last, and the early part of the present century, brown ware
of common quality, and red-ware pancheons, &c., were made at Alfreton,
but have long been discontinued. Pilkington, who wrote in 1789, says,
“There are also here six malt offices, and two potteries of the brown
earthen ware.” The site of the last of these pot sheds, I am informed
by Mr. Rowbottom, was purchased, in 1845, by the Gas Company, for their
works, and during the progress of building, &c., only the commonest
brown ware was seen.
CRICH.
Somewhat extensive pot works existed here, on Morewood Moor, in the
middle and latter part of last century, or probably much earlier.
In 1763 they belonged to a Mr. Thomas Dodd, who in that year became
bankrupt. The estates were somewhat extensive, and their sale--land
and houses, &c.--covered three days. The sale was “at the house of Mr.
Jonathan Kendall, known by the sign of the Peacock, near Alfreton, in
Derbyshire.” The following is a copy of the description of the lots in
which the pot works occur:--
Lot 1. A large commodious Dwelling House, called Crich Pot
House, standing in Wheatcroft, within the said parish of Crich,
together with the Garden, walled round, and planted with Wall
Fruit, and a Summer House within; and all the Outhouses, Barns,
Stables, Cowhouses, Workrooms, Pot furnace, Warehouses and
other Edifices therto belonging. And also those six several
closes or parcels of enclosed land lying and being in Wheatcroft
aforesaid, therto adjoining and belonging, containing by
estimation about 38 acres, and being tythe free and paying a
chief rent of Two pence halfpenny per ann. And also the Potter’s
Clay upon all the commons or waste grounds within the Manor of
Lea (within which Manor the before mentioned premises lie), all
which are now in the occupation of Mr. Thomas Wheldon, or his
assigns.
Lot 2. A Leasehold estate for the reversion of a term of 99
years, which commenced at Lady Day, 1744, of one acre of Land
to be fenced out of the South-east corner of a certain Close in
Wheatcroft aforesaid, commonly called Agnes, otherwise Annis
Bottom, under the yearly rent of one pound. Upon which said
acre of Land there is now built and standing a good new Pot
House, with Workrooms, Pot furnace, Warehouses, and all other
Edifices and Apartments necessary for a Pottery, now also in the
possession of the said Mr. Wheldon.
Lot 3. A Close (being formerly three Closes) in Plaistow, within
the parish of Crich aforesaid, containing about 8 acres, being
tythe free, together with a Windmill, Kiln for drying Corn, and
Blacksmith’s Shop, standing thereupon, being only separated from
the fold-yard of the aforesaid house, called Crich Pot-house, by
a narrow Lane (called Dark Lane) which said Close pays a Chief
rent of £6 per ann., and is now in the holding of the said Mr.
Wheldon.
Lot 4. A Dwelling House with a Barn and Cowhouse, and two Closes
of Land adjoining, tythe free, in Plaistow aforesaid, containing
about five acres, paying only a Chief rent of 4d. per ann., and
now in the occupation of John Bacon and Mr. Thomas Wheldon.
Lot 5. A Messuage, House, Barn, and Stable, Two Cowhouses,
and other Edifices in Wheatcroft aforesaid, and also a large
Orchard, planted with Fruit Trees, and six several Closes therto
belonging, tythe free, containing about 18 acres, formerly in
the holding of William Street, deceased, paying a Chief rent
of Two pence halfpenny per ann., and subject to an annuity of
Twenty shillings a year, payable thereout to the Vicar of Crich,
for the time being. N.B.--There’s a large quantity of Potter’s
Clay in this Farm.
“The Potters’ Clay Delph,” or “Delph of Pot Clay,” is also stated to go
through two other of the lots.
Mr. Robinson, who has searched into matters regarding the Crich
Pottery, gives me the following particulars. They were situated near
the “Pot-House Farm,” as the place is still called. The buildings still
remain and are known as the “Pot-House Hillocks.” After the bankruptcy
of Thomas Dodd, the works were carried on by George Bacon, and at his
death passed into the hands of his son, Edward Bacon, who gave up the
earthenware manufacture and converted the place into a brickyard; this
also he closed about 1810. Of the ware made here, which appears to have
been brown ware, like that of Brampton, nothing reliable is known.
A posset-pot, formerly belonging to the landlord of the Horse and
Groom, a public-house a mile off, is said to be an undoubted example;
it bears the names of the then landlord and his wife--“John and Mary
Wood, 1794.” A spill-board weight, bearing on one side the date 1760,
with initials, and on the other the initials G B (supposed to be George
Bacon) and a fleur-de-lis, is also supposed to have been made here.
LANGLEY MILLS.
_Langley Mill Pottery._--This pottery was established by
its present owner, Mr. James Calvert, in 1865, and was the first
established in the neighbourhood. The productions are vitrified
stoneware of similar character and quality to that of Messrs. Bourne at
Denby. In this ware a large trade is done in ginger-beer, ink, beer,
and other bottles, and all the usual domestic vessels--jars, pitchers,
hot-water bottles, foot-warmers, jugs, mugs, &c.--are produced from
clay found in the neighbourhood. The works are extensive and well
arranged, consisting of three kilns for brown ware and one for Bristol
ware.
ILKESTON.
The “_Ilkeston Potteries_” were established by the late Mr. George
Evans in 1807, and were carried on by him until his decease, in 1832,
when he was succeeded by his son, Mr. Richard Evans, the present sole
proprietor of the concern. At first, and during the lifetime of Mr.
George Evans, Derbyshire stone bottles alone were made, and these
are still manufactured to a large extent. By the present proprietor
the buildings have been considerably increased, and a general
pottery added for the production of useful articles in stoneware and
ornamental terra-cotta goods. The present productions of the works
are in stoneware bottles, jars, pans, &c., of all sizes and of every
usual form; filters of an improved construction; carriage, foot, and
other warmers; sanitary pipes, and ware of every kind, &c., &c.; and
in terra-cotta, vases, pedestals, flower and tree boxes and pots,
garden-edgings, chimney-tops, &c., of various designs, and all the more
usual productions of fire-clay goods.
PINXTON.
The village of Pinxton (a large parish in East Derbyshire, close on the
borders of Nottinghamshire) is principally inhabited by colliers and
other “hardy sons of toil,” who work in the ironstone mines and at the
furnaces of the neighbourhood. The manor belongs to the family of Coke,
the same family as the Cokes of Trusley and the Cokes of Melbourne,
and to one of this family, John Coke, Esq., the establishment of the
china works is owing. Mr. John Coke was the youngest brother of D’Ewes
Coke, Esq., the lord of the manor; the second brother being Sir William
Coke, Judge of the Supreme Court, Ceylon, who died at Trincomalee, in
Ceylon. The present head of the family is Lieut.-Col. E. T. Coke, of
Debdale. Mr. John Coke, who was born in 1775, passed several of the
early years of his life at Dresden, and there, doubtless, acquired that
love for porcelain ware which induced him to commence the manufactory
at Pinxton on his return to this country. Having an idea that some
clays found on the family estates near Pinxton might be made available
for the manufacture of china ware, Mr. Coke entered into correspondence
with Mr. Duesbury, of the Derby China Works, and sent him samples of
his clays for trial and experiment. Whatever encouragement or otherwise
he received from Mr. Duesbury--and I have reason to believe that
encouragement was _not_ given--the result of his own convictions and
his own trials, &c., determined Mr. Coke on starting the works, and he
ultimately made an engagement with William Billingsley, of the Derby
China Works (which see, page 102); and having built a somewhat large
and very conveniently arranged factory, commenced the manufacture of
china ware in 1796.
William Billingsley was the son of William and Mary Billingsley, of
the parish of St. Alkmund, Derby. In 1774 he was apprenticed by his
widowed mother to Mr. Duesbury, the proprietor of the Derby China
Manufactory, for five years, “to learn the art of painting upon
china or porcelain ware,” as I have already shown in my notice of
Billingsley on page 101, _ante_. In 1796 he left the Derby China
Works, where he had been employed for the long period of twenty-two
years, and removed to Pinxton, occupying, with his wife, his wife’s
mother, and two daughters, a part of the factory built by Mr. Coke.
Here Billingsley succeeded in producing that beautiful granular body
which he afterwards perfected at Nantgarw and at Swansea; and here,
too, stimulated by Mr. Coke’s good taste, he introduced faultless
forms in his services and a high style of excellence in decoration.
He brought with him several experienced workmen and artists from the
Derby Works, and took into the factory, and instructed, several young
people of Pinxton and its neighbourhood. His own time was thus so
fully occupied with the management of the works, with the arrangement
of the concern, and with the “overlooking” of the persons employed,
that, unfortunately, his own skill and his own splendid colouring of
roses and other flowers were lost to the manufacture; and thus we do
not find that the expressed fear of his late Derby employers that “his
going into another factory will put them in the way of doing flowers
in the same way, which they are at present entirely ignorant of,” was
sustained. In fact, while employed by Mr. Duesbury, Billingsley was in
every way master of the art he had been taught; and he had acquired a
peculiar method--entirely peculiar to himself--of painting roses which,
with his free and truly artistic grouping and harmonious arrangement
of colours, made his pieces so much sought after, that orders were
constantly sent in for objects “painted with Billingsley’s flowers.”
At this period of course his whole time was devoted to painting, and
his heart was in his work. After leaving his employer, his attention
was naturally, in the new sphere in which he found himself at Pinxton,
almost wholly given to the _practical_ instead of the _Art_
portion of the establishment, and thus none, or scarcely any, of the
known examples of Pinxton china bear evidence of being his handiwork.
Indeed, it is not too much to say that, from the time when he closed
his connection with the Derby Works, his Art-skill declined, but his
manufacturing skill became more and more apparent.
The works at Pinxton were built by the side of the canal, and the
workshops formed three sides of a square. These are still in existence
at the present day, and are shown in the accompanying vignette, from
a sketch made for the purpose. They are now converted into cottages,
and are occupied by colliers and others. The kilns, &c., have entirely
disappeared. The place and cottages are still called “China Square,” or
“Factory Square.”
Through some misunderstanding or other, the arrangement between Messrs.
Coke and Billingsley was not of long duration, and in a very few
years--probably about 1800 or 1802--Billingsley left the place and
removed to Mansfield, where, it is said, he for some time occupied
himself in decorating and finishing china ware which he bought in the
white state in Staffordshire. He afterwards, as I have already shown,
removed to Torksey, Worcester, Nantgarw, Swansea, and Coalport, and
died about 1827 or 1828.
[Illustration: Fig. 114.]
Mr. Coke married in 1806 and settled at Debdale Hall, where he died
in 1841, in his sixty-sixth year, leaving his estates to Lieut.-Col.
Coke, their present possessor. At Debdale are preserved, with religious
care, some of the finest examples ever made at Pinxton. These pieces
were brought there by the founder of the works, Mr. John Coke just
spoken of, and have remained there ever since. They consist of large
semicircular spill-stands, mugs, &c., beautifully painted with
views, one of which, a view of the family seat of Brookhill Hall, is
remarkably fine. Some of the stands are grounded in the Dresden canary
colour, and the whole are very choice and unique examples of Pinxton
porcelain.
The group of china here engraved is a selection of pieces made during
Billingsley’s time at Pinxton. The pieces are all remarkable for
the beauty of the body and of the glaze, and some of them are also
noticeable for the excellence of the gilding. The coffee-pot in the
centre is one of a set bearing, in oval borders, views of different
places either in Derbyshire or elsewhere. These landscapes are
excellently painted, of a peculiar brownish effect which pervades the
whole colouring, by James Hadfield, who was the best landscape painter
at the works. The views on the pieces which have come under my notice
are of local and other places: for instance, Pinxton Church, Darley
Hall, Hartington Bridge, Ashwood Dale, Buxton, Wingerworth Hall, Tong
Castle, Saltram, Menai Straits, Wanstead Church, Frog Hall, Caerphilly
Castle, &c. The teapot and stand are of elegant shape, unusually narrow
and carefully gilt; the stand is of peculiar form. The cup and saucer
have the “Derby sprig” (Tournay sprig), as it is frequently called. The
coffee-mug and flower-pot tell their own tale.
[Illustration: Fig. 115.]
After the close of Billingsley’s connection with the Pinxton Works
they were carried on by Mr. Coke with the assistance of a Mr. Banks.
Afterwards Mr. Coke took Mr. John Cutts to manage the concern, and
he became a partner in the works. In the later part of the time
the manufactory was carried on by Cutts alone. At the close of the
Pinxton Works, which took place about 1818, Mr. Cutts removed into
Staffordshire--fixing himself at Lane End--where he commenced
business; at first buying ware in the white and finishing it for sale.
In 1811, Davies says, “There is a considerable porcelain manufactory at
Pinxton, which finds employment for several hands.”
After Billingsley’s removal from Pinxton the character of the ware
underwent a change. The granular body of which I have spoken as
produced, and afterwards brought to such perfection, by him, was his
own secret, and he zealously kept it. On leaving Pinxton this secret,
naturally, went with him, and, of course, the goods produced after
that time were of a different and much inferior body. The later ware
approached pretty closely the ordinary china body of the time, and had
a slightly bluish tint in the glaze. The decoration was also, as a
rule, not equal to what it had been in the earlier days of the factory.
Among the workmen brought from Derby along with Billingsley, were
Thomas Moore, a clever thrower; Ash, also a clever thrower and
turner, and many others of repute. Among the painters, &c., were
James Hadfield, a good landscape painter; Edward Rowland, a landscape
painter; Morrell, who painted landscapes and flowers; Richard Robins,
from London; William Alvey, and others, including Slater and Marriott.
Alvey left Pinxton about 1803, and became master of Edingley School,
near Southwell, where he died in 1867, aged about eighty-three. He
had a numerous family, some of whom re-settled at Pinxton. Alvey was
held in high respect at Edingley, and was possessed of remarkable
natural gifts; he was an excellent musician, a clever draughtsman and
colourist, a first-rate mathematician, a splendid penman, a very fair
land-surveyor, and a poet of no mean order. He was fond of drawing and
painting to the last.
No especial mark was used at the Pinxton Works. The number of the
pattern was occasionally given, and sometimes a workman’s mark was
added; and although other marks _were_ used, none seem to have
been adopted as distinctive of the works. A writing letter _P_
and a Roman capital letter P have both been noticed as occurring on
isolated specimens. A tea service, named to me by Capt. G. Talbot Coke,
bears, however, inside the lid of the teapot, the word _Pinxton_,
written in gold letters. The service is of a beautifully clear white
china, with broad edges of burnished gold; a handsome arabesque border
of red, blue, and gold ornamenting each piece.
One peculiarity connected with the Pinxton China Works remains to be
noticed: it is the issuing of china tokens, _i.e._, tokens representing
different values of money, made of china, and payable as money among
the workpeople and others, including shopkeepers. These were issued in
a time of difficulty, so that they were only temporary conveniences,
and thus they possess great interest. They were of two distinct kinds.
The general form was a circular disc of white china, thicker in the
middle than at the edges--in fact, exactly of the form of a common
magnifying glass--and bore on the obverse a figure of 5 in the centre,
and the words, “_Let the Bearer have in goods five shillings_,” in
four lines across. On the reverse a similar figure 5 and the words,
“_which place to account with John Coke, Pinxton. Decr. 24th, 1801_,”
in five lines across. The writing is in blue, and the tokens are well
glazed. They were issued of various values, as 10_s._, 7_s._ 6_d._,
5_s._, 3_s._ 6_d._, 1_s._ 6_d._, and 1_s._ respectively. The one here
engraved belongs to W. S. Coke, Esq., of Brookhill, and I am indebted
for it to his nephew Capt. J. Talbot Coke. Others bore, as shown on the
next engraving, simply the figure of value, gilt or painted on an oval
disc. These tokens were used as promissory notes, and when returned to
the works by their holders their value in money was given for them,
and they were broken up and destroyed. They were payable in and around
Pinxton, on one side as far as Sutton, but their payment did not extend
to Mansfield. They were called “Mr. Coke’s coin,” or “Chainé money”
(china money), in the provincialism of the locality.[35]
[Illustration:
_Let the
Bearer have_
5
_in goods
five shillings_
_which place
to account with_
5
_John Coke
Pinxton Dec^r 24^{th}
1801._
Fig. 116.]
[Illustration:
7_s._
5_s._
Figs. 117 & 118.]
It is pleasant to see how the memory of the old china works at Pinxton
is cherished by its inhabitants of the present day, among whom some
of the people who worked there are still, at a ripe old age, living.
One of these, in her eighty-fifth year, who began to work at the
factory when but a child of some eleven years of age (at that time
named Elizabeth Smith), and became ultimately the chief burnisher of
the works, was, when I saw her a few years back, in full possession
of all her faculties, and delighted in describing, with marvellous
accuracy, all the processes employed. To her wonderful memory, and to
that of others, as well as to documents and long personal research,
I owe the information which I, in 1868, for the first time, gave in
the _Art-Journal_, and now repeat, in regard to this interesting
manufactory.
WIRKSWORTH.
Wirksworth is much more intimately mixed up with the history of the
Ceramic Art than is usually imagined, and yet but little is known
of the works which were there carried on, or of their productions.
Dugdale, in 1799, says, “About forty years ago, a manufacture of
porcelain was attempted, but it proved unsuccessful.... It was in the
Holland Manor House that the unsuccessful manufacture of porcelain
was attempted;” and Davis, in 1811, repeats the same thing: “In the
Holland Manor House the manufacture of porcelain was attempted, about
forty years ago, but proving unsuccessful, it was relinquished.”
Holland House, where this manufacture was carried on, was the Manor
House of the manor of Holland, otherwise Richmonds, which was given by
Thomas, Earl of Lancaster, to Sir Robert Holland, in which family it
remained until the attainder of Henry Holland, Duke of Exeter, in 1461;
it afterwards belonged to Margaret, Countess of Richmond and Derby,
and was subsequently granted by the Crown to Ralph Gell. In 1745,
Philip Gell leased the manor to “Robert Atkinson and Francis Parry, of
Lincoln’s Inn, gentlemen,” and to “Andrew Wilkinson, of Boroughbridge,
com. York, Esq., and Thomas Wilkinson, Esq., brother of the said Andrew
Wilkinson.” In 1777 it was “leased by Philip Gell, Esq., of Hopton, to
Richard Arkwright, of Cromford, cotton merchant.”
In this latter lease (dated 6th November, 1777), the china works
are thus named: “All those several messuages, tenements, or
dwelling-houses, and all other buildings, warehouses, workshops, and
appurtenances, situate, standing, and being in Wirksworth, in the said
county of Derby, heretofore used for the making and manufacturing of
China Ware, and now in the tenure or occupation of the said Philip
Gell, his assignee or assigns, tenant or under-tenants.” So that at
that time the first china works had probably ceased to be in operation.
In 1793, by deed dated 1st November, Richard Arkwright, Esq., assigned
the remainder of the lease to Charles Hurt, Esq., of Wirksworth, in
the following words: “All those several messuages, tenements, or
dwelling-houses, and all other the buildings, warehouses, workshops,
and appurtenances, situate, standing, and being in Wirksworth,
heretofore used for y^e making and manufacturing of china, but now for
picking cotton.”
My late friend, Mr. T. N. Ince, to whom Wirksworth is indebted for much
patient research into its early history, thus wrote to me regarding
the china works, having at my request turned his attention to the
matter:--“I much regret that I did not extract from the original deed
of co-partnership, which I once had in my hands, at least its date,
parties, and the like. My opinion is that it was begun about the middle
of last century, and did not continue more than a few years. I know the
Hurts of Alderwasley, Gells of the Gatehouse and Hopton, Sir Thomas
Burdett of Foremark, and many others were partners--nearly the same
who were partners in the English and Welsh Mineral Company, of whose
concerns were many papers in a bundle in my grandfather and father’s
office, labelled ‘Tissington _v._ Burdett and others;’ and amongst
them, Mr. Julius Cæsar Robiglio, of Hopton, gentleman, who was said
to have been present at a duel in Italy, in which the then Philip
Gell of Hopton slew his antagonist and fled to England with Mr. Cæsar
Robiglio, who, I have heard my mother say, was a most gentlemanlike
man. He died at Hopton, and was buried at Wirksworth or Carsington. The
premises called ‘China House Yard’ were afterwards the property of the
late Charles Hurt, Esq., senr. His son, Charles Hurt, junr., died in
1834, on whose death it was sold to the late Mr. John Wilson, maltster;
whose son, Mr. Daniel Wilson, wine merchant, is the present owner.” Mr.
Wilson, who has examined his title deeds specially for me, tells me
they contain no information as to the china works.
Some years ago, during excavations which were being made, portions of
saggers and of china were found; some of these are in my own possession.
It is said that after leaving Pinxton and other places, Billingsley
attempted to establish china works here; being probably led to do so
by the fact of felspar being abundant in the neighbourhood. Of this,
however, there is no proof. Earthenware is also said at one time to
have been made here; but of this, also, there is no proof.
DALE ABBEY.
Encaustic paving tiles were made here, within the grounds of the abbey,
in the fourteenth century. The remains of the kiln in which they were
fired were discovered some years back, and in and around it were
several tiles and fragments of tiles.
[Illustration: Fig. 119.]
[Illustration:
VOL. II. PLATE I.
MEDIÆVAL PAVING TILES MADE AT REPTON.]
REPTON.
Encaustic tiles were made here in the fourteenth century, and the
kiln in which they were fired, and a vast number of unfinished tiles
and fragments of tiles, were discovered in 1866. The site of the tile
works was within the old abbey walls, and was accidentally brought
to light by the boys of Repton School, who were busying themselves
in levelling a piece of land for their cricket ground. During their
work they came upon patches of a stiff red clay with fragments of
tiles; and, presently afterwards, found some regular layers of them,
face downwards. Next they came upon masses of brickwork, which, upon
careful clearing, turned out to be a kiln for the firing of the
tiles. Of this, and of the tiles found within and around it, I made
careful measurements and drawings, and some of these are shown on the
accompanying engravings.[36] The kiln, Fig. 119, consisted of two
series of arches (each series consisting of six arches alternating with
the same number of openings) over what may be termed two vaults, each 7
feet 6 inches long, by 2 feet 6 inches wide, and about 1 foot 10 inches
in height. The arches were formed of chamfered bricks or tiles, those
composing the actual arch measuring 7¼ inches in breadth at the square,
or upper end; 2¾ inches in breadth at the lower end; 7¼ inches in
length; 4½ inches in length on the square sides; 3½ on the chamfer; 1¼
inches in thickness at the upper end: and three quarters of an inch in
thickness at the lower end. The basement, four inches in thickness, was
formed of bricks or tiles. Upon this were built up, at distances of 4½
inches apart, the chamfered bricks from which the arches sprung, these
being placed broadends together and so forming an hexagon. Between
these the remainder of the wall, to a level with the top of the arches,
was formed of encaustic tiles, which being 4½ inches square exactly
fill up the width. These encaustic tiles, some hundreds in number,
were of various patterns, but evidently unfinished, being quite soft
and pliable. The floor of the vault was paved with tiles, and at the
entrance was a stone wall on either side, and against the wall-pier was
placed the curious relief tile, Fig. 120.
[Illustration: Fig. 120.]
The tiles and fragments of tiles exhibit some examples different in
form, as well as in material and in design, from any others which have
come under my notice. One of these, on Fig. 121 (repeated so as to form
the complete pattern in a lozenge), is of very light stone-coloured
clay. The foliated pattern is in very high and bold relief, and the
whole face of the tile is covered with a rich green glaze. It measures
10 inches on its angles, and 14 inches from point to point on its base,
and it is 1¾ inches thick. Fig. 120 is of the same material and general
character; the pattern in high relief, and the face covered with green
glaze. It measures 8 inches by 6½, and is 1¾ inches thick. Another
green glazed tile, also with the pattern in relief, is shown on Fig.
123. Its design, which is extremely elegant, consists of the crowned
initial of the blessed Virgin, ([Illustration: M] ,) each limb of the
letter M terminating in a crowned letter A and foliage. This, I take
it, simply means “Ave, Maria.”
[Illustration: Fig. 121.]
[Illustration: Figs. 122 and 123.]
[Illustration:
VOL. II. PLATE II.
MEDIÆVAL PAVING TILES MADE AT REPTON.]
[Illustration:
VOL. II. PLATE III.
MEDIÆVAL PAVING TILES FOUND AT WIRKSWORTH.]
Of the ordinary class of red and yellow tiles, a very large variety
of patterns was found. These consisted of single, four, nine, and
sixteen tile patterns of great beauty, and, in many cases, unusual
intricacy; border tiles of strikingly beautiful design; heraldic tiles
representing the armorial bearings of many local families of note, as
well as those of the monarch, &c.; alphabet tiles, bearing the entire
alphabet in Lombardic capitals; and grotesque, astronomical, and other
devices. Some of these are represented on plates I. and II., and it
is worthy of remark, as showing the extent to which this manufacture
was carried by the monks at Repton, that tiles still existing in, or
exhumed on the sites of, many of the old churches and religious houses
of this and the adjoining counties, are identical with those discovered
in this kiln, and are therefore proved to be of Repton make.
[Illustration: Figs. 124 and 125.]
Another description (to which the same remark will also apply) of tiles
found in this kiln is very peculiar. On these, the pattern, in sharp
and tolerably fine lines, is simply indented, or incised, into the
soft clay, and not filled in with “slip.” These, which for convenience
I will call “incised tiles,” are of dark blue or black colour. Some
of these patterns will be found in Figs. 124 and 125. Another very
singular unique tile of this class is given of its full size on Fig.
122. It bears a head within a wreath, and is covered with green glaze.
Another curious and unique tile, in which the simple device of four
saltires within a square has been literally _cut_ into the clay,
not impressed, was also found.
[Illustration: Figs. 126 to 128.]
Having described the Repton kiln it will be well in the present chapter
to give some few particulars of other remains of a like kind. In
1833, my late friend, Mr. H. Eginton, discovered a tile kiln on land
formerly belonging to the Priory of Great Malvern. It consisted of two
semicircular arches, strongly built, separated from each other by a
thick and massive wall or pier. The length of the kiln was 35 feet,
and the width of the openings 2 feet 3 inches. In each of the archways
was a flooring of stone, about two feet from the ground, composed of
three slabs in width; the centre one serving as a key-stone to the
others, but more especially, in my opinion, so arranged as to allow the
fumes of the charcoal to have proper access to the chamber where the
tiles were placed. The place for the fire was on the ground, beneath
this elevated flooring, and the earth from long action of the heat
had become of extreme hardness, and had all the appearance of a thick
pavement of limestone. There was no aperture for smoke, so that the
process was literally that of the “_smother kiln_.” The arches
were double, the outer being constructed of tiles, the inner of bricks,
which from long action of the fire had become completely vitrified.
The flooring on which the tiles were placed for burning was two inches
in thickness, and at the time of the discovery a number of the tiles
were found lying in their places as they did when the fire smouldered
away beneath them four centuries before. The kiln was placed seven feet
under ground--most probably to prevent injury to the structure from
expansion by heat--and was firmly backed and bedded in with blocks of
Malvern ragstone. The tiles found were identical with some of those
now remaining in Great and Little Malvern churches. Another kiln was
discovered in 1837, at St. Mary Witton, near Droitwich. It consisted of
arched chambers similar to those at Malvern, and separated from each
other in like manner by a strong intermediate central wall or pier. The
arches were 2 feet 2 inches in height, 2 feet 4 inches in width, and
of several feet in length, and were partly composed of tiles, partly
of brick, and highly vitrified with the heat. In them, as at Malvern,
a considerable quantity of charcoal was found. Other remains of kilns
have been discovered in Wiltshire, in Sussex, and in Staffordshire,
and in the latter county the family name of Telwright, or Tilewright,
doubtless taking its origin from makers of tiles, is one of great
antiquity.
[Illustration: Fig. 129. Tile Kiln Discovered near Farringdon
Road, London.]
Another remarkably interesting kiln was discovered in London in the
course of excavations in forming the Metropolitan Railway, close to
the Farringdon Street Station. The kiln, which rests upon the natural
bed of clay of the locality, was found about fourteen feet below the
surface level of Turnmill Street, or the natural bank of the Fleet
River. Over it was an immense accumulation of rubbish, doubtless caused
by the Great Fire of London. An account of this kiln has been drawn up
by my friend Mr. J. E. Price, to whom I am indebted for the view of the
kiln engraved on Fig. 129. It was about 16 feet long and 10 feet wide,
and consisted of three parallel arches, which averaged 2 feet wide by
1 foot high, separated from each other by a pier of about 1 foot in
width. These arches constituted the furnaces, and supported a level
floor, which was pierced, at equal distances, with a series of openings
each 2 feet long by 5 inches wide. Through these the heat would rise
from below for firing the tiles. On the spaces between the apertures
the tiles were probably placed for burning. There were thirty of these
openings remaining, though in some instances the intervening spaces had
fallen away. The entire structure is composed of plain tiles, similar
to those used for roofing purposes.
LITTLE CHESTER.
A manufactory of coarse brown ware formerly existed at Little Chester
near Derby. Fragments of various fictile vessels of much the same
character as the Tickenhall dishes, and also of the same kind as the
Chesterfield brown ware, have from time to time been found, as well as
remains of a potter’s kiln. Nothing, however, is known regarding it.
TICKENHALL.
A pottery existed at this place, as early, at all events, as the reign
of Queen Elizabeth; probably much earlier. This is incontestably proved
by remains which have from time to time been exhumed on the spot.
There can, therefore, be no doubt that pottery has for more than three
centuries been uninterruptedly made at this place. In 1650, Philip
Kinder, in his collections towards a History of Derbyshire, preserved
in the Bodleian Library, thus wrote:--“Numa Pompilius here might have
learn’t his ‘Straine of Frugalities’! Here are your best Fictilias made
you; earthern vessels, potts, and pancions, at Tycknall, and carried
all East England through.” This is the earliest mention of Tickenhall
pottery I have met with.
[Illustration: Figs. 130 and 131.]
Pilkington (1789) says:--“Formerly a very large quantity of earthen
ware was manufactured at this place; but lately the business has very
much declined. It is said, that, since the land in the neighbourhood
has been enclosed, it has been difficult to meet with proper clay.”
The ordinary coarse domestic vessels--“potts and pancions” as they
are called by Kinder--were made, but beyond these there were many
highly-decorated ones, with human heads for handles, &c.; some
fragments of these are in the possession of Sir John Harpur Crewe,
Bart., of Calke Abbey, to whom Tickenhall belongs. The ware was coarse,
but very hard, the colour a dull brown, nearly black, in some instances
with a yellow slip. Sometimes, however, it was of the ordinary red
colour. A mediæval pitcher, or jug, in my own possession, which was
dug up here in the course of draining operations on the site of the old
works, has the body of deep red clay, very hard and compact, and its
upper part is covered with a dark glaze; it has been much blistered
in firing. In Sir John Crewe’s possession is a pilgrim’s bottle,
found here, of the ordinary shape. It is shown on Fig. 130. He has
also portions of two others, the most perfect fragment being nearly
black, and the other of a reddish brown colour. Of these several other
fragments have been found.
[Illustration: Fig. 132.]
Two apparently well-authenticated examples of bowls, in the possession
of Mr. W. Bemrose, jun., and formerly belonging to Mr. J. J. Briggs,
are shown on Figs. 131 and 132. They are of the ordinary class of
earthenware (like those of the Tofts, Taylors, &c.), of a dark brown
or chocolate colour, well glazed, and ornamented with a white slip.
The larger one bears a very rude representation of a fox-hunt--a
fox and three dogs, and a tree. The smaller one bears a somewhat
gracefully thrown lily, and other ornaments. Another example, in my own
collection, is the candlestick engraved on Fig. 138. It is of precisely
the same kind of ware, with white slip ornaments. The decoration of the
base will be seen to bear a strong resemblance to the outer ornament of
the large bowl.
Perhaps among the most interesting of existing examples are the
fragments engraved on Figs. 133 to 136. These are in the possession
of Sir John Crewe, Bart., and are undoubtedly authentic, having been
dug up on the spot. They are heads formed of a buff clay and “touched”
with a darker slip. Figs. 133 and 136 show the front and back of the
principal of these fragments. The head-dress and ruff indicate the
period to be at all events about the reign of Mary or Elizabeth. Fig.
134 bears the plaited cap of the same period. They are all engraved of
the full size. It will be seen on reference to Figs. 137 and 139 that,
in general character, these heads bear a marked resemblance to some
which were found in 1854 on the site of a mediæval potwork on the North
Cliff at Scarborough. Another vessel there found is engraved in vol.
i., Fig. 299.
[Illustration: Figs. 133 to 136.]
[Illustration: Figs. 137 to 139.]
KINGS NEWTON.
At this pleasant little village (so celebrated for its hall, now in
ruins, where Charles I. passed a night, and as being the place from
which the family of Hardinge, now represented by “Baron Hardinge, of
Kings Newton,” takes its origin) one of the finest assemblages of
examples of Anglo-Saxon Ceramic Art has been brought to light,[37]
and here, in recent times, pottery of a good quality and excellent
character has been made. The Anglo-Saxon urns[38] were, there can be no
possible doubt, made from the same bed of clay from which the modern
specimens have been produced, but it seems not to have been worked
in intermediate times. About 1852 Mr. Henry Orton (brother to James
Orton, author of “The Three Palaces,” “Excelsior,” &c., and himself a
writer of no mean repute under the _nom de plume_ of “Philo”),
then of the Chauntry House, Kings Newton, considering the bed of
clay at this place well adapted for useful and ornamental purposes,
erected workshops, sheds, and kilns, and commenced the manufacture
of garden-vases, chimney-tops, flower-boxes and pots, brackets, and
a large variety of other articles. These he produced both in their
natural colour and surface-painted and gilded, and many of them were of
excellent design. From one of the beds of clay a fine red terra-cotta
was produced, and from another a fine buff colour was made. Mr.
Orton was so impressed with the importance of these beds for ceramic
purposes, that he caused a number of domestic and ornamental articles
to be made in the Staffordshire potteries from Kings Newton clay, and
the results were highly satisfactory. Circumstances, however, occurred
which prevented his plans being matured, and after a large expenditure
of time and money on his part they were abandoned. The place is now
carried on as a steam brick yard, and the clay is of so good and
tenacious a quality that the maker stamps the name of KINGS
NEWTON on each brick produced.
Of the articles made from this clay (which, being very few, are
now of the utmost rarity), I possess examples. One of these is a
butter-cooler, with perforated cover and twisted handles, formed of
red unglazed clay of remarkably fine and compact character. Another is
a pressed jug, with groups of relief flowers, in a chocolate-coloured
clay; partly lined with white slip inside, and glazed in its
natural colour. The other examples are a terra-cotta flower-vase and
stand of fine light buff-coloured clay, and a two-handled goblet or
drinking-cup, silver lustred, and of excellent quality. This is made of
the brown, or chocolate, clay. The probability is that some day these
clays may be turned to better account than that of making bricks for
railway tunnels.
BURTON-UPON-TRENT.
In 1794 a manufactory was established in the neighbourhood of
Burton-on-Trent by Sir Nigel Gresley, Bart., of Drakelow, and C. B.
Adderley, Esq., of Hams Hall (ancestor of the present statesman, the
Right Honourable C. Adderley, M.P.), who died in 1826. In June, 1795,
William Coffee, one of the modellers at the Derby china works, was
engaged for these works. On page 98 I have given a copy of a letter
relating to this engagement; and another letter, also in my possession,
dated “Burton on Trent, June 4th, 1795,” says, “Sir,--My being your
debtor makes it my duty to inform you immediately of my arrival here,
and likewise of my engagement with Sir Nigel Gresley, and Mr. Adderley,
lest you should suppose I had forgot the obligation I lie under to
you,” etc. The works were, I have ascertained, situated “within fifty
yards of Gresley Hall, near the village and castle of Gresley, in
the county of Derby,” with also a place in Burton itself. From some
cause or other the project did not answer the expectations of Sir. N.
Gresley and Mr. Adderley, and about the year 1800 the works passed from
them into the hands of Mr. William Nadin, the father of Mr. Joseph
Nadin of Arthurlie, Burton-on-Trent. Mr. Nadin only carried on the
manufactory for four or five years, when, it having proved a failure,
he discontinued it, and was succeeded by Mr. Burton, of Linton,
Derbyshire, who continued the works for a few years and then closed
them.
During Mr. Nadin’s time the usual classes of ordinary Staffordshire
wares were made, as also was china. In the latter, one great speciality
was boots, shoes, and slippers, which were extensively produced, and
variously ornamented. His now aged son, Mr. J. Nadin, wrote me, in
reference to these, “My father made a large number of china boots and
shoes, and I well remember when about six years old, walking up to
my ankles into a pond of water in a pair of these boots (Wellington
in shape).” He also tells me that when his father “had these works,
he received an order for a magnificent dinner-service--the price was
fixed at £700--for Queen Charlotte, through Colonel Desbrow, her
Chamberlain, but he was never able to execute it, as the china always
came out of the ovens cracked and crazed, though he employed the very
best men he could obtain.” The Duke of Kent is said to have paid the
works a visit, accompanied by Colonel Desbrow. No examples of the
productions of these are, so far as my inquiries go, now known to be in
existence.
About 1832 Mr. William Edwards, a solicitor, of Derby (brother-in-law
of the second Mr. William Duesbury of the Derby china works), in
conjunction with a Mr. Tunnicliffe, commenced an earthenware (yellow
ware) manufactory at the Hay, Burton-on-Trent. Later on the manufacture
of china or “artificial marble” was commenced; workmen having been
brought from the Potteries and from Derby. The works, which were in
High Street, only continued in operation for a very few years, and
the productions were not marked. Mr. Edwards, in his ornamental ware,
confined himself mainly to the production of figures, but they were,
both commercially and artistically, complete failures. “Mr. Edwards’s
artificial marble gods and goddesses, made at the Burton-on-Trent
works, came out of the oven with their limbs twisted into every
conceivable form.” On Mr. Edwards’s failure the works were closed, and
he removed to Butt House, near Woodville, at that time known as Wooden
Box. Mr. Edwards employed some really good workmen, amongst whom was a
clever modeller named Wornell, who, besides, was an excellent stuffer
of birds. Some good examples of Wornell’s work are in the possession
of Mr. Abram Bass, by whom much of this information has kindly been
supplied to me.
SWADLINCOTE.
_Swadlincote Potteries._--The works of Messrs. Sharpe, Brothers, and
Co. were established, and erected, by the late Mr. Thomas Sharpe, in
1821, and were carried on by him, alone, as “Thomas Sharpe” until 1838,
in which year he died. They were then continued by his brothers under
the style of “Sharpe, Brothers, and Co.,” under which firm they are
still carried on; the sole proprietor being the last surviving brother,
Mr. Edmund Sharpe. The productions of the firm are the same as those of
the general district, viz., the “Derbyshire Ironstone Cane (or Yellow)
Ware” (a name by which this ware has for upwards of a century been
known, and which is the speciality of the district); buff drab ware,
fire-proof ware, Rockingham ware, mottled ware, and black lustre ware.
In “Derbyshire Ironstone” plain and pressed jugs and mugs; bowls of
various kinds; ewers and basins, tea-pots, cups, and jars of various
kinds; beef, jelly, bread, stew, and other pans; and every description
of household vessels are made, as they are also in the buff drab ware.
In the Rockingham, mottled, and black lustre wares, tea and coffee pots
in endless variety of patterns, “Bohemian,” “American,” “Rebecca,”
“Shakspere,” “Fuchsia,” “Ivy,” “Chinese,” “Cottage,” “Mandarin,” “Royal
Flute,” “Gipsy,” &c., &c.; pressed and plain jugs and mugs of good
designs; and many other useful articles are made. Blue printed goods
are also produced.
Among many ornamental specialities of these works may be named the
“Toby Fill-pot” jugs, which are made in both coloured and Rockingham
ware, on much the same model as the older jugs of that name; one is
shown on Fig. 140.
[Illustration: Fig. 140.]
Sanitary earthenware is a great speciality of these works, and is
produced in cane-colour, white, and blue printed varieties, as
well as, occasionally, of a highly decorative character. In these,
plug-basins, closet-basins with Sharpe’s Patent Direct Action,
requiring no fans, but acting on the principle of a hollow rim with
graduated perforations; traps, cabinet wash-hand stands of excellent
and convenient construction, and other articles, are extensively made.
Besides the Home trade, Messrs. Sharpe export in large quantities to
Canada, the United States, Nova Scotia, South Africa, New Zealand,
India, Australia, Africa, the Sandwich Islands, Germany, Holland,
Russia, Prussia, Hungary, &c.
The mark used by Mr. Thomas Sharpe was simply the name THOMAS
SHARPE, or T. SHARPE, impressed in the ware. That of the
present firm is the monogram S. B. and Co. within a wreath of oak and
ivy, and the words SHARPE’S PATENT, as here engraved.
[Illustration: SHARPES PATENT
SB
Fig. 141.]
* * * * *
_Swadlincote Pottery._--These works were established in 1790 by
the late Mr. John Hunt, of Swadlincote, and were, after his death,
continued by Mr. Thomas Woodward, whose son, Mr. James Woodward, is
their present proprietor. They were at first small, but being the first
of the kind in the place soon got into repute, and fire bricks were
constantly being fetched by cart to Leicester, Derby, Wirksworth, &c.
Fire bricks, fire clay, for Sheffield steel works crucibles, and iron
furnaces, were the sole productions till 1859, when the manufacture
of sewage pipes, terra-cotta chimney-pots, vases, &c., was added, and
since then marble, white, and cane-coloured sanitary earthenware has
been introduced, and is largely made. In this department lavatory
and closet fittings of every variety are produced. Some of the
constructions are peculiar to these works, and are--especially the
patent “Wash-out” arrangement,--in high repute. Majolica and Rockingham
ware are also largely made. The mark adopted by Mr. Woodward is “the
anchor, with a portion of cable twisted round it, forming a monogram of
J. W.,” as engraved on Fig. 142.
[Illustration: TRADE MARK
Fig. 142.]
* * * * *
_Swadlincote Mills._--Established by Moses Cartwright about 1837,
but now carried on by Mr. Edward Grice, who produces all the usual
sanitary and terra-cotta goods of the district.
* * * * *
_Waterloo Pottery._--This pottery was established by Messrs. Robinson
and Rowley in 1815, and has been successively worked since their time
by Mr. Robinson alone, Mr. James Staley, and Messrs. Staley Brothers.
From these last the works passed in 1875 to Messrs. Mason and Adcock,
the present proprietors. They produce, extensively, all the usual
descriptions of Derbyshire cane ware, yellow ironstone, and buff,
Rockingham, and mottled wares. No mark is used.
* * * * *
_Old Midway Pottery._--Established many years ago by a Mr. Granger,
these works passed from him to Mr. Richard Staley, sen., and they
are now carried on by Messrs. Richard Staley, John Staley, and John
Brookes, under the style of “Richard Staley and Sons.” The operations
of the firm are confined to Derbyshire fire-proof cane ware, Rockingham
ware, and buff ware; and in these they produce all the usual domestic
and other articles. The mark is the name, with the word “Fireproof”
added upon dishes, &c.
CHURCH GRESLEY.
_Church Gresley Pottery._--These works were originally built about the
year 1790, by a Mr. Leedham, for the purpose of manufacturing coarse
ware wash-pans. About 1816 Mr. W. Bourne bought the works, enlarged
them, and commenced the manufacture of Derbyshire ironstone cane ware,
which has been made here ever since. Since Mr. Bourne’s time the works
have been carried on successively by Mr. Edwards (see Burton-on-Trent),
Messrs. Shaw and Harrison, and Mr. Henry Wileman, at whose decease in
1864 they were taken by Mr. T. G. Green, the present proprietor.
Cane-coloured ironstone, Rockingham, mottled, black lustre, buff, and
other wares are made; and at an adjoining manufactory, built by Mr.
Green in 1871, ordinary earthenware, painted, lined, sponged, and cream
colour, and other wares are made in all the usual services and domestic
articles. Mr. Green has taken out patents for a process of moulding
earthenware, and for a bat-making machine.
* * * * *
_Commonside Pottery._--These works are of old establishment. At first
the commonest description of earthenware was made, and afterwards Mr.
Edward Grice carried them on for the manufacture of sanitary goods and
chimney-pots. From him they passed, in 1873, into the hands of Messrs.
Mason, Gough, and Till. In 1874 Mr. Mason left the firm, and the style
since then has been “Till and Gough.” Yellow, Rockingham, and buff
wares are made of the usual quality, and in the same general variety of
articles, as in the other Derbyshire potteries. No mark is used.
* * * * *
_Commonside Works._--Mr. Edward Grice, who, after leaving the above,
established these works in 1867, manufactures sanitary and terra-cotta
goods of various kinds.
* * * * *
_Hill Top Works._--These were established in 1810, by Mr. John
Cooper, who was afterwards joined in partnership by Mr. Massey, and
afterwards by Mr. Banks, the firms being successively “John Cooper,”
“Cooper and Massey,” and “Cooper and Banks.” They next belonged to
Mr. Henry Ansell. The sole proprietor now is Mr. Nehemiah Banks. The
wares produced are the ordinary “Derbyshire Ironstone Cane Ware,”
buff ware, Rockingham ware, and black lustre ware. In these all the
usual household articles are produced in large quantities for home and
foreign markets. Horticultural ware is also largely made; the garden,
sea-kale, and other pots, and seed-pans, &c., being of superior quality.
* * * * *
_Hillside Works._--These are devoted to the manufacture of fire-clay
goods.
* * * * *
Other manufactories in the district are Mr. R. Quinton’s brown ware and
stone-bottle works; Mr. E. Jones’s pancheon and flower-pot works, and
the works of Mr. W. Cotterell.
About 1846, Mr William Edwards, formerly of Derby, and later of
Burton-on-Trent, commenced a yellow-ware manufactory at Ashby
Holes, Gresley Common, which he carried on for a few years. (See
Burton-on-Trent.)
WOODVILLE, OR WOODEN BOX, HARTSHORNE, GRESLEY, &C.
Woodville, the modern and more euphonious name given to the village
of “Wooden Box,” is five and a half miles from Burton-on-Trent. The
original name arose from an old wooden “box,” or hut, which formerly
stood on the site of the present toll-house, where a man used to sit
to collect toll, but which was afterwards burned down. The original
“box,” it may be added, was an old port-wine butt, from Drakelow Hall,
and in this the collector, Diogenes-like, spent his days. In 1800 only
two houses existed here, the “Butt House,” belonging to the then Earl
Ferrars and the residence of his son Lord Tamworth, and a farmhouse.
On this farm some valuable beds of clay were found to exist, and a
Mr. Peake, from the Staffordshire pottery district, established a
small manufactory on the spot. From this manufactory the trade of the
district has entirely taken its rise, and it is now noted for extensive
manufactories of Derbyshire ironstone ware; cane-coloured, Rockingham,
black, buff, and brown wares; sanitary goods, terra-cotta, &c. Its
inhabitants are principally potters and colliers, and it has risen
to the importance of being a parish of itself--part of the parish of
Hartshorne, in Derbyshire, and of Ashby-de-la-Zouch, in Leicestershire,
being taken for the purpose--the main, or High, street separating those
two counties. Near Woodville is the modern hamlet of Albert village,
and it has a branch-line on the Midland Railway.
* * * * *
The _Hartshorne Potteries_ were established in 1818 by Mr. Joseph
Thompson, the father of the present proprietors, Richard and Willoughby
Thompson, who now trade under the style of “Thompson Brothers.” The
goods made by this firm are Derbyshire ironstone-ware, brown stoneware,
cane ironstone ware, buff stoneware, yellow ironstone ware (enamelled
white inside), and black and Rockingham wares, and terra-cotta goods.
Sanitary and drain-pipes, flooring and other tiles, fire-bricks and
building bricks, &c., are also produced. The former mark of this
pottery was--
J THOMPSON
or
JOSEPH THOMPSON
_WOODEN BOX
POTTERY_
DERBYSHIRE
* * * * *
_Hartshorne Pottery._--These works were established about 1790 by
James Onions, who was succeeded by Luke Copeland. The works were next
carried on by Messrs. Read, Malkin and Co., and afterwards by Read and
Malkin only, and next by G. S. Read alone, who continued proprietor for
thirty or forty years. Mr. Read died in January, 1860, and in March
of the same year the concern passed into the hands of its present
owner, Mr. J. B. Rowley. The goods produced are “Derbyshire Ironstone”
or cane-coloured ware, Rockingham ware, Mottled ware, Buff ware, and
Black Lustre ware of the usual quality and character. In these, bowls
of various kinds, jugs of all descriptions, jars, dishes, tea and
coffee-pots, mugs, and almost every article for domestic use, are
extensively made.
* * * * *
_Woodville Tile Works._--At these works, established by Messrs. Barry
and Co., sanitary goods and geometric and other tiles are made. The
tiles are “encaustic, mosaic, geometrical, and white-glazed tiles for
baths, &c.,” of average quality. In terra-cotta, vases, chimney-tops,
and other ornamental goods are produced, as are also fire-backs for
stoves, &c.
* * * * *
_Woodville Pottery._--This manufactory was established in 1833 (in
which year it was built) by Messrs. Thomas Hall and William Davenport,
both of whom are now deceased. In 1858 the works passed into the hands
of Messrs. Thomas Betteridge and Thomas Nadin. In 1863 Mr. Nadin
retired from the concern, which, from that time to the present, has
been carried on solely by Mr. Thomas Betteridge. The goods produced are
the usual classes of Derbyshire cane-coloured ironstone, Rockingham,
mottled, and buff wares of the district. In these all the ordinary
articles--jugs, tea and coffee-pots, dishes and bowls, jars, and other
domestic vessels--are made in considerable quantities. The quality is
that of the entire district.
* * * * *
_Albion Works._--The Albion Fire Clay Works, established by the present
proprietors, Messrs. Hosea Tugby & Co., produce all the usual fire-clay
goods, bricks, tiles, &c. The firm have patented a “continuous direct
action kiln.”
* * * * *
_Woodville Potteries._--These works were established about 1810 by
the late Mr. Watts, who was joined in partnership by his relative, Mr.
Cash, and it has remained in the same family to the present day. The
present proprietors are Mr. William Cash and his son Mr. Thomas Cash,
who still trade under the style of “Watts and Cash.” The productions
of this pottery are the Derbyshire “ironstone” or “yellow” ware,
buff-coloured ware, Rockingham ware, &c., of the ordinary qualities,
in which all the usual varieties of domestic vessels, services, &c.,
are largely manufactured, principally for the American and other
foreign markets. The local clay from which these goods are produced “is
peculiar to this district, and is not found precisely the same anywhere
else;” it was not brought into use for ceramic purposes until the
establishment of these works.
* * * * *
_The Rawdon Pottery_ was built by the fourth Marquess of Hastings,
on whose estate it was situate, and was first worked by John Hall, who
was succeeded, on his failure, by John Brunt, who carried it on until
his death. He was succeeded by his son, Mr. Thomas Brunt, who, however,
did not succeed in the business, and in 1861 the works passed into
the hands of the present proprietors, Messrs. Smith, Dooley, and Co.
The goods produced are the usual varieties of articles in “Derbyshire
Ironstone,” or cane-coloured ware, Rockingham ware, buff ware, and
cream-coloured ware.
* * * * *
The “_Pool Works_” for terra-cotta fire-bricks and sanitary tubes, at
Woodville, near Burton-on-Trent, were established about the year 1830,
by the late Mr. Joseph Walker Bourne, yellow earthenware manufacturer,
of Church Gresley, who purchased the property of the late Sir Roger
Gresley, Bart., of Drakelow Hall, Derbyshire, and established the
works for the manufacture, on a small scale, of fire-bricks for his
earthenware manufactory. After the death of Mr. Bourne, in 1840, the
present proprietor, Mr. Edward Ensor, then of Lyme Regis, Dorsetshire,
purchased the business, and the year following sent his second son,
Henry Loader Ensor, at the age of fourteen years, to learn, and
eventually manage, the business. At that time the works consisted of
a 4-horse power condensing engine to grind and prepare the fire-clay;
two small hovels or sheds, and two small brick-kilns, covering an
extent of 4,000 yards, the whole make not exceeding 20,000 bricks per
week, and only seven men and six boys being employed. The market for
the bricks was the local earthenware manufactories and collieries, and
a few towns in the immediate neighbourhood; the bricks being carted
to the Ashby and Burton Canals. About that time, the clay being found
suitable for making crucibles for steel refiners at Sheffield, their
manufacture was introduced into that market, and has gradually grown
into a very important branch of the trade of the district. In 1845 Mr.
Ensor, senr., came to live in his present residence, Gresley Cottage,
and took the active management of the business. In 1846 the Midland
Railway opened the line from Burton to Leicester, with branches to
Woodville and Swadlincote, thus opening up a means of cheaper transit
for the valuable productions of the neighbourhood. From this time the
different manufactories and collieries greatly increased, and other
branches of the trade were started, such as salt-glazed sanitary pipes
and terra-cotta chimney-tops, &c. About 1850 Mr. Ensor purchased the
Pool property from Mr. Mammatt, and soon after this his eldest son,
Edward, having returned from South Africa, took part in the management
of the business. In 1864, Mr. Ensor having seen the Hoffman Patent
Brick Kiln at Wakefield, and being struck with the saving of fuel
effected in burning common bricks, purchased the right of the sole use
of the patent in this district, and erected kilns, drying-sheds, &c.,
intending to burn all his goods by this system, but found it essential
to introduce many improvements and alterations, as the Hoffman system,
although well adapted for common red bricks (which require little
heat), was not adapted to fire-brick and terra-cotta, which requires
very great heat. Mr. Ensor succeeded in inventing a process by which
he retained the heat so effectively that 3 cwt. of small coal more
successfully burnt 1,000 bricks than 20 cwt. of good rough coal did in
the most approved old-fashioned kilns. At this time, _i.e._ in 1865,
the works consisted of four high-pressure engines for grinding and
preparing the clay for the different branches of the manufactory. The
machinery for grinding the fire-clay was two pairs of iron rollers and
pug mill; that for the terra-cotta clay was different, and consisted
of edge runners of great weight revolving in an iron pan, to reduce
the clay into a fine powder before passing through sieves and the
pug mill. At this time Carr’s “Patent Disintegrator,” for mixing and
reducing manures, &c., was seen by Mr. Ensor, to whom it occurred it
might be adapted to this process, and he erected one, adding to it
many improvements, and eventually so constructed it that it is now the
most valuable clay reducer ever used. The machine is circular, made
of iron, and consists of four rows of bars, each running in opposite
directions at the speed of 400 revolutions per minute; the clay being
put in the centre, is forced out through the bars, thus reducing it
into the finest powder, and pulverising from 50 to 150 tons in a day
of 10 hours, according to the texture of the clay. About 1868, through
an itinerant firebrand causing a strike amongst the colliers of the
district, and thus almost stopping the different trades of the district
through want of coal, and its consequent high price, experiments were
tried by Edward Ensor, jun., who ultimately patented “a process for
an improved system of burning all kinds of earthenware, salt-glazed,
sanitary, and terra-cotta goods, fire, blue, and common bricks,
tiles, &c., lime, and other commodities.” A kiln on this principle
was erected, and has been a perfect success, and is still in use at
these works for burning salt-glazed sanitary goods, and at several
other manufactories for bricks, in each case effecting a saving of
75 per cent. in fuel and in labour. The works at the present time
occupy an area of 40,000 yards, and employ about 290 persons. Another
patent adopted at these works is the “Patent Wire Rope Tramway” for
conveying any material any distance up to one mile over hilly or broken
ground; which has been so improved as to be made to drain the pits
of water by pumping, hoisting the clay out of the pits from a depth
of about 20 yards to the surface, and conveying it to the machinery
for making up into bricks, and to the railway for conveyance to the
different steel-melting districts. The fire-bricks made here are sent
to every quarter of the globe, being largely used by Government on
colonial military stations in the erection of cooking-ranges, ovens,
and boilers; and for sugar refineries in China and the East, as well as
for glass, earthenware, gas, iron and steel works in our own country.
Fire-place backs are also extensively made. The salt-glazed sanitary
goods are of excellent and durable quality, and, being highly vitrified
in the body, are capable of withstanding the action of the acids in
sewage, &c. In terra-cotta, the only art-branch carried on at the Pool
Works, vases, tazzas, pedestals, brackets, trusses, and ornamental
bricks are produced, many of which are of very good design; the colour
is a light stone.
The beds of clay on this property are as follows:--The principal, or
fire-clay, found at a depth of from 10 to 30 yards, is a bed of about
6 feet in thickness, “and is proved to be equal to any bed in the
kingdom.” There are also valuable beds of clay for terra-cotta and
salt-glazed ware, both above and below the fire-clay: these consist
of, first, common marl, generally blue in colour, from 2 to 4 yards in
thickness (this is intermixed with small ironstones, round and oval in
form); then a thin bed of clunch; next a thin vein of coal or smut,
about a foot in thickness, but of little value; then another bed of
marl, from 3 to 5 feet, with small pieces of ironstone intermixed,
generally kidney-shaped; then the fire-clay, 6 feet; next 1 foot of
smut or coal; then a bed of clay called “bottle clay,” good for brown
earthenware, of similar character to the Chesterfield and Denby ware,
but used by the firm for pipes, from 6 to 9 feet in thickness; then
a very hard light-coloured clay, full of silica, which is used for
terra-cotta, &c.
* * * * *
_Woodville._--Messrs. Barry & Co. manufacture all the usual varieties
of glazed stoneware sewerage and drain-pipes.
* * * * *
_Wooden Box Pottery._--This manufactory was established by Mr. Thomas
Hallam in 1817. Since his time it has been successively worked by
Mr. Robinson, Messrs. Harrison and Cash, Messrs. Hallam & Co., and
Messrs. Watts and Cash. Its present proprietor is Mr. Thomas Nadin, who
manufactures ironstone, cane, buff, and Rockingham wares of the usual
kinds and qualities as the other Derbyshire manufactories. No mark is
used.
* * * * *
_Mount Pleasant Works._--In 1847 the late Mr. John Knowles, of Matlock,
established these works for the manufacture of bricks, tiles, fire-clay
goods, and terra cotta. These he continued till his death in 1869, when
they were carried on by Mrs. Knowles, his widow, till 1871; since that
time they have been continued by the trustees of Mrs. Knowles, under
the style of “John Knowles & Co.” Besides all the usual classes of
bricks, tiles, stove-backs, garden edgings, salt-glazed sanitary and
drain-pipes, &c., some highly ornate chimney-tops, and garden vases of
good design are made. The firm are also proprietors of crucible and
cement fire clays.
* * * * *
_Coleorton Pottery._--Established in 1835 by Messrs. Wilson, Lount,
and Proudman. On the retiring of the latter partners, the works were
carried on by Mr. Thomas Wilson alone, and so continue. The productions
are yellow, buff or cane, and Rockingham wares, in which all the usual
domestic articles are made. The ware is of more than average excellence
in quality. The “buff” is made of a mixture of Devonshire china clay
and the local clay found close by the works, from which the yellow ware
is made; it is found about nine yards below the surface, underlying a
seam of coal. The London and other home markets are supplied. No mark
is used.
CHAPTER V.
Stoke-upon-Trent--Josiah Spode--Copeland and Garratt--Copeland
and Sons--Mintons--Hollins--Trent Pottery; Jones--Albert
Street Works--Copeland Street Works--Glebe Street and Wharf
Street Works--Copeland Street--Bridge Works--London Road;
Goss--Kirkham--Campbell Brick and Tile Company--Harrison and
Wedgwood--Bankes--Hugh Booth--Ephraim Booth--Wolf--Bird--Adams
and Son--H. and R. Daniel--Boyle--Reade--Lowndes and Hall.
The large and commercially important, as well as thickly populated
district, known as the “Staffordshire Potteries,” or more commonly
called simply “The Potteries,” comprises a number of towns known
as the “Pottery Towns,” and other places adjoining them. These are
Burslem, Hanley, Shelton, Tunstall, Stoke-upon-Trent, Longton, Etruria,
Cobridge, Fenton, Longport, and Dresden. Of these, Stoke-upon-Trent,
although far from being the oldest, or largest, or busiest, is
the great railway centre, and head of the electoral district; the
parliamentary district of Stoke-upon-Trent (which returns two
members to Parliament) comprising these towns just named, with a
few other out-lying places. Some of these towns are corporate, and
Newcastle-under-Lyme is both a corporate and parliamentary borough. It
is estimated that in this pottery district considerably over thirty
thousand persons are employed in, or dependent on, the staple trade of
the place, that of china and earthenware manufacture.
STOKE-UPON-TRENT.
_Spode._--_Copeland._--The first notice of the name of Spode that I
have met with in connection with potting is an entry of the “hiring” of
Josiah Spode by Thomas Whieldon, in 1749. This I was the first to make
public from the original book of Whieldon’s accounts in my possession.
It is as follows:--
1749. £ _s._ _d._
April 9. Hired Siah Spoade, to give him from this
time to Martelmas next 2_s._ 3_d._, or
2_s._ 6_d._ if he Deserves it.
2d year 0 2 9
3d year 0 3 3
Pd. full earnest 0 1 0
This entry is of considerable historical interest, as being the first
hiring of Josiah Spode, who, being born in 1733, would at that time
be sixteen years of age, and was the founder of the family which
subsequently rose to such eminence in the art. The “hiring” being for
three years, and at wages ranging from 2_s._ 3_d._ to 3_s._ 3_d._ per
week, while other men at the same time were being paid from 5_s._ 3_d._
to 7_s._ per week, would appear to have been a kind of apprenticeship,
or, at all events, a “finishing touch” to the learning of the trade.
From April till Martinmas, which is the great time for all hirings in
the pottery trade, the payment was to be at 2_s._ 3_d._ per week, “or
2_s._ 6_d._ if he deserves it,” with the prospect of a rise of sixpence
per week in successive years. He appears to have fully worked out his
time, and to have been found deserving. Two other entries in the same
book, showing successive hirings, after the expiration of the first
term of three years, are as follows:--
1752. £ _s._ _d._
Feby. 22. Hired Josiah Spoad for next Martlemas,
per week 0 7 0
I am to give him earn. 0 5 0
Pd. in Part. 0 1 0
Pd. do. 0 4 0
1754.
Feby. 25. Hired Siah Spode, per week. 0 7 6
Earnest. 1 11 6
Pd. in part. 0 16 0
Thus in 1752 he got 7_s._ a week, and an earnest of 5_s._; and in
the following year he was raised to 7_s._ 6_d._ per week, with the
unusually high earnest of £1 11_s._ 6_d._ At this time he must have
been married, for in the same year, 1754, it appears the second Josiah
Spode was born. But little is known of the early life of this second
Josiah Spode; the probability, however, is that his father, after
leaving Whieldon’s service, commenced a small manufactory on his
own account, and that he learned the business with him. About 1770,
Spode (the son at that time being about sixteen years old) is stated
to have taken the works at Stoke, previously carried on by Messrs.
Turner, or Turner and Banks. He is said also to have introduced, about
1784, transfer printing into Stoke. Previous to this time Mr. William
Copeland, of London (a native of Stoke), who travelled in the tea
trade, made the acquaintance of Mr. Spode and offered to undertake
a commission to sell his tea ware and other goods to his customers.
The enterprise was very successful, and a warehouse was taken in Fore
Street, Cripplegate, London, for the general sale of Spode’s goods.
Trade increasing rapidly, Mr. Copeland, who became a partner with
Mr. Spode, afterwards, in 1779, purchased the property, 37, Lincoln’s
Inn Fields, and, at the back, in Portugal Street, opened an immense
depot for the sale of pottery goods, in the place where stood the
theatre (originally built by D’Avenant in 1662, and rebuilt by Rich
in 1714), famous as being the house in which Garrick first appeared;
the original Joe Miller flashed out his witticisms; and where the
_Recruiting Officer_, the _Beggars’ Opera_, &c., were first produced.
This establishment was managed by Mr. Copeland; the manufactory being
conducted entirely by Mr. Spode. Mr. Spode’s son, who was ultimately
taken into partnership with his father, was for a time in the London
house, but on the death of the latter, in 1797, he returned to Stoke,
and devoted himself to the manufactory. In 1800 Mr. Spode commenced
making porcelain in addition to earthenware, and was the first to
introduce felspar into its composition. In 1805 he introduced an opaque
porcelain, known as “ironstone china,” which he manufactured to a very
large extent, and exported in immense quantities to France and other
countries. In 1806 H.R.H. the Prince of Wales visited the works, and
Mr. Spode was appointed potter to him. The porcelain, the ironstone
china, and the ordinary earthenware manufactured at this time were of
the very highest character, both in body, in glaze, and in decoration;
indeed, in all three of these respects they rank with the best of the
period.
The first partnership was Spode and Copeland,[39] and next, Spode,
Son, and Copeland. After the death of the elder Spode it again became
Spode and Copeland, and next, on the son of the latter, who was
afterwards alderman, being taken into partnership, Spode, Copeland,
and Son, and was so carried on until the elder Mr. Copeland’s death,
in 1826. In 1827 the second Mr. Spode died, and was succeeded by his
son, the third Josiah Spode, who, however, only survived his father
two years, and died in 1829. Until 1833 the business was carried on by
the executors of the third Josiah Spode, of Hawksyard (his only son,
also named Josiah, being a minor), and Mr. Alderman Copeland. In that
year the entire concern was purchased by Mr. Alderman William Taylor
Copeland, who shortly afterwards took into partnership his principal
traveller and town correspondent, Mr. Thomas Garrett. The firm then
became “Copeland and Garrett,” and was so continued until 1847, when a
dissolution took place. From that time till 1867 the style of the firm
remained simply “W. T. Copeland, late Spode.” In that year Mr. Copeland
took his four sons into partnership, and from that time to the present
the firm has continued under the name of “W. T. Copeland and Sons.”
[Illustration: Figs. 145 to 149.]
[Illustration: Fig. 150.]
Mr. Alderman Copeland was Lord Mayor of London in 1835–6. He sat
as member of Parliament for Coleraine from 1828 till 1832, and for
Stoke-upon-Trent from 1837 till 1852. Losing his seat in that year,
Mr. Copeland was re-elected in 1857 and sat till 1865, when he retired
from the representation. He was the grandson of Mr. William Copeland,
yeoman, of the Holly Bush, in the parish of Stoke-upon-Trent, and
son of the partner of the first Mr. Spode. The will of Mr. William
Copeland, of Holly Bush, was dated November 10th, 1775, and proved
December 28th, 1786. A daughter named Hannah, mentioned in that
document, became the wife of the late Mr. William Astbury, of the
family whose name is intimately mixed up with the history of the
pottery of the district. Mr. Alderman Copeland died in 1868.
[Illustration: Figs. 151 to 155.]
[Illustration: Figs. 156 to 159.--Messrs. Copeland’s
Productions.]
Of the productions of the present firm it is manifestly impossible to
give even a brief _resumé_; the bare enumeration of the different
articles in porcelain and earthenware would occupy many closely printed
pages. It will only be possible to note, here and there, one of their
art-productions. For services, both breakfast, dinner, dessert, tea,
and toilet, the firm ranks among the very highest in order, and these
are produced both in china and in earthenware, and every variety of
ornamentation; in the former from the simple gold or coloured lines
and borders, and in the latter from the commonest sponged patterns, to
the most profuse and lavish relief and painting. One of their highest
efforts, and deservedly so, in the way of services, is the dessert
service made especially for H.R.H. the Prince of Wales, in 1866, which
is one of the greatest triumphs of ceramic art yet achieved. The
service consists of 198 pieces, comprising a centre, eight compotiers,
two cream-bowls, two ice-pails, twelve sweetmeat compotiers,
seventy-two cups and saucers, and fifty plates. The commission was
given shortly before the Prince’s marriage, and hence, as all the
decorations are floral, the orange blossom was allowed to become a
prominent object in each group; and it would be impossible to conceive
flowers more exquisitely painted than they are; they were painted
by Mr. Hürten and others. The centre piece is a double _assiette
montée_, the principal compartment being supported by seated figures
representing the four quarters of the globe, and each bearing an
appropriate symbol. These were the work of Joseph Durham, R.A., and are
miniature reproductions of those which support the statue of “Albert
the Good,” in the Royal Horticultural Society’s Gardens. The four
raised fruit-dishes are elevated upon groups of three figures each,
typical of the twelve months of the year, admirably modelled by Mr. F.
Miller. The four smaller ones, by Mr. G. Halse, equally well typify
the elements, earth, air, fire, and water. The plates, as well as the
pieces I have named, are of the purest porcelain, and are exquisitely
and elaborately perforated. They are divided into panels of fruit and
flowers, surrounded by ribbons and festoons in raised and chased gold,
and in the centre of each is the monogram of the Prince and Princess
of Wales. There are no two pieces alike, although all harmonize well
together.
Three pieces of this beautiful royal service, the centre, one of
the compotiers, and a cream-bowl, are engraved, Figs. 150, 156, and
159, and will show better than any description can the high class of
art-workmanship which they exhibit.
[Illustration: Figs. 160 to 163.--Messrs. Copeland’s Vases.]
One of the greatest improvements in ordinary earthenware which has
been effected by this eminent firm, who have always exercised a
laudable desire to keep pace with, or to be leaders of, the improved
Art-taste of the age, is the production of what they appropriately term
an “Ivory-tinted body.” In this kind of ware they produce table,
dessert, and toilet services of every conceivable design, and of
various degrees of decoration. In the dinner and dessert services the
delicate, soft, warm tone of the ivory tint is peculiarly grateful to
the eye, and has a charming effect when “set” out on the white linen
cloth. The tone of colour which Messrs. Copeland have succeeded in
producing has all the softness of the finest examples of old Wedgwood
cream-coloured ware, but without its somewhat harsh yellowness. Nothing
could be less grating to the eye of taste than this soft tint, and
doubtless in many homes of taste the warm “ivory body” will take the
place of the cold white of the general classes of earthenware. It only
remains to say that in that peculiar body every variety of pattern,
from the rich old Spode with its Eastern brilliant combinations of
gold and rich patches of colour, down to the most ordinary painted
borders, are made. One service which has particularly struck us as
beyond average in excellence is the “Stork.” Those examples in which
the pattern is in relief, and heightened in gold, are peculiarly rich
and good. The shape of the tureens and vegetable-dishes are of great
elegance and beauty. The ivory body is one of the greatest achievements
of the period.
[Illustration: Figs. 164 and 165.]
In porcelain, vases, tazzas, bottles, and other articles of every
conceivable form, and decorated in an endless variety of ways both
in painting, in alto-relievo figures and flowers, and in massive
jewelling, gilding, and enamelling, are produced, and are of the most
costly and elegant character. Services, both of the most sumptuous and
severely simple character, are also produced in every style of art, and
on every scale of cost.
And here it becomes necessary to say a word as to some of the
achievements in colour of this firm. Of these, a new turquoise (which
Messrs. Copeland have christened “Cerulean blue”) is the richest and
fullest produced, and is remarkable for its brilliant intensity; the
Sardinian green is also very good, and the vermilion finer and more
rich than has at any time, or in any place, so far as my experience
goes, been produced. This is especially apparent upon a Japanese
dessert plate, where the decorations are upon pure enamel, requiring
a very high degree of heat, and where the colours come out more
brilliantly than on any other examples I have seen. On this plate,
which is a _chef-d’œuvre_ of Messrs. Copelands’ art, the border
is purely Japanese, and the centre essentially English, but all
equally perfect and equally beautiful; it is, in fact, an original and
brilliant conception, true to the spirit and principles of Japanese
design, but in no respect a copy of any of the productions of the
artists of that nation. The birds are exquisitely painted by Weaver,
one of the best painters of this class, and the remainder by artists of
equal celebrity in their several walks of decoration.
The “Satsuma ware” produced by Messrs. Copeland is of the most
exquisite beauty, and of rare excellence both in the matchless quality
of the body, the peculiarly waxy and very lovely surface of the glaze,
the pure taste which characterises its decoration, and admirable
manipulation apparent in each piece. In this ware, as in others
produced by the firm, it is a literal truism to say “perfection can no
farther go!” Vases and other decorative articles are produced in this
Satsuma ware, and take rank with the finest productions of any age or
any country.
Messrs. Copeland and Son are large producers of plain, and painted, and
enamelled tiles for internal decoration, and these, from the excellence
they have attained in the “body,” and the skill displayed in design
and in ornamentation, have become a speciality of the firm. They are
produced in endless variety, and for every purpose, but one of the most
striking and attractive novelties in this kind of mural decoration,
is that of a continuous design for a whole room, as first attempted
by them for Mr. Macfarlane. Of this speciality, I gave the following
notice in the _Art Journal_ for December, 1875:--
“One of the most pleasing, and, at the same time, novel
and effective, adaptations of fictile art to internal
mural decoration yet attempted, has just been successfully
accomplished by Messrs. Copeland and Sons, of Stoke-upon-Trent.
To this, having been favoured with a private view of the
decorations, we desire to draw attention. The lining of entire
rooms with wall-tiles is, of course, no new thing, but has
been repeatedly done, and in a variety of styles, by different
firms and at different periods; but it has been left to Messrs.
Copeland to strike out an entirely new idea in the mode of
treatment. Mr. Macfarlane, whose Art-productions in metal we
have often commended in the pages of the _Art Journal_, has
recently erected in Glasgow a magnificent mansion, which,
as might be expected from a man of such extensive knowledge
and such pure taste, will enshrine many works of high-class
examples in various walks of Art. In several of the apartments
of this mansion--the billiard and bathrooms, for instance--Mr.
Macfarlane desired to introduce some new feature which should,
if possible, inaugurate what might with propriety be called a
nineteenth-century style of decoration. He therefore wisely
consulted Messrs. Copeland, who, acting on his idea, prepared
a series of designs which, while adhering faithfully to the
classic laws of Art, were, both in subject and in treatment,
strictly characteristic of the present day. The general design
is a terra-cotta dado of full Indian red tone of colour, walls
of pale celadon tint, and a frieze painted in monochrome, in
continuous subjects apposite to the uses of the various rooms,
which are thus covered with tiles, in one grand design, from
floor to ceiling. The walls between the dado and frieze are
covered, as just stated, with celadon tiles placed diagonally,
with the joints made just sufficiently apparent to give a
geometrical break to the surface, and so remove what otherwise
might be a sameness in appearance; while those of the frieze
(which are of a pale yellow-ground colour, well adapted for
throwing out the figures, and which, when the room is lit up,
disappears, and gives the effect of a luminous sky to the
pictures) are placed horizontally, and their edges fitted
with such mathematical precision and nicety that their joints
are invisible. The whole of the tiles have a dead, or purely
_fresco_ surface, and are most perfect for the purpose for
which they are intended; and from their peculiar hardness and
other characteristics--the result of much anxious thought and
experiment--are perfectly impervious to the action of damp, and
cannot fail to be permanent.
“The frieze (three feet in height) of the billiard-room
represents, in four separate groupings on the four sides of
the apartment, the sports of the British race; one side being
devoted to ‘Health,’ in which youthful games conducing to that
essential, from infancy, with its doll and other playthings, to
boyhood and youthhood, with hoop, cricket, skating, curling,
snowballing, and so on; another to ‘Strength,’ with its central
allegorical figure and groups representing pole-leaping,
shot-throwing, wrestling, football, hockey, boxing, &c.; a
third to ‘Courage,’ a central allegorical figure supported by
genii, the one proclaiming, and the other crowning, deeds of
heroism in the army, in saving lives from shipwreck, fire, and
other casualties, and the wild sports of our Eastern empire
and North American colonies; and the fourth to ‘Fortitude,’
in which the central group surrounding the allegorical figure
is composed of lifelike portraits of such men as Livingstone,
Burton, McClintock, Layard, and others; the remaining portions
showing athletes contesting in a foot-race, and crews in a
boat-race. The friezes of this room, painted in monochrome, are
the work of Mr. R. J. Abraham (son of the Art-director of the
works), who recently won the Art-Union prize, and is a gold
medallist, and Mr. Besche, a skilful artist, whose works are
in high repute. The frieze of the heating-room of the Turkish
baths, which is lined in a precisely similar style to the
other, is entirely composed of tropical plants and flowers,
arranged in a masterly and effective manner, and painted, even
to the most minute detail, with consummate skill and with true
artistic feeling. This frieze, which is painted in sepia with
its fullest and best effect, is entirely the work of Mr. Hürten,
and is a worthy example of his pencil both in arrangement and in
treatment. The whole of the plants represented are, without an
exception, studies from nature, sketched and arranged for this
special purpose from the plants themselves in the magnificent
conservatories of the Duke of Devonshire at Chatsworth; and they
are in each individual instance reproduced with pre-Raphaelite
accuracy and precision.
“The friezes are masterpieces of Art as well as of manipulative
skill. They reflect the highest credit on Messrs. Copeland
and their Art-director, Mr. Abraham, by whom they have been
produced, and who have thus inaugurated a new, and what we
pronounce to be a successful style, of internal decoration--one
that is sure to be followed in many a mansion and home of taste
in our country and abroad. Mr. Macfarlane will have reason to be
proud of his acquisition, and has the satisfaction of feeling,
that with the aid of Messrs. Copeland and their skilled staff of
artists, he has originated a novel feature in Art-decoration,
and carried it to an enviably successful issue. Messrs. Copeland
are renowned for the excellence of their work and for the true
artistic feeling and skill which characterise everything that
passes from their hands, and their present productions will, if
that be possible, add to their celebrity.”
Tiles for flower-boxes, lily-pans, garden-seats, slabs for
chimney-pieces, table-tops, fire-places, &c., and for every other
purpose, as well as door-plates, are also largely produced and highly
decorated.
In Parian--the next best material to marble--statuary and busts,
as well as other objects, are extensively made. This is another
speciality of the firm, and one the discovery of which belongs to
them. It is, in fact, the development of the old and ever-famous
Derby biscuit ware,[40] rendered finer and more commercially, as well
as artistically, available by the careful attention of the Messrs.
Copeland. It was introduced by them about 1846, and is said to have
been then made at the suggestion of Gibson the sculptor; from that time
to the present it has been extensively manufactured by every house--by
Copeland’s, perhaps, more extensively than any other. Among the more
recent of their finest works in Parian, are the “Infancy of Jupiter,”
“Lady Godiva,” “Nora Creina,” the “Flute-player,” the “Reading Girl,”
busts of “A Mother” and of “Love,” all by Monti; “Young England” and
“Young England’s Sister,” a very charming pair by Halse; a “Shepherd
Boy,” “Spring,” and “Summer,” by L. A. Malampre; and “Master Tom” and
“On the Sea-Shore,” by Joseph Durham, R.A. Among their other special
works, Foley’s “Ino and Bacchus,” Durham’s “Chastity” and “Santa
Filomena,” Monti’s “Night” and “Morning,” and a score or two others,
are brilliant examples. Besides figures, groups, and busts, a large
number of other beautiful objects of various kinds are produced in
Parian.
[Illustration: Figs. 166 to 168.--Copeland’s Parian Figures.]
The more ordinary classes of goods for general use and consumption are
all of good quality, whether produced in the ordinary earthenware,
the stoneware, or any other kind of body, and in all these classes
Messrs. Copeland are very large producers. Their “crown ware” has so
good a body as to stand the heat of the hard kiln, and thus to take the
richest tints of crimson, &c. The ship fittings--the _Atlantic_
washtop slab especially--are considered to be among the best produced.
It ought also to be added, that Messrs. Copeland were the first to
introduce those elegant and most convenient novelties, “Gordon Trays,”
which they produce in a variety of forms.
[Illustration: Fig. 169 and 170.]
[Illustration: Fig. 171.]
The principal artists employed are Hürten, who has attained, and
deservedly so, the distinction of being one of the best flower-painters
in Europe; Weaver, whose birds are equal to those of any other painter;
Besche, a figure and general painter of great power and excellence; and
Abraham, Junior (a gold medallist), a figure painter of much promise.
Besides these, a number of other talented artists are employed, and the
staff of enamellers, ground-layers, and gilders, includes some of the
best obtainable in each department. In these works, too, female talent
has been highly cultivated, many of the productions of the paintresses
evidencing pure feeling and cultivated taste. The whole is under the
control of Mr. R. F. Abraham, as Art-director of the establishment.
Mr. Abraham, who was formerly at Coalport with Mr. Rose, was a student
of Antwerp and Paris, and is a successful follower of the school of
Etty. The softness of touch, the purity and delicacy of feeling, and
the sunny mellowness of tone, as well as the chasteness of design and
correctness of drawing, produced on the best pieces of his productions,
show him to be a thorough artist, and place him high above most others
in this difficult art, while his intimate knowledge of all the phases
and intricacies of Art, and of all the processes of the manufacture,
render him peculiarly fitted for the post to which he has been called.
[Illustration: Fig. 172.]
The marks successively used by this firm in its various changes are as
follows:--
[Illustration: SPODE]
Sometimes impressed in the body, and at others pencilled on the glaze;
also SPODE in larger capital letters.
[Illustration:
SPODE
Felspar Porcelain]
Also impressed, or painted, or printed on the ware.
[Illustration:
SPODE
Stone-China
or
SPODE
Stone-China
Fig. 175 and 176.]
Printed in blue on the bottom of the goods of that description.
These, with immaterial variations in detail, were all printed on the
ware.
[Illustration:
SPODE
_Spodes_
NEW FAYENCE
Spode’s
Imperial
Spode
Filspar
_Porcelain_
Figs. 177 to 180.]
SPODE, SON
& COPELAND or SPODE & COPELAND, both impressed and printed.
[Illustration:
COPELAND & GARRETT
LATE
SPODE
COPELAND & GARRETT
LADE
SPODE
NEW FAYENCE
COPELAND & GARRETT
NEW
BLANCHE
COPELAND AND GARRETT
COPELAND
& GARRETT
Figs. 181 to 186.]
[Illustration:
C & G
with the name of
the pattern.
COPELAND & GARRETT
LATE
SPODE
THE TIBER
COPELAND & GARRETT
+ NEW +
JAPAN STONE
COPELAND & GARRETT
NEW
FAYENCE
Figs. 187 to 190.]
All the above printed on the ware.
[Illustration:
COPELAND
LATE SPODE.
Copeland Late Spode
COPELAND late SPODE.
COPELAND
LATE SPODE
COPELAND
COPELAND
COPELAND PATENT JASPER
COPELAND
COPELAND
STONE CHINA
WT. COPELAND & SONS
COPELAND
COPELAND
COPELAND
B
Figs. 191 to 203.]
The following are the dates when some of the most celebrated printed
patterns were first introduced:--“Castle,” 1806; “Roman,” 1811; “Turk,”
1813; “Milkmaid,” “Dagger-border,” “Tower,” “Peacock,” and “New
Temple,” 1814; “New Nankin,” “New Japan,” and “India,” 1815; “Italian”
and “Woodman,” 1816; “Blossom” and “Pale Broseley,” 1817; “Waterloo”
and “Arcade,” 1818; “Lucano” and “Ship,” 1819; “Panel Japan,”
“Geranium,” and “Oriental,” 1820; “Font” and “Marble,” 1821; “Bud and
Flower,” “Sun,” “Bonpot,” and “Union,” 1822; “Double Bonpot,” “Blue
Border,” and “Filigree,” 1823; “Image” and “Persian,” 1824; “Etruscan”
and “Bamboo,” 1825; “Blue Imperial” and “Union Wreath,” 1826.
[Illustration: Fig. 204.]
MINTON & CO.
Mr. Thomas Minton, the founder of these works, was born in Wyle Cop,
Shrewsbury, in 1765, and received his education at the Shrewsbury
Grammar School. He had an only brother, Arthur Minton, and a sister,
Elizabeth. On leaving school, Thomas Minton was apprenticed to an
engraver (probably Hancock), at the Caughley China Works, at Broseley,
one of his fellow-apprentices (also a Salopian) being Richard Hicks,
who became founder of the firm of Hicks, Meigh, and Johnson. On the
expiration of his apprenticeship, Thomas Minton continued to be
employed for a time at the Caughley China Works under Mr. Turner, and
then removed to London, where he engraved some patterns for Josiah
Spode, whose London warehouse was at that time in Portugal Street.
From London, having married, he removed into Staffordshire, in 1788 or
1789, where the rapidly increasing demand for blue printed earthenware
gave promise of a good opening for so skilful a draughtsman and
engraver as he had become. On removing into Staffordshire, he set up
as a master-engraver, at Stoke-upon-Trent, his residence and engraving
shop being one of a block of buildings then called Bridge Houses, so
called from being close to Trent Bridge, which houses had been erected
by Thomas Whieldon, the first partner of Josiah Wedgwood. Here he
became very successful, one of his chief employers being Josiah Spode,
for whom he engraved a tea-ware pattern called the “Buffalo,” which
continued in demand for many years; the “Broseley,” so called from
being first produced at the Caughley Works, Broseley, by Mr. Turner,
and which, like the “Willow Pattern,” remains a favourite stock pattern
to the present day; the famous “Willow;” and many others. In the latter
he was assisted by Mr. Henry Doncaster of Penkhull; the original plate
from which this pattern was thus engraved passed from Mr. Doncaster
into the hands of Mr. Wildblood, engraver, of Burslem, and from him
into the possession of Minton & Co., where it appropriately remains,
as do also some drawings and other interesting relics. Mr. Minton
had two apprentices, one of whom, Greatbatch (father of the eminent
artist William Greatbatch, engraver of the “Waterloo Banquet”), became
chief engraver, and manager of that department at Messrs. Spode and
Copeland’s.
In 1793, having determined to commence the manufacture of earthenware,
Mr. Minton purchased a plot of land, the site of the present
manufactory, of Mr. John Ward Hassals, and commenced building on a very
small scale. The following account of the early progress of the works
has been kindly written for me by Mr. Stringer:--
“To start with, there was one ‘Bisque,’ and one ‘Glost’ oven,
with slip house, for preparing the clay, and only such other
buildings and appliances as were necessary to make good working
commencement. Mr. Minton formed an engagement with the brothers
Poulson, who owned the works opposite to the land he had
purchased, known as the ‘Stone Works,’[41] and who were potters
on a small scale, and, as was then the practice, had houses on
the works, now converted into potters’ workshops. They belonged
to an ancient family which had been located at Boothen for
several centuries. Mr. Joseph Poulson was the practical potter,
and his brother Samuel was modeller, mould maker, and useful man
of all work. It was not until May, 1796, that Mr. Minton’s works
were in operation. Considering the magnitude of the present
operations of the firm, which has recently adopted the globe for
its trade mark, it may not be uninteresting to quote from an old
cash-book, which has been fortunately preserved, an item or two
to show from what a very humble beginning great results have
arisen. We find the amount paid the first week, which appears
to have been a sort of broken week (perhaps there had been some
merry-making to celebrate the opening);--
1796. £ _s._ _d._
May 21. By paid wages, coals, &c., this week 12 19 5½
„ 28. „ „ „ „ 29 1 2½
June 4. „ „ „ „ 32 9 7½
Sept. 17. „ Joseph Poulson 18 weeks’ wages,
to this day inclusive 18 18 0
“The average weekly amount under the above head of wages, &c.,
was within a trifle of £50, but still showing real progress.
“The first item on the contrary side is--
1796. £ _s._ _d._
May 23 @ June 3. To received for goods sold,
ready money 33 10 10½
This would be for goods sold to the pot-sellers who hawked
their wares about the country; and we find £596 10_s._ 2_d._
was received under this head during the remaining months of the
first year. The next year’s transactions showed a satisfactory
advance in every respect, as did every subsequent year; and
amongst the circumstances favouring Mr. Minton’s prosperity
may be named--first, that aided by Mr. Poulson’s experience as
a potter, and his own good taste as an engraver and designer,
he produced a quality and style of ware that commanded a
ready market; and in his brother, Mr. Arthur Minton, who had
established himself in the trade in the metropolis, a ready and
devoted agent to extend the trade; so much so that the business
done by him in 1800 amounted to nearly £2,000. He was also
fortunate in having the acquaintance of Mr. William Pownall, a
merchant of Liverpool, who aided him with capital to extend his
operations, and who was, for a few years, a sleeping partner
in the business. Mr. Joseph Poulson was in a short time after
the opening of the works admitted as a partner, and the firm
traded as ‘Minton and Poulson’ for a short time, and then the
style was altered to ‘Minton, Poulson, and Pownall.’ Mr. Poulson
remained a partner until his death in 1808; and it would seem
that up to this period, china or soft porcelain was made at the
stone-works, but was abandoned as unprofitable until Mr. Herbert
Minton’s experiments in after years were fully successful.”
On the failure of the eminent firm of John and William Turner, of Lane
End, the first named entered the service of Thomas Minton, and became,
in fact, the practical potter of the firm after the death of Poulson.
He effected great improvements in the bodies and glazes, and in the
general character of the productions of the works. Soon after Mr.
Minton had commenced business, a scheme having been set on foot for
monopolising the sale of Cornish clay, he and his partners purchased
an estate of eighty-four acres on Hendra Common for a comparatively
trifling sum, and also certain rights and a leasehold interest in
Treloar Common, where there was abundance of china clay and stone,
as also other valuable minerals. Having secured the property, Mr.
Minton took steps to associate with him the leading manufacturers to
work the mines. In this he appears to have been successful, and the
first meeting of “the Hendra Company” was held at the Swan Inn,[42]
Hanley, on the 8th of January, 1800, Mr. Thomas Byerley in the chair,
who represented the firm of Josiah Wedgwood and Byerley; Hollins,
Warburton & Co., by Mr. John Hollins and Mr. John Daniel; Mr. William
Adams, in person; and Minton, Poulson, and Pownall, by Mr. Minton and
Mr. Poulson. These manufacturers composed the whole of the Company,
and they agreed to purchase a part of Minton, Poulson, and Pownall’s
property. Mr. John Brindley, of Longport, was appointed agent to the
Company. The minutes of the meetings are brief in the extreme, and
there is no recital as to the objects of the Company, but there are a
few particulars which may interest the present race of manufacturers
as contrasting their present improved position, as regards the supply
of material, with what it was in those days. July 24, 1800, stone
was ordered to be sold at 50_s._ per ton at Etruria wharf, and
42_s._ at Runcorn; fifteen tons were a boat-load. A vessel, called
the _Venus_, brought to Runcorn ninety-nine tons, and the freight
was £72 7_s._ 9_d._ China clay was £6 per ton at Polemear.
[Illustration: Figs. 205 to 210.--Messrs. Minton’s Productions.]
[Illustration: Figs. 211 to 214.--Messrs. Minton’s Productions.]
It would seem that Mr. Minton had visited Cornwall several times--the
first time in 1798, and we are afforded an insight into the difficulty
and expense of travelling at that period, by the fact that the cost
of each journey was nearly thirty pounds. It seems that Mr. Minton
must have got the mines into something like working order during these
visits, as an immediate supply of clay and stone was available at
the time the Company was formed, and there is proof of this in the
following document:--
“I, John Varcoe, farmer, resident in Treloar, of the parish
of St. Denis, in the county of Cornwall, have this day agreed
with Thomas Minton, of Stoke-upon-Trent, in the county of
Stafford, to let to the said Thomas Minton all my right of
lower tin bounds in Trelavour Common, for the purpose of the
water for washing china clay, so long that Thomas Minton,
or his representatives, may carry on the clayworks in Lord
Arundel’s lands, or in Hendra Common--but not to hinder any
streaming--with privilege of making pools for the use of the
works, at the yearly rent of one pound and eleven shillings and
sixpence, to commence at Michael. next. As witness our hands the
26th day of July, one thousand seven hundred and ninety-nine.
“JOHN VARCOE.
THOMAS MINTON.
“Signed in the presence of
CHARLES BAGNALL.
JAMES KENT.”
Difficulties of all kinds sprung up. Sometimes the water-courses were
obstructed; robbery of all kinds was going on; and there were also the
exacting demands of lords of the manor to battle with and satisfy. Bad
roads, imperfect machinery and methods of getting the minerals, were
other stubborn facts tending to abate “the pleasures of landlordism.”
The property was within three miles of St. Austel, but Charlestown was
then the port of shipment, and the cost of transit thither in waggons
over the wretched roads was 8_s._ per ton; cost of raising, working,
and casking, £1 15_s._; and other expenses, raised the value free on
board there to £4 15_s._ Freight from Charlestown to Liverpool 12_s._,
dues 2_s._ 6_d._, canal freight to the Potteries, 11_s._ 6_d._, and
making a moderate allowance for capital invested, the clay could not
be delivered at less than £6 15_s._ per ton.[43] As a trading concern
the Hendra Company was not a profitable one; but it afforded the
proprietors for twenty years a supply of good and pure material, and
checked any attempt at monopoly. The clay mines were abandoned, but
as there were good tin lodes on the property, and other minerals, the
investment proved not a bad one.
From the first establishment of the Pottery works at Stoke, their
success was unbroken, and not only were great advances made in
processes of manufacture, but they were so much enlarged, that at
the time of Mr. Minton’s death in 1836, they were among the most
important in the district. Mr. Minton married, on January 1st, 1789,
Miss Sarah Webb, of Bruton Street, London, and by her had a family of
four sons, two of whom were the Rev. Thomas Webb Minton and Herbert
Minton, and six daughters. After his marriage, his mother-in-law, Mrs.
Webb, resided with them, and was a valuable acquisition to him in his
business; keeping his books and accounts, and being, in fact, the
financial manager of the concern. She received and paid all money,
and superintended the entire office arrangements, thus leaving Mr.
Minton at liberty to devote his entire time to the manufactory and to
the engraving. Mrs. Minton, also, so far as the cares of her home and
family would permit, took her share in the business.
Mr. Herbert Minton, the second son, was born at the house erected at
the works, at Stoke-upon-Trent, in March, 1792, and when old enough,
was, with his brother and sister, sent to a dame-school kept by Miss
Cheadle, at the only house, beyond what is now the Queen’s Inn, at
that time existing on the Liverpool Road, the remainder being fields
and gardens. At that time the Mintons had removed from the house at
the Works to one on Talbot Bank (now Hill Street, corner of Commerce
Street). Later on, Herbert Minton (as was also his brother) was
sent to Audlem Grammar School, under the Rev. Nicholas Breakspear,
where he remained until nearly fourteen, when he was placed in his
father’s manufactory. In 1808, when only sixteen, he had attained such
proficiency in the business that he became traveller and salesman, and
represented the house both in London and the provinces; and this he
continued till more pressing engagements necessitated his more general
attendance at the works.
“He was ever at the works, before any one else in the morning,
and frequently at five o’clock. In the depth of winter, or
however inclement the weather, at all seasons of the year,
nothing hindered his early commencement of the duties of the
day. Lucifer-matches were unknown in those days, and he,
therefore, usually brought a tinder-box in his pocket--the
old flint and steel affair. He thus procured a light and made
himself a fire. Then he would proceed to examine the stock in
the warehouses, that he might be enabled to order what was
necessary to replenish it, and thus keep the printers and others
constantly at work. He also devoted a certain portion of his
time to the mixing-room, in order to keep up the supply of
bodies, glazes, &c. Then he would proceed to the counting-house,
where I,” says Mr. Stringer, “was an assistant-cashier under
his special superintendence. To convey an idea of his peculiar
nicety and accuracy in this department of his labours, I may
relate the fact that, on a certain Saturday evening, after
examining my cash account, Mr. Herbert told me that I was one
_halfpenny_ short in my balance. He was aware of my usual
accuracy, and was surprised even at this trifling mistake. I
opened my cash-box for further examination, when, to my good
fortune, I discovered the missing halfpenny within it standing
on its edge. This rectified the supposed mistake, and afforded
us both a hearty laugh.”
In 1817, Thomas and Herbert Minton were admitted into partnership
with their father, the firm being “Thomas Minton and Sons.” In 1821,
the elder brother, Thomas Webb Minton, quitted the works, for the
purpose of studying for the Church, and he was ordained in 1825, taking
his first curacy at Chesterfield, and afterwards at St. Cuthberts,
Darlington, and other places. He died in 1870, at Darlington, where
he was incumbent of the Church of the Holy Trinity. In 1828 the
partnership was dissolved, although Mr. Herbert Minton continued to
devote his energies to the development of the concern. On his father’s
death, in 1836, he again took up the business, and shortly afterwards
took into partnership Mr. John Boyle, under the style of “Minton and
Boyle.” In 1841, Mr. Boyle withdrew from the firm, and, about 1842,
became a partner with Mr. Wedgwood; and in 1845, Mr. Michael Hollins,
nephew to Mrs. Minton, joined the firm under the style of “Herbert
Minton and Co.” In 1849 a nephew of Mr. Minton’s, Mr. Colin Minton
Campbell, now M.P. for North Staffordshire, joined the firm under the
same style. In 1858, Herbert Minton died, and Messrs. Hollins and
Campbell continued the manufactory. The present head of the firm is Mr.
Colin Minton Campbell, M.P.; the trading style being simply “Mintons.”
[Illustration: Fig. 215.]
Up to 1798, white, cream-coloured, and blue printed wares only were
made at these works. In that year, semi-transparent porcelain was made,
and continued until 1811, when it was abandoned, and earthenware only
again produced. In 1821 it was again produced, and soon afterwards
china was commenced and has been a staple branch to the present day.
In 1825 some of the more skilled workmen from the Derby works found
employment with Mr. Minton, and brought their skill to bear on his
productions. “Among these were Steele, Bancroft, and Hancock, as
painters in fruit and flowers.” In 1836 Mr. Herbert Minton, as will
be shown, first conceived the idea of making encaustic paving tiles.
Mr. John Simpson held the position of principal enamel painter of
figures and the highest class decorations, from about 1837 to 1847,
when he removed to London to take charge of the porcelain painting
at Marlborough House. Mr. Samuel Bourne, of Norton-in-the-Moors,
Staffordshire, who had been apprenticed to Messrs. Wood and Caldwell,
to learn the art of enamel-painting, and who had attained by his
industry and talents a high reputation, entered the service of Mr.
Minton, in 1828, as chief designer and artist, and continued to render
the firm occasional services until 1860, when the infirmities of
increasing years necessitated his retirement.
[Illustration: Fig. 216.]
In 1849 M. Arnoux, son of a celebrated manufacturer of hard porcelain
at Toulouse, visited Stoke, bringing with him an introduction from
Mr. Evans, of Birmingham; when it was arranged that M. Arnoux should
superintend and carry out the patent which, in 1839, Mr. Minton, in
conjunction with Dr. Wilton George Turner, had taken out. This was for
“an improved porcelain,” “made from Kaolin or Cornish clay, made into
cream and passed through sieves; Dorsetshire or similar clay treated
in like manner; and pure feldspar, all in certain proportions and
mixed with great care.” In this, the bisque was produced by submitting
it to a less heat than usual before glazing, and then, when dipped,
subjecting it “to a greater degree of heat than is usual for the mere
purpose of glazing, and effecting the glazing at the same time.” The
glazes were also of peculiar composition. Beyond various experiments,
this was not carried out until 1849, when this hard paste porcelain
for chemical purposes was brought to such perfection, that it was
pronounced to be better than that of Meissen or Berlin. There was,
however, so much risk in firing this ware, in consequence of the
difficulty of procuring a sagger capable of withstanding the necessary
heat, that the manufacture was abandoned, and M. Arnoux turned his
attention to the artistic decoration of the ordinary manufacture, and
to his continual zeal and ability, combined with the enterprise which
has always distinguished the firm, England is indebted for the highest
honours in this branch of their national industries.
M. Emile Jeannest was engaged as sculptor, and in 1854 he left and took
an appointment with Messrs. Elkington, in whose service he died.
M. Carrier de Belleuse succeeded M. Jeannest, and remained some
years, when he returned to Paris, and attained so high an eminence as
a sculptor that he has been placed on the Commission for the Sèvres
Manufactory.
He was succeeded by M. Protât, who, after having executed some of the
stone statues now adorning the India Office, returned to France.
Previous to this, Parian was, about 1842, introduced, and formed a
staple branch of Messrs. Minton’s productions. In 1851 Herbert Minton
and Augustus John Hoffstaedt took out a patent for “improvements in the
manufacture.” In the same year Herbert Minton and James Nasmyth took
out a patent for “certain improvements in machinery.” In the same year,
1851, the “Great Exhibition” was held, and resulted in an award of
great merit to this firm, an honour which each successive exhibition,
whether English or foreign, has augmented. In 1850 Majolica was added
to the other art-productions of this manufactory, and in this it
still stands pre-eminent. No firm has surpassed them in the sharpness
of details; the purity of colours; the excellence of glaze, or the
artistic character of these goods, which comprise every description of
both useful and ornamental articles. In 1851 Della Robbia and Palissy
ware were also here commenced.
[Illustration: Figs. 217 to 220.]
[Illustration: Figs. 221 to 223.--Minton’s productions.]
[Illustration: Figs. 224 to 229.--Minton’s productions.]
The history of the manufacture of encaustic and other tiles by Minton,
Hollins & Co. is the history of the entire modern trade in these
useful and beautiful articles. In 1828 Herbert Minton first turned
his attention to the subject, but was prevented by circumstances from
fully developing his plans. In 1830 Mr. Samuel Wright, of Shelton,
took out a patent for “a manufacture of ornamental tiles.” This, in
January 1844, he supplemented by another patent for the “manufacture of
ornamental bricks and quarries for floor pavements and other purposes.”
Mr. Wright’s experiments were highly satisfactory, but from various
causes, although he executed several orders, they were not commercially
successful. Becoming weary of his almost resultless experiments, he
sold his moulds and patent rights to Mr. Minton, who agreed to pay him
a royalty of 10 per cent. on all the tiles sold. Mr. Minton commenced
the manufacture in a single room next to the present throwing-house at
the earthenware works, and only three men were at first employed. He
was much aided in his task by the late Mr. George Leason, a practical
potter, who had been brought up under him.
[Illustration: Figs. 230 to 233.]
“Mr. George Berks,” says Mr. Stringer, to whom I am indebted for
the following notes, “who was a man of good general attainments,
did what modelling was required. One of the earliest
improvements effected by Mr. Minton was the substitution of
brass moulds for the plaster ones used by Mr. Wright, which
enabled the maker to beat up the clay so as to give a sharper
edge to the tile. Before that alteration the edges had to be
cut after they were taken from the plaster mould. A decided
advantage was thus gained; but innumerable other difficulties
had to be encountered, chiefly arising from the irregular
contraction of the clays. Sometimes the inlaid parts would at
a slight tap at the back of the tile fall out, or the tiles
would become stained in the firing; and in short all sorts of
ill luck and misadventures were the weekly result. The tiles
were at first fired in a small oven at the china works which
would hold about 700 tiles, and he and his fellow labourers
used regularly to go there to witness the drawing of the oven.
Time after time they found nearly the whole contents spoilt in
one way or other, and they were carted away to form part of the
foundations on which many of our pottery streets now stand. If
it so happened that 100 out of the 700 proved fairly good, the
fact was a source of encouragement to all concerned. Repeated
failures were, however, only followed by further experiments.
Mr. Minton was ever confident that skill and perseverance would
in the end prove a success; but surely never was any man’s
patience or pocket more sorely or severely tried. Occasionally
a few orders were satisfactorily executed, but they were on a
comparatively small scale. In April, 1836, Mr. Minton sent to
Mr. Josiah Booker, of Liverpool, a plan for tiling his hall,
and this gentleman adopted Mr. Minton’s suggestions; and it
would seem gave the order with the view of forming an opinion
of the tiles for the purpose of exportation; little imagining
the difficulties that had to be got over before they could
be successfully introduced at home. The prices quoted to Mr.
Booker were 15s. per square yard, and 6_d._ per tile of 6
inches square for the border, being about one-half the prices
Mr. Wright had charged them. In 1837, a hall pavement was
laid in the mansion of Sir John P. Orde, Bart., at Kilmoray,
Loch-Gilp-Head, N.B. It should be remarked that, at this time,
the only colours made use of were buff, red, and chocolate. In
November, 1836, after the death of his father, Mr. John Boyle
joined Mr. Minton as partner, and so continued until December,
1841. This gentleman had a keen eye to the profitable working
of the manufactures, and often cast uneasy glances at the
corner near the throwing-house, and at length began to urge
that that department ought to be abandoned. It was on one of
these occasions that Mr. Minton uttered the well-known words,
“Say no more on the subject, Mr. Boyle. I will make these
tiles if they cost me a guinea each!” We do not hear that any
other remonstrance followed this rebuke. The late Harriette,
Duchess of Sutherland, was one of the early patrons of the tile
manufacture; and, indeed, the Staffordshire potteries generally
are much indebted to her Grace for the great encouragement she
ever gave, and the interest she ever took in every improvement
calculated to elevate the character of our manufactures,
and advance the prosperity of the district. Her example and
influence amongst the nobility afforded much encouragement to
the British potter, and tended greatly to the attainment of that
success in the art which has been so marked of late years. The
tiles were extensively introduced at Trentham Hall, and some
of the finest of the early specimens are to be found there.
The first work of great importance that was undertaken was the
floor of the Temple Church, London. Lewis N. Cottingham, Esq.,
F.S.A., made an examination of the Chapter House, Westminster,
in January, 1841, in order to procure suitable examples for
the tiles proposed to be used in the restoration of the Temple
Church. On the removal of portions of the boarded floor the
pavement was found to be in a very perfect state, few tiles
being broken, and the colours in many parts as brilliant as
when laid down. Mr. Minton undertook to reproduce the various
designs composing this ancient pavement. It was a work of
great labour and difficulty; but was accomplished to the
satisfaction of the architect, and all others interested in
the work. The charge made was merely nominal, taking into
account the great expenditure necessarily involved at a time
when so many difficulties still attended the manufacture. Mr.
Minton was a diligent collector of old tiles, and friends
amongst the nobility, gentry, and clergy, in all parts of the
country, ministered to his taste, and sent him either examples
or sketches of such as they met with in their travels; nothing
pleased him better than to receive choice specimens and to
superintend their reproduction. The late Mr. Welby Pugin
furnished Mr. Minton with many tile drawings, some of which he
had designed during his many night journeys to Staffordshire,
whilst engaged in the extensive works for Lord Shrewsbury, at
Alton Towers and Cheadle Church.”
[Illustration: Figs. 234 to 239.--Minton’s productions.]
[Illustration: Figs. 240 to 243.]
In June, 1840, Mr. Richard Prosser took out a patent for making a
variety of articles from clay in a powdered state, viz., buttons,
tesseræ, floor tiles, glazed tiles, &c., by pressure; by preference
using screw presses of different powers for articles containing up to
and including fifty square inches of surface in each piece; articles of
larger surface, and of course requiring a greater pressure, being made
by hydraulic press, the pumps of which were worked by steam. Patents
were taken for England, France, and America. That for France lapsed
in consequence of a condition of the French patent law requiring the
process being worked in that country within six months of its date;
the political condition of France at that time, in the opinion of the
patentee, not being safe for the investment of capital. Of this
patent and its application, the following notes, drawn up for me by Mr.
John Turley, are of especial interest.
“The English patent was very early introduced to the firm of
Minton and Boyle, of Stoke-on-Trent. Mr. Minton took a lively
interest in it, but not so Mr. Boyle. Mr. Prosser sold the
half part of the English patent to Mr. Minton. Arrangements
were made for the prompt commencement of making glazed tiles,
tesseræ, and buttons, at Messrs. Minton and Boyle’s works. Two
work-rooms were given up to Mr. John Turley, engineer, who at
first placed six button presses in one, and a large tile-press
in the other, and commenced making white glazed tiles (6 in.)
and buttons in these works in August, 1840. Prior to this
time, white glazed or Dutch tiles (6 in.) could be bought in
the London market for less money than paid to the journeyman
potter for making this article at Stoke. The demand for white
glazed tiles was soon very great, and has subsequently become
a staple article of manufacture in most potting districts by
this process. Buttons, tiles, and tesseræ continued their
progress in numbers manufactured until 1843, when, on March
8th, the process of making tesseræ was exhibited by Mr. Turley
at the Society of Arts, London--Lecture by Cowper; Paper read
by Blashfield--and 290 boxes of buttons, three dozen in each,
given away at the doors. March 11th, 1843, the same press
and process was exhibited by Mr. Turley at the Marquess of
Northampton’s soirée, as President of the British Association--a
brilliant gathering, at which were present Prince Albert, the
Duke of Wellington, Sir Robert Peel, a number of bishops, and
about thirty foreign princes. The late Prince Consort took so
much interest in the process, that Mr. Prosser and Mr. Minton
decided that a description of the process and a drawing of the
press as then seen at work should be prepared forthwith, and
presented to his Highness, which was done, and presented on
the 15th of March, 1843. This paper, with copy of drawing of
the press, was reproduced in Dr. Ure’s ‘Dictionary of Arts and
Manufactures,’ edited by Robert Hunt. After this introduction
to the Society of Arts and the British Association, Mr. J. M.
Blashfield, Digby Wyatt, and Owen Jones, by their designs and
favourable influences, brought the geometrical floor tile with
its many colours, in combination with the encaustic floor tile,
into extensive use in the rebuilding of churches, noblemen’s
mansions, and other public buildings.
“In August, 1840, he commenced making buttons and tesseræ with
six presses, and continued progressing until December, 1841,
when twenty-five presses were at work; September 5, 1842,
sixty-two presses at work; and at March, 1844, ninety presses
at work, with ninety women and one hundred and eighty girls.
The girls working half-days and at school half-days--one girl
being required to place on setters for firing the produce of one
press. The first six months of 1844 the firm received orders for
27,123 great gross, and sold 22,519 great gross. Infringements
were now rife in various directions. Most of them were stopped
on receipt of notice. Two were costly suits: one, by Mr. Thomas
Prosser (who held the American Patent) _versus_ Mr. Henry
Van Wart, as an American merchant, for sending into the States
buttons made in England irrespective of the American patentee;
the other suit was for infringement in making--R. Prosser and
H. Minton _versus_ Chamberlain and Lilly. This trial
ended August 22, 1845, at Bristol, and its issue was, that
Chamberlain and Lilly should work under license. February 3,
1845, an arrangement was made between Minton and Prosser and
Mr. H. Van Wart to close the American suit. The course for the
sale was again clear for buttons, and progress was made in the
manufacture and sale thereof for a few years, when an abrupt
termination took place from the unfavourable surroundings
and the inability of the patentees to agree as to the future
manufacture.
In 1845 were made 33,928 great gross.
„ 1846 „ „ 50,493 „ „
„ 1847 „ „ 26,784 „ „
„ 1848 „ „ 1,289 „ „
when button-making ceased at Stoke.”
In August, 1845, Mr. Michael Daintry Hollins joined Mr. Minton in
the general manufacturing business; and the tile department formed a
separate concern, under the style of Minton, Hollins, & Co. Mr. Hollins
was a nephew of Mr. Minton’s deceased wife (who was Miss Hollins, of
Shelton,) and had been educated for the medical profession. In 1846,
Mr. Samuel Barlow Wright, son of the original patentee, was admitted to
a share in the business of the tile works, under the style of Minton,
Hollins, and Wright. The patent of Mr. Wright was for fourteen years,
and was renewed for seven years in 1844. At that period the works
continued to be conducted at a loss, and but a small amount of business
was done. It may be safely asserted that during the entire existence
of the patent, so far from profit being the result, Mr. Minton had
sacrificed many thousands of pounds to perfect the manufacture; to
say nothing of the extraordinary liberality of his gifts of tiles. In
other hands the manufacture might have proved a pecuniary success at
an earlier period; but Mr. Minton was lavish in his expenditure in
adopting every mechanical or other improvement--hydraulic presses under
Prosser’s patent, Napier’s steam hammer, &c.--that promised further
success.
[Illustration: Figs. 244 to 246. Minton’s Vases.]
[Illustration: Figs. 247 and 248.--Minton’s Majolica.]
Previous to the year 1848, the only process of printing which had
succeeded for the decoration of pottery, was the one from engraved
copper-plates. In this process all the lines that form the picture
are cut into the metal, and these lines were filled in by the printer
with the required colour, which had previously been mixed with boiled
oil. The impression was then taken on tissue paper, at the ordinary
copper-plate printing press, and from the paper transferred to the
ware. In that style the picture or ornament was formed by a succession
of lines, so that it was almost impossible to produce an even layer of
colour, so desirable in flat-surface ornamentation. In 1848, Messrs.
Collins and Reynolds, who had for some years carried on in London the
business of decorative and picture printers, submitted to Mr. Minton
some trials they had made of transferring to pottery impressions taken
on paper from the flat surface of metal or stone, instead of from the
engraved lines; and by that process broad and flat layers of colour
could be produced, and several colours transferred at the same time
to the ware. These first-trials were made with ordinary pigments;
and, therefore, only served to show the power of transferring the
impression from the paper to the ware. Mr. Minton perceived at once
that the process would, in all probability, prove of advantage, and
supplied the proper enamelling colours for further experiments. It
was now found, however, that these colours were much more difficult
of management than the ordinary pigments. This arose from their being
mixed with so large a proportion of glass, which necessitated the
use of stronger oils to carry the colour; and this again caused the
colour, when of sufficient strength, to blister in the kiln. Mr. Minton
was not, however, discouraged; and, believing that the difficulties
would ultimately be overcome, he joined the experimenters in taking out
a patent for the process. The patent is dated the 14th March, 1848, and
is entitled “for improvements in ornamenting china, earthenware, and
glass.” The difficulties so early encountered were very long in being
overcome; months, and even years, of disappointment and loss followed,
and it was only after innumerable trials had shown what particular
oils and of what strength were required for different colours, that
the obstacles were finally surmounted, and the process established as
an additional and improved means of mechanical decoration. The process
was applied to the decoration of earthenware and china generally, both
useful and ornamental; but has proved to be more successful with flat
surfaces. It was at an early period applied to ornamenting glazed
tiles, and quickly supplanted the old and more expensive method of
ground-laying. Mr. Pugin was the earliest patron of these tiles, and
introduced them into the new palace of Westminster; the walls of the
smoke-room of the House of Commons being the first instance of their
use. Numerous specimens were shown at the Exhibition of 1851, and
again at Paris in 1855, on which occasion the inventor and manager
(Mr. Alfred Reynolds) obtained a first-class certificate. And here
it should be remarked that Messrs. Minton took every opportunity of
bringing before the Jury the merits of those in their employ, whom they
considered deserving of distinction for the service they had rendered
to them. There is now a very extensive trade done in these tiles, which
are very beautiful and every variety of design. They are applied to
wall decoration generally, also to hearths, the sides of fire-places,
the making of flower boxes, and to a variety of other useful and
ornamental purposes. In this improvement both beauty and cheapness are
combined. To speak of the merits of these, even briefly, would occupy
a chapter; it is sufficient to say that they are of every possible
variety of design--floral, geometrical, mythological, historical, and
otherwise,--and that the combinations of colours and the arrangement
of the patterns give them a brilliancy all their own. Later on the
partnership with Mr. Hollins terminated, and that gentleman continued
the manufacture of encaustic and other tiles. (See page 213.)
Of the variety of productions of Minton’s works in former, and at the
present times, it is impossible to speak in detail. So varied, so
distinct, and so extensive are they in material, in body, in style,
in decoration, and in uses, that anything like a detailed account
becomes impossible. In stoneware, all the ordinary articles--jugs,
mugs, bottles, &c.--are extensively produced; many of the designs of
the pressed jugs being marked by pure taste and simplicity of design.
In ordinary earthenware, dinner, tea, breakfast, toilet, and other
services, and all the usual articles, are made in great variety, from
the ordinary white and blue printed wares, up to richly enamelled and
gilt patterns.
[Illustration: Figs. 249 and 250.]
One of the processes successfully adopted by Minton’s is that of
_pâte-sur-pâte_, a process in which the artist, instead of using
colour, employs liquid clay, in which he paints, or rather “lays on”
his design; the whole being afterwards glazed. In this process M. Marc
Solon, formerly of Sèvres, is particularly successful, and the trays,
plaques, &c., produced by him are characterised by pure but severe
taste, and masterly treatment. His monogram, the combined letters M and
S, distinguish his best works.
In imitation of bronze Messrs. Minton have succeeded far beyond
anything before attained, in producing not only a perfect colour,
but a thoroughly metallic appearance; their drinking cups and other
articles in bronzed porcelain are well designed and of high character.
The Persian ware also is of the highest class both in point of correct
adaptation of Persian designs and in manipulative treatment.
The pierced or perforated articles are marvels of lightness and of
skill. These, which are among the most difficult tasks for the potter,
are, as emanating from Minton’s, perfect in every minute detail; they
are gems for any cabinet.
[Illustration: Fig. 251.]
In china, besides all the usual services--dinner, tea, breakfast,
dessert, _déjeuner_, toilet, trinket, etc.--an endless variety of fancy
and ornamental goods are produced. Notably among these are vases,
ewers, tazzæ, and other articles of extreme beauty, and of every style
of decoration. A marked feature in these is the embossed gilding
of borders, &c. by a process patented by the firm. In Parian, the
statuary, busts, groups, vases, ewers, and other articles, equal those
of almost any manufactory; while in majolica, della Robia, and other
goods, the productions of this firm stand pre-eminent. The engravings,
Figs. 205 to 264, give a fair idea of the marvellous beauty and variety
of Minton’s goods. Whatever emanates from their factory, indeed, may
safely be pronounced to be perfect and unsurpassed, both in design, in
manipulation, in body, in glaze, and in colouring. Messrs. Minton rank
among the foremost houses throughout the world in those specialities
of manufacture to which they have devoted their unbroken attention.
The richness and elaborate character of some of the designs, and the
faultlessly artistic treatment of others, are shown on the examples I
have selected for illustration.
[Illustration: Figs. 252 to 254.]
[Illustration: Figs. 255 to 258.]
[Illustration: Fig. 259.--Minton’s Productions.]
[Illustration: Figs. 260 to 264.--Minton’s Productions.]
The marks used by Messrs. Minton from time to time are the name
“MINTON” impressed on the body of the ware; the names “MINTON,”
“MINTON & BOYLE,” “MINTON & CO.,” etc., printed on the surface; and
an imitation of the Sèvres double _L_, with the initial M added.
This latter mark, of which two examples are given on Figs. 255 and
256, is pencilled in blue on the ware; it occurs on fine porcelain
tea services, richly painted and gilt, and of remarkably good, and
sometimes very elaborate, design. Sometimes also the letter M alone
(Fig. 221) occurs. Of late years, too, an ermine spot (Fig. 222) in
gold or colours has occasionally been used.
[Illustration: Fig. 265.]
The name MINTON impressed, or “stamped,” in the body of the ware, was
not used until 1861, so that this will be a guide to possessors in
appropriating examples.
[Illustration: Figs. 266 to 270.]
Sometimes the words “FELSPAR CHINA,” “NEW STONE” or “SEMI CHINA” occur.
Other marks used by Messrs. Minton are shown on Figs. 266 to 270.
* * * * *
_Hollins._--The history of the famous works of Messrs. Minton,
Hollins, & Co., and of the rise and development of their manufacture
of encaustic, enamelled, majolica, and other tiles, has already been
given on pages 195 to 206, and therefore need not be repeated. In
1868, as there stated, the partnership ceased, and from that time the
manufacture of tiles passed into the hands of, and has been continued
solely by, Mr. Michael Daintry Hollins, under the old style of “Minton,
Hollins, & Co.” The productions of the works, as of old, consist of
unglazed encaustic, and tesselated, or rather, geometrical, tiles
for pavements; glazed encaustic tiles for fire hearths; majolica and
enamelled tiles for grate cheeks, flower-boxes, wall-linings, &c.; and
plain and painted tiles for various species of decoration. These are
all made from the same moulds, and of precisely the same excellent
quality both in body and decoration as under the old firm; the business
is, indeed, in every respect the same as before the dissolution.
The engravings, Figs. 271 to 282, show some of the designs of Minton,
Hollins, & Co., and are of the highest style of art. The unglazed and
the glazed encaustic tiles for pavements are made of the hardest and
most durable materials that have yet been discovered--far beyond those
of many other makers--and the workmanship as well as the designs are of
a superior order. They are made in the simple red and buff patterns of
mediæval times, as well as in various combinations of colours; among
these are black, white, buff, chocolate, salmon, green, blue, red,
grey, yellow, &c., and these are varied in their combinations to an
almost endless variety.
In majolica tiles, for flower-boxes, many effective and appropriate
designs are made; these are of bold relief and richly coloured. Among
the patterns are tulips and other flowers in high relief, painted true
to nature, and of remarkable richness. Earthenware tiles, printed or
painted, not in relief, are also largely produced for the same purpose.
For wall decoration, fire-place cheeks and linings, and other purposes,
the variety of tiles produced by the firm is very extensive, and
embraces almost every class of design. In these are some with the
patterns (notably the lily) all in very high relief, and the colouring
of the richest and most effective character.
[Illustration: Figs. 271 to 276.--Minton, Hollins & Co.’s Tiles.]
[Illustration: Fig. 277.--Minton, Hollins & Co.’s Tiles,
Philadelphia Exhibition.]
Others have their patterns painted by hand on the flat surface, by
skilled artists; and others, again, are transfer-printed, or a
combination of printing and painting. Some form a more or less rich
diaper, and others are separate or continuous patterns, while others
again form borders of more than usual elegance.
[Illustration: Fig. 278.]
Among special patterns may be named a series of masterly designs of
Morning, Noon, Evening, and Night, represented by well-conceived
figures in blue on a black ground; a series of emblematic designs of
the Seasons, printed in chocolate or other monochrome on the white or
buff surface; and a series of allegorical, mythological, and fabulous
subjects, each treated in the same admirable manner. The body of some
is of fine white earthenware, very hard and durable, and others are
buff, grey, or cream-coloured, and in each of these bodies the tiles
are produced of many patterns and of every degree of finish.
[Illustration: Figs. 279 to 281.--Minton, Hollins & Co.’s Tiles.]
[Illustration: Fig. 282.--Mosaic and Alabaster Reredos by
Minton, Hollins & Co., Philadelphia Exhibition.]
The geometric or tesselated pavements are of every conceivable variety;
the tiles composing them being made of different forms and of all
shades of colour, but all produced with the utmost mechanical nicety so
as to “fit” in ever-changing variety. A notable feature in the tiles of
this firm is the richness, the clearness, and the purity of the colours
and the excellence of the glaze; these features, added to faultless
quality of body, to high-class artistic treatment of patterns, and to
excellence of mechanical workmanship, place them high in estimation.
Messrs. Hollins were very extensive exhibitors at the Philadelphia
Exhibition, 1876, and their productions excited great interest and
admiration. One of their main attractions was a lovely chimney-piece
composed of tiles exquisitely painted with humming birds, &c.,
and over it a lovely painting of a mother and her children executed
with perfect artistic taste and feeling on thirty tiles; this great
achievement in ceramics is shown on Fig. 277. Another notable exhibit
was a reredos in mosaic (Fig. 282), and in mosaic also was a fine head
of Washington. The rest of their exhibits consisted of every possible
variety of tiles, and all of equal excellence. The marks used are
“MINTON HOLLINS & CO. PATENT TILE WORKS, STOKE ON TRENT”; “MINTON & CO.
Patent, STOKE ON TRENT”; “MINTON HOLLINS & CO. STOKE ON TRENT”; “M. H.
& Co.,” &c., at the back of the tiles.
* * * * *
_Trent Pottery._--These works were established in 1861 by Mr. George
Jones, the head of the present firm of “George Jones and Sons.” Messrs.
Jones manufacture all the ordinary description of ordinary earthenware;
from the gaily-decorated articles required in Africa and in South
America, and the spotless white granite for the United States, to
stoneware, and printed, enamelled, and gilt wares, for home use and
for the Colonies. The firm also make a large and striking variety of
articles in majolica, in which they successfully vie with most houses
in the trade. In this they make both useful and ornamental articles,
most of which are of a high order of art, being well modelled,
carefully finished, and of a quality that will bear comparison with
most others. Some of the productions exhibited at Paris in 1867 (when
they obtained a medal), at London in 1871, and at Vienna in 1873,
are shown by Figs. 283 to 306. The imitation Palissy ware is highly
successful. In vases, candelabra, centre and side pieces, flower
shells, and numberless other articles, Messrs. Jones have produced many
striking and good designs. Some of these are shown on the engravings;
others, especially an aquatic centre-piece of four heights, in Cupids,
shells, dolphins, and coral; a flower-pot, in which the magnolia forms
the basis of ornamentation; and an ewer abundantly decorated with
lizards, snakes, &c., are bold, good, and highly effective in design.
The mark used by Messrs. Jones is simply the monogram composed of the
initials G J joined together.
[Illustration: Figs. 283 to 286.--Trent Pottery Majolica.]
[Illustration: Figs. 287 to 306.--Trent Pottery Majolica.]
* * * * *
_Albert Works, and Copeland Street Works._--(Poole, Stanway, &
Wood.)--The business of this firm was established in 1859 in the
Albert Works, Liverpool Road, by Messrs. George Turner, Joseph Emery
Hassall, and William Bromley, as a Parian manufactory only. In
1863, the present much larger works were built. In 1862, Mr. Bromley
retired from the concern, and in 1863 Mr. Thomas Peake joined it, and
the firm continued as “Turner, Hassall, & Peake” until 1871, when the
latter withdrew, and was succeeded by Mr. Poole, when the style became
“Turner, Hassall, and Poole.” In 1873 Mr. Hassall retired, and was
succeeded by Mr. Stanway, and the firm then became “Turner, Poole,
and Stanway.” Later on Mr. Turner also retired from the firm, and
Mr. Josiah Wood, having entered into partnership with the remaining
partners, the style was altered to its present form of “Poole, Stanway,
and Wood.” At first Parian only was made, but after a time the
decoration of china (bought in the white) was added. After this had
been done for about ten years the manufacture of china was commenced,
and is now a large and profitable branch of the business. The present
productions of these works are Parian, principally statuary, of the
higher quality in body, in colour, and in workmanship; china, in which
tea, breakfast, dessert, trinket, and other services, vases, figures,
groups, &c., are made in every style of decoration, and of excellent
quality; majolica, in all the usual varieties of articles; and terra
cotta, in which they produce water-jugs, fern-stands, tobacco-jars,
filters, candlesticks, flower-vases, tea-pots, &c. The speciality of
the works is, however, in Parian, and in this they rank very, and
deservedly, high; in this the novelty was introduced by Mr. Turner
of decorating the Parian body with majolica colours. By this means
a greater clearness and brilliancy as well as softness of colour
is attained, “crazing” is avoided, and a more pleasing effect and
finish gained. The operations of the firm are not confined to the
home markets, but a considerable trade is done with foreign ports.
The terra cotta goods are produced in red and cane colour, and richly
enamelled. The body is remarkably fine and even, and very hard,
compact, and durable. In statuary Parian, a large variety of groups,
single figures, animals, and ornamental pieces are produced. The groups
and figures, both after the antique and original designs by celebrated
modellers, are of a high degree of excellence. Notably among these is
a very charming pair, “Night” and “Morning,” by Carrier. Busts, too,
are produced very extensively, and of various sizes, both copied from
classic models and of modern celebrities. In centre-pieces, compotiers,
&c., Messrs. Poole, Stanway, & Wood are particularly successful. A
set of four, with juvenile figures representing the Seasons, are
peculiarly graceful and elegant, the open-work dishes of these and
others being of admirable design and faultless finish; as is also
another in which the stem is surrounded by three cleverly modelled
Cupids. The tinting of these is pleasing and artistic; the creamy
richness of the body (of course unglazed) giving a peculiar softness to
the flesh, while the drapery and accessories, being delicately coloured
and glazed, impart a finish to the designs that is very charming. A
centre-piece with a pedestal rising from three gracefully modelled
female figures, and supporting an exquisite open-work dish, is of
peculiar elegance; the angles of the tripod base are formed of boldly
modelled sea-horses, whose curled tails rise gracefully up and support
three smaller dishes. A very successful and powerfully conceived design
is a comport in which the base is formed of three young Tritons, who,
surrounding an elegant lyre standard, alternate with the same number of
shells; above them rises the open-work bowl.
It is interesting to add that one of the partners of this firm, Mr.
Josiah Wood, is a worthy descendant of a long line of potters; his
grandfather, Aaron Wood, himself a famous potter, was the son of Aaron
Wood (who was apprenticed to Dr. Thomas Wedgwood), and the brother of
the celebrated Enoch Wood, of whom notices are given in other parts
of this volume. Mr. Stanway, another of the partners, is the son of
William Stanway, whose fifty years’ connection with the Wedgwoods I
have spoken of in my “Life of Wedgwood” and alluded to in another part
of this volume.
* * * * *
_Glebe Street Works_, and _Wharf Street Works_.--These two
manufactories belong to Messrs. Robinson and Leadbeater, and are
entirely confined to the production of Parian goods, of which they
are among the largest and most extensive producers, both for the home
markets and for exportation. The _Glebe Street Works_ were commenced
in 1850, by a clever Italian figure-modeller named Giovanni Meli, who
produced clever groups and single figures, till 1865, when he sold the
entire business, with its plant, moulds, and machinery, to Messrs.
Robinson and Leadbeater, and returned to Italy with the full intention
of there commencing a terra cotta manufactory. This he relinquished,
after a short trial, mainly through the lack of a suitable native
clay or marl for the making of his saggers. Giovanni Meli then went
to Chicago, where he succeeded in his wishes, and established a
manufactory of the kind he had attempted in Italy, and there he
continues to the present time. The _Wharf Street Works_ were commenced
in 1858 by Mr. Leveson Hill, after whose death, which occurred shortly
afterwards, they were carried on by his executors until 1870, when
they were sold to Messrs. Robinson and Leadbeater, who thus became
proprietors of both concerns. By them the works have been considerably
enlarged, and as their business operations are rapidly extending, they
bid fair to rank among the largest in the district.
The operations of the firm are entirely confined to Parian, and in this
they produce statuary groups and figures in large variety; statuettes
and busts, both classical, portrait, and imaginative; vases of endless
form, variety, and size; centre-pieces and comports of elegant design;
flower-stands; brackets and pedestals; bouquet-holders trinket-caskets;
cream-ewers; jugs, and a considerable variety of fancy articles.
By giving their constant and undivided attention to this one branch of
ceramic art (Parian), Messrs. Robinson and Leadbeater have succeeded
in so improving it both in fineness and purity of body and in tone
of colour, as to render their productions of far higher than average
merit. They have studied excellence of body, originality of design, and
cleverness of workmanship, as before that of marketable cheapness, and
in this they have done wisely. In material, they rank with the best
productions of many competing firms, while in fineness of surface and
careful manipulation they are scarcely excelled.
Among the designs produced by this firm are many of more than
average merit, and they are issued, in some instances, of large
size.--“_Clytie_,” a clever reproduction, is a bust of about
twenty-two inches in height, whilst several others (Gladstone,
Disraeli, Cobden, Tennyson, Dickens, and other modern celebrities)
are of various heights. Among their principal groups are “Innocence
Protected,” “Penelope,” “The Power of Love,” “Cupid Betrayed,” “Cupid
Captive,” “Golden Age,” “Rock of Ages,” “Guardian Angel,” “The
Immaculate Conception,” “Christ and St. John,” and “Virgin and Child;”
and in single figures are many well designed and faultlessly produced.
These are all good, and the same remark will apply to the remainder of
the figures and busts. The centre-pieces, comports, and flower-holders,
are characterized by the same good taste in design and the same
excellence in finish; their variety is great, and many of them have
a freshness and originality in conception that is very encouraging.
Messrs. Robinson and Leadbeater are very successful in their original
portrait busts, many of which they have produced, both for private
purposes and for sale. Among the latter, the busts of Abraham Lincoln,
Charles Sumner, and Governor Andrew, have had a very extensive sale
in the United States, to which market, indeed, the greater part of
their general statuary and other goods is sent. An excellent portrait
statuette of Queen Victoria may also be reckoned among their successful
productions. In addition to the States and the home markets, the firm
export largely to Canada, the Colonies, and Germany. They use no mark.
* * * * *
_Copeland Street._--Messrs. Billington & Co. manufacture the commonest
descriptions of china in all the usual services.
* * * * *
_Bridge Works._--Formerly worked by Messrs. Davenport & Co., W.
Adams & Co., Minton, Hollins & Co., Jones & Co., and Grose & Son,
this manufactory is now carried on by Hancock & Whittingham for the
production of the usual useful classes of earthenware.
* * * * *
_Walker & Carter._--The manufactory now carried on by this firm
belonged formerly to Wolf, and next to his son-in-law Hamilton, and
later was worked by Z. Boyle & Co., W. Adams & Co., and Minton, Hollins
& Co. The present firm manufacture the ordinary classes of earthenware.
[Illustration: Figs. 307 to 323.]
* * * * *
_London Road (and Eastwood Vale)._--The works of Mr. William
Henry Goss were commenced in 1858 for the production of Parian,
ivory-porcelain, terra cotta, &c., and their progress from that time
as pure art-productions has been very marked. The most famous of the
specialities of Mr. Goss’s manufacture are porcelain floral jewellery
and dress ornaments, in which brooches, hair-pins, scent-diffusers,
crosses, and other beautiful articles are made; jewelled porcelain, in
which vases, scent-bottles, tazzæ and other ornaments are produced; and
vessels to be filled with perfumes, including illuminated scent-vases,
pomade-boxes, rice-powder jars, pastil and scented ribbon burners,
&c., these latter being made largely for the great Paris and London
perfumehouses. The process of modelling jewelled porcelain, just
alluded to, which is of extreme richness and beauty, is the invention
of Mr. Goss, who, many years ago observing that the enamel jewels on
the old Sèvres porcelain frequently dropped, or were rubbed, off,
turned his attention to the subject. The process adopted at Sèvres
was as follows: a gold foil was stamped into circles, ovals, and
other required forms for the reception of the enamels, which were
then pencilled on, and fired before applying them to the article they
were intended to decorate. After being vitrified into imitations
of uncut rubies, emeralds, &c., they were stuck on to the surface
of the porcelain with a flux, and again fired. The adhesion was by
this process often incomplete, and thus it frequently occurred that
part of the design became rubbed away. The process invented by Mr.
Goss for this mosaic jewellery, is, to indent the designs for the
intended jewelled decoration in the dry or moist clay before baking,
and in these to insert the jewels, which are all previously cut, and
thus attain an increased brilliancy. Being inserted into the hollow
or recess prepared for them, they are made secure. The process is
an extremely delicate but very ingenious and beautiful one, and the
effect produced is richer and finer than is attained by any other
processes. Real pearls are often also introduced by Mr. Goss with
good effect. For this and other purposes Mr. Goss has taken out a
patent “for improvements in manufacturing articles of jewellery, dress
ornaments, dress fastenings, smoke-shades for lamps and gas-burners,
and the handles of cups and other vessels of ceramic materials”--an
invention peculiarly applicable to the “manufacture of brooches,
earrings, the heads of scarf-pins, hair-pins, and shawl-pins, the
trinkets called charms, bracelets, necklaces, stud and ring fittings,”
and a vast number of other articles. The floral brooches, crosses,
&c., are of great beauty, and in delicacy of modelling remind one of
the famous Bristol and Derby floral plaques. Some are produced in pure
white bisqué, others are tinted in the natural colours of the flowers
represented, and others are in ivory-porcelain prepared by a patented
process.
In Parian, for which Mr. Goss ranks deservedly high, busts, statuary,
vases, tazzas, scent-jars, bread-platters, and many other ornamental
goods, are made. Notably among these are admirable busts of Charles
Swain and of myself, the author of this work; this forms the
frontispiece to the first volume. This fine work of Art was modelled
expressly for the purpose in 1875, and is pronounced by those capable
of judging to be a fine and highly successful example of Ceramic Art.
These are modelled by Mr. W. W. Gallimore, under the personal and
artistic supervision of Mr. Goss. They, as are all the busts which
emanate from this combined source, are of the highest style of Art in
point of pose and poetic treatment, and of the most careful character
in manipulative workmanship. As portrait-busts they rank far above
the average, and are, indeed, perfect reproductions of the living
originals. It is not often that this can be said of portrait-busts,
but it has been a particular study of Mr. Goss, and of his coadjutor,
Mr. Gallimore, and they have succeeded admirably.[44] Of Mr. Gallimore
it may be well to say a word or two. He at one time was engaged as
a modeller at the Belleek Works in Ireland, and while there, by the
bursting of a gun, lost his right arm. His modelling has, therefore,
ever since then, been entirely done by his left hand, and, strange as
it may seem, is far better than when he had both.
[Illustration: Figs. 324 to 330.]
One of Mr. Goss’s specialities is ivory porcelain, and this he produces
of the full soft mellow tone which characterizes the finest ivory,
while, from the nature of the body he has by constant experiments and
study succeeded in producing, it is far more lasting and durable,
and capable of more decoration, than the ivory itself. It possesses
all the delicate beauty of the ivory, with, as just stated, more
durability, and, unlike it, is unchangeable. In this material one of
Mr. Goss’s most successful productions is a pierced scent-bottle of the
pilgrim-bottle or puzzle-jug form. Its centre is double pierced in a
very elaborate pattern, and judiciously heightened with lines of gold.
In terra cotta, which is of peculiarly fine quality and rich colour,
water-bottles and all the usual articles are made, a speciality being
the fern-leaves with which they are decorated. All kinds of enamel
colours and lustres are made at these works. The name W. H. GOSS is
sometimes stamped in the ware, and on the other higher class goods the
crest, a falcon rising, ducally gorged, is used.
* * * * *
_London Road._--In 1856 a field on the London Road was found to contain
a valuable mine of red clay, and a manufactory of floor, roof, and
ridge tiles, &c., was commenced. This property was purchased by Mr.
W. Kirkham, who still continues the works. In 1862 Mr. Kirkham built
a manufactory for the production of Parian, terra cotta, and general
earthenware for the home and foreign markets. To this he has more
recently added the making of door-furniture, brass-founders’ fittings,
knobs, mortars and pestles, chemists’ goods, stoneware, &c.; a patent
is also worked for the production of porcelain bottle-stoppers,
feeding-bottles, &c. The terra cotta goods, comprising water-bottles,
ornamental flower-pots and stands, table-jugs, spill-cases,
tobacco-jars, and an infinite variety of other articles, are of a
high degree of excellence, both in body, in form, in colour, and in
style of ornamentation. In colour it is of a deep, rich, full red,
and is remarkably close, compact, hard, and durable in texture. The
ornamentation consists of embossed borders of more than average relief;
printed groups of Etruscan figures, borders, groups of flowers, &c.;
rich enamelling in various colours; and dead and burnished gilding.
Some of the fern decorations are graceful, natural, and elegant; and
those with the Etruscan figures and the enamelled borders are in pure
taste. The table-jugs are of excellent form, many being good examples
of severe Art, and their decorations are faultless.
* * * * *
_The Campbell Brick and Tile Company._--The company to whom this
manufactory belongs was formed in 1875 for the purpose of carrying
on the business of Mr. Robert Minton Taylor, who had till that time
conducted it at Fenton. A new manufactory was, in 1876, erected at
Stoke, when the Fenton business was transferred to it. In addition to
this, new buildings and machinery have been erected for the production
of all kinds of bricks, roofing and other building tiles, &c. The
works were established at Fenton, as just stated, by Mr. Robert Minton
Taylor--nephew to the late Mr. Herbert Minton, and until the past few
years a partner in the firm of Minton, Hollins & Co.--in 1868, on a
dissolution, consequent on effluxion of time, of the old firm. The
productions of these works, as were those at Fenton, are encaustic,
mosaic, geometrical, and majolica tiles, and in these every variety of
design, from the purely ornate to the severe classic, are made.
The encaustic tiles are produced not only in the usually simple red
and buff colours, but also in various combinations of buff, red, blue,
green, yellow, white, black, brown, grey, and every shade of compound
colour. The designs are very effective and pure, and are the result
of considerable study on the part of the artists employed in their
preparation. The geometric tiles are of every conceivable form and of
great variety in colour; they are prepared with mathematical nicety,
and produce remarkably rich and effective pavements.
One of the specialities of these works are majolica and coloured tiles.
These are of the highest possible class of beauty and excellence, and
the richness of the colours and their harmonious combinations cannot be
surpassed: they are perfect works of Art, and are a great and marked
advance upon any which have preceded them. Some have the ornament
in relief--sometimes approaching even to _alto-relievo_--and
exquisitely modelled: the ornament consisting of arabesques, foliage,
flowers, birds, &c., in endless variety. In reproduction of natural
objects, as the hawthorn, the bramble, the violet, the primrose, the
anemone, the lily, and the lilac, Mr. Minton Taylor is particularly
happy: the effect is strikingly beautiful. The tiles, of course,
are adapted for wall decorations of churches, &c., for ceilings,
grate-cheeks, lining of fire-places, flower-boxes, friezes, inlaying in
cabinet work, &c., but not for floors.
[Illustration: Figs. 331 to 338.--Campbell & Co.’s Tiles.]
[Illustration: Figs. 339 and 340.--Campbell & Co.’s Tiles.]
Among the other features of these works are the tesselated pavements,
which are careful reproductions of examples of the Romano-British
period. In these the antique character is well preserved, the designs
copied with scrupulous accuracy, the colours kept strictly to the
originals, and the effect of the rich guilloches admirably preserved.
Tile hearths, too, are a speciality of Mr. Minton Taylor’s, and these
are produced in great variety and of extreme beauty: they are among
the most successful adaptations of ceramic decorative Art to domestic
purposes. The principal designs are by E. Welby Pugin, John Gibbs, J.
Seddon, Dr. Dresser, and others.
The mark used by Mr. Minton Taylor while at Fenton was the name “ROBERT
MINTON TAYLOR, TILE WORKS, FENTON, NEAR STOKE-ON-TRENT,” arranged in
various ways, and impressed or raised on the back; or the initials
^{R M T}_{F T W} used in the same way. That of the present firm (the
proprietor of which is Colin Minton Campbell, Esq., M.P., and the
manager, Mr. Robert Minton Taylor) is a compass W+^N_{S}E encircled by
the words “CAMPBELL BRICK & TILE CO., STOKE-UPON-TRENT.”
* * * * *
_Harrison and Wedgwood._--John Harrison, of Newcastle, and afterwards
of Cliff Bank, Stoke, a man possessed of some means, but little taste,
entered into partnership with Josiah Wedgwood on the latter first
commencing business. He was not a practical potter, but was taken
into partnership by Wedgwood for the advance of capital. They carried
on the business at what was Mr. Aldersea’s pottery, at the top of
Stoke, opposite the works of Hugh Booth. Here, besides agate and other
knife-hafts, they made the ordinary kinds of wares then in demand, both
“scratched” and blue. In 1754 they entered into partnership with Thomas
Whieldon, and later on the works were, I believe, bought and pulled
down by Josiah Spode.
* * * * *
_Bankes._--Mr. R. Bankes and Mr. John Turner, in 1756, made white
stoneware on what, later, formed a part of Josiah Spode’s premises.
In 1762 Mr. Turner removed to Lane End, and about 1780 discovered a
valuable vein of clay at Green Dock; this he turned to profitable and
artistic use in the making of his fine and celebrated cane-coloured and
other wares.
* * * * *
_Aldersea._--John and Thomas Aldersea were makers of tortoiseshell,
clouded, and other wares.
* * * * *
_Hugh Booth_, of Cliff Bank, was one of the leading manufacturers of
the district. His productions were common cream-coloured, mottled, and,
I believe, lustre-wares. He died unmarried in June, 1789, aged 57, and
was succeeded by his brother, Ephraim.
* * * * *
_Ephraim Booth_ (an alderman of Plymouth), who took into partnership
his two sons Hugh and Joseph, and carried on the business under the
firm of “Ephraim Booth and Sons.” The eldest of these sons, Hugh
Booth, married Ann, daughter of Thomas Lovatt, Esq., and died in
1831. This firm was somewhat extensive, and produced blue printed
and other wares. The heading of their bills in 1792 was “Eph^m Booth
& Sons, Potters to His Royal Highness the Duke of Clarence and St.
Andrew’s, in the Kingdom of Great Britain, Earl of Munster, in the
Kingdom of Ireland.” “Stoke, Staffordshire.” At that time (1792) some
of their productions were “barrel-shape” and other jugs, “ewers and
basons,” “cups and saucers, bell-shape handled,” “coffees and saucers,
fluted,” all “printed Dresden pattern;” “tureens and ladles, green
edge, cream-coloured glaze;” sallads, baking dishes, fish-drainers,
oyster-shells, pickle leaves, egg-cups, peppers, mustards, scollop
shells, sauce tureens, all stands either “green edge,” “blue edge,”
or “blue and green;” tea-pots, milks, bread and butter plates, &c.,
“narrow flute, printed Dresden pattern,” &c.
* * * * *
_Wolfe._--Mr. Thomas Wolfe was a very successful manufacturer,
the latter part of last century. He died in 1818, and was, I believe,
succeeded by his son-in-law, Mr. Robert Hamilton, and afterwards by
Messrs. W. Adams and Co.
* * * * *
_Bird._--Daniel Bird, the “flint potter,” as he was called, at Cliff
Bank (afterwards Mayers), made agate-ware knife-hafts and buttons, and
the usual earthenware of the period.
* * * * *
The manufacturers at Stoke in 1829, were, according to Shaw, Spode;
Minton; H. and R. Daniel, who here made only porcelain, their
earthenware works being at Shelton; Adams, in one part of whose works
the first steam-engine for grinding flints is said to have been
erected; Zachary Boyle & Son, near the churchyard, who made both china
and earthenware; Thomas Mayer (Cliff Bank), formerly Daniel Bird’s,
who was called the “flint potter,” through his having ascertained the
exact proportions of flints and clays required “to prevent cracking
in the oven”; and Ward and Forrester. In 1843, there were Spode and
Copelands; Messrs. Mintons; Messrs. William Adams and Co., who at one
time or other had five separate manufactories, three of which had
formerly been Mr. Wolfe’s, the fourth the Bridge Works, and the fifth
Hugh Booth’s; Messrs. Henry and Richard Daniel; Mr. Zachary Boyle;
Messrs. Samuel and George Reade; and Messrs. Lowndes and Hill.
[Illustration: Figs. 341 and 342.--Campbell & Co.’s Tiles.]
[Illustration: Fig. 343.]
[Illustration: Fig. 344.--Campbell & Co.’s Tiles.]
CHAPTER VI.
Burslem--Early Potters--Earthenware Gravestones--Toft--Talor--Sans
--Turnor--Shawe--Mitchell--Cartwright--Rich--Wood--Wood & Caldwell
--Churchyard Works--Bell Works--Red Lion Works--Big House--Ivy
House--Lakin & Poole--Waterloo Works, Boote & Co.--Washington
Works--Nile Street Works--Newport Pottery--Dale Hall--Stubbs--Bates,
Walker & Co.--Mayer & Co.--Dale Hall Pottery--Rogers--Edwards &
Son--Dale Hall Tile Co.--Albert Street Works--Mersey Pottery--Steel
--Maddock & Son--New Wharf Pottery--Over House Works--Swan Bank
Pottery--Hill Top Pottery--Hill Pottery China Works--Crown
Works--Scotia Works--Queen Street Works--Hill Works--Ralph
Wood--Sylvester Pottery--High Street Pottery--Sneyd
Pottery--Hadderidge Pottery--Navigation Works--Sytch
Pottery--Kilncroft Works--Albert Pottery--Waterloo
Works--Central Pottery--Longport--Davenports--Terra
Cotta--Brownhills--Wood--Littler--Marsh and
Heywood--Brownhills Pottery Company--Cobridge--Cobridge
Works, Brownfields--Clews--Furnivals--Bates & Bennet--Abbey
Pottery--Villa Pottery--Cockson & Seddon--Allcock & Co.--Elder
Road Works--Warburton--Daniel, &c.
BURSLEM.
Plot, writing in 1686, says, “the greatest pottery they have in this
county is carried on at Burslem, near Newcastle-under-Lyme, where for
making their different sorts of pots they have as many different sorts
of clay, which they dig round about the towne, all within halfe a
mile’s distance, the best being found nearest the coale,” &c.[45] The
town has earned for itself the name of “mother of the potteries.” In
the early part of the eighteenth century, the potters in Burslem appear
to have been as follows:--
Thos. Wedgwood (2).
John and Samuel Cartlich.
Robt. Daniel.
Thos., Isaac, and Rcd. Malkin.
Dr. Thos. Wedgwood.
Wm., Rcd., and Jhn.(3) Simpson.
Thos. Cartwright.
John Wedgwood.
Robt. Bucknall.
Isaac Wood.
Richard Wedgwood.
Thos. Taylor.
Wm. Harrison.
John and Robt. Adams.
Moses Marsh.
Aaron Shaw.
Thos. Mitchell.
J. Warburton.
J. Bagnall.
Aaron Wedgwood
H. (?) Marsh.
Moses Shaw.
Isaac Ball.
Saml. Edge.
Thos. Lockett.
J. Tunstall.
Moses Steel.
Hugh Mayer.
J. Stevenson.
H. Beech.
Ralph Daniel.
In 1750 the potters--_i.e._ owners of pot-works--appear to have
been--
Moses Copeland.
John Marsh.
Ralph Allen.
Moses Marsh (two).
Aaron Shaw.
John Daniell.
Richd. Parrott.
Thos. Cartlich (Olding).
E. Astbury.
Saml. Malkin.
John Adams.
Ralph Adams.
Wm. Lockett.
Robt. Daniell.
Thos. Steel.
Samuel Cartlich.
Maria Locker.
John Heath.
Richd. Onions.
Aaron Clowes.
Ephraim Booth.
John Taylor.
Thos. Taylor.
Joseph Simpson (two).
Clark Malkin.
Thos. Mitchell.
John Mitchell.
Josiah Simpson.
Taylor (two).
William Burn.
J. Ball.
Aaron Cartlich.
Timothy Lockett.
&c.
A century later, in 1843, according to Ward, the potters then at work
were Enoch Wood and Sons; Samuel Alcock & Co., who occupied their
pot-works at the Hill Top; Machin and Potts (formerly Machin and
Baggaley), at the Waterloo Works; Mellor, Venables & Co., Hole House;
Thomas Godwin, Burslem Wharf; John WedgWood, Hadderidge; Barker,
Sutton, and Till, Liverpool Road; Peter Hopkin, Market Place; William
Pointon, Green Head; Samuel Mayer & Co., Waterloo Road; Joseph Hawley,
Waterloo Road; Maddock & Seddon, Newcastle Street; James Vernon & Co.,
High Street; James and Thomas Edwards, Kiln Croft; Cork and Condliffe,
Queen Street; Nehemiah Massey, Bournes Bank; Ann Holland, Hill Top;
Daniel Edge, Waterloo Road; Jones and Bell, Bell Works; and those not
then occupied were the Churchyard Works (late J. and J. Jackson), the
Big House Works (formerly Thos. Wedgwood), the Hamill Street Works
(formerly Cartlidge and Beech), the Knowl Works (formerly Breezes), and
the Navigation Works, late John Waltons.
Many of the names in the earliest of these lists will be recognised
as those of successful potters even of our own day. Burslem, long the
centre of the pot-making district, was the place where the Wedgwoods
had their various works, and where Josiah Wedgwood was born. It
has, therefore, always been, as it is now, a place of considerable
importance in connection with the history of the ceramic art of our
country. It is manifestly impossible, nor would it be desirable, to
enumerate all the firms from that time forward. The following are
some of the more noted houses, exclusive of the Wedgwoods, to whom a
separate chapter will be devoted. Shaw, in 1829, mentions that besides
the various manufactories held by Enoch Wood and Sons, there were about
twenty-six other pot-works, the principal of which were Machin & Co.,
T. and B. Godwin, T. Heath, J. Cormie, J. Hall & Sons, and John Riley
Marsh.
[Illustration: Fig. 345 to 347.
ThomAs:
PAin 1718
W:M
1·7·3·7
R:M
1·7·3·7]
A very interesting matter relating to the history of pottery in this
locality is the number of coarse earthenware gravestones which may
be noticed in the churchyards at Burslem, Wolstanton, and elsewhere.
They are formed of the common dark brown marl, or sagger clay, and
the inscriptions are generally deeply incised, or pressed in. In some
instances, however, they are laid on in white slip, and in others
the incised letters are filled in with white clay. They are fired in
the usual manner. The earliest, as regards date, which I noticed on
my cursory examination of the two churchyards just mentioned, is at
Wolstanton, and bears the inscription, “ThomAs PAin 1718.” (Fig. 345).
In the same churchyard are other earthenware memorials of various
dates, the latest of which is 1828, viz., “William Heath departed this
life 14 February, 1828 aged 6 weeks.”
Among others of which I made notes in the same churchyard are--
“_Here Lyeth the Body of John Bin[ns] who Departed this Life
November the [] 4 1751 Aged 41 years._”
“Here lieth the body of Samuel Willshaw died th 20 1755 aged 11
[?]”; at the top are the remains of cherubs’ wings.
“_Here Lyeth the Body of Thos. Son of William and Mary Rowley
of Red Street who Died November the 17 in the year 1767 in the 7
year of His age._”
“_Here Lieth the Body of Mary Meller who departed this Life
January the 6th 1750 aged 10._
_Short was my time
Grate was my pane
Weep not for me
Great is my gaine._”
“Here lieth the Body of Esther Vernon aged 51 1745”;
“Here Lyeth the Bodey of Thomas Coleough aged 70 1737”; and so on.
The other engravings are from Burslem churchyard--the same ground in
which some of the older of the Wedgwoods are buried, and adjoining
which Thomas Wedgwood’s “Churchyard Works” stood when Josiah Wedgwood
was an apprentice there, and still exist. They are early (1737) and
good specimens of these interesting memorials. Another bears the simple
inscription, “Elesbeth Malkin Aged 96: 1745.” Many others of various
dates occur.
* * * * *
_Toft._--The name of Toft is intimately connected with pottery,
both in Staffordshire and Derbyshire. The names of Thomas Toft and
Ralph Toft occur on large coarse earthenware dishes of the middle
of the seventeenth century (see vol. i. pages 101 to 104), some of
which are dated. The material of the body of Toft’s dishes platters,
and other domestic articles, is a coarse, reddish, or buff-coloured
clay--a common fire-brick clay--and the patterns are laid on in yellow,
white, or other coloured slip, and then thickly glazed over with a lead
glaze. I have reason to believe that some of the Tofts were potters at
Tickenhall (which see, page 152).
[Illustration: Fig. 348.
THOMASTOFT]
[Illustration: Figs. 349 to 362.--Examples of early Staffordshire
Wares, Museum of Practical Geology.]
* * * * *
_Talor._--Apparently contemporary with the Tofts, or at all events
producing precisely the same kind of dishes, &c., was William Talor,
one of whose productions is in the Bateman collection. He was probably
of Staffordshire, and most likely of the same family as the Taylors,
potters of Burslem, in the beginning of last century.
* * * * *
_Sans._--Another contemporary of the Tofts was William Sans, whom Shaw
states to have used manganese and pulverised galena in his processes.
The name Thomas Sans also occurs on an example.
* * * * *
_Turnor._--Turnor is a name so long and so intimately connected with
potting and Staffordshire, that it is fair to presume Ralph Turnor,
whose name ^{RALPH TURNOR}_{1681} occurs on a tyg of the same general
character as Toft’s dishes, belongs to that county.
* * * * *
_Shawe._--Ralph Shawe, of Burslem, “earth potter,” in 1733 took out a
patent for improvements in earthenware (see Vol. I. p. 110). In 1736
he commenced an action for infringement of his patent right, against
John Mitchell, an extensive potter of the same town, but was defeated
(p. 111). He removed with his family into France, where he carried on
his trade, but his family, about 1750, returned to Burslem. About 1710
Aaron Shaw was a maker of stone and dipped wares in Burslem, with a
house adjoining his works; and Moses Shaw (surely two brothers, Aaron
and Moses!) made stone and freckled goods at the same place, with a
house in the middle of the town.
* * * * *
_John Mitchell._--In 1736, this potter having succeeded in producing
ware very similar to that of Ralph Shawe, an action was commenced
against him by Shawe for infringing his patent. This was tried at
Stafford, but the defendant, being fully supported by his pottery
neighbours, gained the verdict, the judge concluding with the
memorable words, “Go home, potters, and make whatever kind of pots
you like.” Aaron Wood was at one time employed by Mitchell, whose
principal productions were white stoneware and salt-glazed ware. In
1743 an agreement was entered into between Aaron Wood, of Burslem,
“earth-potter,” and John Mitchell, of the same town, “earth potter,” by
which the former bound himself to the latter for seven years at 7_s._
a week, and 10_s._ 6_d._ on each 11th November.
* * * * *
_Cartwright._--The name CARTWRIGHT is stated by Shaw to occur on some
butter-pots, along with the date 1640. This maker, Cartwright, at
his death, in 1658, gave twenty pounds yearly to the poor of Burslem
for ever. Burslem, which, as I have already shown, was famed for its
butter-pots (in 1670 these were ordered to be made to contain not less
than 14 lbs., and to be of hard quality), was to some extent known as
the “butter-pot manufactory.”
* * * * *
_Rich._--Shaw (1829) describes a crouch-ware dish, bearing the name W.
RICH, 1702.
* * * * *
_Wood._--Ralph Wood, of Burslem, was a potter in the first half of last
century. He was probably brother of Aaron Wood, and son of Ralph Wood,
miller, of Burslem. Specimens of his ware, which is of the same general
character as Whieldon’s, bear the mark ^{Ra. Wood}_{Burslem} and others
R. WOOD, or “Ra. Wood.” Aaron Wood, son of “Ralph Wood, of Burslem,
in the county of Stafford, miller,” was apprenticed in 1731, to “Dr.
Thomas Wedgwood, of Burslem, potter;” the indentures being dated the
23rd August in that year.[46]
When out of his time Wood continued with the same master, Dr. Wedgwood,
for five years, at five shillings per week. Afterwards he worked
principally at making moulds for the then very fashionable embossed
ware, erroneously known as “Elizabethan ware” (at which he was
remarkably clever), for Thomas Whieldon and others. He next engaged,
as already stated, in 1743, with John Mitchell, of Burslem, a rival of
Dr. Thos. Wedgwood, to work solely for him for seven years, at seven
shillings a week, and half-a-guinea every 11th November. About 1750
he began business for himself in making salt-glazed white stoneware
or crouch-ware. Dying about 1780, he was succeeded by his youngest
son Enoch Wood, “the Father of Pottery” as he is sometimes called.
Enoch Wood was a good practical potter, and a modeller of no little
skill for the period. In 1781 he produced a bust of John Wesley (who
used to stay at his house when in the Potteries, and sat to him for
the purpose) which became very popular. He was at one time joined
in partnership by Mr. James Caldwell, under the style of “Wood and
Caldwell” (which see). In the early part of this century Mr. Wood
formed, at considerable labour, a collection of pottery, which, after
his death, was dispersed; some of his specimens are in the Museum of
Practical Geology, and others in the Dresden Museum. The firm in 1792
was carried on as “Enoch Wood & Co.,” and later on, after he took his
son into partnership, “Enoch Wood & Sons.” The marks, so far as I am
aware, used by Enoch Wood are E. WOOD, or ENOCH WOOD, or ENOCH WOOD &
CO., and later on, ENOCH WOOD & SONS impressed in the body of the ware.
The firm was succeeded by Messrs. Pinder, Bourne, and Hope.
[Illustration: Figs. 363 to 365.]
* * * * *
_Wood and Caldwell._--This firm (Enoch Wood and James Caldwell)
produced earthenware of very superior character, both in ordinary
articles and services of various kinds. Some of their tea-pots were of
admirable design and excellent workmanship. Busts and small statuettes
were also extensively made, as were highly ornamented candlesticks.
Good examples are found in the Jermyn Street Museum. The usual marks,
impressed, are
WOOD & CALDWELL or WOOD & CALDWELL.
BURSLEM
_Staffordshire_
Mr. Caldwell, who, I believe, was a “sleeping-partner,” was one of the
executors under the will of Josiah Wedgwood. He married a daughter of
Thomas Stamford (half brother to Mary Stamford, wife of Thomas Bentley,
the partner of Wedgwood), and by her was father of the late gifted and
popular authoress of “Emilia Wyndham,” &c., Mrs. Marsh-Caldwell, of
Linley Wood.
* * * * *
[Illustration: Fig. 366.--The Churchyard Works, Burslem.]
_The Churchyard Works._--The Churchyard Works, at the house adjoining
which Josiah Wedgwood was born, and where he was apprenticed to his
brother Thomas, form the north-east boundary of the “churchyard” of
the old church at Burslem. Since that time they have naturally been
much altered and enlarged, but the site is the same, and some of the
buildings now there are what stood and were used in his day. The house
in which he was born, taken down many years ago, stood near where
the present slip-house stands, but its site has since been occupied
by fresh buildings. New hovels and other buildings have, of late
years, been added to the establishment, which is now a very complete
and commodious manufactory. These works, for several generations,
belonged to the Wedgwoods, and are described in 1698 as belonging to
Thomas Wedgwood, “of the Churchyard House,” to whom they appear to
have passed on his father’s death, who was also a potter. His son
Thomas, eldest brother of Josiah, inherited this property on his
father’s death in 1739, and three years later, on his marriage with
Isabel Beech, by marriage settlement dated 12th of October, 1742 (in
which he is described as Thomas Wedgwood, of the Over House, Burslem,
Potter), “the messuage, with the appurtenances situate and adjoining
the churchyard, Burslem, and all outhouses, _work_ houses, &c., then
in the occupation of the said Thomas Wedgwood, or his under tenants,”
were settled upon the children of this marriage. On the death of Thomas
Wedgwood, in 1772, this and other property descended to his son Thomas,
of the Over House, subject to portions to his younger children, under
the settlement of 1742. The works were for some time carried on, along
with the “Bell Works” and “Ivy House Works,” by Josiah Wedgwood. On his
removal to Etruria, they were occupied by his second cousin, Joseph
Wedgwood (brother of Aaron, and nephew of the Aaron Wedgwood who was
partner with William Littler in the first manufacture of porcelain in
the district), who lived at the house now the Mitre Hotel, near the
works. This Joseph Wedgwood, who made jasper and other fine bodies
under the direction of and for Josiah, occupied the works until the
time of their sale to Mr. Green, when he removed to Basford Bank.
About 1780 “the Churchyard premises were sold to Josiah Wedgwood,
then of Etruria, who in 1787 conveyed them to his brother John, also
of Etruria, who in 1795 sold them to Thomas Green, at which time two
newly-erected houses near the potwork were included in the sale.”
Mr. Green manufactured earthenware at these works, and for some time
resided at the house near the works, now known as the Mitre Hotel,
which had been built by one of the Wedgwood family. The property
remained in Thomas Green’s hands until his bankruptcy in 1811, when it
appears to have been purchased by a manufacturer named Joynson, from
whom it passed, some years later on, to Mr. Mosely. While in his hands,
the potwork was held by various tenants, and until about 1858 was
let off in small holdings to different potters. About that period Mr.
Bridgwood, of Tunstall, became the tenant of the premises as a general
earthenware manufacturer, and was soon afterwards joined in partnership
by Mr. Edward Clarke, whose large practical experience tended much
to increase the reputation of the works. This firm, having taken a
lease of the premises, remodelled many of the buildings, and erected
others, and greatly improved the whole place by bringing to bear many
improvements in body unknown and unthought of by their predecessors.
After Mr. Bridgwood’s decease, which took place in 1864, these works,
and the large establishment at Tunstall, were carried on by the
surviving partner, Mr. Clarke, until after a time he ceased working
them, when they passed into other hands as his tenants. The manufactory
was afterwards again carried on by Mr. Clarke in partnership with Mr.
Josiah Wood (a descendant of Aaron Wood), who is referred to under the
head of Poole, Stanway, and Wood, under the style of Wood and Clarke.
The productions of the Churchyard Works, while carried on by Mr.
Clarke, were opaque porcelain of the finest and hardest quality (known
as “white granite”), for the American market, and ordinary earthenware
of the finest quality in the usual services; many of the services,
&c., being embossed in excellently designed patterns, and others
artistically painted and gilt. One of the notable features was artists’
goods (palettes, tiles, slabs, saucers, &c.), and door furniture, both
black, white, and highly gilt and decorated. The impressed mark was
“Bridgwood and Clarke,” and the printed mark a royal arms, with the
words “Porcelain Opaque, B & C, Burslem.”
In 1874, Mr. W. E. Withinshaw entered upon the Churchyard Works, and
since then has greatly improved them, and raised their productions
to a high order of merit. His productions consist of dinner, tea,
toilet, and other services; vases, jugs, tea-pots, kettles, and jug
stands; trinket and fancy articles; candlesticks, and all the usual
varieties of useful and ornamental goods, both plain, printed, painted,
enamelled, and gilt. In toilet designs Mr. Withinshaw is particularly
successful, many of the designs being novel in character, striking
in conception, and beautiful in point of manipulative decoration.
Notably among these is a service in which the head of the elephant is
utilised in a very pleasing manner to form the handle of the ewer; the
head itself forming the top of the handle, and the trunk the part for
grasping. This is, in some of the services, produced in mass gold,
with a rich and striking, but at the same time simple and elegant,
effect. Other designs of this firm are of equal excellence. In vases,
Mr. Withinshaw produces some admirable designs, the outlines of which
are faultless, and the decoration well and judiciously managed. The
quality of the ware is far above the average, and gives the productions
a high standing among those of the locality. In jet ware, all the usual
articles--tea-pots, kettles, jugs, spill cases, &c.--are made, and in
endless variety of style; all being equally good in body, in glaze, and
in decoration.
Another speciality of these works is now, as in former days, door
furniture. The plates are remarkable for their evenness and flatness of
surface, and for the taste displayed in the patterns which adorn them;
they are made both in white and in black, and of every possible style
of decoration. Umbrella, walking-stick, kettle, machine, and every
other kind of handles, as well as other china articles used by cabinet
brassfitters, are made.
The mark, impressed in the body of the ware, is W. E. WITHINSHAW. On
the dinner ware the name of the pattern is given on printed marks, with
the initials W. E. W.
* * * * *
_The Bell Works._--The Bell Works, of which, as they appeared in 1865,
I give an engraving, Fig. 367, was, at the time when the great Josiah
Wedgwood entered on its occupancy, the property of Mr. John Bourne,
an army contractor, in the neighbouring town of Newcastle. From him
the property, about the year 1771, passed to his grandson, Mr. John
Adams, of Cobridge, and in 1847 the estate again passed by will into
the hands of the late Mr. Isaac Hitchen, of Alsager. The pot-works were
occupied by Josiah Wedgwood, as tenant to Mr. John Bourne, until his
removal to Etruria. The next tenant was, I believe, Mr. William Bourne,
an earthenware manufacturer, who held them for some years, and was
tenant in 1809. Mr. Bourne afterwards entered into partnership with a
potter named Cormie, and the works were carried on under the style of
“Bourne and Cormie.” In 1836, the works having then remained for some
time unoccupied, were divided, a portion being taken by Messrs. Beech
and Jones as an earthenware manufactory, another portion taken away
for the building of the present Independent Chapel, which was erected
on its site in the following year; and other parts were let off to
various holders for different purposes apart from the pot trade. In
1839, the partnership between Messrs. Beech and Jones was dissolved,
the former gentleman alone continuing to occupy the same portion of the
premises, in which he produced china and earthenware figures. In 1846
Mr. Beech, having increased his business, became tenant of the whole
of the remaining premises, with the exception of that part occupied by
Mr. Dean’s printing-office, &c., and in 1853 took into partnership Mr.
Brock, which firm, however, only lasted a couple of years. In 1855,
Mr. Brock went out of the concern, and from that date Mr. William
Beech carried on the manufactory until his death, which took place in
1864. It was next carried on by Messrs. Beech and Podmore; but in 1876
a part of the premises was purchased by the Board of Health for the
purpose of building a covered market on the site, and the remainder was
bought by Mr. George Beardmore of Rode Heath and taken down; thus these
historically interesting works have been brought to a close.
[Illustration: Fig. 367.--The Bell Works, Burslem.]
At these “Bell Works” Josiah Wedgwood turned his attention more
especially to the production of the fine and delicate descriptions of
earthenware which soon earned for him the proud distinction of “Queen’s
Potter.”
The Bell Works were situated at the corner of Brick House Street and
Queen Street, very near to the new Wedgwood Institution, but in the
time of Josiah Wedgwood, Brick House Street was not formed, but was
a part of the ground belonging to the manufactory, and was, indeed,
waste land, covered with “shard rucks,” and other unmistakable evidence
of the potter’s art. Queen Street then, too, was little better than a
lane, but was dignified with the name of _Queen_ Street, through
Wedgwood being there appointed _Queen’s_ potter, and there making
his celebrated _Queen’s_ ware.
* * * * *
_Red Lion Works._--These were carried on by Dr. Thomas Wedgwood, and
took their name from their contiguity to the Red Lion Inn.
* * * * *
_Big House._--The pottery adjoining this house, at the corner of
Wedgwood Street and the Market Place, passing down Swan Square,
belonged to Thomas and John Wedgwood; the works have long ceased to be
used, and are converted into builder’s premises.
* * * * *
_The Ivy House_ and works, so called from the fact of the house being
covered with ivy, was situated where the butchers’ shambles now stand,
the old buildings having been purchased by the market commissioners,
and taken down for the erection of the present market in 1835. These
premises belonged to Thomas and John Wedgwood, of the “Big House,” to
whom Josiah became tenant, covenanting by written agreement to pay
for the house and the potwork attached to it the yearly rent of ten
pounds. The “Ivy House” and works were situated nearly in the centre
of Burslem, at the corner of what was then known as _Shoe Lane_, or
_Shore Lane_, now called _Wedgwood Street_, which at that time was a
narrow way, only wide enough for a single cart to pass along, and as
rough and uneven as well could be. The visitor to Burslem who desires
to know exactly the site of this historically interesting house, should
stroll up to the fine modern-built shambles, or “butchery” as it is
sometimes called, and while he stands at the corner facing down Swan
Square, he may rest assured that he is standing on what was the little
enclosed garden in front of Wedgwood’s house; that the outer wall of
the building at his back goes diagonally across the house from corner
to corner, one half being under the shambles and the other where the
street now is; that the site of one of the kilns is just beneath the
centre of the shambles; and that another kiln was about the middle of
the present street at his back; the surrounding workshops being partly
where the street now is and partly where the building at present stands.
[Illustration: Fig. 368.--The Ivy House, Burslem.]
The “Ivy House” might originally have been roofed with thatch or mud,
like the other buildings of the district, but it was afterwards tiled,
as shown in the engraving. In front was a small garden enclosed with
a low wall, and a brick pathway led from the gate to the doorway. The
front faced the open space called the “Green Bank,” and adjoining was
a low, half-timbered, thickly-thatched building, afterwards known as
the “Turk’s Head,” and beyond this again was the maypole, on “Maypole
Bank,” on the site now occupied by the Town Hall. At the opposite side
of the house from the Turk’s Head was a gateway leading into the yard
of the works, which made up one side of Shoe Lane, the pot-works of
John and Thomas Wedgwood, with which they were connected, being on the
opposite side of the lane. These works and house have the reputation of
being the first roofed with tiles in the district--the usual roofing
being thatch, or oftener still, mud. At the Ivy House Josiah Wedgwood
carried on the manufacture of his ornamental goods, his more ordinary
ware, I believe, being produced at the Churchyard. At the Ivy House
works he produced many things far in advance of his day, and to the Ivy
House itself he brought home his bride, and there lived happily with
her for several years.
* * * * *
_Lakin and Poole._--Messrs. Lakin and Poole were in business in
Burslem, and doing a very extensive trade, at the latter end of the
last century. Their billhead in October, 1792, was simply “Burslem,
Staffordshire, Bought of Lakin & Poole,” and in the front of the
heading was a garter and star, surrounding a vase, on which was
“Manufacturers of Staffordshire Earthenware. Table Services Enamelled
or Painted with Arms, &c., &c.” On the garter “Burnished gold got up
as in London.”[47] In 1793 (July) a new billhead was used--“Burslem,
Staffordshire, Bought of Lakin and Poole. Blue Painted Table Services,
&c., and Coloured in all its various Branches.” At the front is a
standing figure of Commerce, with an anchor, against which is an oval
tablet with “Table Services Enamelled with Arms, Crests, Cyphers, &c.,
&c.,” to which the figure is pointing. In many of the billheads I have
seen the word “Painted” is altered to “Printed” with a pen, and the
word “Ware” is written between (over) “coloured” and “in.” This heading
was used till the early part of 1794.[48] In December, 1794, they used
a written billhead. On the 14th of February, 1795, it is announced in a
letter that “Mr. Thomas Shrigley[49] has joined us in our manufactory
of Earthenware, and that for the future the business will be carried
on under the firm of _Poole, Lakin and Shrigley_.” In May, 1795, the
billhead (written) is “Burslem, Bought of Lakin, Poole & Shrigley,”
the managing man being R. B. Swift. This firm continued until the end
of 1795, but in January, 1796, another change took place, the firm
now being simply “Poole and Shrigley”--Mr. Lakin either having died or
withdrawn. The billheads were still written. T. Kempe was managing man
in February, 1796. The last account I have is up to February, 1796.
During this period (1792 to 1796) the goods manufactured by them, as
appears in these invoices, are as follows:--cream-colour, blue-printed,
fawn-colour, black, stone, and other wares; “oval concave dishes of
various sizes, flatt plates, soups, twifflers, muffins, tureen compots,
sauce ditto, boats and stands, root dishes, cover dishes, sallads,
bakers, dessert services of various patterns, ewers and basins, cups
and saucers, bowls, cream-jugs, tea-pots, chocolates, flower-horns,
flower-pots, jugs, sugar-boxes, double-handled coffee cups, salad
dishes, sauce boats, gravy pots, candlesticks, baskets and stands,
black tea-pots, mugs, figures in great variety, mortars, cheese
toasters, raddish dishes, paste pots, tripe pots, Mocoa tumblers,
candlestick vases, bow pots, hand vases, French pies, English pies,
stone jugs with and without figures, fawn-coloured porter mugs, blue
printed dishes and other articles, egg-cups, custards and covers,”
&c. The products of this manufactory were of very superior character
both as regards the quality of the various bodies, and the modelling,
painting, and artistic decoration of the articles. The blackware, in
imitation of Wedgwood’s basalts, is remarkably good, and many of the
figures and services are of good character.
The mark of the firm was usually simply the words LAKIN & POOLE
impressed in the body of the ware. On one or two examples the name
LAKIN only occurs, and on others R. POOLE.
After the death of Mr. Lakin, presumably the potter named above, his
widow, in 1824, published a book of his recipes, of which the following
is a note:--
“Potting, Enamelling, and Glass Staining.--The valuable Receipts
of the late Mr. Thomas Lakin, with proper and necessary
directions for their preparation and use in the manufacture of
Porcelain Earthenware, and Iron Stone China, together with the
most recent and valuable improvements in the advanced art of
Glass Staining and Painting. Leeds: Printed for Mrs. Lakin, by
Edward Baines. 1824.” Such was its title.
The Preface, which is very explanatory, is as follows:--“The
progressive improvements in the manufacture of Porcelain and
Earthenware, during the last thirty years, have raised this art
to an eminence which it never reached before in the British
Empire; and, perhaps, in no department of art has scientific
research and experiment been so productive of wealth and fame
as in this, and it is no undue encomium on the industry of the
manufacturer to state, that the consumption at home and the
demands from abroad have kept pace with the improvements which
have increased both. The important station which this art holds
amongst our manufactures renders every attempt at improvement
worthy of consideration and attention. It has been said, the man
who causes one ear of corn to grow where one never grew before,
deserves the thanks of his country; but what does that man
merit who, by indefatigable industry, contributes materially
to the advancement of the interests of his country, in the
improvement of its manufactures? It was in this class that the
late MR. THOMAS LAKIN held a situation much above
mediocrity, for, in Staffordshire, it is well known that few men
have contributed more to the improvement of an art so useful and
so much admired. The following work is the result of upwards of
thirty years of labour, study, and repeated experiment, and no
pains have been spared in arranging the various Receipts in such
a chain of connection as to render them easy of comprehension
to an intelligent operator. The Subscribers may rest assured,
that the whole of the following Receipts may be individually
depended upon as genuine, each having been repeatedly tried in
the course of the author’s long experience. Mr. Lakin had also
extensive practice in the admired art of Staining and Painting
Glass; several windows of exquisite workmanship were executed by
him during the time he was engaged with John Davenport, Esq.,
for some of the first noblemen in the kingdom. The Receipts,
together with the method of using them, are therefore laid down
from actual experiment, and it is hoped will be found extremely
valuable. In presenting the following work to the subscribers,
Mrs. Lakin is anxious to express her gratitude for the liberal
encouragement she has met with, and for the highly gratifying
tribute they have paid to the abilities of her departed husband;
but to the kindness of those gentlemen who had before purchased
some of the Receipts at a price far beyond the whole charge of
this work, and yet have become subscribers, she feels herself
particularly indebted. Mrs. L. respectfully solicits of the
subscribers not to permit persons who are not purchasers to
copy any of the Receipts, as it might not only injure her as
proprietor of the copyright, but also other subscribers; on her
part she pledges herself not to publish the work, nor permit the
work to be published, at a lower price than that at which it is
now offered to the subscribers.” The work extends to 86 pages,
and contains 136 processes connected with potting, enamels, and
glass-staining. The receipts are evidently the compilation of a
greatly experienced and very intelligent potter.
[Illustration: Fig. 369.]
[Illustration: Fig. 370.]
* * * * *
_Waterloo Potteries._--These works were carried on in the latter part
of last century by Walter Daniel, who was succeeded by Messrs. Timothy
and John Lockett; the manufacture at that time being principally
salt-glazed ware. About 1809 the premises were purchased by Joseph
Machin and Jacob Baggaley, and carried on by them for the making
of china and ordinary earthenware. In 1831 Mr. Machin died and was
succeeded by his son Mr. William Machin and partners. The works next
passed into the hands of Mr. Richard Daniel, and next to Mr. Thomas
Edwards. In 1850 they were purchased by Messrs. T. and R. Boote, who
still occupy and work them.
[Illustration: Fig. 371.]
[Illustration: Figs. 372 to 374.]
In 1843 Messrs. Boote took out a patent for “Certain improvements
in pottery and mosaic work.” These consist in producing “coloured
designs on grounds of different colours, as black on white or white
on black. First, the designs are made from a mould, as in figuring,
and laid on the moulds for making the ware; the ground colour is then
put on. Second, the design, cut in paper, parchment, &c., is laid in
the moulds and the halves fastened together, the colour to form the
ground is poured in, after which the paper, &c., are removed and other
colour poured in to fill its place. Third, producing different coloured
raised surfaces. The figures in low relief in the inside of the moulds
are filled with a composition, the halves of the moulds fastened
together, and the slip poured in to form a thin coating, which was
then supplemented with an inner lining of a cheaper material to form a
substratum, thus producing mosaic and other elaborate designs. In this
process the excess of liquid is withdrawn when the necessary thickness
is attained.
[Illustration: Fig. 375.]
In 1857 Messrs Thomas Latham Boote and Richard Boote took out a patent
for “Improvements in the manufacture of ornamental pottery, and
articles made from clay and other like plastic materials.” “A thin
piece of metal or other suitable substance, which forms the outline of
the design, is fixed on the flattened clay intended to form the article
then being made. The hollow parts are then filled up with the coloured
clay or clays which are to form the design. The piece of metal is next
removed, and the flattened clay with the design upon it is put in the
mould to form the article. In some cases that part of the mould which
is to correspond to the groundwork of the article to be manufactured
is made to rise by springs or other means, suitable coloured clay is
put into the hollow parts of the mould thus formed, and the clay to
form the body is put in and the whole is pressed;” or the parts of the
mould corresponding to the ornaments may be raised and the ground part
filled in. We give three examples produced by one of those processes,
Figs. 369 to 371. The effect in many instances was very pleasing,
and gave the appearance of relief, without, however, the pattern
being at all raised. Parian was also formerly largely produced and of
considerable excellence, both in vases, jugs, figures, both single and
in groups, and other objects. One of the most effective groups is that
of “Repentance, Faith, and Resignation,” modelled by Mr. Gillard. (Fig.
375.)
[Illustration: Figs. 376 and 377.]
Among the Parian vases formerly produced at the Waterloo Works were
some the body of which was buff and the raised flowers in white; thus
producing a very pleasing and softened effect.
All these decorative classes of goods have been discontinued by Messrs.
Boote, who now confine themselves to the production of the ordinary
white graniteware for the American markets, and encaustic and other
glazed and unglazed pavement tiles. For these latter the firm are
patentees of a process for inlaying encaustic tiles with clay dust--a
process which is also adopted for the manufacture of dishes and other
articles in earthenware in what this firm called “Royal Patent
Ironstone,” and by which, by means of one press alone, as many as 100
dozen plates or small dishes, could be made in a day.
The encaustic and other tiles made by that firm consist of encaustic,
geometrical, and majolica tiles of great variety in pattern and of very
effective combinations of colours.
The marks used by Messrs. Boote are, on their white granite ware, the
impressed initials T & R B.; and the following, printed in
black, viz.--
[Illustration:
ROYAL PATENT
IRONSTONE
T & R BOOTE
Fig. 378.]
and another bearing the crest, a greyhound, couchant, collared and
slipped, between two laurel wreaths, and the words--
T & R BOOTE
ROYAL PREMIUM
IRONSTONE
and above the words TRADE MARK. On the tiles, the name in raised
letters, T & R BOOTE appears.
BURSELM
The Jurors’ Report of 1862 says: “The tiles exhibited by this firm are
deserving of high commendation; the designs are well selected; the
equality of surface evidences great efficiency. Messrs. T. and R. Boote
claim some originality in their process, to which this perfection is
not only attributable, but obtained at a much less cost.”
[Illustration: Fig. 379.]
* * * * *
_Washington Works._--The business now carried on at this manufactory
originated experimentally in King Street, Burslem, where the late Mr.
William S. Kennedy, about the year 1838, commenced the production of
palettes and other requisites for artists’ use. Shortly afterwards,
removing to a pottery in Bourne’s Bank, he there added to his business
the manufacture of door furniture, letters for signs, &c. With
perseverance, Mr. Kennedy combated the difficulties which these novel
articles presented; and while in conjunction with Mr. William Maddock,
who remained with the firm for thirty-five years, he was successful in
effecting great improvements in the various processes. About 1847, the
manufacture was removed to its present locality, and has from time to
time been enlarged. The marks W. S. KENNEDY and J. MACINTYRE have been
very rarely used.
In 1852 Mr. Kennedy was joined in partnership by his brother-in-law,
Mr. James Macintyre, who shortly afterwards became sole proprietor
of the works. In 1863, Mr. Macintyre patented methods of producing
oval, reeded, octagon, and other forms, by the lathe; and he was ever
alert to devise and apply improvements in mechanism, &c. He succeeded
in the production of a rich cream-coloured body, which, under the
name of “Ivory China,” has held a high reputation, and will always
be honourably associated with the “Washington” Works. In 1867 Mr.
Macintyre produced backs for hair-brushes, hand-mirrors, &c., which
were patented by Mr. J. J. Hicks, and in numerous other instances,
especially for France, the “body” has been used as an ivory substitute.
So far as can be ascertained, the successful application to door
furniture of the earlier invention of the beautiful black, which
is produced by dipping the brownish red _bisque_ in a rich cobalt
glaze, also originated at these works. This “jet,” produced in great
perfection, has been applied in plain, and also with richly gilt and
enamelled ornamentation, not only to door furniture, but more recently
to inkstands and similar goods. Mr. Macintyre, who was a man of public
spirit and great enterprise, was much beloved by his workpeople, and
the annual festive gatherings in which he, his family and friends, met
his employés, obtained a well-merited celebrity. He died in December,
1868, having a few years previously taken into partnership his
confidential manager, Mr. Thomas Hulme, and his son-in-law, Mr. William
Woodall. By these two gentlemen the business is still carried on under
the old title of “James Macintyre and Co.”
* * * * *
_Nile Street Works._--These works were built upon the site of an early
pottery; this is evidenced by numbers of early fragments of pitchers,
“porringers,” and other salt-glazed domestic vessels “of red and yellow
clay marbled together,” being found during alterations of the premises
in late years. Messrs. J. and R. Riley removed from here to the Hill
Works, and were, I believe, succeeded by Mr. James Cormie, uncle of
the late Mr. Thomas Pinder (who at one time was a partner in the firm
of Mellor, Venables, and Co.), and great-uncle of the present sole
proprietor of the works, Mr. Shadford Pinder, who trades under the
style of “Pinder, Bourne, and Co.” China was at one time made here, but
the productions have latterly been confined to printed, enamelled, and
gilt earthenware, in which all the usual services are made; stoneware
for telegraphic purposes; fine red ware for useful and ornamental
goods; jet ware in a variety of articles; and sanitary goods. These
they export largely both to the colonial and foreign markets. Messrs.
Pinder, Bourne, and Co.’s ornamental goods, notably their “red ware,”
or terra cotta, is of fine, hard, and durable quality, and much taste
is evinced in some of the designs of its decoration. The vases,
spill-cases, and other articles in this body, richly enamelled and gilt
in arabesque and other patterns, are remarkably good. The jet ware is
also of good quality. Among their specialities in this ware, and in
fine earthenware, are flower vases, and jardinières; some of the latter
being skilfully painted in birds, flowers, &c. Messrs. Pinder, Bourne,
and Co. have patented improvements in ovens and in steam printing
presses; but this latter, having excited the hostility of the workmen
at the time of the riots in 1842, was abandoned. The firm received
medals at the London and Paris Exhibitions of 1851, 1855, and 1867. The
marks used are a circular garter, bearing the name of the pattern and
the initials “P. B. & C^{o.}” surmounted by a crown and encompassed
with a wreath of laurel; and a triangular figure, with the words
“Pinder, Bourne & Co., Nile St., Burslem.”
[Illustration: Fig. 380.]
* * * * *
_Newport Pottery._--These works were established at the close of
last century by Mr. Walter Daniel, and about 1810 passed into the hands
of Mr. John Davenport. The manufacture was afterwards carried on by
Messrs. Cork and Edge, and is now continued by Messrs. Edge, Malkin,
& Co., a firm which, with various alterations in partnership, dates
back to the beginning of the present century. Messrs. Cork and Edge,
in their ordinary earthenware, introduced many years ago a process of
inlaying the patterns in the ground body, but of different colours.
These were intended for the cheapest markets, but were produced in
good taste. Three of these designs, two tea-pots and a ewer, shown
at the Great Exhibition of 1851, are engraved on Figs. 381 to 383.
The productions of the firm at the present time are dinner ware; jet,
enamelled, lustre, and other fancy goods; and all the ordinary wares
for the home and foreign markets.
[Illustration: Figs. 381 to 383.]
* * * * *
_Newport Works._--Established in 1866 by Malkin, Edge, & Co. for
the manufacture of encaustic and other tiles. The tiles are made from
dust (by the process of Messrs. Boulton and Worthington), by which
process the various colours are fixed in the tile, immediately and
without pressure, in the following manner. “On a level block of iron,
surrounded by an outer casing which is movable, is placed a sheet of
brass with the pattern cut out of the same, and into the different
spaces are put the various coloured clays, in dust, required. A raised
counterpart of the design is then gently pressed upon these dusts, and
the brass sheet, or plate, is removed. The outer casing before referred
to is then raised according to the thickness required, and the space is
filled up with dust to form the body of the tile. A screw, worked by a
wheel, is then lowered upon the outer casing and block, which forces
the out-casing back again to its former position around the level
block, as far as the dust will allow. The tile is then taken out of the
outer casing, and is completely finished, with the exception of being
fired. This screw pressure produces in a few moments a remarkably solid
substance.” Messrs. Malkin, Edge, & Co. produce an extensive variety
of patterns, both in encaustic, wall, and other tiles. The designs are
good and effective, and the colours rich, clear, and well defined.
[Illustration: Figs. 384 and 385.]
[Illustration: Figs. 386 and 387.]
* * * * *
_Dale Hall._--The extensive works at Dale Hall (or Dale Hole, as it
used to be written), founded in 1790, originally belonged to Mr Joseph
Stubbs, a very successful manufacturer, who, having retired from
business, died in 1836. He was succeeded by Messrs. Thomas, John, and
Joshua Mayer, who afterwards traded “as Mayer Brothers and Elliot,”
and from them, successively through the firms of “Liddle, Elliot, &
Co.,” and “Bates, Elliot & Co.,” to the present owners and occupiers,
Messrs. Bates, Walker, and Co.; Mr. Elliot having retired, and Mr.
Walker, stepson to Mr. Bates, being taken into partnership. By the
earlier firms, ordinary earthenware was produced, but under Messrs.
Mayer, who came from Stoke to Dale Hall,[50] rapid strides were made
in art manufactures, and many important improvements effected. They
were exceedingly clever potters, especially Mr. Jos. Mayer, who
died prematurely through excessive study and application to his art.
They introduced many important improvements in the manufacture and
decoration, especially in the beautiful polychromatic bisque printing
which is continued by their successors and other firms. Besides
ordinary earthenware, this firm produced stoneware of a highly vitreous
quality; Parian of an improved body; a fine caneware, in which some
remarkably good jugs (notably the “oak” pattern) were made; and other
wares. In the stoneware, besides many well-modelled jugs and other
articles, they made tea-urns, which they were the first to introduce,
of excellent design and admirable finish. Two of these, made in 1851
(Figs. 384 and 385) I here engrave. The peculiar body of the stoneware
of which they were made was capable of withstanding the variations of
temperature to which vessels of this kind, usually formed of metal,
are liable. These were not made to any extent by Messrs. Mayer, but
are now being reproduced by Messrs. Bates, Walker, & Co. with great
success; they are highly ornate in appearance, and will doubtless come
much into use. Messrs. Mayer also produced some admirable designs
in vases, decorated with a profusion of exquisitely modelled raised
flowers. Two of these are shown on Figs. 386 and 387, and a jug in the
following figure. The dinner plates, dishes, &c., of Messrs. Mayer,
were characterized by an excellent “fit” in nesting, by lightness of
body, and by neatness of finish in decoration. In 1851 they received a
medal for their exhibits, and again in the New York Exhibition of 1853
and the Paris Exhibition of 1855 medals were awarded.
[Illustration: Fig. 388.]
The present firm of Bates, Walker, & Co., produce perhaps a larger
variety of manufactured articles than any other one house in the trade.
In earthenware, dinner, tea, toilet, and other services, and every
variety of article of use and of ornament, are made; and the other
wares are ironstone, opaque porcelain, jet, stone, &c. In tableware,
whether in dinner, breakfast, or tea-services, every variety of
style, from the plain white, ordinary printed, and flown, to the most
elaborately enamelled, painted, and gilt patterns made The jugs, too,
are a speciality; of these there are an immense variety of excellent
shapes, and of strikingly beautiful decoration. The same remark will
apply to the toilet services, which are, as a rule, characterized
by good form and artistic decoration; of these, the “Mistletoe”
pattern is one of the most simply elegant yet produced. Among other
articles in earthenware, the richly ornamented spirit barrels form a
distinct feature. In stoneware, of which I have spoken, well designed
and sharply executed pressed patterns, in jugs, tea-pots, and other
articles, are made in great variety.
[Illustration: Figs. 389 and 390.]
In terra cotta, Messrs. Bates, Walker, and Co. produce statuary groups,
figures, and busts of remarkably good design and of artistic finish.
The body is of a somewhat similar character to that of the Watcombe
ware, but the process is different. The Watcombe “is fired in the
enamel kiln or in an oven not subjected to greater heat, while this
is fired in the biscuit oven; the one is so soft that it may be cut
with a knife, while the other is quite vitreous and hard.” In this
material--a clay found near the works--the firm produce a large variety
of subjects, and a selection of these formed a notable feature in
the Philadelphia Exhibition of 1876. Among the subjects are “Peace”
and “War,” and “Time unveiling Truth,” by Grispie; “The Fighting
Gladiator,” “The Bath,” “The Young Apollo,” and other subjects from the
antique; “Flora,” “Pomona,” “Washington,” and other pieces by Beattie;
Flaxman’s “Wine” and “Water” vases; the “Crowning of Esther,” “The
Lorelei Syren,” “The Seasons,” “The Elements,” &c.
[Illustration: Figs. 391 to 397.]
Another speciality of the firm is what they have named their “Turner
Jasper Ware.” This consists of a terra-cotta body, with a slip of
various colours--green, blue, chocolate, buff, &c.--decorated with
bas-reliefs, many of which are Flaxman’s designs, as used by Turner at
his famous works of last century. Of a large number of these old Turner
moulds, Messrs. Bates, Walker, and Co. are the fortunate possessors,
and they are reproducing them in a variety of ways and with good
effect, although their body wants the fineness, hardness, and compact
character of the old Turner ware.
[Illustration: Figs. 398 and 399.]
[Illustration: Figs. 400 to 403.]
Among other goods produced by Dale Hall are artists’ palettes, slabs,
tiles, mullers, &c.; photographic articles (trays, baths, troughs,
stands, funnels, and every other requisite); chemical and druggists’
goods (mortars and pestles, leech-jars, covered jars, evaporating pans,
inhalers, pill tiles, and every other article); scent bottles and
vases; toilet and other boxes; sign-board letters; door furniture;
ironmongers’ fittings; and fancy articles of various kinds. Garden
and ornamental flower-pots, garden-seats, suspenders, fern and other
stands, &c., are also made. In sanitary ware, Messrs. Bates, Walker, &
Co. rank very high, and produce every known article and of faultless
excellence in quality. They are patentees of an improved “wedge commode
pan,” the principle of which is shown in Fig. 398; its advantage in
the sick chamber or travelling carriage being very apparent. Another
and very important patent taken out by the firm, is for self-locking
and self-adjusting covers for jugs, tea-pots, &c. The principle,
which is one of the most simple, but at the same time most successful
yet adopted for preventing the falling off of the lid in the act of
pouring, is shown in Figs. 400 to 403. One of the great specialities
of the firm is the process by which printing in two to five colours is
successfully transferred on to the ware while in biscuit state, and is,
therefore, under the glaze. By this process, the invention of Messrs.
Mayer Brothers, vases, dinner and other services, and other articles,
are decorated in thoroughly good taste; and, through there being no
touching whatever by the pencil, as the entire pattern is transferred
at one operation from the coloured print, they are produced at a
comparatively moderate cost. The effect is soft and delicate, and is
capable of considerable development.
[Illustration: Fig. 404.]
[Illustration: Fig. 405.]
The marks of Messrs. Mayer were T. J & J MAYER; MAYER BROS, &c. Those
of the present firm are BATES, WALKER & CO. PATENTEES, on an oval
ribbon, with date, &c., of registration inside; and a nude figure
kneeling and holding an ewer in front of him, on a tablet with the date
1790. This is introduced in a variety of ways, with the initials B. W.
& CO., and the name of the pattern, &c. The markets supplied are both
home and foreign.
* * * * *
_Dale Hall Pottery._--The extensive works of Messrs. James Edwards
and Son are the oldest existing works in Dale Hall. They belonged to
Messrs. John and George Rogers (brothers) till 1815, when the latter
died, and Mr. Spencer Rogers having joined his father, the business was
carried on under the style of John Rogers and Son. In 1816 Mr. John
Rogers died, leaving £1,000 to the North Staffordshire Infirmary, and
other charitable bequests. He had erected a handsome residence, “The
Watlands,” near Wolstanton. The firm continued as John Rogers and Son
until 1842, when the manufactory was purchased by the late Mr. James
Edwards, formerly of the firm of James and Thomas Edwards of the
Kiln-Croft Works. Messrs. Rogers produced tableware of a higher and
better quality than most of their contemporaries, and were especially
famed for their light blue “Broseley” or “Willow” pattern services. The
mark used by them appears to have been simply the name ROGERS
impressed in or printed on the ware; sometimes with the addition of the
sign of Mars or Iron
[Illustration: ♂
ROGERS]
Mr. James Edwards was entirely a self-made man, and was one of those
bright examples of indomitable perseverance, unflinching rectitude,
steadiness of purpose, and genuine benevolence, which crop up every now
and then among our most successful manufacturers. Commencing simply
as a thrower at Messrs. Rogers, he became a manager at Philips’s of
Longport, and at John Alcock’s of Cobridge, then commenced business
in partnership with John Maddock, and afterwards, in partnership with
his brother Thomas Edwards, carried on business in Sylvester Square,
Burslem, and next in partnership with Mr. John Maddock, in the same
town. In 1842 he purchased the manufactory of Messrs. Rogers and Son,
where he commenced entirely on his own account. By him the manufactory
was considerably enlarged and extended; a flint-mill erected; new
machinery of the most approved construction (including steam jiggers,
lathes, jollies, throwing-wheels, and Needham and Kite’s patent
pressing machines for preparing clay by filtration) put up, patent
stoves and pug-mills erected, and the whole place so increased as to be
enabled to produce fully six times the amount of ware it was capable of
doing when he first entered upon it.
By these improvements much of the heavy drudgery of labour both to
children and adults was saved. In these works, too, the whole of the
rooms containing the machinery are heated by steam, and kept at one
uniform temperature. To Mr. Edwards the white graniteware, which has
now become so important a feature in the Pottery district, mainly owes
its excellence; that made by him being considered to be all that could
be desired by our transatlantic brethren, and to be the standard of
perfection to which the aims of other houses were directed. In 1851
a medal was awarded to Mr. Edwards, and an additional certificate of
merit, for beauty of form and excellence of goods exhibited. At the
New York Exhibition they also received honourable mention, and in
1865 a prize medal was awarded for electrical, chemical, galvanic, and
photographic apparatus in both ironstone and earthenware. Mr. Edwards,
who had taken his son Mr. Richard Edwards into partnership, retired
from the concern in 1861, and died, full of honours, as a magistrate
and otherwise, in January, 1867,--one of his last acts of thoughtful
benevolence being that of (only a few days before his death) sending
to a number of his old workpeople at the manufactory cheques varying
in amount from £20 to £100 each, according to each one’s length of
service. The works are now carried on by Mr. Richard Edwards under the
style of “James Edwards and Son.”
The productions consist of white graniteware for the American and
steamship trade; ordinary earthenware for the home trade, in which
all the usual services, &c., are made; Indian ironstone goods; and
electrical, chemical, galvanic, and photographic appliances. These are
all of the highest quality, and are much in repute. In “stone china,”
which is of good firm semi-transparent quality, many excellent patterns
are made. Among these are the “bishop,” “barley,” “mediæval,” “rope,”
“tulip,” “scroll,” and others.
The marks used by the firm, June, 1842, are as follows. The royal arms
above the name
STONE CHINA
JAMES EDWARDS & SON
DALE HALL
The same, with the addition, beneath, of the trade mark, a dolphin
entwined round an anchor. The initials _J E & S_ in writing letters,
surrounded by a circular garter bearing the words IRONSTONE CHINA.
The name J EDWARDS & SON surrounded by an oval garter bearing
DALE HALL
the words IRONSTONE CHINA. And Dalehall surrounded by a similar
oval garter bearing the name JAMES EDWARDS & SON. An impressed
mark of EDWARDS is also used.
D H
* * * * *
_Dale Hall Brick and Tile Company._--These works belong to the
Brownhills Pottery Company (see page 288, _pcst._) and produce all the
usual classes of plain and ornamental goods.
* * * * *
_Dale Hall Tile Works._--These Tile Works are carried on by Mr. James
P. Basford, whose grandfather, above half a century ago, worked the
same field of clay. His productions are all the usual classes of plain
and ornamental tiles, bricks, &c.
* * * * *
_Albert Street Works._--These works were established by Mr. John
Hawthorne in 1854, who continued them until 1869, when they were taken
by Messrs. Wiltshaw, Wood, & Co., and are now carried on by William
Wood & Co.; they were among the earliest in this branch of trade. The
goods made are door plates, lock furniture, &c., both in white, black,
gilt, and painted; drawer, shutter, and other knobs in oak, white,
black, &c.; bedstead vases; caster bowls; umbrella, walking-stick,
sewing-machine, closet, and other handles; inkstands, bottles, and
wells; highly decorated jam-pots and biscuit-jars for the table;
match-pots; teapot and urn stands of various degrees of decoration,
painted, gilt, and enamelled; and every description of china used
by brass-founders, tin-plate workers, japanners, &c. Most of these
articles are of good quality in body, and excellent glaze and finish,
and the colours--white, black, ivory, oak, brown, turquoise, green, and
blue--in which they are produced are clear and effective. The only mark
used is W W & CO.
* * * * *
_Mersey Pottery._--Established in 1850 by its present owner, Mr.
Anthony Shaw. Goods specially adapted for the various American markets
are made: the specialities being white graniteware and cream-coloured
wares for the United States; the same with the addition of printed,
lustred, and painted goods for South America, and printed for the
colonies. In 1855 Mr. Shaw was awarded a medal at the Paris Exhibition.
The mark used is the royal arms, with ribbon bearing the words STONE
CHINA, and beneath,
WARRANTED
ANTHONY SHAW
BURSLEM
The works were rebuilt on a very extensive scale in 1866, and are
looked upon as a model manufactory, in which are brought to bear all
the latest improvements in the art of pottery.
* * * * *
_Steel._--A manufacturer named Moses Steel had a potwork in Burslem in
1715, and made the ordinary clouded ware of the period. Another potter
of the same name, probably his descendant, carried on business in the
latter part of the same century; he produced a fine earthenware and an
imitation jasperware. The works are still standing by Queen Street, and
are known as “Bournes Bank.”
* * * * *
_John Maddock and Son_ manufacture white graniteware for the American
markets to a large extent.
* * * * *
_New Wharf Pottery_--(Hollinshed and Kirkham, late J. Daniel
& Co.)--Printed ware of the kinds required for the home, Russian,
Italian, and French markets, and all the usual kinds of painted and
Paris white wares suitable for the African, Australian, and American
trades.
* * * * *
_The Overhouse Works_--Wedgwood Place.--The old works, now, alas!
taken down, were possessed of no ordinary degree of interest, from the
fact of the “Overhouse,” the residence which closely adjoins them,
having been the property and residence of Thomas Wedgwood, the eldest
brother of Josiah Wedgwood (to whom Josiah was bound apprentice),
and having been in the possession of the Wedgwood family for some
generations. The old works were situated at the back and side of
the “Overhouse,” with entrance in Wedgwood Place, where that street
joins Scotia Road. A doorway, over which was a tablet, now no longer
in existence, connected the works with the house. This historically
interesting but now lost relic is represented by Fig. 407.
The Overhouse works were occupied, early in the present century by
Messrs. Goodfellow and Bathwell, who were succeeded in turn by Mr.
Edward Challinor in 1819, and later by Mr. Pointon. In 1856 they passed
to Messrs. Morgan, Williams, & Co., and afterwards to Morgan, Wood, &
Co., from whom, in 1861, they passed into the hands of Messrs. Allman,
Broughton, & Co., and next to Messrs. Robinson, Kirkham, & Co.
In 1869 the old works were entirely taken down and a new and extensive
manufactory erected with all the latest improvements of machinery
and appliances; the jiggers all being driven by steam power, and the
drying stoves heated by exhaust steam. The rebuilding is commemorated
in ornamental scroll stonework over the entrance: “Edward Challinor
commenced business here A.D. 1819, and rebuilt the premises
A.D. 1869.” The new manufactory was opened in 1870 by Mr.
Ralph Hammersley, who removed here from the Church Bank Pottery at
Tunstall, and who had previously been engaged for twenty years or more
with Mr. Challinor.
The goods produced are the ordinary description of earthenware in
services of various kinds and in the usual classes of useful articles,
which, besides a good home trade, are shipped in large quantities to
the United States, Canada, and Sweden. Stoneware jugs are also produced.
[Illustration: Fig. 407.]
* * * * *
_Swan Bank Pottery._--These works have passed successively through
the hands of Thomas Edwards; Messrs. Pinder, Bourne, & Co.; Messrs.
Beech and Hancock (now of Tunstall); and Messrs. Hancock, Whittingham,
and Hancock (now of Stoke). In 1873 they came into the hands of the
present proprietors, Messrs. Tundley, Rhodes, and Procter. The goods
produced are, and have been, printed, enamelled, and gilt earthenware,
of the useful classes in all the usual services, &c., for the home,
Russian, and South American markets.
[Illustration: Figs. 408 and 409.]
_The Hill Top Pottery, or Hill Pottery._--These works, formerly
belonging to Ralph Wood were for many years carried on by Messrs.
Samuel Alcock & Co., by whom they were in 1839 rebuilt and enlarged;
their rearranged manufactory comprising the works of Mr. Riley
(formerly John Taylors), John Robinson and Sons, and William Taylors,
which were all taken down for the purpose. The productions of Messrs.
Samuel Alcock & Co. were, both in china and the finer descriptions of
earthenware, of the highest quality, both in body and in decoration.
One of their specialities was their semi-porcelain, which was of fine
and durable quality. The marks,
ALCOCK AND CO.,
HILL POTTERY,
BURSLEM,
or S. ALCOCK & CO., either printed along with the name of the pattern
or some device, or impressed in the ware. In 1860 the works and general
estate were purchased by Sir James Duke and Nephews, and continued by
them till 1865, when they sold the estate to Mr. Thomas Ford, who,
in the ensuing year, 1866, sold it to the Earthenware and Porcelain
Company, by whom (under the management of Mr. R. Daniel, once a noted
china manufacturer at Stoke, Hanley, and Burslem) it was carried on
under the style of the “Hill Pottery Company, Limited, late S. Alcock &
Co.”
[Illustration: Figs. 410 to 414.]
The productions of Sir James Duke and Nephews (Messrs. J. and C. Hill)
were of a high order of excellence, in ordinary earthenware services,
ranging from plain white and cream-coloured to the most superb styles
of decoration; in china, which was of remarkably good quality; and
in Etruscan wares. In the latter, some of the best forms of ancient
Etruscan vases were cleverly reproduced, and the decoration, both in
spirit and in style, artistically rendered. Some of the productions of
this firm, who received well-merited distinctions at the Exhibition of
1862, are shown by Figs. 408 to 428.
[Illustration: Figs. 415 to 417.]
The operations of the “Hill Pottery Company” were of short duration,
for in the next year, 1867, it was put in liquidation and sold up, when
the property again came into the hands of Mr. Ford. In the same year
the works were divided, the china department being taken by Messrs.
Alcock and Diggory, and the earthenware part by “Messrs. Burgess &
Leigh (late S. Alcock & Co.),” by whom it is still carried on under the
style of “Burgess, Leigh, & Co.”
[Illustration: Figs. 418 to 423.]
[Illustration: Figs. 424 to 428.]
Messrs. Burgess, Leigh, & Co. manufacture largely the commoner
and ordinary, as well as the higher and more artistic classes of
earthenware goods, both for the home and foreign markets, and their
productions rank high in point of excellence of body, manipulative
skill, and good taste displayed in decoration. The firm produce all
the usual services, and useful as well as many highly ornamental
articles. The mark used by the firm is a beehive on a stand, with bees,
with a rose-bush on either side, and a ribbon bearing the name of the
pattern (“Kensington,” for instance,) beneath, and under this the
initials of the firm, “B. L. & CO.” Many of these patterns are
registered.
* * * * *
_The Hill Pottery China Works_, on the division of the manufactory
as already stated, in 1867, were carried on by Messrs. Alcock, Diggory,
& Co. In 1870, the firm was altered into that of Bodley and Diggory,
but in the following year, Mr. Diggory having retired, the manufactory
was continued by Mr. Edward F. Bodley. In 1874, the style was again
changed to Bodley and Son, and in 1875 to that by which it is at
present carried on, viz., Edwin J. D. Bodley. The productions formerly
embraced china, earthenware, and Parian, but are now entirely confined
to china. A speciality of Mr. Bodley’s productions is that of pans
and vases for chandeliers and lamps. These are made of various forms,
and more or less highly decorated; they form an important branch of
manufacture. Services of all the usual kinds, more or less elaborately
decorated, are also made. The markets supplied are the home and the
South Australian, New Zealand, and Colonial.
The mark used by Messrs. S. Alcock and Co. at these works was a
beehive; and that of Sir James Duke and Nephews the dexter hand
denoting a baronet.
* * * * *
_Crown Works._--Established about 1867 by Messrs. Lea, Smith, and
Boulton, these works were next occupied by Mr. W. E. Withinshawe (see
“Churchyard Works,” page 244, vol. ii.), and then by the present
proprietors, Messrs. Gaskell, Son, and Co. The productions have always
been china door furniture and similar goods (and these are now made
of remarkably good quality, and in many cases of artistic design, by
the present firm), finger-plates, knobs, scutcheons for doors, roses,
caster bowls, and other fittings; scale plates and weights; stands
and bases for lamps; an infinite variety of articles for fittings of
many kinds--white, coloured, black, enamelled, gilt, &c., &c.; while
the imitations of marbles, malachites, and other stones are remarkably
clever and good. Another speciality of these works is umbrella,
parasol, and walking-stick knobs, many of which, whether in imitation
ivory or in dead black, evince great taste in design and skill in
execution. Messrs. Gaskell and Son have taken out patents for the
manufacture of caster bowls on an improved method, and another for
improvement in turning.
* * * * *
_Scotia Works._--This manufactory was originally the parish workhouse
of Burslem, and was calculated to accommodate three hundred inmates. On
the establishment of unions, under the Poor-Law Act, when the new union
workhouse was erected, this building was occupied as barracks, and so
continued for some years. It was then converted into a manufactory by
Mr. James Vernon in 1857, and he, in 1862, was succeeded by the present
firm of “Edward F. Bodley & Co.” At these works the usual descriptions
of earthenware, printed, enamelled, and gilt, and “ironstone china,”
for steamship and hotel use, are made. The bodies and glazes, which
have been considerably improved by the manager, Mr. Edward Beardmore,
of Rode Heath, are, through his attention and skill, of a very high
quality. The mark is the Staffordshire knot, with the words SCOTIA
WORKS.
* * * * *
_Queen Street Works._--Messrs. Tinsley and Bourne entered on these
works in 1874. They were formerly occupied by Mr. J. Edge and others.
* * * * *
_The Hill Works_, on the opposite side of the road to the “Hill
Pottery” already described, are of old foundation, and were, I am
informed, worked by Enoch Wood (see page 273); Mr. Wood here growing,
it is said, considerable quantities of “Siberian crabs,” which trees
he planted in successive terraces. The works were also, I believe, at
one time carried on by Ralph Wood, a member of the same family. He
was a master potter in Burslem in 1787, and a very interesting relic
connected with him is now in the hands of Mr. Thos. F. Wood, of this
present firm of Wood & Baggaley. It is an iron tobacco box, bearing,
engraved on its lid, the words, “_Ralph Wood, Potter, Burslem,
Staffordshire_, 1787.” This box was given by this Ralph Wood, whose
name appears upon it, to the grandfather of its present owner. About
1768, John Robinson, who before that time was with Sadler and Green, of
Liverpool, left their employ to commence here the making of enamelled
ware. In the Mayer Museum is a teapot made by him, and painted by
Letitia Marsh (afterwards Mrs. Brood), who worked for him. It is of
“squeezed ware,” and was given to Mr. Mayer by Dr. Simeon Shaw. After
Wood’s time the works were carried on by Mr. Taylor, and next by
Messrs. John & Richard Riley (who removed to them from the Nile Street
works), by whom they were rebuilt, in 1814, and who produced china and
earthenware and Egyptian black ware. They next passed to Messrs. Alcock
& Keeling; and, on the retirement of the latter, to Messrs. Samuel
Alcock & Co., who, having rebuilt and enlarged the “Hill Pottery,”
removed there as already detailed. About 1851, Messrs. Barker & Son
took the “Hill Works” for goods for the home and foreign markets. On
their failure they were, in 1860, succeeded by Messrs. Morgan, Wood,
& Co., which firm was afterwards altered to Messrs. Wood & Baggaley,
the present occupiers. The goods made by Messrs. Wood & Baggaley
are generally confined to the home market; they produce printed and
decorated goods in dinner, toilet, tea, and breakfast services, and
green glazed dessert ware, which, to some extent, they export. The mark
used by the firm is a bee, with wings expanded; beneath which is a
ribbon, with the initials, M W & CO, or W & B.
* * * * *
_Sylvester Pottery_, Nile Street, belonging to Charles G. Barker,
produces the ordinary white granite ware for the United States,
Canadian, and other foreign markets.
* * * * *
_High Street Pottery._--This manufactory, usually known as “Union
Bank,” through its having been for some time worked by the Potters’
Trades’ Union, belonged at one time to a family named Marsh; and was
also carried on by Messrs. Whittingham, Ford, & Co., from whom it
passed into the hands of the present proprietors, Messrs. Buckley,
Wood, & Co. The goods produced are ordinary earthenware for the common
home trade, and the mark used is simply the initials B W & CO.
* * * * *
_Sneyd Pottery_, Albert Street.--These works were formerly carried
on for the production of ordinary earthenware, by Messrs. Bennett.
About 1867 they came into the hands of Williams, Oakes, & Co., and in
1876 the firm was altered to Oakes, Clare, & Chadwick, who produce in
Rockingham, jet, majolica, and common earthenware, the ordinary classes
of articles. They also make chest of drawers feet in large numbers, of
various designs.
* * * * *
_Hadderidge Pottery._--These works, carried on by Mr. Thomas Heath,
and afterwards, successively, by Mr. John Wedgwood, Mr. Phillips, and
Messrs. W. & G. Harding, came into the hands of the firm of Heath &
Blackhurst in November, 1859, by whom they are still continued. The
productions are a middle-class quality of earthenware, both plain and
decorated, for the home trade. In this class all the usual table,
toilet, tea, and other services, and a variety of other articles, are
made. The mark is a garter, encircling the initials H & B.
* * * * *
_Navigation Road._--The works of Mr. Edward Corn, erected some time
back on what was a timber yard, and now carried on by Messrs. W. & E.
Corn, are exclusively devoted to the production of white graniteware
for the United States and other foreign markets.
* * * * *
_Bleak Hill Works._--Messrs. Beech & Podmore, of the _Bell Works_
(which see), entered upon this manufactory in 1876. The works formerly
belonged to Messrs. Moore Brothers, who produced the white graniteware
for the American Markets, then successively to M. Isaacs and Son,
Beech and Podmore, and Podmore alone. The goods now produced, besides
tea and other services, are the ordinary marketable china and Parian
chimney ornaments and toys, which are produced in large quantities
both for home sale and for exportation to the United States, the East
Indies, the Netherlands, and Australia. In Parian and “ivory body,”
besides flower-vases and other small ornaments, some tolerably large
groups have been produced; the “ivory body” possesses great softness
in appearance, and is capable of being made largely available for
ornamental purposes.
* * * * *
_Sytch Pottery._--Of very old foundation, this was, many years ago
worked by Messrs. Keeling. The “Sytch Pottery” passed successively
into the hands of Mr. R. Hall and Messrs. J. Hall & Sons. About 1832,
Messrs. Barker, Sutton, & Till took to the works; but at subsequent
periods, Mr. Barker and Mr. Sutton withdrew from the partnership;
and from 1850 it remained in the hands of Mr. Thomas Till, who has
been joined in partnership with his sons, and the firm is now “Thomas
Till & Sons.” The wares usually produced have been good middle-class
earthenware; but the present proprietors have greatly improved
the ware, and added other branches to their manufacture. Besides
earthenware of the usual average quality--in which services and
innumerable useful articles are made by them--Messrs. Till produce
coloured bodies of various kinds (cane, sage, drab, and lilac);
stoneware of a hard and durable kind for jugs, &c.; jet glazed ware;
terra cotta; enamelled ware; and various coloured lustres. These are
principally intended for the home trade. At the Paris Exhibition of
1855 the firm received a certificate of merit. The mark used is the
name of the firm.
* * * * *
_Kiln Croft Works._--These works are of old establishment. In or about
1800 they were carried on by a Mr. Handley, and in 1825, by Messrs.
James and Thomas Edwards, who were succeeded by Messrs. Willett &
Marsh. They were then continued by Mr. Marsh alone, and next by Messrs.
T. & R. Boote, who were succeeded by the present owner, Mr. Henry
Burgess. The goods produced are the usual quality of white graniteware,
in services and various articles, for the United States and Canadian
markets. The mark is the Royal Arms, with the name or initials of the
firm.
* * * * *
_The Albert Pottery_ was built in 1860, by Mr. William Smith, of
Tunstall; on whose failure in 1862 it was taken by Messrs. Dix &
Tundley, of Silverdale, for the production of foreign-trade goods. In
1864 the works were purchased by the late Mr. Charles Hobson (who had
originally been apprenticed to Mr. Williamson, the predecessor of the
Davenports, at Longport), and successfully carried on by him until his
death, in 1875. Mr. Hobson was then succeeded by his two sons, George
and John Hobson, by whom they are continued. By Mr. Hobson the works
were considerably enlarged. New biscuit ovens were added, and flint and
colour mills, steam slip-house, pug mills, and sagger makers’ mill,
built. The productions of the firm are now confined to the home trade,
and consist of the usual services and other articles, in ordinary
earthenware, both white, printed, lined, enamelled, and gilt.
* * * * *
_Waterloo Works._--These works were established about 1846 by Mr. James
Vernon; then continued under the style of James Vernon & Son; and are
now carried on by the son, Mr. James Vernon, jun., for the manufacture
of ordinary earthenware for the South American and Italian markets. On
this same site a manufactory was at one time carried on by Mr. Jonathan
Leak, a clever potter, who after some strange vicissitudes went to
Sydney, where, after a time, discovering a valuable bed of clay, he
established the first pottery in Australia. He married a niece of Enoch
Wood.
* * * * *
_Central Pottery._--These old-established works, the property of Mr.
Alcock, of Bradwell Lodge, and carried on by his son, Mr. Richard
Alcock, were formerly worked by Messrs. Hopkin & Vernon, next by
Messrs. Hulme & Booth, next by Thomas Hulme, and then by Messrs.
Burgess & Leigh, who were succeeded by Mr. Richard Alcock, by whom they
have been considerably enlarged, rebuilt, and remodelled. Earthenware
for the home markets was formerly made, but the operations are now
confined to white graniteware for the United States.
Other manufacturers in Burslem have been, Joseph Machin & Co.; Thomas
Heath (probably of the same family as the Heaths formerly of the
Cock-pit Hill Pottery, Derby); John Hall & Sons; J. R. Marsh; T. & B.
Godwin; J. Cormie; Messrs. Phillips, Dale Hall.
* * * * *
_Longport._--(Davenport & Co.) The famous works of Messrs. Davenport
& Son date back more than a hundred years, the centenary of their
establishment having taken place in 1873. In 1773 a manufactory was
erected at Longport by John Brindley (brother of the celebrated James
Brindley, the engineer, both of whom were natives of Tunstead, in
Derbyshire), who also built for himself a handsome residence near at
hand. This house was purchased in 1843 for a parsonage for St. Paul’s,
Burslem, and was again, in 1858, sold to Mr. W. Davenport. Shortly
after 1773 Mr. Edward Bourne built another manufactory, and this was
followed by a third, erected by Mr. Robert Williamson, who in 1775
married Anne (_née_ Henshall), widow of James Brindley, the engineer.
In 1793 the first-named manufactories passed into the hands of Mr.
John Davenport, who greatly extended their operations. In 1797 Mr.
John Davenport added to his other operations “the chemical preparation
of litharge and white lead for the use of potters,” which, however,
was afterwards discontinued. In 1801 the business of glass-making was
added and is still carried on. In 1803 Mr. Davenport, supported by his
neighbours at Longport, offered to raise, clothe, and equip, free of
expense to Government, except arms, a volunteer corps of 500 men, and
his offer was accepted, the number being limited by Government to four
companies of 80 rank and file each. Mr. Davenport became Major of this
force, and raised it to a high state of discipline. In connection with
this it may be well to note that one of Mr. Davenport’s workmen at
that time, and a member of his volunteer corps, was William Clowes, a
nephew of Aaron Wedgwood, to whom he had been apprenticed. This William
Clowes was a co-founder with Hugh Bourne of the now wide-spread sect
of Primitive Methodists. About 1830 Mr. Davenport retired from active
business, and chiefly resided at Westwood Hall, near Leek, where he
died in 1848. The business was then carried on by the second son, Mr.
Henry Davenport (who died in 1835), and the youngest son, Mr. William
Davenport. Mr. Henry Davenport purchased the manufactory of Mr. Robert
Williamson, and also his residence; these he enlarged and improved
and added to his other works. In 1832 Mr. John Davenport was elected
M.P. for the borough of Stoke-upon-Trent, being one of the first two
members for that newly enfranchised borough. After the death of Mr.
Henry Davenport the manufactories were carried on by his youngest
brother, Mr. William Davenport, under the style of “W. Davenport & Co.”
This gentleman died in 1869, and the entire business is now carried
on by his only son, Mr. Henry Davenport, who fully sustains the high
character of the works and of their varied productions.
King George IV., while Prince of Wales, in 1806 visited Messrs.
Davenport’s works in company with his brother, King William IV., at
that time Duke of Clarence. On the accession of William IV. to the
throne his Majesty gave the order to this firm to manufacture for him
a superb service, to be used at his coronation banquet. This Royal
Service was completed in a very satisfactory manner, and was the
subject of high commendation from the king and his noble guests on that
occasion. On this service the crown was first used by the firm.
In the earlier years of the Longport manufactory, earthenware alone
was produced, but no pieces of Brindley’s make are known. Mr.
Davenport at first confined his operations to the manufacture of
white, cream-coloured, and blue-printed wares, and these were of good
substantial quality; his blue-printed plates with open-work rim of the
same general character as those of the Herculaneum Works at Liverpool,
are to be seen in most collections. Later on china was commenced, and
at the present time this forms an equally extensive branch of the
business with the earthenware. In both these, all the usual services
and miscellaneous articles are produced, from the plain to the most
elaborately decorated, both for the home, the continental, and the
Brazilian markets; warehouses having been many years ago established by
Mr. Davenport, M.P., at Hamburg and at Lubeck.
The china produced by Messrs. Davenport at the present time is of
remarkably fine and good quality, both in body, in glaze, and in make,
and in all these particulars ranks among the best produced in the
district. Their tea and dessert ware is of extreme excellence, and many
of the patterns are unsurpassed for richness of colouring and gilding
by any other house. Among these specialities, their adaptations of
the fine old Indian patterns, and such designs as gave so important a
character to the productions of the old Derby works in their palmiest
days, are especially good. The deep blues, the rich gradations of red,
and the other colours employed, are in some of the patterns laid on
with a lavish richness, and being combined with the most elaborate and
delicate as well as massive gilding, produce intricate patterns of
great beauty and of sumptuous appearance when “set out.” Some of the
cups (notably those with sunk panels, and others which are bowl-shaped
and supported upon gilt feet) are of elegant form, and are as faultless
in manipulation as they are in decoration. In blue and white, whether
in pencilled, ordinary transfer printing, or “flown” patterns, Messrs.
Davenport are highly successful; and the blues they introduce have all
the delicacy and purity of the best Oriental. The same remark as to
purity and cleanness of tone will apply to their ground colours--the
celadon and the rose du Barry--in both of which they produce charming
but simple services, as they do also in white; in the latter the
“potting” of some--approaching closely to egg-shell--is remarkably
delicate and clever.
Another striking speciality of design in Messrs. Davenport’s china is
the clever and artistic way in which they have adapted the old Willow
pattern to the modern requirements of déjeuner services and menu
holders. The forms of the various pieces composing the service are of
quaint and striking elegance, and, being heightened by massively gilt
handles, and by strictly appropriate gilding of borders, rims, feet and
raised ornaments, an effect is produced which is surpassingly “taking.”
The déjeuner of which I have thus briefly spoken is one of the most
successful adaptations of the Willow pattern yet achieved.
In “stone china,” Messrs. Davenport’s dinner and dessert services,
as well as jugs and other articles, are of faultless quality, and
the styles of decoration, especially those which are adaptations--not
servile imitations--of old Indian patterns, are remarkably good and
effective. In some of these the spirit of the foreign artist has been
so thoroughly caught, that, to the casual observer, they might well
pass for genuine foreign pieces. The services in ordinary earthenware
are extremely varied in pattern, in amount of decoration, and in
variety of shapes; they are of good quality.
[Illustration: Figs. 429 to 431.]
The marks used by Messrs. Davenport have been various, but almost in
every instance the anchor has been the distinguishing characteristic;
it is the trade mark of the firm. The crown was first used by them,
on the Royal Service for William IV., and is now generally used on
porcelain services. Figs. 429 to 436 are impressed marks.
[Illustration: Figs. 432 to 436.]
The printed marks are, a circular garter, bearing the words DAVENPORT
LONGPORT STAFFORDSHIRE, surrounding an anchor and the words “Stone
China” in script. Another is a shield, with the words 30 CANNING PLACE
LIVERPOOL 82 FLEET STREET LONDON encircled by a garter bearing the
words DAVENPORT LONGPORT STAFFORD^{RE} and surmounted by the crest, an
anchor on an heraldic wreath. Another has a circular garter, bearing
the words DAVENPORTS & CO. surrounding the address, 82, FLEET STREET
LONDON.
* * * * *
_Longport Terra Cotta._--At the 1851 Exhibition Mr. W. Marsh, (modeller
at Davenports’) of Longport, exhibited a very successful example of
terra cotta produced by him. It was a wine-cooler of bold and good
design. It is engraved on Fig. 414. In the early part of this century
Messrs. Samuel Marsh & Co. were manufacturers at Brownhills.
[Illustration: Fig. 437.]
* * * * *
_Brownhills._--About 1782 Mr. John Wood (son of Ralph Wood, of
Brownhills, and Mary Wedgwood) built a manufactory, with house
adjoining, on property originally belonging to the Burslem and Wedgwood
families, which he had purchased of Thomas Lovatt. Here he carried on
the potting business until his death in 1797, when he was succeeded by
his son, Mr. John Wood, who continued it until 1830, when he took down
the manufactory, enlarged the house, and extended the grounds.
* * * * *
_Littler._--William Littler, of Brownhills, whose father had carried
on a business as potter there, was the first man in Staffordshire who
attempted the making of china ware. “He commenced business about 1745
when he attained his majority, and a few years afterwards removed
the seat of his manufacture to Longton Hall, where he prosecuted
his experiments with very good success, as regarded the beauty and
delicacy of his china, but with disastrous results to himself, for he
soon sacrificed his patrimony in the speculation, and was obliged to
abandon it. The specimens we have seen of Mr. Littler’s china exhibit
great lightness and beauty, and would certainly have won their way
in after times. Mr. Littler had the merit of first making use of the
fluid glaze which Mr. Enoch Booth afterwards improved upon.”--(_Ward._)
Littler’s pot-works have long disappeared. Some specimens of Littler’s
porcelain are preserved in private collections, and one or two are in
the Hanley Museum; to one of these is attached the following note in
Enoch Wood’s handwriting: “This was given to Enoch Wood by William
Fletcher, in January, 1809.”
* * * * *
_Marsh and Haywood._--This firm formerly carried on business here as
manufacturers of general earthenware, as did also Mr. John Wood, at
Highgate.
* * * * *
_Brownhills Works._--These works (formerly Marsh and Haywoods) were
for many years carried on by Mr. George F. Bowers, who attained a
fair reputation for china goods, and gained a medal at the Exhibition
of 1851. Subsequently he commenced the manufacture of earthenware,
which he continued until his death, when he was succeeded by his son,
Mr. Frederick F. Bowers. On his failure in 1871 the manufactory was
purchased by Mr. James Eardley, of Alsager, and it is now carried on
by his son and sons-in-law, Messrs. Alfred J. Eardley, Edwin Meir,
William H. Bratt, Robert H. Parker, and George Hammersley, under the
style of “The Brownhills Pottery Co.;” considerable alterations and
extensions have been made in the buildings. The goods produced by the
Company are of the usual useful classes of table, tea, toilet, and
other requisites, in fine earthenware, stoneware, buff, turquoise,
and cream-coloured ware; and in decorations of the fine earthenware
services improvements have been effected by which the printing of
enamel upon the glaze, and lining on the bisque, are effected. The last
is produced at considerable less cost than enamel lines, and while
making a tolerably near approach in point of colour, is more durable,
because protected by the glaze. The body and glaze are of good quality,
and the decorations, whether printed or painted, are of good average
character. In dinner services some of their more recent patterns,
are the “Premier,” “Pagoda,” and “Dragon,” which are produced both
printed and enamelled; their most successful shapes are the “Bulrush,”
“Laurel,” and “Boston.” In toilet ware their “Greek” shape, is
remarkably good, and is made in various degrees of decoration. In stone
ware, some excellent designs in tea-pots, jugs, &c., are produced, as
are also jugs and other useful articles in cream ware; the adaptations
of Japanese ornamentation in the former are highly successful. In jet
ware, which is of good quality, tea-pots, jugs, and other articles
are made, and some of those are highly decorated in enamel and gold;
the firm also have a process of printing in yellow upon the glaze of
their jet goods, which produces a cheap and somewhat effective class
of decoration. Another speciality is a rich full deep-red terra cotta,
highly glazed, and elaborately decorated in a variety of effective
patterns in enamel and gold; in this, toilet services of good design
and novel appearance are largely made. In ornamental goods the Company
produce vases of various forms (notably among which are the “Hindoo,”
“Milan,” “Pekin,” and other designs); scent jars, flower tubes, and
stands, and other articles. The productions are of a good useful
quality, decorated in a more than ordinarily artistic style; many of
the designs (notably the “Briony” pattern toilet services, “Lorne”
tea-pots, &c.) are good, and the colours faultless. The marks used,
besides the name of the pattern, “Minerva,” “Link,” “Laurel,” &c., bear
the initials B. P. CO., with ribbon, &c., printed on the ware.
* * * * *
_New Bridge Works, Longport._--This manufactory, spoken of on page
283 as one of those carried on by Messrs. W. Davenport and Son, in 1877
passed into the hands of Mr. Edward Clarke, formerly of the Church
Yard Works at Burslem, and of the Phœnix Works at Tunstall (both of
which see), who removed thither from the last-named place. In that year
Mr. Clarke took into partnership Mr. F. J. Emery, the inventor of the
process of crayon drawing and painting on the bisque surface, referred
to on page 295. Mr. Clarke, whose productions both at Burslem and at
Tunstall are spoken of in other parts of this volume, produces the
finest, hardest, and most durable earthenware in “white granite” for
the American markets, where it takes and maintains the highest rank. He
also produces all the usual services in various styles of decoration,
for the home trade. The mark used by the new firm is the name “EDWARD
CLARKE & CO.”
* * * * *
_Waterloo Road Works_, established in 1820 (on the site of a very
old pottery “on Bournes Bank,” afterwards worked by William Harrison)
by Mr. Thomas Hughes (grandfather, of the present owner), and carried
on by him and his successors, Stephen Hughes & Co., till about 1856,
since which time they have been continued solely by the present Mr.
Thomas Hughes, by whom the whole place has been enlarged, improved, and
modernised. The manufactory is now considered to be one of the best
arranged in the town. The goods produced are all the usual articles
in the hard durable “granite” or so-called “ironstone china” for the
American markets; they are of good quality, and are produced both light
and heavy to meet various requirements. Goods are also, to some extent,
produced for the home trade. The mark, stamped on the ware, is
THOMAS HUGHES
IRONSTONE CHINA
* * * * *
_Cobridge Works._--The manufactory of Messrs. W. Brownfield & Son was
erected in 1808, and from that time for a few years was worked by
Messrs. Bucknall & Stevenson, and afterwards by Mr. A. Stevenson alone.
In 1819 the works were closed, and afterwards passed into the hands of
Mr. James Clews, who continued them until 1829, when they were again
closed. His mark was a crown and his name, thus--
[Illustration: Fig. 438.
CLEWS
Warranted Staffordshire]
[Illustration: Fig. 439.]
In 1836 the premises were opened by Messrs. Robinson, Wood, &
Brownfield, and after Mr. Robinson’s death, in the same year, were
continued by Wood & Brownfield. In 1850 Mr. Wood retired, and the
business was continued solely by Mr. Brownfield (who died in 1873)
until 1871, when he was joined in partnership by his eldest son, Mr.
William Etches Brownfield, and from that time to the present the
firm has been carried on under the style of “W. Brownfield & Son.”
The goods produced during the earlier period of the works were the
ordinary white, blue printed, and sponged varieties of earthenware.
From 1850, when the works became the sole property of Mr. Brownfield,
rapid strides were made in the improvement of the wares, and under
the present firm they have become equal to any others produced. In
earthenware, which, both in body and glaze, is of more than average
quality, Messrs. Brownfield & Son produce white, printed, enamelled,
and gilt wares, from the simplest to the more elaborate and costly
patterns, in table, toilet, and dessert services, and all the usual
articles for household use. Many of the printed patterns are well
designed, and in the better classes of goods the enamelling and gilding
are very effective. Some of the most successful are imitations of
the grand old patterns adopted by Mason on his ironstone china. The
stoneware jugs produced are a speciality of this firm, and take a
foremost rank; in quality of body they are remarkably good; while in
form, in modelling, and in decoration they are of equal excellence.
The group Fig. 439 represents some examples from the Exhibition of
1862, where the firm, as well as at Paris in 1867, received a medal.
Tea services, tea-kettles, tea-pots, flower-pots, vases, jardinière,
trinket services, and other goods, are also produced in earthenware
in every style of decoration. Notably among these is a remarkably
well-designed and elegant strawberry tray, formed of shells and
strawberry leaves, with a seated Cupid in the centre at the back; it
is particularly artistic, both in composition, in execution, and in
colouring.
In 1871 the manufacture of china was added to that of earthenware (new
buildings being specially erected for the purpose), and the productions
in this department have made rapid strides towards perfection. In
china, dinner, tea, breakfast, dessert, and other services, jugs, and
a variety of useful articles, as well as vases and other fancy goods,
are produced. Messrs. B. & S. have, in this branch, produced some novel
and very effective designs in dessert services, centre-pieces, fern and
flower-stands, &c., and some of their vases are of the highest style
of excellence. Notably among these is a pair of magnificent vases,
exquisitely painted, with Etty-like subjects of “Morning and Mid-day.”
These are among the highest achievements of modern Art. Among the minor
pieces is an oviform vase representing the hatching of the egg. The
body of the vase is true to nature in colour--that of a sea-bird’s egg;
the handles are formed of the heads, and the bird’s legs and feet form
the stand.
[Illustration: Fig. 440.]
The mark of the firm upon the printed goods was formerly W & B, W B, or
W B & S, in addition to the name of the pattern. The present mark on
both earthenware and porcelain is--
[Illustration: Fig. 441.]
[Illustration: Fig. 442.]
The impressed marks are the Staffordshire knot (Fig. 442), enclosing
the initials W B; and the name BROWNFIELD.
The firm does a large home trade, as well as an export one to Denmark,
France, Germany, Holland, Russia, Italy, Spain, Portugal, United States
and other parts of America, Canada, Australia, New Zealand, India, and
other countries. The manufactory is very extensive; upwards of five
hundred persons being employed.
* * * * *
[Illustration: Figs. 443 to 446.]
[Illustration: Figs. 447 to 453.]
_T. Furnival & Sons._--This firm (who occupy two old manufactories,
viz., those formerly belonging to Adams and to Blackwell) has been
established about thirty years, and ranks high as manufacturers of
white granite and vitrified ironstone, and decorated toilet wares,
for the United States and Canadian markets, to which they ship large
quantities of goods, as they do also printed goods to the continental
markets. For the home trade Messrs. Furnival & Sons produce, in
their beautiful “patent ironstone,” dinner and other services of
various qualities in point of decoration. Among their more recent
“specialities” are dinner services, &c, of rich Italian design (made
for Pellatt & Wood), plain white, with a china-like surface and glaze;
the ornamentation, which is indented, is produced from an embossed
mould, the lines being as fine and delicate as if cut in by the graver,
so as to have the appearance of chasing; and the lines being filled
with glaze the surface is still even. Other noted patterns are the
“Dresden Flute” and “Lemon Knob” services. In crested services for the
home markets a large and satisfactory trade is done. Another noticeable
feature is the happy combination in services of transfer printing,
hand painting, enamelling and gilding; some of the services, those
decorated with grasses and insects especially, are of high artistic
order, and show how advantageously the two processes can be combined.
Our engraving shows a group of articles produced at that manufactory,
which are remarkable for their elegant forms and for the simple beauty
of their decorations. Another engraving exhibits a remarkably elegant
flower-pot and stand, with relief figures and other decorations. But
these are not a tithe of the beautiful articles produced by Messrs.
Furnival. Among the more successful of their productions are the “Swan”
and “Nautilus” toilet services, which are of great beauty. The body of
the former ewer is oviform, with bulrush decorations in relief; the
neck, mouth, and handle make a well-formed swan. These are produced in
white, heightened with gold, and enamelled in colours. The “Nautilus”
pattern has the mouth of the ewer formed of a nautilus shell and the
handle of coral, while the decorations are sea-weeds, true to nature,
both in modelling and in colour. The mark of the firm is simply
FURNIVAL impressed in the ware.
In connection with these works Mr. F. J. Emery, the then cashier to
the firm, introduced, a few years ago, a method of crayon drawing and
painting on the bisqué surface of earthenware and china. This beautiful
process, which is especially applicable to tiles for fire-places, &c.,
but is also admirably adapted for the decoration of ordinary articles,
has become much in repute, and exquisite drawings have been made in it
by some of the first artists of the time, as well as by lady and other
amateurs. The bisqué articles, and prepared crayons and colours, were
supplied by Mr. Emery, who afterwards became a partner with Mr. E.
Clarke at Longport.
[Illustration: Fig. 454.]
* * * * *
_Bates & Bennet_ (formerly John & Robert Godwin), are manufacturers
of general earthenware of ordinary quality, the principal productions
being what is called “Imperial measure ware” for the home markets.
* * * * *
_Abbey Pottery._--(H. Meakin, late Edward Pearson.)--These works
were, it is said, established in 1703. White granite ware, for the
American markets only, has of late years been produced.
* * * * *
_Villa Pottery._--This manufactory for general earthenware was carried
on at the beginning of the present century, by Mr. Warburton. From
about 1835 it was carried on by Messrs. Jones & Walley till 1850, from
which time, until 1865, Mr. Edward Walley continued it. In the latter
year it passed into the hands of Messrs. Wood, Son, & Co., its present
proprietors, who confine themselves to the production of plain white
granite ware for the American and other foreign markets. The mark is
the Royal Arms and name of the firm.
* * * * *
_Cobridge Works._--Established in 1836 by Messrs. Wingfield Harding
& Charles Cockson, under the firm of Harding & Cockson, who produced
ordinary china goods. In 1856, on the death of Mr. Harding, the
business was continued, until 1861, by his sons, W. M. and J. B.
Harding, in partnership with Mr. Cockson; and from 1862 to 1865 by
Mr. Charles Cockson alone, during the whole of which time china was
produced. In 1866 Elijah and David Chetwynd became partners, the firm
being then Cockson & Chetwynd. In 1873 Mr. Cockson died, and the
business was continued by his widow under the same style till 1876,
when the former retired, and it again changed to Cockson & Seddon. In
1866 the making of china was discontinued and the manufacture of white
granite ware, for the American trade, substituted. The mark is the
Royal Arms and the name “IMPERIAL IRONSTONE CHINA, COCKSON & CHETWYND,”
or “COCKSON & SEDDON.”
* * * * *
_Cobridge Works._--Messrs. Henry Alcock & Co., at these extensive
works, which were formerly carried on by John Alcock, manufacture white
granite ware exclusively for the American markets.
* * * * *
_Elder Road Works._--This pottery has been worked by Messrs. Meakin
& Co. since 1865, and is capable of turning out about 2,500 crates
of ware annually. The productions are entirely confined to the white
granite ware for the United States.
* * * * *
_Warburton._--Pot works were established here by John Warburton very
early in the last century; after his death they were continued by his
widow, Ann Warburton. They are stated to have made white stoneware
for Holland and the Continent, and to have ultimately brought over
some workmen from Delft. Jacob Warburton, the son, succeeded to the
business, and died in 1826, at the ripe age of eighty-four. His son,
Peter Warburton, was one of the partners of the New Hall China Works
(which see); to him is said by Shaw to belong the credit of printing
in gold, and to his mother that of first using soda. In 1810, Peter
Warburton took out a patent for “a new method of decorating china,
porcelain, earthenware, and glass, with native, pure or adulterated,
gold, silver, platina, or other metals, fluxed or lowered with lead or
any other substance, which invention or new method leaves the metals
after being burned in their metallic state.”
* * * * *
_Daniel._--Ralph Daniel, a potter at Cobridge, employed in the early
part of last century some workmen from Delft, and, to keep their
process secret, started works at Bagnall for them. About 1743 he
introduced the use of plaster of Paris moulds, such as he found were
being used in France.
The potters at Cobridge in 1843 were Wood and Brownfield, John and
George Alcock, Francis Dillon, Elijah Jones, Stephen Hughes and Co.,
Benjamin Endon Godwin, John Mayer Godwin and James Godwin, John and
Robert Godwin, George and Ralph Leigh, and Coxon, Harding, and Co.
Potteries also, early in last century, existed at Holden Lane, at
Milton, and at Sneyd Green.
Other potters at one time or other at Cobridge are N. Dillon, R.
Stevenson, Mansfield & Hackney, and Rathbone, Hill & Co.
Other manufacturers are W. E. Cartledge, Bournes Bank; W. Holdcroft;
Hope and Carter; Thos. Hughes; Maddock & Co., formerly Maddock and
Gater; C. Meakin; Oulsnam and Son; Pope and Co.; and Wade and Colclough.
In 1770 (Feb. 4th), the following Staffordshire potters signed an
agreement as to prices:--John Platt, John Lowe, John Taylor, John Cobb,
Robt. Bucknall, John Daniel, Thos. Daniel, junr., Richd. Adams, (Dr.)
Saml. Chatterley, Thos. Lowe, John Allen, Wm. Parrott, Jacob Warburton,
Warburton and Stone, Jos. Smith, Joshua Heath, John Bourn, Jos.
Stephens, Wm. Smith, Jos. Simpson, John Weatherby, J. and Rd. Mare,
Nicholas Poole, John Yates, Chas. Hassells, Ann Warburton and Son (T.
Warburton), Wm. Meir. Other potters were Chas. and Ephraim Chatterley,
W. Mellor, and Whithead.
CHAPTER VII.
Hanley and Shelton--Miles--Phillips--Astbury--Baddeley--Edwards
--Voyez--Palmer--Neale--Wilson--New Hall Works--Hollins--Keeling
--Turner--Warburton--Clowes--Bagnall--New Hall Company--Richard
Champion--Glass--Twyford--Mare--Twemlow--Old Hall
Works--Meigh--Broad Street Works--Mason--Ashworth--Cauldon
Place--Ridgways--Browne-Westhead & Co.--Trent
Pottery--Keeling--Booth & Co.--Stafford Street Works--Church
Works--Waterloo Works--Kensington Works--Burton Place
Works--Clarence Street Works--Nelson Place--Phœnix and
Bell Works----Bedford Works--Mayer Street--Cannon Street
Works--Brewery Street--Percy Street Works--Taylor, Tunnicliffe
& Co.--Biller & Co.--Albion Works--Eastwood Vale--Eastwood
Works--Dental Manufacturing Company--Trent Pottery--James
Dudson--Victoria Works--Charles Street Works--High
Street--Eagle Works--Brook Street Works--Cannon Street--William
Stubbs--Norfolk Street Works--Broad Street--Albert
Works--Ranelagh Works--Swan Works--Mayer Street Works--Brook
Street Works--Dresden Works--Bath Street Works--Waterloo
Works--New Street Pottery--Castle Field Pottery--Henry Venables.
_Miles._--In 1685 Thomas Miles, of Shelton, was a maker of white
stoneware, of much the same kind as that imported from Germany and
Holland. He is stated to have used the Shelton clay, such as had been
used by pipe-makers, worked with other clays from Baddeley Edge.
* * * * *
_Phillips._--Occasionally pieces are met with bearing the name of this
potter, who was of Shelton.
* * * * *
_Astbury._--Having already, in the first volume, spoken of the manner
in which one of the family of Astbury discovered the use of calcined
flint, and how the secret of the brothers Elers was surreptitiously
obtained, it is not necessary to recapitulate it here. The Astburys
were a very old and important family, as connected with the potteries,
and one of them, Samuel Astbury, was uncle to Josiah Wedgwood (having
married his father’s sister, Elizabeth Wedgwood), and in 1744 was one
of the witnesses to the deed of his apprenticeship. The discoverer of
the use of flint, it appears more than probable, was John Astbury,
whose gravestone is in Stoke churchyard. The inscription on the stone
is, “Here lieth the body of John Astbury, the Elder, of Shelton,
Potter, who departed this life March 3rd, 1743, aged 55 years.” The use
of flint was discovered about 1720, when he was about thirty-two years
old, and the brothers Elers had previously left the district, about
1710. John Astbury had a son Joshua, of the Foley, who died 1780, as
recorded on the same stone. Other sons were Thomas and Samuel. “John
Astbury, the elder,” as recorded on his tombstone, lost a daughter
Margaret, aged six, in 1728, and he had afterwards a second daughter
of the same name, who married Robert Garner, potter, and was the
mother of Robert Garner (father of Robert Garner, Esq., of Stoke), an
eminent potter of Lane End (which see). Twyford, who shares the credit
of having wormed out the secrets of the Elers, was a fellow workman,
and afterwards a partner of Astbury, and was, either himself or by his
descendants, connected with the family.
* * * * *
_Baddeley._--Another of the old potteries of this place was carried on
in 1750 by R. & J. Baddeley, who, at a somewhat later date, were famous
for their blue ware. An interesting reference to these works will be
found at page 137, vol. i., in connection with a workman named Doe. In
1794 Ralph Baddeley was in business in Shelton, and in 1796 the firm
was “John & Edward Baddeley, Shelton,” as appears by their billheads
of that date. The premises were afterwards used by Hicks, Meigh, &
Co. (see Broad Street Works). Of another potter of this name, William
Baddeley, a notice will be found on a later page.
* * * * *
_Edwards._--Warner Edwards had, last century, works in Albion Street,
where he not only manufactured various kinds of ware, but made enamel
colours for other houses. He died in 1753, and the premises were
afterwards occupied by Messrs. J. & W. Ridgway. Mr. Thomas Daniel, an
eminent potter, was his apprentice. During his last illness Warner
Edwards handed his book of recipes to this Thomas Daniel, who was
father of Spode’s clever enameller, Henry Daniel, who afterwards, in
conjunction with his son Richard, was a successful manufacturer at
Stoke and Hanley. It is worthy of remark that Edwards was a maker of
enamel colours full twenty years before Wedgwood took out his patent
for them in 1769.
* * * * *
_Voyez._--This clever workman, a modeller, was employed by Wedgwood
about 1768, and “off and on” afterwards, but was a dishonourable and
erratic character. He produced many clever imitations of Wedgwood and
Bentley’s wares, and is said to have even stamped them with their name,
which he forged, and sold the goods as their work. Occasionally his
name, J. VOYEZ, is found impressed in the body of the ware.
* * * * *
_Palmer._--John Palmer, of Bagnall, about 1680, was a salt-glaze
potter, and was the one to whom the discovery of the use of salt was
first told (see vol. i., page 94). His son or grandson, Henry Palmer,
was also a potter at Hanley (at the Church Works, in High Street,
which he probably built), and was a successful imitator of Wedgwood’s
productions. His Egyptian black, or basalt ware, and his jasper
ware, are of great excellence and beauty and very closely resemble
those of Wedgwood. He was noted for his piracy of these goods, and
surreptitiously obtained Wedgwood’s new designs as they came out. His
piracy was, however, after a time, carried too far, and an injunction
was served upon him to restrain his making Etruscan painted vases in
contravention of Wedgwood’s patent. This ended in a compromise: Palmer
purchasing a share in the patent right. Intaglios and seals were also,
about 1772–3, closely copied by Palmer, much to the annoyance and loss
of Wedgwood and Bentley. In 1778 Mr. Palmer failed. Neale, who is said
to have been a partner with Palmer so far as his London business was
concerned, having arranged matters, the business at Hanley was carried
on under the style of “Neale & Palmer” and “Neale & Co.” The mark of
Mr. Palmer was in the same style as that of Wedgwood and Bentley--a
circle with the name in raised letters (Fig. 455). Some examples bear
the name, stamped, “H. Palmer, Hanley, Staffordshire.” Palmer and Neale
are said to have married two sisters, the daughters of Thomas Heath, of
Lane Delph; and Mr. Pratt, of Fenton, a third daughter.
[Illustration: Fig. 455.]
* * * * *
_Neale._--Neale, the successor of Palmer, continued the business
at Hanley, and produced many remarkably good and artistic articles
in basalt, in jasper, and in other wares, and became, if possible,
even a more close and clever imitator of Wedgwood’s wares than his
predecessor had been. In 1780 he appears to have had two partners, and
to have carried on the business under the style of “Neale, Maidment,
and Bailey,” and, later, as “Neale & Bailey” and “Neale and Wilson.”
Usually, however, the firm was simply “Neale & Co.” Neale’s productions
are much esteemed for the excellence of the body, the cleverness of
design, and the sharpness of their execution. His cream-coloured
earthenware, too, is of very good and fine quality. He was succeeded,
I believe, by his partner Wilson. The marks used by Neale, so far as I
have met with them, are “Neale & Co.,” sometimes in large and at others
in small sized letters, impressed in the ware; _NEALE & CO._ in italic
capital letters, also impressed; NEALE & CO. in Roman capital letters,
also impressed; and “Neale & Wilson.” Another mark was, like Palmer’s,
adopted, in form, from Wedgwood & Bentley. It is a circle, bearing the
name in raised letters.
[Illustration: Fig. 456.]
* * * * *
[Illustration: Fig. 457.]
_Wilson._--Robert Wilson, the successor to the firm of Neale & Wilson,
continued the manufactory, but devoted himself mainly to cream-coloured
earthenware, more or less decorated. His name is occasionally met with
simply as WILSON impressed in the body of the ware, and occasionally
in connection with a crown and the distinctive mark C (Fig. 457).
Robert Wilson was for a long time sole manager to Neales; and he,
and the still more celebrated potter, Elijah Mayer, whose works and
residence were just opposite the Church Works, married two sisters of
the name of Mayer, but of different families. After the retirement or
death of Wilson his brother David carried on the works (1802). It was
afterwards D. Wilson & Sons; then Assignees of Wilson; then Phillips
& Bagster. The Phillips of this firm was Jacob, brother to Jonathan
Phillips, of Oxford Street, London, and uncle to the present Messrs.
Phillips of Oxford Street. The firm was then Bagster alone for a while,
after which the manufactory and house adjoining, where Bagster had
resided, came into the market and were purchased by Joseph Mayer, son
and successor of Elijah Mayer, whose works and residence, as I said
before, were immediately opposite the road. The Church Works were
then (1831) rented by William Ridgway & Co., Mr. Ridgway being Joseph
Mayer’s cousin; and I should here mention that Job Ridgway, the father
of William and John Ridgway, had married the sister of Elijah Mayer,
Joseph’s father. Joseph Mayer had in his employ a clever modeller named
Leonard James Abington, who was also a fair chemist, and so much in
favour with his employer that the latter placed him in partnership with
William Ridgway, and he was the ‘Co.’ It was shortly after this (about
1833) that Joseph Mayer ceased potting, and let his works to William
Ridgway & Co. in addition to the Church Works. He, however, retained
some warehouses and stabling offices adjoining his residence, and had
these crammed with some of the best of his stock, Egyptian black, cane,
chocolate, brown, and Queen’s ware, some of the latter elaborately
perforated and painted--an indescribable jumble of most beautiful
pottery,--and there it remained locked up until his death in 1860. To
return to the Church Works: the next addition to the firm, as soon as
he was old enough to enter it, was William Ridgway’s son, Edward John,
the title of the firm being changed to William Ridgway, Son & Co. In
course of time William Ridgway retiring, the two manufactories were
carried on by his son, Edward John Ridgway, and L. J. Abington, and it
was styled Ridgway & Abington. It was ultimately Edward John Ridgway
alone, and is now Powell & Bishop, Mr. E. J. Ridgway having built large
works in Bedford Road called the Bedford Works.
* * * * *
The _New Hall Works_ are historically interesting as being the first in
which porcelain was successfully made in Staffordshire, and to them,
therefore, must be ascribed the introduction of that art into “the
Potteries,” since become so famous and so extensive. In my account
of the Bristol china works[51] I have shown how Richard Champion’s
patent (who had purchased the patent right of William Cookworthy,
of Plymouth,) was sold to a company of Staffordshire potters. This
transfer of rights took place in or about the year 1777. The company
consisted of six persons, viz., Samuel Hollins, of Shelton, Anthony
Keeling, of Tunstall, John Turner, of Lane End, Jacob Warburton, of Hot
Lane, William Clowes, of Port Hill, and Charles Bagnall, of Shelton. Of
these six persons the following are brief notices:--
_Samuel Hollins_, a maker of the fine red-ware tea-pots,
&c., from the clay at Bradwell, previously worked by the
brothers Elers, was of Shelton, and was the son of Mr. Hollins,
of the Upper Green, Hanley. He was an excellent practical
potter, and made many improvements in his art. He was afterwards
one of the partners of the New Hall China Works, and his
successors in the manufactory were his sons, Messrs. T. & J.
Hollins.
* * * * *
_Anthony Keeling_, of Tunstall, was son-in-law of the
celebrated potter, Enoch Booth, having married his daughter
Ann. Keeling succeeded Enoch Booth in his business, which he
carried on successfully for many years. He erected a large house
near the works, but in 1810, retired on a small independence
to Liverpool, where he died a few years afterwards. He was
the principal support of a small sect calling themselves
“Sandemanians,” who had their place of worship in his works.
* * * * *
_John Turner_, first of Stoke, and then of Lane End, father
of Messrs. John and William Turner, was one of the most clever
and successful potters Staffordshire ever produced, but one
about whom little has been written. Many of his productions in
black and in jasper, &c., are quite equal to those of Wedgwood,
and, indeed, are often mistaken for the work of that great
man. Mr. Turner’s cream ware, too, as well as his stone ware,
of which his jugs are best known to collectors, rank high in
excellence both of design and manipulation. In 1762 Mr. Turner
commenced manufacturing at Lane End, and made many improvements
in the art, and by the discovery of a vein of fine clay at Green
Dock was enabled successfully to compete not only with other
potters, but with Wedgwood himself. Mr. Turner is stated to have
been deputed, with Wedgwood, by the Staffordshire potters, to
oppose the extension of the patent to Champion.
* * * * *
_Jacob Warburton_, of Hot, or Holt Lane, a man highly respected
by every class, and who lived until the year 1826, was born
in 1740, and passed his long and useful life as a potter, in
which art he rose to considerable eminence in his early years
in connection with his father and brothers, and later on his
own account, and, in partnership with others, in the New Hall
Works. He was the “last member of the old school of potters, the
early friend and contemporary of the ‘father of the Potteries,’
Josiah Wedgwood, with whom he was for many years in the habit
of confidential intercourse and friendship. Numerous are the
benefits which the public derived from the united exertions of
the talents and abilities of these two venerated characters, on
every point connected with the local interest and prosperity
of the Staffordshire Potteries.” Besides being one of the most
clever and energetic potters, “he was a good scholar, and a
man of pure taste; he had read extensively, and his memory
was tenacious in a very extraordinary degree. He was equally
distinguished for his moral and convivial habits of mind, for
the soundness of his intellect and the goodness of his heart.
He spoke fluently the French, Dutch, and German languages, and
was learning the Italian up to the very period of his death.” He
retained his activity of body and mind to the last, and, though
eighty-six years of age, set out the day preceding his death to
walk to Cobridge. He died while a friend was reading to him. Mr.
Warburton, who was a Roman Catholic, was twice married. For some
years before his decease he had retired from business, and died
at his residence, Ford Green, in the parish of Norton.
* * * * *
_William Clowes_, of Port Hill, was, it is said, only a sleeping
partner in the concern.
* * * * *
_Charles Bagnall_, of Shelton, who had previously been
with Joshua Heath, was a potter of considerable experience, in
the middle of last century. He was probably a son of the potter
of the same name, who was a maker of butter-pots in Burslem in
1710–15. He became one of the partners in the New Hall Works a
century ago. The family has been connected with Staffordshire
for many generations.
The company, being thus formed, purchased the patent right from
Richard Champion, who removed into Staffordshire to superintend the
establishing of the new works in that county. The first operations of
the company were conducted at the works of one of the partners, Anthony
Keeling, at Tunstall, the pottery formerly belonging, as just stated,
to his father-in-law, Enoch Booth. Tunstall at this period was a mere
small street, or rather roadway, with only a few houses--probably
not more than a score--scattered about it and the lanes leading to
Chatterley and Red Street. To this spot, the forerunner of the present
large and important town, Cookworthy’s patent was brought, and here,
with the experienced potters who had become its purchasers, and
under the management of Champion, who had produced such exquisite
specimens of art at Bristol, and who had been induced, as a part of
the arrangement, to superintend the manufacture, the first pieces
of china made in Staffordshire, with the exception of the trial
pieces of Littler, were produced. To accommodate the new branch of
manufacture at Keeling’s pot-works some alterations of course became
necessary, and thus it was some little time before the partners had
the satisfaction of seeing anything produced under the patent-right
which they had purchased. Among the partners, too, some disagreements
arose, which ended in John Turner and Anthony Keeling withdrawing
from the concern, and about 1780 Keeling is said to have removed to
London. This withdrawal and disagreement caused the remaining partners
to remove their work from Keeling’s premises, and they took a house
in Shelton, known as “Shelton Hall,” afterwards the “New Hall,” in
contradistinction to the “Old Hall,” celebrated as being the birthplace
of Elijah Fenton, the poet. At this time Shelton Hall, which had been
purchased in 1773 of Alice Dalton, widow, (who had inherited it from
her brother, Edward Burslem Sundell,) by Humphrey Palmer, was occupied
by his son, Thomas Palmer, as a pot-works. In 1777, Humphrey Palmer,
intending a second marriage with Hannah Ashwin, of Stratford-on-Avon,
gave a rent-charge of £30 on the Hall and pot-works, and a life
interest in the rest of the estate, as a dower to that lady, reserving
the right for his son, Thomas Palmer, the potter, to get clay and marl
from any part of the estate for his own use. In 1789, Humphrey Palmer
and his wife being both dead, the estate passed to their infant and
only child, Mary Palmer, of whose successor’s executors, after some
uninteresting changes, it was, as will be seen, ultimately purchased by
the china manufacturers. At this time the works had been considerably
increased, and they grew gradually larger, till, in 1802, they are
described as three messuages, three pot-works, one garden, fifty acres
of land, thirty acres of meadow, and forty acres of pasture, &c. About
the time of the withdrawal of Keeling and Turner from the partnership,
and the removal of the works from Tunstall to Shelton, Richard Champion
left.
Fairly settled at New Hall, the company took for their manager Mr.
John Daniel, who afterwards became a partner in the concern. The
firm, as at first formed at Shelton, consisted of Messrs. Hollins,
Warburton, Clowes, and Bagnall, but was afterwards carried on by
Hollins, Warburton, Clowes, and Daniel. A considerable quantity
of china was produced under the patent, but the most extensive and
profitable branch of the New Hall business was the making and vending
of the glaze called “composition,” made of materials to whose use the
company had the exclusive right. This “composition,” made from the
ingredients given in the specification printed in my account of the
Bristol works, was supplied by the New Hall firm to the potters of the
neighbourhood, and even sent to other localities, to a large extent
and at a highly remunerative price. The ware made at this period was
precisely similar in body and glaze to that of Bristol, to which, from
the fact of some of the same artists being employed, it bears also a
marked resemblance in ornamentation. In 1796 the patent, which had been
enjoyed successively by Cookworthy, Champion, and the Staffordshire
company, for a period of twenty-eight years, expired; but the company
continued to make the hard paste china, and to supply “composition”
(many potters finding it more convenient still to purchase instead of
making that essential) to other manufacturers. In 1810, the firm--then
consisting of four partners, viz., Samuel Hollins, of Shelton, Peter
Warburton (son of Jacob Warburton), of Cobridge, John Daniel, of
Hanley, and William Clowes, of Port Hill--became the purchasers of the
New Hall estate for the sum of £6,800. In 1813 Peter Warburton died,
leaving his share in the works to his father (Jacob Warburton) and John
Daniel, as trustees under his will. In 1821, John Daniel died, and two
years afterwards Samuel Clowes died also. John Daniel, I presume, was a
son of Ralph Daniel, to whom the potters were indebted for discovering
the system of making moulds in plaster of Paris instead of in brass,
as previously done. Mr. Daniel is said to have visited the potteries
and porcelain manufactories in France, and brought back with him a
mould of cast plaster of Paris, which he showed and introduced to the
English makers. The potters, however, knew so little of the process by
which the mould was produced, that they got blocks of the gypsum of
Derbyshire and _cut_ their moulds in them, until it was explained
that the gypsum must be first burnt and ground, and then cast. This
circumstance is so graphically described in the “Burslem Dialogue,”
given by Ward, that I transcribe the few following lines for my
readers’ amusement:
“_Telwright._--That wur a queer trick, wur it no’, o’ Rafy
Dennil’s?
“_Leigh._--Dun yo’ meeon th’ cause o’ his gooin’ to France,
or es ha he geet int’ th’ work hâisn theer, an seed’n aw ha they
did’n wi ther ware?
“_Telwright._--Oi meeon him foindin’ aat i’ whot wey they
mayd’n ther mewds (moulds).
“_Leigh._--That wur a fawse trick, for sartin, an o’ gret
yewse to th’ treyde. Bu’ wot a blunder th’ mesters here mayd’n,
when he sent ’em word abaat it!
“_Telwright._--Haa dust meeon, Rafy? Oi am no’ properly
insens’t on’t.
“_Leigh._--Whoy, yo’ seyn as haa they geet’n th’ plaster-ston’
fro’ Darbyshur aw reet; bu’ then, i’stid o’ fust groindin’ it
an’ bakin’ into dust loike fleawr, an usin’ th’ dust wi wayter
for t’ cast on th’ moddills, as they cawn ’em, th’ mesters had
th’ raw ston’ cut i shapes, an’ tryd’n for t’ mak things oof
’em; bu’ they cudna. Then at last he sent ’em full word haa to
dew it.”
Hard paste porcelain continued to be made at New Hall until about
the year 1810 or 1812, when the bone paste, which had been gradually
making its way in the district, finally superseded it, and the company
continued their works on the newer system. In 1825 the entire stock of
the concern, which had for a short time been carried on for the firm by
a person named Tittensor, was sold off, and the manufacture of china of
any description entirely ceased at New Hall.
The works, after having been closed for a short time, were next opened
as an earthenware manufactory by Mr. William Ratcliffe, who for a few
years continued to make the commoner description of white and printed
earthenware for ordinary home consumption. They next passed, in 1842,
into the hands of Messrs. W. Hackwood & Son, who removed from their
works near Joiner Square (now called the “Eastwood Pottery”) for that
purpose; and seven years later, Mr. Hackwood senior having died, they
were continued by the son, Thomas Hackwood. The goods were the ordinary
descriptions of earthenware, principally for Continental markets, and
bore the name of HACKWOOD impressed. In 1856, they passed into the
hands of Messrs. Cockson & Harding, who continued to manufacture the
same descriptions of goods, using for a mark C & H, LATE HACKWOOD,
impressed on the bottom.
In 1862, Mr. Cockson having retired from the concern, the works were
carried on by the remaining partners, Messrs. W. and J. Harding
(Brothers), who did an extensive trade with Holland and Italy. Besides
the cream-coloured and printed wares for foreign trade, druggists’
fittings formed a staple branch. Black, Egyptian, Rockingham, and
tinted wares too were made. In 1872 Messrs. Harding gave up the
business, when Mr. John Aynsley, china manufacturer, of Longton,
purchased the back portion of the works and let it to its present
occupiers, Messrs. Thomas Booth & Sons. The entire front of the New
Hall Works was purchased by Mr. Henry Hall, metal mounter of jugs,
tea-pots, &c., so that the manufactory became divided into two
distinct properties. The portion occupied by Messrs. Booth having been
burnt down has been rebuilt.
The productions of Messrs. Booth & Sons are the usual classes
of ordinary earthenware in printed, painted, enamelled and gilt
services; stone ware of good quality, in which a large variety of
jugs and tea-pots are made; and jasper ware, in various ornamental
articles. Among their shapes of toilet ware are the “Eldon,” “Globe,”
“Alexandra,” and “Cottage;” and among their specialities in other
goods are a self-closing hot-water jug, and a molasses jug, which are
considered very successful.
[Illustration: Fig. 458.]
[Illustration: Figs. 459 and 460.]
Specimens of the hard paste of the New Hall Works are rare. They are
almost entirely without mark; but sometimes there is an incised letter
N as here shown. Fig. 460 exhibits a beautifully painted teapot. On
one side is a group of children playing at blind man’s buff. They
are dressed in the characteristic costume of the latter part of last
century, but what renders the group peculiarly interesting is that in
the background is a view of a pot-works, with kiln, which may probably
have been a representation of the works when this interesting piece was
made. On the opposite side of this teapot is an equally well painted
group of a boy riding on a dog, and on the lid are also two little
figure vignettes. This piece was made for, and belonged to, one of the
partners, Charles Bagnall, from whose family it passed more than half a
century ago, by marriage, to a Mr. Sutton, from whose own octogenarian
hands it passed into my own. It was painted by Duvivier, a French
artist of celebrity, who, as well as Bone, was employed at these works.
Fig. 459 is a cup and a saucer of excellent form and twisted fluting.
Fig. 462 is a jug, carefully painted with birds, and bearing in front
the initials S. D. This jug was made at New Hall for Sampson Daniel, a
cousin of John Daniel, one of the partners, and is still in possession
of his grandson, Mr. Daniel, of Hanley. The coffee cup and saucer (Fig.
464) is a good and characteristic specimen; and Fig. 463 is one piece
of a dessert service, belonging to Mr. Gray, which was made for Mr.
Daniel, one of the partners. The porcelain made at New Hall principally
consisted of tea, dinner, and dessert services, of various designs; but
figures and busts, as well as vases, were also, to some extent produced
there.
[Illustration: Fig. 461.]
The later productions of the New Hall China Works, the soft paste, are
also scarce, especially the marked pieces. The body is of good colour,
and clear, and the decorations, especially the flowered examples, are
remarkable for the brightness of their colours. The only mark used--and
this was not, it appears, adopted until after 1820--is the one here
shown.
[Illustration: Figs. 462 to 464.]
Batt printing was practised at New Hall, and some remarkably good
examples have come under my notice. In 1810, Peter Warburton, on behalf
of the company of which he was a partner, is said to have taken out a
patent “for printing landscapes and other designs from copper plates,
in gold and platinum, upon porcelain and pottery.” The company was also
among the first to adopt the improvements in printing on ware made by
William Brookes in the beginning of the present century.
* * * * *
_Glass._--Joseph Glass was a potter in Hanley, in the middle of the
seventeenth century, and his works are stated to have been still
carried on by him or his son, Joseph Glass, in the beginning of the
eighteenth. “Joseph Glass ... clowdy, and a sort of dishes, painted
with different coloured slips, and sold at 3_s._ and 3_s._ 6_d._ per
dozen.” A tyg bearing his name, IOSEPH GLASS S V H G X, painted round
the body is in the Staniforth collection. Later on the works were
carried on by John Glass, and from him passed to Samuel Keeling & Co.,
then to Meakin Brothers, and lastly to Taylor Brothers. The works
were situated in Market Street, and have of late years been pulled
down. This Samuel Keeling was great nephew to the patentee, James
Keeling, mentioned on another page, who was an important manufacturer
towards the close of the last century. Mr. Samuel Keeling, one of the
patriarchs of the potteries, resided in partial retirement at Rocester.
His firm, Messrs. Keeling & Adams, hold three mills at Hanley for
grinding potters’ materials. One of them, the Eastwood Mill, consists
of two old erections combined; one portion was a pottery worked by
William Baddeley; another, the place erected by William Baddeley’s
brother James for a silk mill. They also work the Botteslow Mill and
the Albion Mill.
* * * * *
_Twyford._--Twyford, the potter, already named, “commenced business
near Shelton Old Hall, the seat of Elijah Fenton’s family; and the only
known specimen of his manufacture,” says Shaw, “is a jug made for T.
Fenton, Esq.,” then in the possession of his descendant. Mr. Twyford
and his children and grandchildren continued as potters, and are now
represented by Mr. Thomas Twyford, of the Bath Street Works.
In 1829 the manufactories named by Shaw were E. Mayer & Son; Job Meigh
& Son (Old Hall); Dimmock & Co.; Toft & May; J. Keeling; W. Hackwood;
T. Taylor; J. Glass; J. & W. Ridgway; Hicks, Meigh, & Johnson; H.
Daniel & Sons; J. Yates; and Hollins, Warburton, Daniel, & Co. (New
Hall).
* * * * *
_Mare_ or _Maer_, or _Mayer_.--In the early part of the last century
Hugh Mare and John Mare were potters at Hanley, and produced black and
mottled wares. Later on were “Elijah Mayer” or “E. Mayer,” then “Elijah
Mayer & Son,” and next “Joseph Mayer.”
Other potters in the early part of last century were William Simpson,
Richard Marsh, Moses Sandford, and John Ellis. Several of these and
later potters will be named in the course of the notices of existing
manufactories. The potteries in Hanley and Shelton enumerated by
Ward in 1843 are the Old Hall, the New Hall, Cauldon Place, William
Ridgway and partners (six manufactories), Thomas Dimmock & Co. (three
manufactories--formerly James Whitehead, J. and W. Handley, Edmund
John Birch, and Christopher Whitehead); Samuel Keeling & Co., formerly
John Glass; William Hackwood; Samuel and John Burton, formerly James
Keeling; Samuel Mayer, formerly Sarah Brown’s; Thomas Furnival, junior,
& Co., formerly Reuben Johnson’s; George Lomas, formerly Barlow and
Hammersley’s; Joseph Clementson, formerly Elijah Jones’s (who was a
potter about 1760); Yates & May, formerly John and William Yates,
successors to their father; William Dudson, formerly William Rivers
& Co.; William White, formerly Poulson’s; Henry Mills, then newly
erected, and other smaller factories. Edward Phillips was also a
manufacturer, and used his name in full, “Edward Phillips, Shelton,
Staffordshire,” on his goods. Other names are J. Sneyd, Toft & May, and
T. Taylor.
* * * * *
_John Twemlow_ was in business in 1797. An invoice in my possession
is curious as showing some of the goods he made. These are “E Black
Teapots, capt., fest^{d.} and fig^{d.}” (Egyptian black tea-pots,
capped, festooned, and figured); “ditto upright, fest^{d.} and
fig^{d.}”; “Oval E Black Teapots;” ditto “prest leaf,” “scollop top,
fest^{d.} and fig^{d.} and banded”; “ditto, prest leaf and fest^{d.}
and fig^{d.} and banded a’tip;” “ditto creams” to match; “ditto
fluted;” “ditto coffee pots;” octagon tea-pots, with scollop top, and
creams to match; oval plain tea-pots (all, so far, are in Egyptian
black); “blue and enamelled handled cups and saucers, London size,
sprig and border and vine pattern;” “bowls to match.”
* * * * *
[Illustration: Figs. 465 to 468.--1851--Exhibits of Mr. Meigh,
Old Hall Works.]
[Illustration: Fig. 469.]
[Illustration: Fig. 470.]
_Old Hall Works._--The “Old Hall Works” are among the most interesting
historically of any in the district, being built on the site of, or
quite closely adjoining to, the “Old Hall” or Manor House of the
Colclough family, who formerly held the lordship of Hanley, from
about the time of Edward III. until about a century and a half ago,
when it passed into the family of Bagnall. The “Old Hall” or “Manor
House” has long since disappeared. The present works were built about
the year 1770, by Mr. Job Meigh, on what, I believe, was for a time
previously a salt-glazed white stoneware pottery, carried on by a Mr.
Whitehead. From 1770 until 1861 the works were uninterruptedly carried
on by Mr. Job Meigh, his son, and his grandson (Mr. Charles Meigh),
successively. In 1861 Mr. Charles Meigh transferred the business to a
limited liability company, called “The Old Hall Earthenware Company,”
by whom it is still carried on. The productions of the works include
every variety of earthenware, from the most highly decorated to the
ordinary blue printed and plain white wares, stone ware, jet ware, and
parian. In earthenware all the usual dinner, tea, breakfast, dessert,
toilet, and other services, and all other articles are made. In these
the body is of the finest quality, hard and of remarkable durability,
and the glaze is hard, clear, and faultless. Many of the patterns of
dinner services are of great beauty and elegance. Especially among
these are the “Nonpareil,” the “Verona,” and the “Koh-i-noor” shapes,
which last is one of the most simply elegant yet produced. The form of
the covered dishes is chaste and remarkably effective. They stand upon
well-modelled feet, and the handles are formed of folds of ribbon held
together by jewelled rings. This pattern is produced in various styles
of decoration, one of the most pleasing of which is the convolvulus,
exquisitely coloured after nature; the gilding is rich and substantial.
Among the patterns produced by the staff of artists here employed are
many others of surpassing beauty; the excellence of the painting,
the gilding, the jewelling, and the enamelling, being very apparent
in all, and the combination of printing and hand painting carried to
great perfection. The transfer printing at the Old Hall Works is more
carefully done, and the colours are clearer and brighter, than at most
manufactories. Dessert services are made in every style of decoration;
the richer and more costly varieties being equal to any produced by
other firms, both in quality of body, in shape, in pattern, and in
artistic treatment. Toilet services form a very extensive branch of
the productions, and in these the firm is very successful. Among the
more popular shapes are the “Buckle,” “Richmond,” “Perth,” “Exeter,”
and “Mediæval,” and these are produced in every possible style of
decoration whether in printing, painting, enamelling, and gilding. In
stone ware, jugs of good and faultless form, and many other articles
are produced. In black ware, water-bottles, elegant little table
tea-kettles, spill cases, vases, and other articles are made, and are
effectively decorated with dead and burnished gilding, enamelling, &c.
[Illustration: Figs. 471 to 473.--1851. Exhibits of Messrs.
Meigh, Old Hall Works.]
In Parian, vases, groups, busts, figures, and other ornamental articles
are produced; the body is of good quality, and the modelling and finish
of faultless excellence.
The marks of these works are the following:
[Illustration: Figs. 474 to 478.]
In 1851 medals were awarded to Mr. C. Meigh, of these works, who has
also received medals from the Society of Arts.
Figs. 465 to 468 are stoneware jugs, one of which bears a young
bacchanal imbibing the juice of the grape, and Fig. 470 a candlestick
adapted from a celebrated wine cup, the work of Cellini. Figs. 471,
472, 473 exhibit three admirable pieces, a clock case, a vase, and a
drinking cup or tankard, all in statuary porcelain and of the finest
possible style of art. The works are very extensive, including mills
for grinding all descriptions of materials used in the manufacture
of pottery, and are capable of supplying a large demand. The markets
principally supplied are the home, French, German, Indian, American,
Australian, and colonial.
* * * * *
_Broad Street Works._--These works are interesting as being the place
where the celebrated “Mason’s Patent Ironstone China,” as well as
the “Ironstone China” of the old firm of Hicks, Meigh, and Johnson,
in addition to most varieties of useful earthenware, are made. Mr.
Charles James Mason, the inventor of this famous “Mason’s Ironstone
China,” was a potter of great taste and skill at Lane Delph (now
Middle Fenton), and in 1813 took out a patent for his process. The
manufacture was at that time carried on under the styles of “G. M.
and C. J. Mason” and “C. J. Mason & Co.” The partners were Charles
James Mason and his brother George Miles Mason (father of Mason the
artist) who in 1832 unsuccessfully contested the then new district
borough of Stoke-upon-Trent, his successful competitors being Josiah
Wedgwood and John Davenport, both, like himself, manufacturers in the
district. After a time Mr. G. Mason retired from the concern, and
it was then continued by the patentee alone. The concern, however,
for want of capital and from other causes, gradually dwindled down,
until at length, in 1851, Mr. Francis Morley purchased the patent,
the moulds, copper-plates (on which an immense amount of money had
been expended), and entire business, from Mr. Mason, and removed the
whole to his manufactory. Mr. Morley, who married a daughter of Mr. W.
Ridgway, and was a partner in the firm of Morley, Wear & Co., succeeded
to the old-established concern of Hicks, Meigh, & Johnson, which he
carried on for a time under the style of “Ridgway & Co.” Afterwards
Mr. Morley continued the business as F. Morley & Co. This manufactory
was one of the oldest in the Potteries. It was in existence in the
early part of the last century (probably established about 1720), and
afterwards belonged to John Baddeley (in 1750 R. and J. Baddeley), an
eminent potter, who died in 1772. Here, it is said, printing in oil was
first practised. Messrs. Hicks, Meigh, & Johnson were among the most
successful of the manufacturers in the district, and produced, among
other wares, a remarkably good quality of ironstone china. Besides
this, they were large manufacturers of earthenware of the ordinary
and finer kinds, and of china. They and Mason were the only makers of
ironstone china; and when Mr. Morley, who purchased their business,
became also the owner of Mason’s process and of his moulds, plates,
&c., he became the _only_ manufacturer of ironstone ware. Having united
the two manufactories, he removed Mason’s concern to his own works,
where he entered with spirit into the manufacture, and soon established
a lucrative business in “Mason’s wares.” In 1856 a first-class medal
for this ware was awarded at the French Exhibition.
Mr. Morley retired from trade in 1859, having sold the entire business,
moulds, copper-plates, &c., to the present owners, Messrs. Geo. L.
Ashworth and Taylor Ashworth (brothers), who continue, to the fullest
extent, the manufacture of the “Patent Ironstone China,” which they
and their predecessor named the “Real Ironstone China” (of which
patented articles they are the _only_ makers) on their marks, and
produce all Mason’s best patterns in services, vases, &c., made from
his original models. They also manufacture Meigh’s ironstone, from his
old moulds, &c. This manufacture has been very largely developed by
Mr. Taylor Ashworth (who studied the processes under Mr. Morley, and
is the resident acting partner), to whom the art is indebted for many
improvements. This gentleman, who married the grand-daughter of Mr.
Meigh, obtained by that alliance a vast deal of valuable information
about the working of the stoneware; and it is a somewhat singular
and pleasant circumstance to record, that after a lapse of half a
century, or more, the manufacture may, through that marriage, be said
again to be brought into the old family. Messrs. Ashworth, besides
these great features of their trade, make table, toilet, dessert, and
other services, and ornamental goods of the best quality, in every
description of general earthenware. These they produce in immense
quantities, both for home and foreign markets, about one-third of the
whole being exported. The ordinary classes are principally exported to
Russia, India, &c., and the more rich and costly to Havanna, Spain,
and other countries. Sanitary wares are also produced, as well as
insulators for our own and for foreign governments. The “Ironstone
China,” from its extreme hardness and durability (for it is not easy
to break even a plate) is specially adapted, in its simpler styles
of decoration, for services used by large steamship companies,
hotels, clubs, colleges, and other places where hard usage has to be
undergone; while in its more elaborate and rich styles--and it is
capable of the very highest degree of finish--it is eminently fitted
for families of the higher ranks. No climate affects this ware. The
usual style of decoration for dinner services is imitation of Oriental
patterns--Japanese and Indian flowers, &c.--and the colours and gilding
are rich in the extreme. In vases and jugs the handles are usually
dragons and other grotesque animals. The Indian vases are of perfect
form, of exquisite design, rich in their colours, and massive in
gilding. They are priceless Art-treasures, and examples of Ashworth’s
make deserve to be in every “home of taste.”
The marks used by Mason were principally the following:
[Illustration: Figs. 479 to 483.
MASON’S PATENT IRONSTONE CHINA
MASON’S PATENT IRONSTONE CHINA.
MASON’S PATENT IRONSTONE CHINA ASHWORTHS.
MASON’S PATENT IRONSTONE CHINA.
PATENT·IRONSTONE·CHINA]
Figs. 479 to 481 are printed, usually in blue, on the bottoms of the
pieces, and Figs. 482 and 483, impressed in the body of the ware.
After the patent passed out of Mason’s hands into those of Morley and
Co., the mark was changed on more than one occasion. The principal one
was
REAL
IRONSTONE
CHINA
impressed in the ware, and the royal arms, with supporters, crest,
motto, &c., above the words IRONSTONE CHINA, printed on the bottom of
the goods. The marks used by Messrs. Ashworth are, a circular garter,
bearing the words “Real Ironstone China,” and enclosing the royal arms
and the name “G. L. Ashworth & Bro^s, Hanley;” Mason’s mark (Fig. 488)
with the addition of the word
ASHWORTH
REAL
IRONSTONE
CHINA.
ASHWORTHS; a crown, with the words ASHWORTH BRO^S. above, and a ribbon
bearing the words REAL IRONSTONE CHINA beneath it; and the royal arms,
with supporters, crest, motto, &c., and the words, IRONSTONE CHINA.
Mason at one time produced what he called Bandana or Sandana ware.
In this jugs and other articles were made, and were of a peculiarly
striking and rich character in printing. The designs were complicated
Indian foliage and grotesque animals, printed in red and black on a
buff or other ground. The name I presume to have been taken from the
famous Bandana handkerchief patterns. The mark, on a jug in my own
possession, is a circular garter bearing the words, “Mason’s Bandana
Ware, 1851,” and enclosing the words “Patentee of the Patent Ironstone
China,” the whole surmounted by a crown. I have an impression of a
similar mark, which for some purpose has evidently been altered to
Sandana, and the date to 1801. As Mason’s patent was only granted in
1813 the alteration of this mark is very palpable.
* * * * *
_Cauldon Place._--These works were founded about 1794, and the present
manufactory built in 1802, by Mr. Job Ridgway, father of John and
William Ridgway, the eminent potters; and were carried on by him and
his sons until his death in 1814, under the style of “Ridgway & Sons.”
The business was then continued by his two sons for some years, when
a dissolution of partnership took place, the elder, John Ridgway,
continuing the Cauldon Place Works, and the younger, William Ridgway,
removing to a new manufactory which he had erected. Mr. John Ridgway
continued, with various changes of partners, under the firm of “John
Ridgway & Co.,” until 1855, when the Cauldon Place business passed
into the hands of the present firm of “T. C. Brown-Westhead, Moore, &
Co.”; Mr. Ridgway continuing his connection with it until 1858, when
he finally retired. Mr. W. Moore had for many years previously been a
valuable assistant of Mr. Ridgway. He died in 1866, and his brother,
Mr. James Moore, succeeded to the management of the potting department,
and was admitted into partnership in 1875; in that management he is
assisted by his nephew, Mr. Frederick T. Moore, son of Mr. W. Moore.
By the present firm the premises have been considerably enlarged, and
another manufactory, “_The Royal Victoria Works_,” has been added, and
this business, which formerly was confined to the home and American
markets, extended to all foreign ports. Mr. Ridgway, who was “Potter
to the Queen,” was awarded in 1851 a Prize Medal for the excellent
quality of his ware, the jurors in their report stating that the
firm was one of the most important in the Staffordshire Potteries.
In 1862 the present proprietors also received a similar distinction.
The productions of this manufactory are, and have uniformly been, the
useful varieties of china and earthenware, of elegant forms, where
applicable, and of various styles of decoration. Table, tea, breakfast,
and toilet services in fine earthenware, printed or otherwise
decorated, and in china, in endless variety of forms and patterns,
are produced in immense quantities. The firm has also introduced
improvements in druggists’ and perfumery goods, anti-corrosive tops,
&c. Parian is also, to a small extent, produced. A great feature of
the manufactory is sanitary ware, which is of the highest quality and
reputation, and is made up in a variety of ways for cabinet fittings,
plug-basins, lavatories, drinking-fountains, &c. In some of the largest
articles, such as the “Toilettes Victoria,” which were used by the
Imperial family and elsewhere in Paris, they have accomplished results
which have never before been attained or attempted as to magnitude and
finish of goods.
In 1843, Mr. William Ridgway, younger son of Job Ridgway, held, with
his partners--composing three or four distinct firms of which he was
head--six different manufactories in Hanley and Shelton. These were,
1st, a china manufactory in Hanley, formerly worked by George, and
afterwards by Thomas, Taylor; 2nd, the earthenware works late belonging
to Elijah Mayer & Son; 3rd, the pot-works formerly worked by Robert
Wilson and next by Philips & Bagster, where ordinary earthenware and
high-class chemical goods were made; 4th, the pot-works previously
belonging to Toft & May; 5th, the “Bell Bank” works, in Shelton,
formerly George Ridgway’s; and 6th, the old manufactory formerly
belonging to John Baddeley (where printing with oil is said to have
been first introduced) and next to Hicks, Meigh, & Johnson.
The goods produced at Cauldon Place embrace almost every description
of ceramics. In earthenware all the usual table and toilet services,
and useful and ornamental articles of every class are made. The quality
is peculiarly good, hard, compact, and durable, and the patterns
chaste and effective. They are produced in white and in every variety
of printed, flown, enamelled, painted, and gilt patterns. In china,
which in body and glaze is of the highest quality and of peculiar
durability, an immense variety of services and articles are produced,
and all are equally good in point of artistic decoration; the ground
colours, whether rose du Barry or otherwise, of a remarkable purity
and evenness, and the gilding, both dead and burnished, of unusual
solidity. The same remarks apply with equal force to the dessert ware,
some of the patterns of which are of surpassing loveliness and give
evidence of the highest and most successful cultivation of decorative
art. One special design has an outer rim, so to speak--for the plate
itself is perfect without it--formed of loops of ribbon standing out
clear from the beaded edge of the plate. This simple but graceful
arrangement imparts a lightness and elegance to the service which are
quite refreshing. Another has the rim formed of rays of pellets with
a pleasing and novel effect; the tripod stands of the comports being,
like the plates, exquisitely modelled and richly painted and gilt.
Other patterns, notably one with a rich maroon ground and white bead
edge, are, besides being exquisitely painted and gilt, enriched with
jewelling. Vases of pure and severe taste in form, and displaying great
skill and judgment in decoration, are also produced, as are likewise
jugs of faultless excellence. Among other elegant articles Messrs.
Brown-Westhead, Moore & Co., have a sandwich-box of white china; it
is of wicker or basket work, with a fern leaf laid across the lid, on
which rests the butterfly which forms the handle. At each corner hangs
a piece of stem bent into a ring and tied into form with a ribbon. This
ribbon and the butterfly being tinted in azure with enamel, and all the
rest of pure white, give a purity and simplicity to this design that
are very gratifying to the eye. Equal with this is an elegant basket,
also in white china, which forms an attractive addition to table
decoration. In services a novel idea has been introduced by this firm.
The handle is formed of a double cord, doubled and passed through a
loop, and either tied around the rim or formed into four knots as feet.
The design is simple, but one of the prettiest and most striking yet
introduced. A rose du Barry cup and saucer, with the cord and knots in
white heightened with gold, and on embossed gold lines, is peculiarly
elegant. Another admirable contrivance, which has been patented by
Toft, and is produced at the works, is a self-acting lid or cover for
hot-water jugs, &c. By this contrivance, the lid is hung on a pivot or
axle, which fits into a notch on each side the mouth of the vessel,
so that, being lightly hung, it opens whenever the jug is sloped for
pouring, and closes again when held or set down in an upright position.
It is, without exception, the best and most effective plan yet brought
out, and one that cannot be superseded.
In 1876–7 Messrs. Browne-Westhead, Moore & Co. manufactured for the
Prince of Wales a splendid and costly china dessert service, decorated
with finely painted hunting subjects, no two pieces being alike.
They also made for the Imperial family of Russia, richly decorated
dinner, tea, dessert, and breakfast services, all of which orders were
obtained in competition with the Sèvres, Dresden, and other Continental
manufactories; and also services for the Emperor of Morocco, including
punch bowls of extraordinary largeness. In addition to this it is
interesting to record that they also made for H.R.H. the Duchess of
Edinburgh a series of toilette services from designs drawn by herself.
[Illustration: Figs. 484 to 491.--Productions of the Cauldon
Place Works.]
[Illustration: Figs. 492 to 499--Philadelphia Exhibits of the
Cauldon Place Works.]
In 1825 Messrs. John and William Ridgway took out a patent for “an
improved cock, tap, or valve, for draining off liquors:” in 1840,
John Ridgway took out another for “certain improvements in the moulds
used in the manufacture of earthenware, porcelain, and other similar
substances, whereby such moulds are rendered more durable” by having a
face of “pitcher;” in the same year, in conjunction with George Wall,
for “certain improvements in the manufacture of china and earthenware,
and in the apparatus or machinery applicable thereto;” in the same
year again, the same two, for “certain improvements in the mode of
preparing bats of earthenware and porcelain clay, and of forming or
shaping them into articles of earthenware and porcelain, and in the
machinery or apparatus applicable thereto;” in 1847, John Ridgway,
for “certain improvements in the manufacture of paste boxes, and other
similar articles in china or earthenware, or other plastic materials”;
and in 1852 for “certain improvements in the method or process of
ornamenting or decorating articles of glass, china, earthenware,
and other ceramic manufactures.” These are, applying “the art of
electrotype or electro-metallurgy” for the above purpose, applied as
“described, or by any other suitable process; provided always that
the surface of the non-conducting body is so prepared that the metal
deposited thereon shall become alloyed or combined therewith.” The
invention, however, is said to consist “in the application of certain
novel and peculiar media,” “whereby such surface may be caused to
combine with gold, silver, copper,” &c. Before coating with the metals,
the vessels are covered thinly with some varnish, dried, and immersed,
first in a solution “of phosphorus reduced by bisulphuret of carbon,”
then in nitrate of silver, and set aside to dry. Instead of this,
“phosphoric vapour” or “a solution of phosphorus in sulphuric ether”
may be employed; but the method preferred is brushing them over with
“an impalpable powder of carburet of iron and sulphate of copper” in
certain proportions; afterwards the vessels are “corroded by means of
the fumes of hydrofluoric acid.”
It may be added, that in the application of photography to the
decoration of porcelain this firm has achieved a perfect success so
far as the art is concerned, and has produced some splendid specimens,
which show how completely and how thoroughly they are artists as well
as manipulators. This feature, although not one, unfortunately, at
present made to much extent commercially available, is one which cannot
but attract attention, along with the sanitary and other classes of
goods, to this establishment.
The marks used by the Cauldon Place Works, so far as I am aware, are
the following:
[Illustration: Figs. 500 to 502.]
A shield, quarterly, 1 and 4 gules, 2 or, 3 azure, over all on a bend
argent B-W. M. & Co.; the shield surmounted by a crown, and surrounded
by a garter with the name of the pattern.
[Illustration: Figs. 503 and 504.]
Medals have been awarded at the Exhibitions of London, 1851, 1862,
Paris 1855, Lyons 1872, and Vienna 1873; at the latter, two medals,
one for excellence of earthenware and china and the other for
sanitary goods, were awarded. The firm were large contributors to the
Philadelphia Exhibition of 1876; some of their exhibits are shown in
Figs. 484 to 499.
* * * * *
_Trent Pottery._--These works, in Joiner Square, were built by Messrs.
Stanway, Horne, and Adams, the present proprietors, in 1859, and
they have been carried on without change since that time. The works
were established for the production of ornamental goods in parian,
and useful goods of an improved design in stoneware and ordinary
earthenware, and these have continued to extend themselves year by
year. The great speciality is their cheap ornamental parian, in which
jugs of various kinds, vases, figures, groups, busts, and a large
number of other articles are made; of these they are large makers,
not less than 460,000 pieces of these alone being made and disposed
of during one year. Notably, among the designs for jugs and cream
ewers, are the Indian corn, pine-apple, shell, and dolphin patterns;
the first of these is of peculiar elegance. Vases and other chimney
ornaments are produced of excellent design and of various sizes. Of
late years, classical statuettes, groups, busts, &c., in Parian, have
been made, and are a prominent feature of the works; they are well and
cleverly modelled, and the quality of the body is remarkably good. A
group of “Commerce,” seated, is one of the most effective. The great
and laudable aim of the “Trent Works” has been the production of good
average designs in Parian at a cheap rate, so as to place them within
the reach of all; in this they have eminently succeeded. Stone ware,
lustre ware, and terra cotta, are also produced, and of late the
manufacture of pearl china has been added. The markets supplied are the
home, United States, the Continent, etc. No mark is used.
“The members of this firm, namely, Mr. John Stanway, Mrs. Thomas Horne
(Mr. Stanway’s sister), and Mr. Thomas Adams,” writes my good friend
Mr. Goss, “are all natives of Etruria, where their grandfathers were
the valued servants of the great Josiah Wedgwood. Mr. Stanway’s father
was the William Stanway mentioned by Mr. Jewitt in his ‘Life of Josiah
Wedgwood,’ as one of the ‘Etruria Jubilee Group of Francis Wedgwood,
Esq., and nine workmen, whose average term of servitude is fifty-four
and a half years, November, 1859;’ and Mr. Jewitt further remarks:
‘It is interesting to note that in the person of one of these men,
William Stanway, an absolute link with the great Josiah is kept up.
This man began to work at Etruria the very year of Josiah Wedgwood’s
death (1795), and has remained there ever since--a period of sixty-nine
years.’ Two others of the nine workmen of the Jubilee Group--William
Adams and John Adams--were uncles to Mr. Thomas Adams of the above
firm. Mr. John Stanway has distinct recollections of his grandfather,
John Stanway the elder, who for many years served the first Josiah,
and died in the service of the second. His occupation at the works
was that of “slipmaker” or claymaker, a position of great trust at
that time, when not only the newly-invented proportions but the very
materials used in the composition of the clays were important secrets.
It is curious to reflect that the ingredients of all the famous jasper
and other wares which the great Wedgwood produced, and which are now
numbered among the treasures of kings and emperors, were blended and
made into clay by this John Stanway the elder. Being proved a faithful
servant, he was greatly valued and favoured by his employer, spending
a portion of his time in personally waiting upon Wedgwood at Etruria
Hall, whence he used to carry valuable parcels and letters to the Three
Tuns Inn at Newcastle-under-Lyme, which was in those days the stage
coach house. After the death of Wedgwood, John Stanway retained the
same share of the confidence and favour of the second Josiah, both at
the manufactory and at the Hall. At that time the country where Etruria
now stands, and for miles around, was an uncultivated waste, and Mr.
Stanway remembers to have accompanied his grandfather many times when
he trudged along the road from Etruria Hall to Newcastle, with his
parcels on his back, and his dog Driver and his cat Molley following
him all the way, a distance of about two miles. In these journeys it
appeared to be distinctly understood between the two animals that
Driver was Molley’s protector, and the confidence of the latter was
always justified in the moment of danger. In those days old Stoke
Church (since removed) was the only church for miles around, and the
Wedgwoods had their freehold pew there, which they regularly used until
the second Josiah bought the Maer estate, near Whitmore, and removed
to it from Etruria Hall. ‘Then,’ relates Mr. John Stanway the younger,
‘Mr. Wedgwood desired my grandfather--who was a good Christian and a
regular attendant at church--to make use of that pew ever after. And
the good old man never missed attendance there on the Sabbath while he
had strength to walk. And because the distance was too great to allow
him to go home to dinner and return in time for afternoon service, he
used to take his dinner with him in the morning, and stay and eat it
in the church or schoolroom, or, when the weather was fine enough, in
the churchyard. And Mr. Wedgwood was not ashamed to be represented
in that family pew by my grandfather, altho’ the old man used to
sound his way up the aisle in wooden clogs, which it was the custom
of all workpeople to wear in those days in those parts. But although
Mr. Wedgwood was content to be represented by his faithful servant
in wooden clogs, there was an old lady, who sat in the pew behind
Wedgwood’s, who seems to have objected; and so one week she managed to
have taken down the partition between her pew and Wedgwood’s, and made
the whole into one square pew for herself. Then my grandfather meekly
took his place on the free benches, until, some time after this, Mr.
Wedgwood happened to say to him one day at the works, ‘Well, how come
you on at church, Jack?’ And my grandfather replied, ‘Well mester,
th’ owd lady i’ the pew behind has made it all into a square un’, an’
turned me out. But I’m right enow on the free bench.’ ‘Ha!’ said Mr.
Wedgwood. ‘I’ll see to that, Jack.’ And he did see to it, and undid the
old lady’s improvements, restoring his pew as before. Ever after that
my grandfather enjoyed his sitting without further interference, and
continued every Sunday to sound his way up the aisle in his wooden
clogs, with his dinner in his pocket, until at last, at a good age, he
was taken ill. Mr. Wedgwood went to see him immediately, and sent his
own physician to attend him; but after a few day’s illness he died.’”
* * * * *
_Keeling._--James Keeling, in 1796, patented improvements in decorative
and glazing processes, and, in conjunction with Valentine Close, some
improvements in ovens, kilns, and processes of firing. His ware was of
remarkably good quality, and some of the services were decorated with
series of scenes and views.
* * * * *
_Booth & Co._--These potters were makers of a red ware--a kind of terra
cotta--in which they produced various articles more or less ornamented
with medallions, wreaths, or other decorations, in relief; sometimes of
the same colour as the body, and at others in black. The mark was the
name, address, and date, within a border--
PUBLISHED BY GR. BOOTH & CO.,
HANLEY, STAFFORDSHIRE,
MAY 29, 1859.
An example occurs in the Liverpool Museum.
* * * * *
_Stafford Street Works._--This manufactory was originally occupied
by Messrs. Reuben Johnson & Co., who produced the ordinary classes
of earthenware and stoneware. From them it passed to Messrs. Thomas
Furnival, jun. & Co., and “Furnival & Clark,” by whom it was continued
until 1851, when it was taken by the present firm, which at that time
was Livesley, Powell, & Co. In 1865 Mr. Livesley went out of the
concern, when the firm changed its name to “Powell & Bishop,” by which
it continues to the present time. Messrs. Powell & Bishop own two other
manufactories, the “Church Works” for white granite, and the “Waterloo
Works” for china (both of which see), but the Stafford Street Works
are their principal ones, or head-quarters. At these works earthenware
alone is produced, but this is of the finest quality and in every style
of decoration, both for the home, French, Australian (principally
Adelaide and Sydney), and other markets. The body is extremely hard,
compact, and durable, and whether in pure white or of a creamy tint is
clear in colour, and the glaze of faultless quality. The decoration
of the dinner services, which is a speciality of these works, ranges
from the plain white and printed goods up to the most elaborately and
gorgeously enamelled, painted, gilt, and jewelled varieties, and in
each of these stages the decorations, whether simple or complicated,
are characterized by the purest taste and the most artistic feeling.
Messrs. Powell & Bishop are the sole workers of, and possess the
exclusive right to and in, a patented process of printing in gold and
colours, originally purchased by their firm from some Austrians, by
whom it was invented. This important process has been vastly improved
by the present firm and brought to bear in a variety of ways upon their
manufactures. By this invention a background of dead gold is produced
of surpassing beauty and loveliness, and of such solidity and evenness
as is perfectly impossible to be obtained by hand-gilding even by the
most skilled artist. In this, Messrs. Powell & Bishop have produced
services of a novel and faultlessly beautiful character, the designs
of which are taken from, and are of equal gracefulness, richness, and
beauty with, mediæval MS. illuminations. In toilet services a number
of effective and well-conceived designs are produced in every style in
transfer printing, lustred, enamelled, painted, and gilt varieties,
and the shapes of the ewers are, in some instances, of unusually
good designs. Jugs are another speciality of this firm, and they are
produced in almost endless variety; many of the arabesque patterns are
of great richness and beauty, and are characterized by graceful finish
in the enamelling. The same remark will apply to the table flower-pots,
which are all that can be desired in form, pattern, and arrangement of
colours. Tea and dessert services in great variety are also made in the
finest earthenware, and of considerable variety in design. A speciality
in tea ware is a charming little teapot, modelled from the one used by
the poet Addison. It is of the form at that time so fashionable, and
made in so many styles by Lakin and Poole, Adams, and others of the
famous old potters. The reproducing of this shape was a wise thought of
Messrs. Powell & Bishop, and the way in which it is issued--excellently
enamelled and richly gilt--is in every way satisfactory. Messrs. Powell
& Bishop have recently reproduced in all its softness and delicacy of
tint, and evenness of surface, the famous old ivory or cream-coloured
ware of Josiah Wedgwood, and known as “Queen’s Ware.” In this, dinner,
tea, dessert, and toilet services of the newest shapes and designs
are made, and are among the most marked successes of the time. In this
ivory ware, ornamental goods--vases, beakers, &c.--of a more or less
highly decorated character are also successfully produced. The firm
received medals from the London International Exhibition in 1862;
from the Amsterdam Exhibition of 1869; and from the Paris Maritime
Exhibition of 1875; “le Diplôme d’excellence” and a certificate at the
1871 Exhibition. They were also large exhibitors at the Philadelphia
Exhibition of 1876.
The marks used by the firm have been simply the words
[Illustration:
BEST
P & B]
impressed in the ware; and the initials P & B, in addition to the name
of the pattern, printed on the surface. The trade mark lately adopted
by the firm is the Caduceus, surmounted by the letters P. & B.; this is
now impressed on the body or printed on the surface of all their best
goods.
* * * * *
The _Church Works_, in High Street (for the history of which see page
301, “Wilson”) are old established, and passed from Mr. Ridgway, to
their present owners, Messrs. Powell & Bishop. The previous proprietors
produced the usual classes of earthenware. The present firm confine
their operations at these works to “white granite” ware for the United
States and Canadian markets, which they produce of excellent quality
and in every variety of style, both plain, embossed, and otherwise
decorated. (See “Stafford Street.”)
* * * * *
_Waterloo Works._--These works were recently erected close to their
large mill on the canal side near Nelson Place for the manufacture of
china, by Messrs. Powell & Bishop, in place of one formerly occupied
by them but removed for town improvements. At this manufactory
china of the finest quality is made in the white; the whole of the
decoration being accomplished at their principal works in Stafford
Street (which see). In china the firm produces all the usual services
and miscellaneous articles, in every variety of decoration. In dessert
services Messrs. Powell & Bishop rank deservedly high, not only for
the faultless quality of the body and glaze and for the beauty of
their designs, but for the perfect artistic feeling and the exquisite
finish which characterize their best productions; in these, and in tea
services--to which, the above remarks with equal force apply--they
have, in some instances, introduced with excellent effect a species
of decoration which may be said to give the appearance to the various
articles of being inlaid with _ormolu_. The effect, in connection with
admirable grounds and delicately beautiful paintings, is rich and
pleasing. Messrs. Powell & Bishop also introduce with great success
their patent process of printing in gold and colours (see page 329)
upon dessert and tea services; the effect upon the fine china body
is very pleasing--the colours softened and subdued, and the gilding
remarkable for its fulness, brilliance, and precision. In tea and
breakfast and déjeuner services they have introduced many of the most
chaste and elegant patterns produced by any house, and they take rank
among the very highest and best in quality, and exhibit the highest
phases of manipulative and artistic skill. The same remarks will apply
to the table jugs--some of which have for a ground the rich deep Derby
or Sèvres blue--the candlesticks, and the rest of the articles produced
by this celebrated firm.
* * * * *
_Kensington Works_, established by Messrs. Wilkinson & Rickuss, who
were succeeded by Wilkinson and Sons, and next by Messrs. Bailey &
Bevington. Mr. Bailey having retired, the works are now carried on
by Mr. John Bevington, who produces ordinary earthenware, ornamental
china, Parian, and stone ware; the great speciality being imitation
Dresden, for home, United States, and Australian markets. A monster
vase, the work of Rickuss & Wilkinson, exhibited 1862, is preserved in
the Museum of Practical Geology.
* * * * *
_Burton Place Works._--Formerly carried on by Mr. S. Bevington; this
manufactory is now continued by his sons, Messrs. James & Thomas
Bevington, who have held them since 1862. The operations are entirely
confined to china, in which all the usual useful and ornamental classes
of goods are made for the home markets. Formerly, Parian statuettes and
majolica goods were made, but these are discontinued.
* * * * *
_Clarence Street Works._--Mr. Ambrose Bevington produces china and
earthenware.
* * * * *
_Nelson Place_, commenced in 1850 by its present proprietor, Mr. John
Bamford. These works produce ordinary stone ware and Parian.
* * * * *
_Phœnix and Bell Works_, Broad Street.--These manufactories are both
worked by Messrs. Clementson Brothers, who make largely the white
granite and common painted ware for America and Canada. For the latter
market they also produce some good decorated ware. The back part of
the Phœnix Works was originally part of John and Edward Baddeley’s,
Broad Street Works (now Ashworth Brothers), which it adjoins. In 1832
the present business was started by Reed & Clementson, but Joseph
Clementson shortly after became sole proprietor, and in 1845 enlarged
the works to their present proportions, with the exception of a
large mill adjoining, which his sons, the present proprietors, have
completed. In 1856 Mr. Joseph Clementson purchased the Bell Works on
the other side of the road, opposite the Phœnix, formerly William
Ridgway’s. In 1867 he retired from business, leaving it to his four
sons, the present members of the firm. He died in 1871.
* * * * *
_Bedford Works_, Bedford Road.--These extensive works were built by
Edward John Ridgway, son of William Ridgway, in November, 1866, and
to them he removed from the Church Works, High Street, where he had,
until then, carried on business in partnership with Mr. Abington.
In 1870, Mr. E. J. Ridgway took his sons into partnership, and the
concern was carried on as E. J. Ridgway & Son. In 1872, Mr. E. J.
Ridgway retired from the business, leaving it to his two sons, Messrs.
John, and Edward Ackroyd Ridgway, who were joined in partnership
by Mr. Joseph Sparks, and continue the business under the title of
Ridgway, Sparks, & Ridgway. Their productions include all classes of
fine useful earthenware, jet, stone, terra cotta, and jasper, of very
superior bodies and decoration, for the home, American, and Continental
markets. One of the great specialities of the firm is their jet ware,
highly decorated in raised enamel “after the Limoges ware.” In these
a remarkable richness, beauty, and delicacy are obtained, and the
designs, as well as the treatment of the foliage and figures, are
artistic and well considered for effect. The jet ware thus decorated
and highly gilt is of the very finest quality and of the highest
degree of excellence in design and manipulative treatment; in this the
Bedford Works are pre-eminent. Another speciality is relief decoration
on various stoneware bodies, and these are faultless in their taste
and excellent in their workmanship. The jasper (in which both tone of
colour of the body and the beauty of detail in the groups and foliage
and borders of the relief decoration in white, remind one forcibly of
the later productions of the Wedgwood’s) tea-pots and other articles
are produced and rank high as achievements of Ceramic Art. Mosaic or
inlaid decoration is also successfully carried out by the firm, and
their ordinary stoneware jugs and other articles are remarkable for
purity of design, the high relief of their ornament, the hardness and
compactness of their body, and the beauty of their workmanship. The
mark used by the firm on their white goods is the Staffordshire knot,
enclosing the letters R. S. R.
[Illustration:
S
R R]
* * * * *
_Mayer Street Works._--Mr. Samuel Lear has erected a small china works
on part of the site of the old manufactory, which includes as warerooms
and offices the residence of the Mayers. Mr. Lear produces common
domestic china, and, in addition, decorates in the ordinary way all
kinds of earthenware made by other manufacturers; a speciality being
spirit-kegs.
* * * * *
_Mayer Street._--Mrs. Massey carries on a small earthenware works on
part of the site of the same old works just mentioned, including the
stables and coach and cart-houses of the Mayers. Her productions are of
the commoner classes.
* * * * *
_Cannon Street._--These works, dating back to the beginning of the
present century, were for many years carried on by Mr. Thos. Ford, who
here commenced business. Mr. Ford has since built a larger manufactory
in the same street. The manufactory is now carried on by Mr. Edward
Steele, who produces earthenware of the more ordinary qualities,
stoneware of good useful character, majolica, and Parian. In stoneware
all the usual useful classes of goods are made, and many of the designs
and workmanship are of good character. In majolica both useful and
ornamental goods are made, and consist of jugs, tea-pots, brackets,
flower vases, dessert services with figure centre-pieces, comports,
etc.; the designs in many instances are artistic, and the quality, both
of the body and colouring, of more than average excellence. Parian
statuary is one of the specialities of the firm and is very extensively
made; some hundreds of different single figures, groups, busts, and
animals, besides numbers of ornamental articles, being issued. The
quality is superior to many for the American markets, and the modelling
of the figures is artistic and clear. Many of them are of large size,
and are produced with remarkable skill. Mr. Steele uses no mark.
* * * * *
_Brewery Street._--Robert Cook makes ordinary Parian goods in large
quantities, principally for shipment to America.
* * * * *
_Percy Street._--William Machin makes ordinary earthenware and common
coloured figures.
* * * * *
_Taylor, Tunnicliffe & Co._, who used to manufacture in Broad Street
very excellent door furniture and other fittings for Birmingham houses,
have recently built more commodious works at Eastwood Vale.
* * * * *
_Biller & Co._ make good door furniture and other fittings for metal
workers at Eastwood Vale.
* * * * *
_Albion Works_, Stafford Street.--John Dimmock & Co. are very large
producers of earthenware of superior quality and finish. The firm is
very old established. The firm of Thomas Dimmock & Co., at the time
when Ward’s History was published, held three manufactories, viz., one
“in Hanley, adjoining the New Market house, formerly James Whitehead’s,
afterwards J. & W. Handley’s; another on the upper end of Shelton,
formerly of Edmund John Birch, afterwards of Christopher Whitehead; and
an enamelling and gilding establishment adjoining the King’s Head at
Shelton.”
* * * * *
_Eastwood Vale._--W. H. Goss (see “London Road, Stoke-upon-Trent”).
* * * * *
_Eastwood Works.-_-Formerly carried on by Mr. Thomas Twyford, and
afterwards by E. Hampton & Son, these works passed, in 1864, into the
hands of the present proprietor, Mr. George Howson. The productions are
entirely confined to sanitary ware, made of the ordinary Staffordshire
fire-clay, washed inside with a white slip; sometimes blue printed.
* * * * *
_Dental Manufacturing Company, Limited, Broad Street._--This
manufactory was established by Mr. J. S. Crapper, in 1856, and by
him carried on and gradually developed until June, 1873, when it was
purchased from him by this Company, Mr. Crapper remaining the managing
director. The Company have other manufactories and depôts at 25,
Broad Street, Golden Square, London, and in Grosvenor Street, Oxford
Road, Manchester. It is one of the largest porcelain tooth producing
manufactories yet established.
The dento-ceramic art is, naturally, of recent origin, but it has
already almost reached perfection; the artificial teeth so closely
resembling the natural, that the false are undistinguishable from the
real. In durability nature is by this manufacture excelled; since the
porcelain tooth lasts much longer than bone or ivory. Surprising,
however, as we find the exact imitation of nature, it is, perhaps,
still more surprising to learn that it is only obtained by a variety of
at least 100 different shades and tints of colour, and of about 1,000
different shapes and sizes of teeth. Being a new branch of Ceramic Art
I have no hesitation in giving fuller details than usual. They are
furnished by my friend Mr. Goss.
“The material of which the teeth are composed, although
differing in the proportions of its ceramic ingredients from
any other porcelain body, is yet strictly porcelain. It is a
vitreous, translucent body, consisting of silica, alumina, and
potass, with the alumina in smaller and the potass in larger
proportions than in any other porcelain body. Feldspar is the
chief constituent, to which some silica, in the form of quartz,
is added, and, in some instances, a small proportion of china
clay. The colouring materials are the oxides of titanium,
uranium, cobalt, manganese, platinum, and gold. From these
bases the company obtains, as before said, about one hundred
tints and shades, ranging from the delicate blue-white--the
poetic “pearl”--to the dark tobacco stain. We have seen an
American account of the matter, however, in which a palette
of thirty-nine times 64,000 varieties or gradations of colour
is claimed from the same bases for dental selection, and the
different shapes and sizes of teeth are estimated at 10,000
instead of the 1,000 which the Company claims in its modesty.
“The materials being finely ground together, the teeth are
either cast or pressed in metal moulds, the inner surface of the
moulds being oiled, as is usual when metal moulds are used in
potting, to prevent the adhesion of the clay or slip. It will
surprise most potters to learn of ceramic articles being made,
or cast, from ‘slip’ in metal moulds; but this is successfully
done at the company’s works, the moulds being warmed to
facilitate evaporation and the ‘setting’ of the material, which
is sooner effected in this body than in any other porcelain, on
account of the small proportion of alumina in its composition.
In those teeth which are furnished with platinum pins the
latter are fitted into small holes in the mould before the
casting, and the end of the pin, which is inserted into the
tooth, being headed, the firing secures it inextractably in its
place. The machine which cuts up and ‘heads’ the platinum wire
is a marvellous little creature. A correspondent of an American
paper writing of it says, ‘Here is a spitefully busy little
machine, too busy with one particular process to tell us what
it is doing, and yet we discover that it is eating platinum
wire and spitting out tiny pins at the rate of _six hundred
a minute_. Each comes out with a solid head like that of a
brass pin, with rough indentations in the other end, so as to
be firmly held in the plastic body of the tooth until fierce
heat makes the union indissoluble. The strength, infusibility,
and incorruptibility of platinum make it the close companion of
mechanical dentistry.’ The teeth being removed from the moulds
and sufficiently dried, are seamed and otherwise finished off
by young ladies with very delicate handling. They are then
placed on fire-clay trays and baked in a furnace until they are
properly vitrified and have attained the necessary polish from
surfacial fusion.
“The White House, where the Company’s manufacturing operations
are carried on, and on which stands the residence of the
managing director, has some old potting associations and
history. It was many years ago the residence of Mr. Richard
Hicks, of the firm of Hicks, Meigh, and Johnson, from whose
executor (Mr. Charles Meigh) Mr. Crapper purchased the property,
and still retains it, letting to the Company the Porcelain Tooth
Works. Hanging on the wall of the Company’s office is a printed
quotation from Josiah Wedgwood:--‘All works of taste must bear
a price in proportion to the skill, taste, time, expense, and
risk attending their invention and manufacture. Those things
called dear are, when justly estimated, the cheapest; they
are attended with much less profit to the artist than those
which everybody calls cheap. Beautiful forms and compositions
are not made by chance, nor can they ever, in any material, be
made at small expense. A competition for cheapness, and not for
excellence of workmanship, is the most frequent and certain
cause of the rapid decay and entire destruction of arts and
manufactures.’ This quotation, beautifully and ornamentally
lithographed, has emanated from Philadelphia, and nearly every
dentist in the United States has a copy of it displayed in his
operating room. Not only do our American cousins generally
highly appreciate the productions and the career of the great
Josiah, but the dental community especially, although they do
not claim to be potters, proudly claim to be his followers in
ceramic art and science.”
* * * * *
_Trent Pottery, Eastwood._--This manufactory, situated by the side
of the North Staffordshire Canal, at Eastwood, was established in 1867
by Messrs. Livesley & Davis, and on the retirement of Mr. Livesley the
style was changed to J. H. & J. Davis (brothers). In 1875 Mr. J. Davis
retired, and since then the concern has been carried on by its present
proprietor, Mr. J. H. Davis, alone. Until latterly the productions were
confined to white granite ware for the United States, but Mr. Davis now
manufactures to a large extent dinner, toilet, and tea services, and
other articles, both for the home and foreign markets. He is also an
extensive maker of sanitary wares, lavatories, plug-basins, hoppers,
etc.
* * * * *
_James Dudson, Hope Street Works_, established in 1800. In 1835 Mr.
James Dudson entered upon the works, and they are still carried on
by him. At one time he manufactured ornamental china figures, vases,
and services. His finest productions are white and coloured (drab,
blue, sage, &c.) stoneware jugs, tea and coffee pots, sugar-boxes,
&c.; metal-mounted goods; flower-pots, candlesticks, &c. Among
the registered designs for jugs, which have been modelled by the
best artists, are the “Fern,” “Argyle,” “Barley,” “Vine-border,”
“Pine-apple,” and “Wheatsheaf” patterns, which are produced in a
variety of colours. In tea-pots the “Damascus,” “Fern,” and “Argyle”
patterns are among the most popular. In mosaic ware Mr. Dudson makes
a variety of articles in white, drab, blue, and other bodies inlaid
with a variety of colours. In these are tea and coffee pots, sugar
bowls, jugs, &c., of different shapes, the “Tanhart” and “Cambridge”
being among the most successful. These goods are produced in large
quantities. Mr. Dudson, who received “honourable mention” in the
Exhibitions of 1851 and 1862, supplies both home and foreign markets.
* * * * *
[Illustration: Figs. 505 to 508.]
_Victoria Works_, St. James Street.--The productions of Messrs. Adams &
Bromley, until 1873 carried on as John Adams & Co., are majolica and
jasper wares of high class, both in quality and in design, and have
given them an honourable name among the manufacturers of the district.
Parian portrait busts (among which were those of the Poet Laureate,
Lord Derby, and Mr. Gladstone) were formerly produced, and are
remarkable for their truthfulness and artistic treatment. In jasper,
besides vases and candlesticks, tea and other services, tea and
coffee-pots, table-kettles, fruit bowls, jugs, and a variety of other
decorative and useful articles, cameos and medallions, after Wedgwood,
for inlaying and other ornamental purposes, are made to a large
extent and of satisfactory quality. The jasper is in quality and in
general character of ornamentation, as well as in colour, a very close
imitation of the more modern Wedgwood ware, and the shapes of many of
the articles evince good taste in design. In majolica, bread-trays,
cheese-trays, candlesticks, flower-pots, vases, garden-seats,
jardinières, figures, and a very large variety of useful and ornamental
goods are produced. The quality of the majolica is far above the
average, and many of the designs are artistic; the workmanship in all
cases is skilful and good. Some of these productions, exhibited in
1871, are shown on Figs. 513 to 516. Since that period Messrs. Adams
& Bromley have made rapid strides in the art, and have introduced
many good patterns. Notably among these are a large flower-vase, some
four feet in height, with a well-modelled Cupid supporting the bowl;
a masterly flower-vase on mask feet, and surrounded by a wreath of
oak-leaves; another large vase in which the handles are formed of
Cupids; water-lily, and other well-conceived dessert pieces, &c. Green
glazed dessert ware is also extensively made. The mark is the names
ADAMS & CO., or ADAMS & BROMLEY, or A. & B.
* * * * *
[Illustration:
STONE CHINA.
J. W. PANKHURST & Co.
Fig. 509.]
_Charles Street Works._--This manufactory, now carried on by Messrs.
J. W. Pankhurst & Co., is one of the oldest in Hanley. About a hundred
years ago it was owned and worked by William Mellor, to whose family
the property still belongs. Mr. Mellor made the Egyptian black ware for
the Dutch markets, as did his successors Messrs. Toft & Keeling, who
also produced other varieties of earthenware. It was next carried on by
Messrs. Toft & May, and then by Robert May alone, for the manufacture
of the same goods for the Dutch markets. Mr. May was succeeded by Mr.
William Ridgway, who changed the manufacture to that of goods for the
American markets. Upon his failure the works were taken by the present
firm of J. W. Pankhurst & Co. The goods produced by this firm are
confined to white granite for the American markets. In this material,
dinner, tea, and toilet services, and all the usual useful articles are
largely produced, and are of high quality both in body and glaze. The
mark used by the firm is the royal arms and name, printed in black, on
the ware.
* * * * *
_High Street._--The works carried on by Messrs. Gelson Brothers
until a dissolution of partnership in 1876, and now continued by
Messrs. Thomas Gelson & Co., form a part of those founded in the latter
part of last century by Elijah Mayer, who about 1820 took his son into
partnership under the style of “Elijah Mayer & Son.” It was afterwards
“Joseph Mayer” and “Joseph Mayer & Co.” In 1867, the premises were
purchased by Messrs. Gelson Brothers. Elijah Mayer was a potter of
considerable eminence, and produced an extensive variety of goods. His
Egyptian black, or basalt, ware, was, in quality of body, nearly equal
to that of Wedgwood, and the ornamentation sharp and well defined; in
this he produced tea-pots, cream ewers, bowls, and other articles. In
cream-coloured ware, services and all the usual useful articles were
made, and were of unusually good style and quality; for these and
his “brown-line” patterns he was noted. His cane-coloured, or drab,
unglazed goods were another of his famous productions; specimens of
these are not often obtainable. In the Museum of Practical Geology is
a vase of this description, with festoons of raised flowers. Elijah
Mayer produced a service commemorative of Nelson’s Trafalgar and Nile
victories, which became very popular. His mark was “E. Mayer” impressed
in the ware, and afterwards “E. Mayer & Son.” Of the later firm some
examples with the name Joseph Mayer & Co. are preserved in the
Hanley,
Liverpool Museum. The following note upon these works has been supplied
to me by Mr. Goss:--
“A walled lane ran through the premises owing to a right of way
across the property which had been acquired, to the annoyance
of the Mayers, by a Mr. Smith, whose property lay beyond the
manufactory, going from High Street. The division to the right
hand included the residence of the Mayers, warehouses, offices,
and stabling, &c. About 1833 Mr. Joseph Mayer suddenly ceased
potting, filled his warehouses, offices, stabling, and part of
his house with his most valuable stock, and locked it up until
his death. He let the other part of his works, that now Messrs.
Gelson’s, to his cousin, William Ridgway, as beforesaid. After
Mr. Joseph Mayer’s death in 1860 the residence was converted
into a works for mounting jugs and tea-pots, carried on by
Thomas Booth. It is now part of the china manufactory, of Mr.
Samuel Lear. Besides Mr. Lear’s china works there is a small
earthenware works on the old site carried on by Mrs. Massey;
this includes the Mayers’ stabling and coach-houses. There are
also numerous cottage residences erected in the other spaces.”
Messrs. Gelson & Co. formerly produced the usual white granite ware
for the American market. This has been now abandoned, and they confine
themselves to the production of the highest classes of useful goods
for the home trade. In this they make dinner, tea, breakfast, toilet,
and other services in every variety of printed, enamelled, and gilt
patterns. One of their specialities is the successful imitation of the
old Dresden style, which is produced with marked success in a dinner
service. This has all the character, in general appearance, of the
antique, and is a very satisfactory reproduction of a good old pattern.
Another happy decorative idea is the introduction of Anglo-Saxon and
early Irish interlaced ornaments in bands encircling mouth ewers and
other articles.
* * * * *
_Eagle Works._--This business, commenced at Longton in 1845, was
removed to Hanley in 1848 by Mr. James Meakin. In 1852 he retired, and
was succeeded by two of his sons, James and George Meakin. In 1859, the
business having considerably increased, the Eagle Works were erected,
and in 1868 were very considerably enlarged. Messrs. J. & G. Meakin
have also branch works at Cobridge and Burslem, and are large producers
of ordinary earthenware. All the usual classes of useful, plain, and
embossed white earthenware are produced and shipped to the United
States and most foreign ports; the speciality of the works being white
granite ware of ordinary quality, in imitation of French china. The
mark is J. & G. MEAKIN, stamped in the ware, and printed in black.
[Illustration:
IRONSTONE CHINA.
J. & G. MEAKIN.
Fig. 510.]
* * * * *
_Brook Street Works._--These works were established by Ralph Salt, and
he and his survivors, Richard Booth and Messrs. Williams & Willet,
manufactured painted china toys. In 1860 the works passed into the
hands of Mr. William Taylor, who commenced making white granite and
common coloured and painted ware. These latter have been discontinued,
and the productions are now confined exclusively to white granite ware
for the United States and Canadian markets, of both qualities--the
bluish tinted for the provinces, and the purer white for the city trade.
* * * * *
_Cannon Street._--Charles Ford (formerly Thomas and Charles Ford)
manufactures the better class of china in tea, breakfast, dessert, and
table services for the home markets.
* * * * *
_William Stubbs, Eastwood Pottery_, manufactures china and earthenware
services of the commoner kinds, lustres, stone ware jugs, black
tea-pots, &c., and the smaller and commoner classes of china toys and
ornaments.
* * * * *
_Norfolk Street Works_, Cauldon Place.--These works were established by
their present proprietors, Messrs. R. G. Scrivener and Thomas Bourne
(trading under the style of “R. G. Scrivener & Co.”), in 1870, and
are situate about midway between Stoke and Hanley. Their productions
are china tea, breakfast, dessert services, and fancy articles, and
earthenware toilet and other services of a more than average degree of
artistic decoration. They export considerably to the colonies and also
supply the home markets.
The mark is simply the initials
[Illustration:
R. G. S.
& Co.]
impressed, but even this is only used on some classes of goods; the
registered designs have a printed mark, with the name of the pattern
and initials of the firm.
* * * * *
_Broad Street._--The small works occupied by Mr. Ash, as a Parian and
majolica manufactory, are of old establishment.
* * * * *
_Albert Works_, Victoria Place.--These works were erected in 1875 by
Mr. J. Buckley, who in December of that year removed to them from
the Vine Street Works, which he had occupied from 1861. Mr. Buckley
commenced business in Hanley as a sanitary ware potter in 1836. His
productions are all the usual varieties of sanitary goods (pans, traps,
tables, &c.), ship and other fittings, toilet ware, handles for various
purposes, plumbers’ fittings, spirit casks, &c.
* * * * *
_Ranelagh Works._--Established in 1846 by Mr. Stephenson, these
works were next occupied by Mr. James Oldham, next by Oldham & Co.,
then by Mr. T. R. Hinde, and next Hollinshed & Staner. The productions
are the commoner classes of earthenware and stone ware, in which all
the usual services and general articles are made. No mark is used.
* * * * *
_Swan Works_, Elm Street, established in 1835 by Samuel Bevington
as Parian works, and afterwards carried on by his son, John Bevington,
passed in 1866 into the hands of Messrs. W. L. Evans & Co., and in 1871
to Neale, Harrison & Co., who gave up the manufacturing and confined
themselves to decoration only; they were succeeded by Mr. T. R. Simpson.
* * * * *
_Mayer Street Works_, established in 1864, by Mr. E. Hodgkinson,
for the manufacture of mosaic stone ware, Parian, and pearl-white
granite wares. In 1871 Mr. Hodgkinson was succeeded by Mr. W. E.
Cartledge.
* * * * *
_Brook Street Works._--Messrs. Worthington & Son produce earthenware
and stoneware, both for home and foreign markets.
* * * * *
_Dresden Works_, Tinkersclough.--In 1843 Edward Raby produced at these
works china ornaments with raised or “Dresden” flowers, hence the name.
From 1852 until 1864 they were carried on by Messrs. John Worthington
and William Harrop; from that time till 1873, by Thomas Worthington and
William Harrop; and from that time to the present by William Harrop
alone. The productions are the cheaper classes of Parian goods, and
fancy jugs in stone ware and ordinary earthenware, of good middle-class
quality, all of which are supplied both to the home and American
markets. No mark is used.
The works are situated at what is called “Tinkersclough,”--a place
whose name is said to be “derived from the fact of its being frequented
in the olden times as a place of rendezvous by Gipsies and travelling
tinkers.”
* * * * *
_Bath Street Works._--These works were established in 1849 by
the late Mr. Thomas Twyford (father of the present proprietor), who
was a lineal descendant of the famous old seventeenth century potter,
Twyford, who with Astbury wormed out the secret of the Elers, as
detailed in vol. i. page 101. The operations of the firm are confined
to sanitary and plumbers’ ware, and wine and spirit show barrels. In
the former of these departments, Messrs. Twyford, as well as being
among the oldest, are the largest producers in the locality, and their
wares rank high for form, workmanship, and quality. The principal goods
produced are plug-basins, drinking-fountains of excellent design,
closet and bath fittings, cabinet stands, &c. These are made in every
variety of shape, and of the most approved construction. The barrels,
as usual, are more or less painted and gilt. The mark of the firm is
the Staffordshire knot enclosing the letters T T (Thomas Twyford), with
H (Hanley) beneath. Besides the home trade, Messrs. Twyford export very
largely to America, Australia, Russia, France, Germany, Spain, and
other countries. The same firm has a manufactory at Buckland for the
manufacture of cane and white sanitary ware.
* * * * *
_Waterloo Works_, Nelson Place.--These are old-established works,
and have, with others, been occupied by Mr. W. Stubbs, Thomas Booth
and Son, Holmes and Plant, and their present proprietors, Messrs. Pugh
and Glover. The ordinary classes of earthenware in toilet and other
services, painted, enamelled, and grounded; stoneware jugs, tea-pots,
&c.; and other wares, are largely made, and of all the usual classes of
decoration, both for home and foreign markets.
* * * * *
_New Street Pottery._--These works were established in 1873 by the
present proprietors, Messrs. Edward Banks and Thomas Thorley. Their
productions are majolica, terra cotta, jet, and stone wares, and
these they produce for both home and foreign markets. In terra cotta,
water-bottles of porous body, unglazed, of elegant forms and of a
more or less highly decorated character, with stoppers and stands;
alcorazzas; water goblets; Malaga jars; tobacco jars, &c, are made in
great variety. These porous goods are of three distinct kinds, a clear
full red, a buff, and a purplish white. They are printed, painted,
enamelled, and gilt in encircling borders, wreaths, &c.; in groups of
flowers and ferns; or in Japanese figure subjects, and are of excellent
shape and workmanship.
In majolica, cheese stands, bread trays, dessert services, jugs,
egg-holders, jardinières, flower-pots, tea-pots, ladies’ work-baskets,
water-bottles, and an infinite variety of ornamental articles are
made. Many of these are of a high degree of merit in design, and their
production is faultlessly good. Notably among the dessert services in
majolica is one with a rich chocolate-coloured ground, which throws
out, with a strikingly beautiful and rich effect, a naturally arranged
group of ivy, ferns, and anemones, which are slightly embossed, and
are coloured true to nature; this is surrounded by an embossed “key”
border and white enamel edge, and the handles are in keeping with
the ornamentation. Another striking design in majolica is a jug. The
ground of this is chocolate, and upon it are panels of rope in buff,
enclosing thistle-leaves in green. The whole design, including the
twisted rope handle, is novel and pleasing. Besides these, green glaze
dessert services, and a large variety of other articles, both useful
and ornamental, are made. The firm use no mark.
* * * * *
_Castle Field Pottery._--These works were formerly carried on by Mr.
Ball for the manufacture of ornamental bricks. Mr. Ball “distinguished
himself as the first to bring out hollow and glazed bricks, and these
he made for Prince Albert’s Model Cottages. They were from his works
at Poole, in Dorsetshire, and matured here at Etruria.” In 1860
Messrs. Davenport & Banks established themselves at these works, and
commenced the manufacture of fancy goods of various kinds, which they
successfully carried on until 1873, when Mr. Banks retired, and was
succeeded by Mr. Beck,--the firm now being “Davenport, Beck & Co.”
The principal productions of the Castle Field Works are fancy antique
goods, in which numberless articles are made; majolica in all its
varieties; porous goods; terra-cotta water-bottles, &c.; jet ware; and
the ordinary classes in which dinner, tea, dessert, toilet, trinket,
and other services are made, both for home and foreign markets. The
mark used is a castle, and the letters “D. B. & CO. ETRURIA” within an
oval garter, bearing the words TRADE MARK.
* * * * *
_Henry Venables_, Etruria Road, established 1860, manufactured
Etruscan-red porous goods, black basalt ware, jet glazed ware, and blue
and other coloured jaspers. In these he produced a large variety of
vases, as well as other ornamental and useful goods.
CHAPTER VIII.
Etruria--Josiah Wedgwood--The Wedgwood Family--Indenture
of Apprenticeship--Ridge House Estate--Etruria Works
founded--Thomas Bentley--Flaxman--Catalogues of Goods--Jasper
and other Wares--Portland Vase--Monument to Josiah
Wedgwood--Marks--Various Productions of the Works--M. Lessore.
Having already, some years ago, written a work devoted to the life of
Josiah Wedgwood--a history of the family to which he belonged, of the
works founded by him, and of his various productions[52]--it will not
be necessary to enter at any very great length into the subject in this
chapter.
Josiah Wedgwood was born at Burslem in July, 1730, and was baptized
on the 12th of that month, the entry in the parish register being as
follows:--“1730. Josiah, son of Thomas and Mary Wedgwood, bapd. July
12th.” He was the youngest, the thirteenth, child of Thomas Wedgwood
(eldest son of Thomas Wedgwood and his wife, Mary Leigh, of the
Churchyard House and Works, Burslem), by his wife, Mary Stringer. This
Thomas Wedgwood was born in 1686–7, and his family consisted of seven
sons and six daughters. The daughters were, I believe, Maria, born in
1711; Anne, born in 1712; Mary, born in 1714; Margaret, born in 1720;
Catherine, born in 1726; and Jane, born in 1728: while the sons were
Thomas, of the Churchyard and Overhouse, born in 1716; Samuel, in 1718;
John, in 1721; Aaron, in 1722; Abner, in 1723; Richard, in 1725; and
Josiah, in 1730.
[Illustration: Figs. 517 to 523.--Wedgwood’s Jasper Ware.]
The Wedgwoods were an ancient family of Staffordshire, being
originally, I believe, of Wedgwood in Wolstanton, where a Thomas de
Weggewood “was frankpledge, or headborough, of the hamlet of Weggewood”
in 1370; and a century later John Wedgwood, a descendant, then of
Blackwood or Dunwood, married Mary Shawe, the heiress of Harracles.
The Wedgwoods of Burslem, who belonged to this family, had, for many
generations before the birth of Josiah, been potters there, and indeed
a considerable portion of the place passed into the hands of one of
them, Gilbert Wedgwood, by marriage with Margaret Burslem, heiress of
the De Burslems, the original owners of the place, about the year 1612.
The issue of this marriage was, it appears, six sons and two daughters:
Joseph, who died without issue; Burslem, whose line became extinct in
the third descent; Thomas, who married Margaret Shaw (who survived
him, and afterwards married Francis Fynney), and had a family of seven
sons and nine daughters, and was the ancestor of the families known as
the “Overhouse Wedgwoods” and the “Church Wedgwoods,” of which latter
Josiah was a member; William; Moses; and Aaron, who was ancestor of
the family known as the “Big House Wedgwoods;” Mary, married to Broad;
and Sarah, married to Daniell. The eldest son of Thomas and Margaret,
to whom I have alluded, was John, who appears to have been born in
1654 and to have died in 1705. He had by his wife, Alice, a daughter,
Catherine, who married her cousin, Richard Wedgwood, potter, of the
“Overhouse” branch, and had by him John, an only child, who died a
minor. This lady, who survived her husband, married, secondly, Thomas
Bourne, and thirdly, Rowland Egerton, and died a widow in 1756. The
second son of Thomas and Margaret, Thomas Wedgwood, was born in 1660,
and married, in 1684, Mary Leigh. He resided, and had his pot-works
close to the churchyard at Burslem, where they still exist. By his
wife, Mary Leigh, he had a family of four sons and five daughters.
The sons were Thomas (father of Josiah), John, Abner, who died young,
Aaron, and Daniel; and the daughters, Catherine, married to her
relative, Dr. Thomas Wedgwood, jun.; Alice, married to Thomas Moore;
Elizabeth, married to Samuel Astbury; Margaret, married to Moses Marsh;
and Mary, married to Richard Clifton. Thomas Wedgwood, who succeeded
his father at the Churchyard Works, died in 1739, when his youngest and
most famous son, Josiah, was hardly nine years old (and by his will the
sum of twenty pounds, to be paid him on attaining the age of twenty,
was left), and was in turn succeeded by his eldest son, Thomas, in the
business. This Thomas Wedgwood married, in 1742, Isabel Beech, and in
his marriage settlement is described as “of the Over House, Burslem,
potter,” and probably both these and the Churchyard Works were carried
on by him.
To this Thomas Wedgwood his eldest brother, Josiah Wedgwood, was bound
apprentice on the 11th of November, 1744. The original indenture of
apprenticeship (which, with a vast number of other documents, wills,
&c., I had the pleasure to be the first to make public in the Life of
Wedgwood), preserved in the Museum at Hanley, is as follows:--
“This Indenture, made the Eleventh day of November, in the
Seventeenth year of the Reign of our Soveraign Lord, George the
Second, by the grace of God, King of great Brittain, and so
forth, and in the year of our Lord one Thousand Seven Hundred
forty and four, Between Josiah Wedgwood, son of Mary Wedgwood,
of the Churchyard, in the County of Stafford, of the one part,
and Thomas Wedgwood, of the Churchyard, in the County of
Stafford, Potter, of the other part, Wittnesseth that the said
Josiah Wedgwood, of his own free Will and Consent to, and with
the Consent and Direction of his said Mother, Hath put and doth
hereby Bind himselfe Apprentice unto the said Thomas Wedgwood,
to Learn his Art, Mistery, Occupation, or Imployment of Throwing
and Handleing, which he the said Thomas Wedgwood now useth, and
with him as an Apprentice to Dwell, Continue, and Serve from the
day of the Date hereof, unto the full end and term of five years
from thence next Ensuing, and fully to be Compleat and Ended;
During which said Term, the said Apprentice his said Master
well and faithfully shall serve, his secrits keep, his Lawfull
Commands Every were gladly do; Hurt to his said Master he shall
not do, nor willfully suffer to be done by others, but the same
to his Power shall let, or forthwith give notice thereof to his
said Master; the goods of his said Master he shall not imbezil
or waste, nor them Lend, without his Consent, to any; at Cards,
Dice, or any other unlawfull Games he shall not Play; Taverns
or Ale Houses he shall not haunt or frequent; Fornication he
shall not Commit, Matrimony he shall not Contract; from the
Service of his said Master he shall not at any time depart
or absent himselfe without his said Master’s Leave: but in
all things as a good and faithful Apprentice Shall and Will
Demean and behave himselfe towards his said Master and all his,
During the said Term, and the Said Master his Apprentice the
said Art of Throwing and Handleing which he now useth, with
all things thereunto, shall and will Teach and Instruct, or
Cause to be well and Sufficiently Taught and Instructed after
the best way and manner he can, and shall and will also find
and allow unto the Said Apprentice Meat, Drink, Washing and
Lodging, and Apparell of all kinds, both Linen and Woolen, and
all other Necessaries, both in Sickness and in Health, meet and
Convenient for such an Apprentice During the Term aforesaid, and
for the true performance of all and Every the said Covenants
and Agreements either of the Said Parties Bindeth himselfe
unto Each other by these presents, in Witness wereof they have
Interchangeably Set their hands and Seals the Day and year
before mentioned.
JOSIAH WEDGWOOD.
MARY WEDGWOOD.
THOS. WEDGWOOD.”
Sealed and Delivered }
in the Presence of }
SAMUEL ASTBURY.
ABNER WEDGWOOD.
[Illustration: Fig. 524.--Fac-simile of Signatures to Wedgwood’s
Indentures.]
Facsimiles of the autograph signatures of Josiah Wedgwood; of his
mother, Mary Wedgwood; his brother, Thomas, to whom he was bound; his
uncle, Samuel Astbury (husband to Elizabeth Wedgwood, his father’s
sister); and his brother or uncle, Abner Wedgwood, are given in Fig.
524. The indenture is endorsed “Josiah Wedgwood to Thos. Wedgwood.
Indenture for 5 years. November 11th, 1744.” Of the Churchyard Works a
view is given on page 244.
In 1749 Josiah Wedgwood’s apprenticeship expired, but he probably
remained for some time in the employ of his brother. He next went
to Stoke, where he lodged with a mercer, Mr. Daniel Mayer, and
commenced making imitation agate and other knife-handles, and in 1752
entered into partnership with John Harrison for the manufacture of
the same kind of goods (see page 232). Two years later both Wedgwood
and Harrison entered into partnership for a term of five years with
Thomas Whieldon, at Fenton Low, as already spoken of under the head
of those works (which see). At the expiration of the five years,
namely, in 1759, Josiah Wedgwood returned to Burslem and commenced
business on his own account; first, there is reason to believe, at the
“Churchyard” Works, and next at the Ivy “House” (Fig. 368), which he
rented from his relatives of the “Big House.” Next, he entered upon
another manufactory, the “Bell Bank,” or “Bell Works” (Fig. 367), as it
became called, and thus carried on their pot-works at the same time.
Here he produced his famous “Queen’s ware,” which earned for him the
appointment of “Queen’s potter,” which was thus brought about.
In 1762, on the occasion of the accouchement of Queen Charlotte,
Wedgwood, having by that time perfected the body and glaze of his fine
cream-coloured ware, presented to her Majesty a caudle and breakfast
service of his manufacture, which was graciously received. This
service, which was of course made of the finest and best cream-coloured
quality which could be produced, was painted in the highest style of
the day by the first artists of the works, Thomas Daniell and Daniel
Steele. The ground of this service, which was prepared with all the
skill the art would then admit of, was yellow, with raised sprigs of
jessamine and other flowers, coloured after nature. The Queen received
this tribute of an infant art, and was so pleased with it that she at
once expressed a wish to have a complete table service of the same
material. Wedgwood submitted patterns for the several pieces, “which
were approved, with the exception of the plate, which was the common
barleycorn pattern, then making by all the salt-glaze manufacturers.
Her Majesty objected to the roughness--the ‘barleycorn-work’ as it is
called--and therefore this part was made plain; on the edge was left
only the bands, marking the compartments; and being approved by her
Majesty, the pattern was called ‘Queen’s pattern.’” The ware was at
once named by Wedgwood “Queen’s ware,” and he received the Queen’s
commands to call himself “Potter to Her Majesty.” On the service being
completed the King gave Wedgwood his immediate patronage by ordering
a similar service for himself, but without the bands or ribs. This
alteration in pattern was “effected to the entire satisfaction of his
Majesty,” and some little alterations being made in the forms of some
of the other pieces, it was called the “Royal pattern.” The patronage
thus given was of incalculable benefit to Wedgwood, to the district
around him, and indeed to the whole kingdom, for it opened up a source
of wealth to thousands of people, and was the means of extending
commerce to a marvellous extent. Orders for the new kind of ware flowed
in upon him in a regular and constantly increasing stream, and at
prices which were then considered liberal or even high. It is recorded
that at this period he received at the rate of fifteen shillings per
dozen for table plates, and for other pieces a proportionate price. The
tide of fortune which thus had set in upon him was immensely increased
by his subsequent inventions, and ultimately swept him from his small
manufactories at Burslem to the colony he established a few miles off
at Etruria. The other most usual form of plate in his Queen’s ware was
the “Bath” or “Trencher,” from its resemblance to the wooden platter
or trencher, and this was succeeded by the concave rim, and other
varieties. Wedgwood did not patent his inventions and improvements,
and thus every manufacturer was stimulated, and a host of Queen’s or
cream-ware makers soon, sprang up. When he “discovered the art of
making Queen’s ware,” wrote Wedgwood himself, “which employs ten times
more people than all the china works in the kingdom, he did not ask
for a patent for this important discovery. A patent would greatly have
limited its public utility. Instead of _one hundred_ manufactories
of Queen’s ware there would have been _one_; and instead of an
exportation to all quarters of the world, a few pretty things would
have been made for the amusement of the people of fashion in England.”
Some of his Queen’s ware Wedgwood had decorated with transfer printing
by Sadler and Green of Liverpool, as already noted under that head.
This is alluded to in the “Burslem Dialogue:”--
“_L._--Oi’d summat t’ doo t’ get dahn t’ L’rpool wi’ eawr caart,
at th’ teyme as oi fust tayd Mester ‘Siah Wedgut’s wheit ware
for t’ be printed theer. Yu known as hâe ther wur noo black
printin’ on ware dun i’ Boslem i’ thoos deys.
“_T._--Oi remember ’t varry weel. Oi s’pose as ’Siah wur abaht
th’ same age as thiseln, Rafy, wur he no’?
“_L._--Ya, oi rek’n he wur tew year yunker til me.
“_T._--When he started i’ bizness fust, he made spewnes, knife
hondles, an’ smaw crocks, at th’ Ivy hahs, close to where we’re
nah sittin’.
“_L._--Aye, oi weel remember th’ toyme; an’ arter that he
flitted to th’ Bell Workhus, wheer he put up th’ bell-coney for
t’ ring th’ men to ther work isted o’ blowin’ em together wi’ a
hurn. ’Twur a pity he e’er left Boslum, for he wur th’ cob o’
th’ Wedguts.”
[Illustration: Figs. 525 and 526.--Flaxman’s Medallions of
Josiah Wedgwood and his Wife.]
[Illustration: Figs. 527 to 533.--Wedgwood’s Basaltes or
Egyptian Black Ware.]
On the 25th of January, 1764, Josiah Wedgwood married, at Astbury, in
Cheshire, his distant relative--his seventh cousin--Sarah Wedgwood,
daughter, and eventually heiress, of Richard Wedgwood, Esq., of
Smallwood, in that county, and also heiress to her brother John. By
this marriage Josiah Wedgwood ultimately became possessed of a fortune
of some twenty thousand pounds. After his marriage he still resided at
the “Ivy House;” and, having failed in his proposal to purchase the
“Big House” when his relatives retired from business, he set about the
founding of an entirely new manufactory. His “Big House” relations were
the brothers Thomas and John Wedgwood, sons of Aaron Wedgwood, by his
wife Mary Hollins. This Aaron was son of Aaron, sixth son of Gilbert,
from whom Josiah and the various Burslem branches of the family were
descended, and he and his wife, Mary Hollins, were both buried in
the same grave on the same day, 24th of April, 1743. He, as well as
his son and his grandsons, Thomas and John, were lead-glaze potters.
About 1740, it is said, these two “commenced the manufacture of white
stoneware upon their own account; but although very industrious and
ingenious workmen (one of them being well skilled in burning or firing
the ware, and the other an excellent thrower), they were unsuccessful
for a long time, and had actually determined to abandon any further
attempt to make the white stoneware, when an accidental circumstance
encouraged them to proceed. The water with which they prepared the
clay, it seems, became highly saturated with salt, owing to the shard
ruck or rubbish from their ovens being placed immediately above their
water pool, and which rubbish contained much salt. The rain passing
through the shard ruck, dissolved the salt, and carried it into the
pool, whence it got into the body of the ware, and, in conjunction with
the flint and clay, together with the lime which generally adheres
to flint stones, formed a fusible body that arrived at a state of
vitrification with a lower degree of heat than was requisite to prepare
this body for the salt glaze. This discovery induced them to make
other and more extended trials, and in these they succeeded beyond
expectation. The Wedgwoods followed up their success with unremitting
diligence; and shortly afterwards built a new and commodious
manufactory, where they had a supply of good water. This was near the
Windmill, invented and erected by the celebrated Brindley for reducing
flint-stones to a fine powder by grinding them in water, and thereby
preventing the pernicious effects upon the health of the men employed
in preparing the flint according to the old method, by pounding it by
hand in a dry state in a mortar. The fine dust of the flint getting
into the lungs produced coughs and consumptions, which frequently
proved fatal. This building, censured at the time as having been upon
too extensive a scale, was the first earthenware manufactory in the
Potteries _not covered with thatch_. In 1750 they erected an
excellent and substantial dwelling-house adjoining their manufactory,
which so far exceeded the other houses in the Potteries in point of
size and elegance, that it then was, and now is, distinguished by the
appellation of the ‘Big House;’ and in the year 1763 these gentlemen
retired from business in the possession of an ample fortune, the just
and honourable reward of their industry and integrity.”
Having taken into partnership his relative, Thomas Wedgwood, “who had
been some years a faithful and industrious foreman in the manufactory,”
in the Queen’s ware department, Wedgwood became more at liberty to
prosecute his experiments. This Thomas married Elizabeth Taylor, of
the Hill, Burslem, by whom he had issue Ralph (the head of the firm
of “Wedgwood & Co.,” of the Hill Works, afterwards of Ferrybridge;
inventor of the “Penna-polygraph,” the “Manifold Writer,” &c.; author
of the “Book of Remembrance,” developer of his father’s invention of
the Electric Telegraph, the “Fulguri-polygraph” as he called it; and
a man of undoubted scientific attainments); John Taylor Wedgwood,
the eminent line-engraver; Samuel; Thomas; Aaron; and Abner. Thomas
Wedgwood, the partner of Josiah, a man of great acquirements, of high
scientific attainments, and of intense business qualifications, died in
1788.
[Illustration: Agate and Porphyry Wares.
Queen’s Ware made at the Bell Works.
Queen’s Ware Centre.
Crabstock Red-ware Teapot.
Figs. 534 to 539.--Wedgwood’s Productions.]
In 1766 Wedgwood produced his “basaltes” of “Egyptian,” fine black
ware, which became so famous, and this was followed by his “Jasper,”
“White-stone,” “Cane-coloured,” “Mortar,” and other wares. His various
wares were thus described by himself:--
“1. A _terra-cotta_; resembling porphyry, granite, Egyptian,
pebble, and other beautiful stones of the silicious or
crystalline order.
“2. _Basaltes_ or black ware; a black porcelain biscuit of
nearly the same properties with the natural stone; striking fire
with steel, receiving a high polish, serving as a touchstone for
metals, resisting all the acids, and bearing without injury a
strong fire: stronger, indeed, than the basaltes itself.
“3. _White porcelain biscuit_, of a smooth, wax-like surface, of
the same properties with the preceding, except in what depends
upon colour.
“4. _Jasper_; a white porcelain biscuit of exquisite beauty and
delicacy, possessing the general properties of the basaltes,
together with the singular one of receiving through its whole
substance, from the admixture of metallic calces with the other
materials, 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 possess. This renders it peculiarly fit for making
cameos, portraits, and all subjects in bas-relief, as the ground
may be of any particular colour, while the raised figures are of
a pure white.
“5. _Bamboo_, or cane-coloured biscuit porcelain, of the same
nature as No. 3.
“6. A _porcelain biscuit_, remarkable for great hardness,
little inferior to that of agate. This property, together with
its resistance to the strongest acids and corrosives, and its
impenetrability by every known liquid, adapts it for mortars and
many different kinds of chemical vessels.
“These six distinct species, with the Queen’s ware already
mentioned, expanded by the industry and ingenuity of the
different manufacturers into an infinity of forms for ornament
and use, variously painted and embellished, constitute nearly
the whole of the present fine English earthenwares and porcelain
which are now become the source of a very extensive trade, and
which, considered as an object of national art, industry, and
commerce, may be ranked amongst the most important manufactures
of the kingdom.”
[Illustration: Fig. 540.--Etruria Works.]
In 1766 Josiah Wedgwood purchased the Ridge House Estate, in the
township of Shelton, which he afterwards named “Etruria.” On this
estate, in the succeeding year, he commenced the building of what
he called the “Black Works,” _i.e._ the works intended for the
production of his basaltes or black ware, and soon afterwards (in
1768) took into partnership, in the ornamental department, Mr. Thomas
Bentley, of the firm of Bentley & Boardman of Liverpool, who were his
agents in that town.
[Illustration: Figs. 541 and 542.--Medallion and Autograph of
Thomas Bentley.]
[Illustration: Figs. 543 and 544.--First Vases made at Etruria.]
Thomas Bentley, who was the son of Thomas Bentley of Scropton, in
Derbyshire, was born there on the 1st of January, 1730, and was
brought up at Manchester. From thence he removed to Liverpool,
where, in conjunction with Mr. Boardman, he commenced business as
Manchester warehouseman, they living together in Paradise Street.[53]
On joining Wedgwood, Thomas Bentley of course left Liverpool, and
devoted himself to the business in London. In 1769 the Etruria
works were opened, and on the 13th of June in that year its first
productions were thrown--Thomas Bentley turning the wheel, while the
“great” Josiah Wedgwood himself “threw” the pieces. These were three
vases of Etruscan form, and they afterwards passed through all the
processes of the potter’s art, and were painted in Etruscan style, with
suitable inscriptions. These historical and priceless vases are in the
possession of Mr. Francis Wedgwood, of Barlaston. Two of these are
shown above (Figs. 543, 544), engraved from careful drawings made by
myself from the vases at Barlaston. They bear the words
JUNE XIII MDCCLXIX
One of the first Day’s Productions
at
Etruria in Staffordshire
by
Wedgwood and Bentley
Artes Etruriæ renascunter
[Illustration: Figs. 545 and 546.--Flaxman’s Bas-reliefs in
Jasper Ware.]
Each of these vases is labelled in Wedgwood’s own handwriting, “Part of
Plate 129, vol. i., of Hamilton’s Antiq. Hercules and his Companions
in the Garden of the Hesperides,” showing both the subject and where
obtained. In 1770 Wedgwood and Bentley established works at Chelsea
for the decoration of these “encaustic vases” and for other purposes.
Of the names of some of the painters at that time (October, 1770)
employed in this Chelsea establishment I am enabled to give evidence in
the following document in my own possession:--
{ On On
_Cash paid at Chelsea for Wages._ {J. W.’s W. & B.’s
{ Acct. Acct.
1770. £ _s._ _d._ £ _s._ _d._
Oct. 6. John Lawrence, 6 days. 0 5 3 0 5 3
Timothy Roberts, 6 days. 0 12 0
„ 5. James Bakewell, 6 days. 0 16 0
Thos. Blomeley’s Bill. 1 0 5
Thos. Hutchings, 6 days. 1 6 0
William Roberts, 4 days. 0 4 4
Nathl. Cooper, 6 days. 0 16 0
William Shuter’s Bill. 0 8 0
Thomas Simcock, 6 days. 0 16 0
Ralph Willcocks, 6 days.
Mrs. ditto 6 days.
John Winstanley, 6 days. 0 13 0
„ 6. Thomas Barrett, 5 days. 0 7 0
Thomas Green, 6 days.
Miss Edwards, 6 days.
Miss Parkes, 6 days.
Mr. Rhodes.
Ditto for Joe.
Ditto for Will.
Ditto for Unwin.
The partnership of Wedgwood and Bentley had reference only to the
_ornamented_, not to the _useful_ ware; and in this account, although
the workmen were employed on both branches, the wages were divided
into headings:--“On J. W.’s Acct.” (distinguished as Josiah Wedgwood’s
account), and “On W. & B.’s Acct.” (Wedgwood and Bentley’s account).
Thus, John Lawrence, for the week ending October 6th, is paid for six
days’ Work, at 1_s._ 9_d._ a day, of which 5_s._ 3_d._ is charged to
“J. W.,” and the other 5_s._ 3_d._ to “W. & B.” The Chelsea painting
establishment continued for some time, and down nearly to the close of
last century painting and enamelling were done for the firm in London.
In 1772 Bentley (who, in 1754, had married Hannah Oates of Sheffield,
who did not live long) married, at All Saints’ Church, Derby, his
second wife, Mary Stamford, of that town. In the year following, the
partners issued their first catalogue of goods, which was entitled--
“A Catalogue of Cameos, Intaglios, Medals, and Bas-reliefs,
with a general account of Vases and other ornaments after the
antique; made by Wedgwood and Bentley, and sold at their rooms
in Great Newport Street, London.
“‘Quoniam et sic gentes nobilitantur.’
PLIN. lib. xxxv., _De Vasis fictilibus_.
“London: printed in the year MDCCLXXIII., and sold by Cadel, in
the Strand; Robson, New Bond Street; and Parker, printseller,
Cornhill.”
It is of much smaller size than the later editions, and contains sixty
pages, inclusive of introduction, &c. The following quotation, from the
introductory portion, will enable collectors to arrive at a correct
idea of the dates of the production of the various wares:--
“The proprietors of this manufactory have been encouraged by the
generous attention of the nobility and connoisseurs to their
first essays to give it all the extent and improvement they were
able, and with constant application and great expense they have
now produced a considerable variety of ornaments in different
kinds, the merit of which they humbly submit to the judgment of
those who are best skilled in these subjects.
“The variety of new articles which many of their respectable
friends have not seen, and multitudes of persons of curiosity
and taste in the works of Art have never heard of, render some
account or catalogue of them desirable, and even necessary: but
many of the articles, and especially the vases, being of such a
nature as not to admit of satisfactory and clear descriptions,
several parts of this catalogue can only give a slight and
general enumeration of the classes, without descending to
particulars.
“We shall, however, hope to make the general enumeration
sufficiently intelligible, and descend to particulars where the
nature of the subjects admits of it.
“To give an idea of the _nature_ and _variety_ of the
productions of our ornamental works, it will be necessary to
point out and describe the various _compositions_ of which the
forms, &c., are made, and to distinguish and arrange the several
productions in suitable _classes_.
“The _compositions_, or bodies, of which the ornamental pieces
are made, may be divided into the following branches:--
“I. A composition of _terra cotta_, resembling porphyry, lapis
lazuli, jasper, and other beautiful stones, of the vitrescent or
crystalline class.
“II. A fine _black porcelain_, having nearly the same properties
as the _basaltes_, resisting the attacks of acids, being a
touchstone to copper, silver, and gold, and equal in hardness to
agate or porphyry.
“III. A fine white biscuit ware, or _terra cotta_, polished and
unpolished.”
[Illustration: Fig. 547.--Medallion, White on Black.]
Thus, in 1773, it is evident there were only three kinds of ware made
by Wedgwood, viz., “terra cotta resembling porphyry, lapis lazuli,
jasper, and other beautiful stones, of the vitrescent or crystalline
class,” such as the imitation porphyry, marble, and other vases,
were composed of; the “fine black porcelain, or _basaltes_,” so
largely used for vases, figures, medallions, and other ornamental
purposes, as well as for tea-pots, &c.; and the “white biscuit ware,
or terra cotta,” used both in combination with other materials in
the production of vases, medallions, and other decorative pieces, and
separately for the manufacture of stands and other ornamental goods.
The combination of these two latter bodies will be called to mind
by collectors, perhaps, more easily with regard to medallions than
otherwise. In these the oval of the plaque was frequently made of the
black ware, and the bust of the white terra cotta (Fig. 580).
In the next year (1774) a fourth variety was added, thus described in
the catalogue of that date:--
“IV. A fine white _terra cotta_, of great beauty and
delicacy, proper for cameos, portraits, and bas-reliefs.”
[Illustration: Fig. 548.--Jasper Plaque.]
This was the first appearance of what afterwards became the most
beautiful of all Wedgwood’s productions--the “Jasper ware.” It will be
perceived that at this date (1774) it was simply spoken of as a “fine
white terra-cotta,” and that it remained for later years to produce it
with its splendid blue and other coloured grounds, with raised white
figures and ornaments. In 1787 this variety, which then had attained
its highest perfection, is described at greater length as--
“IV. JASPER--a white porcelain _bisqué_ of exquisite beauty and
delicacy, possessing the general properties of the basaltes,
together with that of receiving colours through its whole
substance, in a manner which no other _body_, ancient or modern,
has been known to do. This renders it peculiarly fit for cameos,
portraits, and all subjects in bas-relief, as the group may be
made of any colour throughout, without paint or enamel, and the
raised figures of a pure white.”
[Illustration: Figs. 549 to 562.--Wedgwood’s Jasper Ware.]
[Illustration: Fig. 563.--“Peace preventing Mars from bursting
the door of Janus’s Temple.”]
[Illustration: Fig. 564.--“Mercury uniting the hands of England
and France.”
Bas-reliefs in Jasper by Flaxman; charged in his bills.]
Of the productions in this ware Wedgwood wrote:--“As these are my
latest, I hope they will be found to be my most approved, works. Verbal
descriptions could give but an imperfect idea of the delicacy of the
materials, the execution of the artist, or the general effect, and I
must therefore beg leave to refer those who wish for information
in these respects to a view of the articles themselves.„ In 1775 a
reissue of the English catalogue, consequent on the change of the
London warehouse from Great Newport Street to Greek Street, Soho, made
its appearance. At the end is an addition of six pages, containing an
engraving and explanation of Wedgwood’s newly-invented inkstands and
eye-cups.
[Illustration: Fig. 565.--Jasper Déjuner.]
In 1775, on the occasion of Richard Champion applying to Parliament for
an extension of the term of patent-right in Cookworthy’s invention of
porcelain (as detailed in my first volume), “Josiah Wedgwood, in behalf
of himself and the manufacturers of earthenware in Staffordshire,”
gave the scheme his most determined, but happily not successful,
opposition. The printed papers connected with this matter are of the
highest interest and importance, but having already been printed _in
extenso_ in my “Life of Wedgwood,” I refrain from again introducing
them. It is also needless to recapitulate the particulars regarding
numerous editions, English and foreign, of the catalogue.
In 1780 (November 26th) Thomas Bentley died at his residence at Turnham
Green, London, and was buried at Chiswick on the 2nd of December,
where a tablet is erected to his memory. About this time, and probably
previously as well as later, Flaxman the sculptor was much employed by
Wedgwood, and his designs and models gave a tone and a character to
the productions which raised them to an immeasurable height. I was so
fortunate as to be able to print, for the first time, in 1864, some of
the original bills for work done by Flaxman for Wedgwood, in which many
well-known portrait groups, &c., are named. From these I give a few
items for the purpose of reference:--
£ _s._ _ d._
“A portrait of Mr. Herschell 2 2 0
A „ Dr. Buchan 2 2 0
A portrait of C. Jenkinson, 2 2 0
A „ Govr. Hastings Esq. 3 3 0
Mr. and Mrs. Meerman’s portraits 5 5 0
Moulding a bust of Mr. and Mrs. Siddons 1 11 6
A model in wax of Capt. Cook 2 2 0
A „ „ Dr. Johnson 2 2 0
A figure of a Fool for Chess 1 5 0
A drawing of Chess Men 6 6 0
A model of the King of Sweden 2 2 0
A model of Peace preventing Mars from bursting
the Door of Janus’s Temple 15 15 0
A bas-relief in wax of Veturia and Volumnia
entreating Coriolanus 9 9 0
A model of Mercury uniting the hands of England
and France 13 13 0
A bas-relief of Hercules in the Hesperian Garden 23 0 0
A model of the Queen of Portugal 3 3 0
A bas-relief of Boys in wax 11 0 6”
and so on. Besides these he charges for drawings of crests and coats of
arms; drawing bas-relief vases, &c., at a guinea a day; outlines for
lamp and stand; drawings of chimney-pieces; patterns for borders for
plates, &c. Many of Flaxman’s originals are still in Messrs. Wedgwood’s
hands, and the moulds are still used by them for their lovely
productions; others, notably a series of exquisite models in wax, are
in the possession of Sir D. C. Marjoribanks. Of some of those named I
give engravings.
In 1782 Wedgwood was elected F.R.S., and communicated to that learned
body his invention of “a thermometer for measuring the higher degrees
of heat, from a red-heat up to the strongest that vessels made of clay
can support;” in the following year his observations on “Derbyshire
Black Wadd;” and afterwards other observations on thermometers, &c.
In 1785 he invented his famous “Jasper Dip,” which has continued in
use ever since. In that year he wrote “The new jasper, white within,
will be the only sort made in future; but as the workmanship is
nearly double, the price must be raised. I think it must be about 20
per cent. Nov. 21, 1787.” Thus, till 1785, the “jasper” body was the
same throughout; from Nov., 1785 to 1858, it was “dipped,” remaining
white inside; and in the latter year the “solid jasper” body was
re-introduced, and continues to some extent to be made.
[Illustration:
MRS. MEERMAN. MRS. SIDDONS.
KING OF SWEDEN. THE QUEEN OF PORTUGAL.
MR. MEERMAN. HERSCHELL.
DR. BUCHAN. C. JENKINSON.
Figs. 566 to 573.--Wedgwood Medallion Wares.]
[Illustration: Fig. 574.--Group from the Portland Vase.]
In 1786 the then recently deceased Duchess of Portland’s magnificent
collection of antiquities and objects of _virtu_ were sold by auction,
and among other articles of matchless interest was the Barberini or
Portland Vase. This vase Wedgwood determined to possess, and having bid
up to about a thousand pounds against the Duke of Portland, his grace,
on learning why it was wanted, very kindly offered, if he would forego
bidding and permit him to purchase, he would place it in Wedgwood’s
hands to copy as he thought proper. It was therefore knocked down to
the Duke for £1,029, and handed to Wedgwood by him; this “inestimable
jewel,” as he called it, remained in his hands more than twelve months.
Of this vase Wedgwood produced fifty copies, which were subscribed for
at fifty guineas each, but it is said that even this sum, £2,500, fell
far short of the outlay incurred in making them. One of the first fifty
is in the possession of Mr. Francis Wedgwood (where it will remain, it
is hoped, with the first-thrown vases, as heirlooms); another is in
the possession of the Duke of Sutherland, at Trentham; a third belongs
to Sir D. C. Marjoribanks; a fourth is in the Mayer Museum; and others
are at different collections. The body used for this vase was black
jasper, and the figures, in their proper tone, were worked up and cut
by the seal and gem engraver to the utmost possible degree of sharpness
and finish. The original moulds are still in existence, and from them
Messrs. Wedgwood still produce their famed Portland vases, both with a
black, and with deep, or light, blue ground.[54]
In 1786 Wedgwood was elected a Fellow of the Society of Antiquaries,
and in the following year the sixth edition of his Catalogue contained
for the first time the addition of the “Bamboo” and “Mortar” bodies:--
“V.--_Bamboo_, or cane-coloured bisqué porcelain, of the same
nature as No. 3.
“VI.--A porcelain bisqué of extreme _hardness_, little inferior
to that of agate. This property, together with its resistance to
the strongest acids and corrosives, and its impenetrability by
every known species of liquids, adapts it happily for mortars
and different kinds of chemical vessels.”
[Illustration: Fig. 575.]
In 1788 Thomas Wedgwood, Josiah Wedgwood’s partner in the “useful
ware,” died. In the following year the medallion (Fig. 575) supposed
to be made of clay brought from New South Wales, was executed. In 1790
the fifty copies of the Portland vase were issued, and the same year
Wedgwood published his “Dissertation” upon it. The same year he took
into partnership his three sons, John, Josiah, and Thomas Wedgwood, and
his nephew, Thomas Byerley (the son of his sister, Margaret Wedgwood,
by her husband, who was a descendant of the Byerleys, of Byerley Hall,
in Yorkshire), the style of the firm being “Josiah Wedgwood, Sons, &
Byerley.” In 1793 Mr. John Wedgwood retired from the concern, and the
style was then altered to “Josiah Wedgwood, Son, & Byerley.”
In the following year, 1794, Josiah Wedgwood was seized with his last
illness, and on the 3rd of January, 1795, he died, and was, on the 6th,
buried in the churchyard at Stoke-upon-Trent (“Burials in 1795, Jany.
6th, Josiah Wedgwood, of Etruria”), where his tomb still remains, and
a tablet erected to his memory in the chancel (Fig. 588). It bears a
remarkably fine bust of Wedgwood, by Flaxman, an ewer and a Portland
vase, and the following inscription:
Sacred to the Memory of
JOSIAH WEDGWOOD, F.R.S. AND S.A.,
Of Etruria, in this County,
Born in August, 1730, died January 3rd, 1795,
Who converted a rude and inconsiderable manufacture into an elegant art
And an important part of national
Commerce.
By these services to his country he acquired an ample fortune,
Which he blamelessly and reasonably enjoyed,
And generously dispensed for the reward of merit and the relief of
misfortune.
His mind was inventive and original, yet perfectly sober and well
regulated;
His character was decisive and commanding, without rashness or
arrogance;
His probity was inflexible, his kindness unwearied;
His manners simple and dignified, and the cheerfulness of his temper
was the natural reward of
The activity of his pure and useful life.
He was most loved by those who knew him best,
And he has left indelible impressions of affection and veneration on
the minds of
His family, who have erected this monument to his memory.
[Illustration: Figs. 576 to 580.--Wedgwood’s Wares.]
[Illustration: [SEE INSCRIPTION PAGE 369.]
Fig. 581.--Monument to Josiah Wedgwood in Stoke-upon-Trent Church.]
Josiah Wedgwood, whose wife survived him, had a family of children.
These were, Susannah, baptized at Burslem, on the 2nd of January, 1765,
married Dr. Robert Darwin, of Shrewsbury, son of the celebrated Dr.
Erasmus Darwin, of Derby (and half-brother to Sir Francis Darwin, M.D.,
of Breadsall Priory, and Sydnope, Darley Dale,) by his first wife, Mary
Howard, of Lichfield, and was the mother, along with other sons and
daughters, of Charles Darwin, the naturalist, author of the “Origin of
Species,” &c. John, baptized at Burslem, April 2nd, 1766, resided at
Seabridge, and married Louisa Jane, daughter of Mr. Allen, of Criselly,
Pembrokeshire, and by her had four sons and three daughters (viz., the
Rev. John Allen Wedgwood; Lieut.-Col. Thomas Josiah Wedgwood, who
married Anne Maria, daughter of Admiral Sir C. Tyler; Charles, who died
without issue; the Rev. Robert Wedgwood, who married Frances, daughter
of the Rev. Offley Crewe; Sarah Elizabeth; Caroline Louisa Jane; and
Jessie, who married her cousin, Henry Allen Wedgwood). Richard, born
in 1767, and died in 1782. Josiah, one of the founders of the Royal
Horticultural Society, first member of parliament for the borough
of Stoke-upon-Trent, of Maer Hall, who married Elizabeth Allen, of
Criselly, Pembrokeshire, and by her had four sons and five daughters,
viz., Josiah (the third of that name), who married his cousin, Caroline
Elizabeth, daughter of Dr. Darwin, of Shrewsbury, and had issue Henry
Allen Wedgwood, barrister-at-law, who married his cousin Jessie,
daughter of John Wedgwood, of Seabridge; Francis Wedgwood, of Etruria
and Barlaston, the late head of the Etruria firm, who married Frances,
daughter of the Rev. J. P. Mosley, of Rolleston Rectory, and has issue
three sons, Godfrey, Clement, and Lawrence, the present members of the
firm, and four daughters; Hensleigh, barrister-at-law, of London, who
married Elizabeth, daughter of the Right Hon. Sir James Mackintosh, the
historian, and has issue Sarah Elizabeth; Mary, who died unmarried;
Charlotte, married to the Rev. C. Langton, of Hartfield; Frances, who
died unmarried; and Emma, who married her cousin, Charles Darwin,
F.R.S., author of the “Origin of Species,” &c. Thomas, who died without
issue; and Catherine, Sarah, and Mary Anne.
[Illustration: Fig. 582.--Medallion of Thomas Byerley.]
For a time after Josiah Wedgwood’s death, the management of the
business devolved mainly on Mr. Byerley, whose experience, and skill
were of great value. In 1800 the partners were, however, the brothers
Josiah and John Wedgwood, and Thomas Byerley, which arrangement
continued until the death of the latter in 1810. Thomas Wedgwood, who
suffered constant ill-health, took no part in the management of the
business, and died in 1805, at Gunville, Dorsetshire. He was a man of
considerable scientific attainments. During his father’s lifetime he
prosecuted his studies with his aid and that of Alexander Chisholm,
and made such progress in his researches into the properties of light,
&c., that in 1792 he communicated to the Royal Society an account of
his “Experiments and Observations on the Production of Light from
different bodies by Heat and by Attraction.” His continued experiments
and researches resulted in the discovery of the process of photography,
and in 1802, in conjunction with Sir Humphrey Davy, he made those
discoveries known by a paper printed in the “Journal of the Royal
Institution of Great Britain,” under the title of “An Account of a
Method of Copying Paintings upon Glass, and of making Profiles by
the Agency of Light upon Nitrate of Silver; with observations by H.
Davy.” This is the first recorded attempt at fixing the images of the
camera-obscura (which Wedgwood appears to have used from a youth) by
the chemical influence of light.
On the death of Mr. Byerley, the business was carried on by the second
Josiah Wedgwood alone, until Martinmas, 1823, when he took his eldest
son Josiah (the third of that name) into partnership, the firm being
carried on under the style of “Josiah Wedgwood & Son.” Four years
afterwards, at Martinmas, 1827, another son, Francis, having been taken
into partnership, the style was altered to that of “Josiah Wedgwood &
Sons.”
In November, 1841, Josiah Wedgwood, senior, of Maer Hall, retired from
the business, and it was carried on by his sons until the following
April, when Josiah Wedgwood, junior, also retired. The style of the
firm, however, continued to be, as it is to the present day, “Josiah
Wedgwood & Sons.”
The manufacture of china, which had never been attempted by the first
Josiah, was commenced at Etruria about 1808 or 1809, in the time of
Mr. Byerley, who considered that it would be an advantageous addition
to the works; but was only carried on for probably nine or ten years,
and then finally discontinued. The china was of extremely good quality,
both in texture of body, in colour, in glaze, and in decoration. It was
not made to any great extent, and is now very scarce. In the Museum
of Practical Geology, the Mayer Museum, and other collections, are
excellent and characteristic specimens. The mark on the china is the
simple name
WEDGWOOD,
in small capital letters, printed on the bottom in red or blue.
“Stone china” was also at one time, to some little extent, made at
Etruria, examples of which are now rare. It ceased to be made about the
year 1825.
In 1815, on the 15th of January, Mrs. Wedgwood, widow of the great
Josiah, died at Parkfield, in the eighty-first year of her age; she was
buried at Stoke-upon-Trent, near her husband, where a Gothic memorial
tablet bears the following inscription:
Sacred to the memory of
SARAH
Widow of JOSIAH WEDGWOOD,
of Etruria.
Born August the 18th, 1734.
Died January the 15th, 1815.
The productions of the firm at this time--and indeed through each
successive change in the proprietary down to the present time--were,
as they had been in the time of the first Josiah, divided between the
“useful” and the “ornamented.” The “useful” consisting of services of
every kind in fine earthenware, and in all the varieties of bodies
hitherto introduced, to which additional patterns were constantly
added; and the “ornamented” comprising all the immense variety of
exquisite articles which had been made by the great founder of the
works, with additional vases, medallions, and other pieces.
In 1843, on the 23rd of August, Mr. John Boyle became a partner in the
firm; but his connection was only of short duration, and sixteen months
afterwards, on the 4th of January, 1845, he died.
On the 2nd of March, 1846, Mr. Robert Brown, of Cliff Ville, became
a partner with the Messrs. Wedgwood; but, dying on the 26th of May,
1859, Mr. Francis Wedgwood was again left sole proprietor of the works.
In November of the same year he was joined in partnership by his son,
Mr. Godfrey Wedgwood, in 1863 by his second son, Mr. Clement Wedgwood,
and in 1868 by his third son, Mr. Lawrence Wedgwood, and (Mr. Francis
Wedgwood having retired in 1870) the works are still carried on by them
under the old style of “Josiah Wedgwood & Sons.”
[Illustration: Figs. 583 to 588.--Perseus and Andromeda Vase by
Lessore; Vase by Lessore; Jasper Beads; and three Vases.]
The MARKS used by the Wedgwoods have been in all cases, except
during the partnership of Thomas Bentley, on that particular branch
of the manufacture in which he had an interest, the simple name of
WEDGWOOD. In some instances the name is impressed in large capitals--
WEDGWOOD.
In others, it appears in small capital letters--
WEDGWOOD.
And in others, though not so commonly, in the ordinary type--
Wedgwood.
On a few pieces the name occurs thus:
WEDGWOOD
ETRURIA.
[Illustration: Fig. 589.]
On the ornamental goods (vases, medallions, &c.) in which Thomas
Bentley had an interest, the general mark was circular (Fig. 589), with
the letters _raised_, not sunk. Another was
WEDGWOOD
& BENTLEY,
and another
Wedgwood
& Bentley;
both being impressed.
With regard to these marks of “Wedgwood & Bentley” it may be well to
remark that all pieces bearing these names must have been made in the
twelve years between 1768 and 1780.
Besides these marks, a variety of smaller ones--letters, flowers,
figures, and numbers, both impressed and in colours, are to be seen on
the different varieties of wares. These are simply workmen’s marks, or
marks denoting period, &c., and, being private marks, concern only, and
are of interest only, to the proprietors themselves.
The classes of goods manufactured by the Messrs. Wedgwood at the
present day are much as they were in the times of the great Josiah.
The same block moulds are used; the same principles are acted upon
and carried out; the same mixture of bodies and glazes, with certain
modifications, are in daily use; the same varieties of goods are
manufactured; and consequently, many of his vases, medallions,
services, and other goods, are reproduced at the present time. And
although the ornamental goods now produced have not quite that charm
of super-excellence about them which those made in the days of the
first Josiah possess, Messrs. Wedgwood’s jasper and other ornamental
goods now stand as far in advance of their competitors of the present
day as those of the great Josiah did in advance of those of his own
time; they are simply unsurpassable both in design and execution. It
must be remembered that in the days of the first Josiah Wedgwood there
was little competition in other branches of the potter’s art, and the
great care, skill, and labour he bestowed upon his purely ornamental
pieces was, there can be no doubt, amply repaid in the high prices he
could obtain for them. This is not so now; for at the present day Art
productions of attractive and showy character are so extensively made
and so readily purchased at a low rate that the quiet, unobtrusive, but
truly lovely bas-reliefs originated by Wedgwood only command a limited
sale, and even then at such prices as will not admit of the same
scrupulous attention being paid to their production as in the earlier
days. That the present firm _can_ produce work equal in excellence
and beauty to that of their gifted ancestor is amply evidenced by
a Portland vase, which in 1877 they made--regardless of trouble or
cost--in exact imitation, both in colour and material, of the first
fifty. This was polished and cut by a lapidary, and forms a priceless
treasure of Art, and one that will bear the closest comparison with
the great Josiah’s greatest work. The firm still produce “jasper,”
“basaltes,” “red,” “cream-coloured,” and indeed all the other wares
for which the works in the olden times were so famous. The jasper
goods are still, as they have ever been since the first production of
that marvellous body, their principal feature--the great speciality of
their works. In this, since the days of Turner, although they have had
many imitators, they have never even been approached, and their goods
still maintain their old and high reputation. All the famous works of
the olden time--from the Portland vase down through all the chaste and
truly beautiful varieties of vases, plaques, medallions, services,
&c.--are still made in all their beauty, with the addition of many
new and ever-varying designs and combinations. In jasper, of which
some excellent examples are given in the engravings, Messrs. Wedgwood
have of late years produced some remarkably large and costly works.
Notably among these may be named the magnificent table decoration,
shown in London a few years back, and purchased by Sir Dudley Coutts
Marjoribanks from Messrs. Phillips & Pearce. It was designed by Mr.
Pearce, and considered to be a faultless _chef-d’œuvre_ of fictile
Art.
The jasper is produced in dark and in light blue of various shades
(with, of course, the raised figures and ornaments in white), in
sage-green, in pink, and other tints. It is also produced both in
“solid jasper”--that is, the solid coloured body throughout--and in
“jasper dip,” which is the white jasper body with the colour laid
on the surface. The “solid jasper” was re-introduced in 1856. The
manufacture of majolica was commenced at Etruria in 1860, and is
an important branch of the manufacture. With regard to majolica it
is necessary to state that the true Italian majolica, as well as
Minton’s reproductions of that famous ware, were made with a coarse
cane-coloured body and decorated with opaque enamel colours; but that
Messrs. Wedgwood were the first to use a white body and transparent
coloured glazes. By this process much greater brilliancy of effect is
produced than by the use of enamel colours.
In “malachite,” “mottled,” “agate,” and other wares, dessert, toilet,
and trinket services, and a variety of both useful and ornamental
articles, are made--ranging from the large-sized garden seat and the
gigantic vase down to the small and delicately-formed ladies’ ring
stand. In the “mottled” ware a marvellously rich and striking effect
is produced by the combination of brilliant colours, while in the
“malachite” the beautiful green and darker wavings of the stone are
well imitated.
“Parian” was made by the Messrs. Wedgwood at Etruria about 1848 or
1849, and was of good quality. In this both busts and figures were
produced, mainly of classical subjects, and the best modellers, Wyon,
Beattie, and others, were employed in their production.
Another variety of ornamental work is the “inlaid” ware, in which a
variety of articles are made. The effect of this style of ornamentation
is much the same as the wood “Tunbridge ware.” It is striking in its
novelty, and pleasing in its simplicity. This “inlaid ware” is made
by the same process as the famous “Henri Deux wares;” an impress from
a metal runner being filled up with a different coloured clay, and
afterwards turned or scraped level on the surface. In this ware a
magnificent and highly appropriate chess-table has been produced by
Messrs. Wedgwood to use with the celebrated Flaxman chess-men.
[Illustration: Figs. 590 to 598.--Messrs. Wedgwood’s
Productions. Lessore’s Europa Plateau, and other Wares.]
“Cream-coloured” ware, the veritable “Queen’s ware” of the olden
time, is still extensively made by Messrs. Wedgwood. Of a delicate
creamy whiteness in colour, light and pleasant to the touch, true and
close-fitting in the “potting,” and covered with a faultless glaze,
this ware still “holds its own,” and maintains its wonted supremacy.
In it, services and every variety of useful articles are made; and it
is pleasant to add that the pieces are still made in the old moulds
used in the great Josiah’s time, with only such modifications as fit
them for more modern notions. For instance, the “turin” modelled by
Flaxman, and charged for in his bill, which I have printed, is still
made, with only the addition of newly-designed handles, and hundreds
of others of the “ancient forms” are still in the same way preserved
and produced. In the “pearl” body, which is of great hardness and
durability and of a pure pearly whiteness, services and useful goods
are manufactured, in plain white, printed, and decorated varieties.
“Rockingham ware,” of a very superior quality and of a good colour,
is made largely at Etruria in tea-pots, coffee-pots, services (the
cups white inside), and other articles. The “porous ware” used for
water-bottles, butter-coolers, &c., is also made at the present time;
and the “mortar ware” is still made, and keeps foremost rank in the
market. In the “red ware”--a rich colour and fine body--services and
a large number of other articles are produced, and are frequently
ornamented with raised figures, &c., in black, with good and striking
effect. Blue printing was introduced at Etruria at an early date, and
has, with black, &c., been continued to the present day. Under the
third Josiah Wedgwood, from 1820 forward, this process was brought to
intense perfection. By making a special glaze for it--the result of
much deep thought and careful experimenting--he succeeded in giving
a rich, soft, almost flowing look to the colour, which gave it a
beauty and a richness that could not otherwise be attained. This
effect was afterwards imitated, but not so successfully, by means of
what is technically called a “flow”--that is by introducing a little
volatilising salt in the saggar in which the ware is placed and fired.
[Illustration: Fig. 599.]
Messrs. Wedgwood employ a large number of clever modellers, painters,
gilders, and others, and many of the most skilled of workmen in every
department. The present firm is quite alive to the necessity of
keeping up to the full standard of excellence which the works have
attained, and are making rapid strides in new branches of decoration.
In order to give renewed life and greater variety to their bas-relief
goods in jasper, &c., they have engaged Mr. Charles Toft, who was
the principal figure modeller under Mr. Wilms at Elkington’s, who, at
the time I write, is busily engaged in bringing to perfection various
works intended for display at the Paris Exhibition of 1878. In place
of the lamented Mr. Lessore the firm have engaged Mr. Thomas Allen,
for many years known as the principal figure-painter at Minton’s, and
some of whose paintings on vases will also form a feature of the same
Exhibition. His work, it may be added, is mainly on the bisque, in
colours, which gain great brilliancy and a much heightened effect by
being glazed and fired in the oven at a high temperature.
[Illustration: Figs. 600 to 609.--Painted by Lessore.]
The firm have of late introduced a process by which photographs of
original drawings, in colours, are produced on ware by the same method
as the autotype process. This forms a notable feature of progress in
scientific decoration, and it is only meet that as photography itself
was the undoubted discovery of a Wedgwood, its development as an aid to
ceramic decoration should be left to his successors at the present day.
[Illustration: Fig. 610.--Ewer modelled by Protat, painted by
Lessore.]
[Illustration: Figs. 611 to 618.--Messrs. Wedgwood’s
Productions. Lessore’s Wares.]
[Illustration: Fig. 619.]
The principal painter at Etruria for many years was the late gifted M.
Emile Lessore, an artist of more than European reputation, who takes
rank above all others in that exquisite style for which he was so
famous. As M. Lessore (whom I had the privilege of knowing, and who
pressed me more than once to visit him at Marlotte) and his works are
so closely identified with Etruria, a few words on his career cannot
but be interesting. He was born in 1805, his father being a notary, for
which profession the son was at first intended. Giving up the law for
Art, he entered for a short time the studio of Ingres. When twenty-six
years old Lessore exhibited his first picture (“Le Frère Malade”) in
the Salon at Paris. This was in 1831, and from that time until 1850
he continued to exhibit both oil and water-colour pictures, which
were always eagerly sought for and purchased at high prices. In 1851
Lessore was induced, through offers made to him by the Sèvres china
manufactory, to turn his attention to china painting. He attempted to
introduce a more artistic feeling at Sèvres, and succeeded notably; a
pair of large vases decorated by him, which were exhibited in Paris in
1853, were purchased by the Emperor of Russia for a thousand guineas.
The originality of Lessore’s work caused a division amongst the artists
at Sèvres, and the partisans of the two camps were so virulently
wearisome in their disputes that he eventually abandoned Sèvres and
came to England, where he arrived in 1858, and was employed for a short
time by Mintons, but ultimately joined Messrs. Wedgwood, who thoroughly
appreciated his talents and his loyal sympathetic character. The
most remarkable of his works were shown in the Exhibition of 1862,
the Paris Exhibition of 1867, and at Vienna in 1873, and medals were
awarded to him in all countries. The climate of England, especially
Staffordshire, not suiting him he returned to France, living at
Marlotte, near Fontainebleau, where he still continued his connection
with the Wedgwoods, painting pieces and sending them to be fired at
Etruria. There is little doubt Emile Lessore was one of the first
artists in England to revolutionise the decoration of pottery, and some
of his pieces are undoubtedly more artistic than is usually produced in
faience; the drawing, without being laboured, is true to nature; the
colouring, as a rule, is subdued and delicate, but the master hand is
apparent in every touch. During the siege of Paris many of Lessore’s
finest works were concealed by him in the cellars of his cottage, and
afterwards preserved by Messrs. Wedgwood. He was the first to employ
the freedom of the artist’s brush to the decoration of pottery, which
previously to his time had been painted with the finish and stippled
perfection of the miniature painter, but without the imagination and
freshness of an artist’s sketch. M. Lessore died in the spring of 1876,
and soon afterwards his remaining works were sold by Messrs. Wedgwood
to Mr. Mortlock, by whom they were exhibited in London and disposed of.
The markets to which Messrs. Wedgwood’s goods are sent are more widely
spread than perhaps will be conceived by the uninitiated, and it is not
too much to say that, besides the home trade, which is very extensive,
the “Wedgwood ware” of the present day is dispatched, as it used to be,
to every quarter of the globe.
CHAPTER IX.
Longton--Sutherland Road Works--Market Street Works--High
Street Works--Park Works--Sheridan Works--Commerce
Street Works--Crown Works--Stafford Street Works--Peel
Pottery--King Street Works--Chancery Lane Works--St.
Mary’s Works--Commerce Street--New Town Pottery--Borough
Pottery--High Street--New Street--Prince of Wales Pottery--High
Street Works--Alma Works--Market Street--Victoria
Works--Stafford Street--Russell Street--Mount Pleasant
Works--High Street--British Anchor Works--Royal Porcelain
Works--Stafford Street--St. Gregory’s Pottery--Gold Street
Works--Wellington Works--St. Martin’s Lane--Heathcote
Works--Green Dock Works--Chadwick Street--Baddeley--Waterloo
Works--Heathcote Road Pottery--Sutherland Potteries--Church
Street--Cornhill Works--Sutherland Works--St. James’s
Place--Daisy Bank--Park Hall Street--Viaduct Works--Beech, King
Street--Anchor Pottery--Dresden Works--Palissy Works--Fenton,
Minerva Works--Victoria Works--Fenton Potteries--Fenton
Pottery--Foley--Old Foley Pottery--Anchor Works--Fenton
Potteries--Lane Delph Pottery--Grosvenor Works--Park
Works--Foley Pottery--Foley Potteries--Foley China Works--King
Street Works--Heath--Bacchus--Meir--Harrison--Martin--Miles
Mason--Whieldon--Wedgwood & Harrison--Turner--Garner--Edwards
--Johnson--Phillips--Bridgwood--Greatbach--Greenwood--
Heathcote, &c.
_Sutherland Road Works._--These works were commenced in 1862 by
Messrs. Adams, Scrivener, & Co. Mr. Scrivener having a few years
afterwards retired from the business, Mr. Adams was joined by Mr. Titus
Hammersley, and the concern was carried on by them under the style of
“Harvey Adams & Co.” until the death of Mr. Hammersley in 1875, when he
was succeeded by his son Mr. George Harris Hammersley; the style of the
firm remaining as before. The productions of the firm comprise china,
semi-china, and fine stoneware. In earthenware--toilet and all the
usual table services and numberless useful articles of the best designs
and highest finish are made. In stoneware--jugs, tea-pots, and other
articles are produced; in these many excellent shapes and designs have
been introduced. In china--tea, breakfast, dinner, dessert, trinket,
toilet, and other services; jugs of various kinds; vases, and an
endless variety of ornamental and highly decorated goods, are made. The
quality of the china is remarkably fine and good, and the glaze of more
than average excellence. The decorations are remarkable for purity of
conception, for admirable arrangement, for manipulative skill, and for
the thorough and perfect artistic feeling which pervades each design.
In tea and breakfast services many novel, but at the same time chastely
beautiful designs, have been introduced by this firm, who have also the
credit of being the first to make and introduce “moustache cups”--an
invention that has become so popular as to be adopted by many other
firms. These services are made by Messrs. Harvey Adams & Co. in every
style, from the simple white and gold (one variety of which, with a
beaded edge, is peculiarly simple and pretty) to the most richly, even
gorgeously painted, gilt, enamelled, and jewelled varieties; in each
of these their productions take rank with those of any other house. In
some services, both tea and dessert, what may be called an _ormolu_
decoration has been introduced with as good effect by this firm as by
any other. It gives a richness and a solidity to the patterns which
could not otherwise be easily obtained. The jewelling--especially the
pearl borders--is admirably executed, and with marked effect. Two
important features in the productions of these works--which, from first
being confined to the medium quality of common china, have gradually
progressed to the present time, when they rank among the highest and
best in the district--are, the introduction of silver both as a ground
and as a heightening, and of embossed leaf decoration of a peculiar and
artistic character. In like manner with gold, the silver is introduced
both dead and burnished, and forms a pleasing and marvellously rich
combination with gold and colour. It is introduced on tea services in
bands upon wreaths of flowers, and other decorations are painted with
marked effect. One of the finest and most chastely beautiful of the
ceramic productions of this or any other age or country is an open-work
plate in which solid silver forms the ground for the centre. On this
silver ground is painted, with all the skill that art is capable of, a
group of flowers as true to nature as if pencilled by nature herself;
the richness and delicacy of the colouring are “thrown up” and a finer
and more exquisitely beautiful effect produced by this ground than
could by any other means have been effected. The open-work rim, with
its interlaced ribbon, and the whole of the subordinate decorations,
are in excellent keeping and harmony with the central group.
In leaf-decoration Messrs. Harvey Adams & Co. have, with good taste,
introduced “shamrock” tea and breakfast sets, which have become
deservedly popular; embossed foliage dessert services; and fern and
foliage tea and dessert services and vases, and other ornamental
articles, all of which they have very wisely registered. These services
consist of upwards of fifty arranged groups of leaves of trees and
arrangements of ferns in relief, the whole of which have been modelled
from specimens obtained from the gardens of his Grace the Duke of
Sutherland, at Trentham Hall. These are painted both in the spring,
summer, and autumnal tints, with such scrupulous nicety, and so true
to nature, that it is next to impossible to fancy it is not the leaf
itself that lies on the plate.
The firm have more recently extended embossed relief by the
introduction of the primrose on tea, breakfast, and dessert services.
The leaves and flowers of the primrose are in relief, and are
beautifully painted and tinted from nature; they are also finished in
various styles, but always in strict accordance with the simplicity
of the original design. Messrs. Harvey Adams & Co. have also entered
very largely into the work of ornamental flowering in relief _à
la_ Dresden, and have brought out a number of good shapes in
vases, jardinières, and other articles, with flowers and plants
modelled on the ware, and painted true to nature. In this and in
other departments of the art-manufactory they secured the services of
several well-known artists; among them Mr. Henry Mitchell, medallist
of the Paris and Vienna Exhibitions, celebrated as an animal,
landscape, and figure painter, and whose works are remarkable for
their finish, their modelling, and their delicacy of treatment, and
whose greys and flesh tints are of peculiar purity and beauty; Mr.
Swan, and Mr. Longmore--the former a clever flower painter, and the
latter highly skilled in his artistic treatment of birds. The firm
has recently brought out in great variety a series of designs of
the Chinese, Japanese, and Persian style, consisting of figure and
floral decoration, and have adapted them to tea, breakfast, dessert,
and ornamental goods--the cobalt blue, introduced largely in these
patterns, being of a specially pure and rich colour; and while many
of these are for the general buyer, a very large number are of a high
class character. In these Mr. Slater, the art manager, has happily
realised the full force of the special characteristics of this ancient
style of art, and produced admirable works. Some of his plaques, which
are admirably drawn and exquisitely coloured, evince much force, and
show that he has thoroughly studied the works of these countries, and
is acquainted with the peculiarities of their gems of art.
The general art director of the works (which employ nearly seventy
artists, gilders, &c.) is Mr. Harvey Adams, to whose pure taste and
artistic judgment their high state of excellence is to be attributed;
the principal modeller being Mr. W. M. Clowes.
* * * * *
[Illustration: Figs. 620 and 621.]
[Illustration: Figs. 622 and 623.]
_Market Street Works._--These are said to be the oldest works
in Longton--the first there established--and to be contemporaneous
with those of Wedgwood at Etruria. They were originally carried on
by Cyples, afterwards by Cyples & Barker, who were succeeded by Mr.
Thomas Barlow. For many years Egyptian black and other tinted bodies
only were made, but these were of a fine and very superior character.
Lustre wares were also produced, and some of these were marked with
a large letter B impressed in the body. Later on china for foreign
markets was produced of good average quality, both in body and glaze.
Within the past few years the present proprietor, Mr. Thomas Barlow,
has successfully turned his attention to the production of the more
costly classes of decorated goods for the home markets, and in these
he now vies in excellency of body and glaze, and in purity and beauty
of design and decoration, with most other houses in the trade. In 1871
Mr. Barlow exhibited some of his productions, which attracted much
attention. Some of these are engraved on Figs. 632 to 643, and consist
of a selection of cups, saucers, and dessert-plates of remarkably
chaste and elegant design. The productions of these works consist
of tea, breakfast, dessert, and déjeuner services, and a number of
ornamental articles, in every style of decoration. The whole evidences
a purity of taste, a delicacy of finish, a chasteness of form, and
a harmony of colouring, in the highest degree creditable to the
proprietor. Many of Mr. Barlow’s designs and patterns are original and
worthy of high commendation. Mr. T. W. Barlow produces earthenware in
all the usual varieties at Coronation Works in Commerce Street.
* * * * *
_High Street Works._--This manufactory, formerly belonging to the
Bridgwoods, and next to Cyples & Ball, has, since 1842, been carried on
by Messrs. Adams & Cooper. Formerly Egyptian black, brown, and lustre
wares, as well as china, were made, but china is now its exclusive
product; it is made both for home and foreign markets.
* * * * *
_Park Works, High Street._--Messrs. Charles Allerton & Sons here
manufacture both earthenware and china in the usual varieties, as well
as gold and silver lustre wares, both for home markets and export. The
works were established in 1831.
* * * * *
[Illustration: Figs. 624 to 631.--Barlow’s Tea Services.]
_Sheridan Works._--Built in 1858 by the late Mr. John Sheridan, the
works passed, in 1866, into the hands of Messrs. George Edwards & Co.,
and are now carried on by Mr. Edwards alone. About 1840 the business
of the present proprietor was commenced in Market Street, Longton, on
premises partly now occupied by Lloyd’s Bank, by Messrs. Thomas Cope
and James Edwards, and after the death of the former, was continued by
the late Mr. Edwards, who died in 1873 at the age of seventy-nine; the
present proprietor being his youngest son. The productions are china
tea, breakfast, and dessert services, both plain white and in every
style of decoration, both for the home and foreign markets. Among
the specialities are small cans and saucers richly and elaborately
decorated in gold and colours, in “Japan work,” for Morocco, Gibraltar,
and the Turkish markets, and tea-sets, tea-jars, kettles, &c.,
decorated in an immense variety of patterns, in imitation of ancient
Japanese examples, for the Dutch trade.
* * * * *
_Commerce Street._--Messrs. H. Aynsley & Co. manufacture all the usual
varieties of lustre, Egyptian black, drab, turquoise, and painted
wares, as well as stoneware mortars, &c. The works were originally
carried on by Wooley, and afterwards by Robinson & Chetham. After
remaining for half a century in the family of Chetham they passed a
few years ago into the hands of their present proprietors. China of
superior character is made at Mr. John Aynsley’s manufactory in the
Sutherland Road.
* * * * *
_Crown Works._--Messrs. Collingwood & Greatbach manufacture china
services, &c., of the commoner classes. The works were formerly carried
on by Anderson & Bellamy.
* * * * *
_Crown Works, Stafford Street._--Mr. John Tams manufactures the usual
classes of earthenware.
* * * * *
_Stafford Street Works._--These works, amongst the oldest in Longton,
were built, in 1799, by Messrs. John & Charles Harvey, and carried on
by them for some years, and were succeeded by Messrs. Hulme & Hawley,
from whom they repassed into the hands of the former family, being
carried on by Messrs. Charles & W. K. Harvey, sons of Mr. Charles
Harvey of the original firm. In 1841 these gentlemen worked three
manufactories in Longton. In 1853 Messrs. C. & W. K. Harvey were
succeeded by the present proprietors, Messrs. Holland & Green, by whom
the premises have been considerably extended. By the first two firms
common and useful earthenware was made, and these were continued by
C. & W. K. Harvey, who added china to the productions, and also, to a
large extent, gold lustre ware. Later on these were discontinued, and
the firm devoted themselves to printed goods and white granite ware,
chiefly for the North American markets. These were continued solely
by the present firm, until 1862, when Messrs. Holland & Green turned
their attention to the South American markets, which they now largely
supply. They established, a house abroad, and succeeded in introducing
a superior class--similar to those for the home trade, consisting
of printed and enamelled services, &c. This supply of an improved
class of patterns has produced an increased demand, and one that must
ultimately have a marked effect on the American trade. Messrs. H. &
G. also supply the home and Continental markets with all the usual
varieties of printed, enamelled, and gilt dinner, tea, and toilet
services, &c. The quality of the body is good, and the enamelling,
gilding, and other decorations, excellent. Many of the patterns are
rich and elegant, and all are carefully finished. Notably among these
are their new registered “bracelet” pattern, and a remarkably elegant
form for covered dishes. The gilding is of high character. They also
make sanitary ware. The works, as they have now been reconstructed,
are built on the most modern principles, and fitted with machinery for
turning jiggers and wheels, and also for preparing the clay. The mark
is the name of the pattern or body, the royal arms, and the name or
initials of the firm.
[Illustration: IRONSTONE.
HOLLAND & GREEN.
REGINA
H. & G.
Figs. 632 and 633.]
The toilet services produced by this firm are of superior quality; the
ground colours, rose-du-barry, Brunswick green, &c., of great clearness
and beauty, and the gilding rich and elaborate.
* * * * *
_Peel Pottery._--These works, originally belonging to Mr. Stirrup,
passed successively into the hands of Messrs. Bell, Deakin, & Procter;
Mr. Deakin; Messrs. Webb & Walters; and Messrs. Webb & Co. From the
last named they passed into the hands of the present proprietor, Mr.
John Green. The first three firms originally produced common classes
of earthenware. China was added by Messrs. Webb & Walters, and is now
alone made. Mr. Green produces china of more than average excellence in
body and of various styles of decoration, chiefly for the home trade; a
fair proportion, however, being exported. Many are richly gilt, and the
floral and other decorations carefully painted.
* * * * *
_King Street and Market Street._--At these works, which have been
established half a century, Mr. John Lockett manufactures all the usual
varieties of earthenware, china, stoneware, lustre, Egyptian black,
drab, and other wares, both for the home and export markets. In 1862 he
produced some special examples for the exhibition of that year; these
are shown in the accompanying group.
[Illustration: Figs. 634 to 639.]
* * * * *
_Chancery Lane._--Messrs. Taylor, Hudson, & Middleton here produce all
the ordinary varieties of china ware.
* * * * *
_High Street._--Established about 1840, by Mr. Thomas Cooper, these
works were afterwards carried on by Keeling, Walker, & Cooper, and
Keeling & Walker, the latter of whom, Mr. John Walker, is now the sole
proprietor. He manufactures the ordinary classes of earthenware, gold
and silver lustre, figures, &c.
* * * * *
_St. Mary’s Works, Mount Pleasant._--This manufactory was carried on
from 1830 till 1852 by Messrs. Moore & Hamilton, and so continued
until 1859, when Mr. Samuel Moore became sole owner. In 1862 he built
the present manufactory, and in 1870 was succeeded by his two sons,
Bernard and Samuel Moore, who from that time have carried on the
business under the style of “Moore Brothers.” The productions have,
from the first, been china of a good marketable quality, in which
all the usual breakfast, tea, dinner, dessert, déjeuner, and other
services, more or less decorated, are made; but in addition to this,
attention has been given with marked success to the development of
the strictly ornamental departments. A camel teapot--the Arab tying
on the bale forming an excellent handle, and the neck and head of the
camel an admirable spout--is a well-conceived design, and is powerfully
and cleverly modelled. For table decoration, the firm produces many
good designs. Notably among these is a group of three well-modelled
Cupids (two of whom are carrying the third), the upper one of which
bears a turquoise shell, massively gilt inside. It is of very artistic
design, and is well executed. The Persian turquoise glaze made by the
firm is remarkably clear and brilliant in colour and not surpassed
by other houses. In enamelling, Messrs. Moore Brothers have made
much progress, some of their designs in cloissonné enamelling being
highly effective, both in form of vessel and in arrangement of colour.
Notably among these are “pilgrims’ bottles,” the rich and massive
gilding of which throws out and relieves the enamelling in a very
marked and effective manner. In china, and also in majolica, Japanese
reproductions are made; in these the well-known Chinese ruby glaze has
been cleverly imitated; it is rich and full in colour. A turquoise
majolica jardinière, the design being water-lilies, is well designed.
Mirror frames of large size are also a speciality of these works.
Messrs. Moore Brothers’ operations are principally confined to the home
markets, a large proportion of their goods bearing the name of the
dealers, “T. Goode & Co., London.” The mark of the makers is either the
name “MOORE” or “Moore,” impressed on the body of the ware; “_Moore_,”
incised; or “MOORE BROS.,” painted on the surface.
* * * * *
_Commerce Street._--The works, now carried on by Mr. Thomas Walters
(late Walters & Hulse), were, he informs me, established by Messrs.
Riddle & Lightfoot. The productions are china of ordinary quality for
both home and export markets.
* * * * *
_New Town Pottery._--Erected in 1845 by Mr. J. Meakin, who continued
it until 1850, when it passed to Messrs. Stanley & Lambert, who in
1855 were succeeded by Messrs. J. & H. Procter & Co., who produced
common earthenware in the usual cream colour, printed, painted, and
lustred varieties; the mark was a crown upon a ribbon, bearing the
word WARRANTED; over the crown STAFFORDSHIRE, and beneath the ribbon P
for Procter. In 1876 the works passed into the hands of Messrs. Dale,
Page, & Goodwin, of the _Church Street Works_, and are carried on by
them. The _Church Street Works_ were established in the latter half
of last century, and in 1780 were carried on by Mr. John Forrester,
who was succeeded, in 1795, by Messrs. Hilditch & Sons, who in their
productions followed closely in the wake of Josiah Spode and Thomas
Minton; at which time most of the processes here were carried out by
female hands. In 1830 the firm changed to that of “Hilditch & Hopwood,”
who, at the Exhibition of 1851, sent up some notable examples of their
productions, one of which was a dessert service decorated in the
Renaissance style in gold, with landscape and figure vignettes, mainly
illustrative of Scott’s “Marmion;” and they also exhibited some very
successful imitations of Indian china, prepared by them from designs
by Mr. Shorter, of London. The tea services exhibited at the same time
were remarkable for their excellent body, the design and execution of
the painted decoration, the high class of the ground colours, and the
massiveness of the gilding. One example, with raised antique foliage
in gold on the fine old “Derby blue” ground, was especially good;
while the painting of others, with small landscapes in medallions, and
wreaths of flowers, was far beyond average merit. In 1858, on the death
of Mr. William Hopwood, the works were continued by the trustees till
May, 1867, when the business, stock, and plant, including the moulds,
copper-plates, &c., were sold to the present firm of Dale, Page, &
Co., who, as just stated, in 1876 removed to the larger premises
called New Town Works. The productions of the firm consist of all the
usual services in china, and are of a better class than those of many
other houses. In tea and breakfast services the firm is particularly
successful in designs where leaves, accurately copied from nature,
are carelessly thrown on grounds of various tints; the green ground,
with geranium leaves, being especially pleasing. Others with wreaths
of roses on the same ground, and others again closely diapered with
burnished gold, are among their more successful patterns. Others
of their productions are dessert services with fruit, flowers, and
landscapes, and with richly designed festoons, borders, and gilding;
dinner services; richly gilt and enamelled jet ware, &c.
* * * * *
_Borough Pottery._--These extensive works were established in 1869
by Messrs. Cartwright & Edwards. They are very extensive, and are built
as a “model factory” of the present day. The ovens are built on the
down-draught system; the smoke is conveyed to large chimneys (one 50
yards, and the other 26 yards, high), and the enamel and other kilns
all work in the same chimneys. The clay is prepared by machinery--both
the blunging, sifting, and other processes--and the water is taken out
by pressure (a process now generally adopted), so that fuel is entirely
dispensed with except at the engine. All the throwing-wheels and
jiggers are turned by steam power, and the workshops are fitted with
steam drying stoves, so that no fires whatever are used in drying the
goods. The goods produced are the ordinary classes of earthenware.
* * * * *
_High Street._--Messrs. Thomas Birks & Co. manufacture china,
earthenware, and gold and silver lustre of the more ordinary qualities.
* * * * *
_New Street.-_-Messrs. Cooper, Till, & Co. produce both earthenware and
china goods of the more ordinary qualities.
* * * * *
_Prince of Wales Pottery._--These works, in Sutherland Road, were
established by Mr. Benjamin Shirley, of Bangor, in Wales, on the day
of the marriage of H.R.H. the Prince of Wales, March 10th, 1863, and
were in honour of that event named the “Prince of Wales’ Works.” They
were carried on for a time by Benjamin Shirley and Walter Freeman,
under the style of “Shirley & Freeman,” late of the Sheridan Works,
and on the death of the former, in 1864, Mr. Titus Hammersley became a
partner with Mr. Freeman. In 1866 Edward Asbury joined the firm, which
was carried on as “Hammersley, Freeman, & Co.” In 1870 Mr. Freeman
retired from the concern, and the style at that time was “Hammersley
& Asbury.” Since the death of Mr. Hammersley, in 1875, the works have
been continued by Mr. Asbury alone, under the style of “Edward Asbury
& Co.” The goods produced are china tea, coffee, dessert, and trinket
services--a special feature, however, being articles bearing local
views in colours, for sale at watering-places--principally for the home
markets, but goods are also shipped to Australia and the United States.
The mark used is the Prince of Wales’ feathers with the letters H. & A.
in a garter, or A. & Co.
* * * * *
_High Street Works._--Mr. Walter Freeman, just spoken of as a
proprietor successively of the “Sheridan” and of the “Prince of
Wales” Works, withdrew from the latter in 1870 and entered on this
manufactory, and in these he competes successfully with many of the
other houses. Mr. Freeman’s productions are confined to china, in which
he produces all the usual tea, breakfast, and dessert services in great
variety of style; trinket sets for toilet, and other articles, both
enamelled, painted, printed, and otherwise decorated: these are made
for the home, American, and Australian markets. The quality of the ware
and the style of decoration are higher than the average.
* * * * *
_New Market Works, Market Street._--These are among the oldest works
in Longton. Half a century or more ago they were occupied by Messrs.
Martin & Cope for the manufacture of lustre ware and china. They were
succeeded by Abel Booth, and after other changes the manufactory came
into the hands of Messrs. Glover, Colclough, & Townsend, who were
extensively engaged for the Eastern markets. From this firm the works
passed to Messrs. Skelson & Plant, and from them to the late Mr. George
Copestake, sen., and from him to Messrs. Radford & Co. The productions
are china tea, breakfast, and dessert services, &c., chiefly for the
home trade.
* * * * *
_Alma Works, High Street._--Messrs. Copestake & Allen produce here the
ordinary services, &c., in china.
* * * * *
_Market Street._--Messrs. Knight & Rowley produce all the usual classes
of china goods in tea, breakfast, and dessert services, &c., for the
home and foreign markets. Many of their shapes and patterns are of
great beauty, and the quality of the body is good; notably among their
shapes for tea services the “Napier” is remarkable for its neatness and
simplicity; it is a great advance on the usual white and gold services.
It was here that the late Mr. Sampson Bridgwood made his first start,
and after noble struggles against adversity laid the foundation of his
ultimate splendid success.
* * * * *
_Victoria Works._--Built by the late Mr. Ralph Shaw about 1828, these
works still remain the property of his executors. About 1853 they
were taken by Mr. Joseph Finney, who still carries on the business.
For the first fifteen years of Mr. Shaw’s working, earthenware was
manufactured, but it was then converted into china works and has so
continued to the present time. The goods produced are the usual classes
of tea, breakfast, and dessert services, and fancy goods of fair
average quality in body and decoration for home and foreign markets.
* * * * *
_Stafford Street._--Mr. James Dawson occupies these works and produces
ordinary earthenware of the usual classes.
* * * * *
_Russell Street._--Mr. William Edwards manufactures ordinary
earthenware.
* * * * *
_Mount Pleasant Works._--Hallam, Johnson, & Co., late Wood & Co.,
manufacture ordinary qualities of china.
* * * * *
_High Street._--Messrs. Richard Hodson & Co., china services of the
ordinary quality.
* * * * *
_British Anchor Works, Anchor Road._--At these works, occupied by Mr.
J. T. Hudden, earthenware only is made.
* * * * *
_Royal Porcelain Works, Forrester Street, Anchor Road_ (Messrs.
Robinson & Chapman).--These works have been built as a “model factory.”
All the throwing-wheels and jiggers are turned by steam power, and
many other operations, which under the old system were done by manual
labour, are here carried on by the aid of steam. China of a superior
quality and style of decoration is produced at these works.
* * * * *
_Stafford Street._--Messrs. Hudson & Son produce ordinary china
services.
* * * * *
_St. Gregory’s Pottery._--These works, in High Street, were
established in 1794 by Mr. G. Barnes, and were successively held by
him and his partner Mr. Wood (under the style of Barnes & Wood), by
Messrs. Wood & Blood, Mr. Chesworth; Messrs. Beardmore & Birks, and Mr.
G. Townsend, from whom they passed in 1864 to Messrs. Tams & Lowe; they
now belong to Mr. William Lowe alone. The goods produced comprise all
the usual varieties of articles in useful ordinary earthenware, and in
china of an average quality. In the former, dinner, tea, toilet, and
other services, &c., are made in white, sponged, printed, ground-laid,
and gilt varieties; in the latter only the ordinary common classes are
made, principally for the home trade. The quality of the body is firm
and good, and the mosaic jugs and tea-pots, mounted and otherwise,
are well formed and decorated. In these and in the reeded turquoise
tea-pots, &c., the ground colours are clear and even. The usual mark in
the common willow pattern is a garter, with the words STAFFORDSHIRE
IMPROVED, enclosing the name of the pattern and the Staffordshire
knot; the ribbon is surmounted by a crown, and beneath are the initials
of the firm, T. & L.
* * * * *
_Gold Street Works, near Stafford Street_ (Barker Brothers).--This
is one of the oldest manufactories in Longton, and it is historically
interesting from the fact of gold lustre having been here first
discovered and applied to decorative purposes. The earthenware here
made is of the ordinary medium quality, both for home and for foreign
markets, including the Cape of Good Hope, Western Africa, Australia,
South America, Turkey, &c. It consists of cream-coloured, white,
fancy-sponged, painted and printed, enamelled and other descriptions,
in toilet, dinner, breakfast and tea services, and other articles.
* * * * *
_Wellington Works._--These works, in Stafford Street, were established
in 1862 by Messrs. G. L. Robinson & W. Cooper, the latter retiring
after a few years in favour of Mr. G. L. Robinson, when the firm
became Robinson & Son. In 1871 Mr. G. L. Robinson retired in favour
of his son Mr. G. A. Robinson, who became a partner, and the firm now
is “Robinson, Repton, & Robinson.” The class of china manufactured is
of the best finished kind, and is suited, in style and decoration,
both for the principal home and foreign markets. The goods principally
produced are tea, breakfast, dessert, and other services; toilet
trinket-ware, vases, centre-pieces, &c., and a large variety of
ornamental china goblets, fruit and other baskets, open-work (or
pierced) comports, moustache cups of the same construction as those
already spoken of, and the general varieties of articles which are
made in this material. The body of Messrs. Robinson’s china is of good
pure quality, and the decoration artistic and clever. Some of the tea
services are peculiarly chaste in design and rich in colouring; and the
gilding, enamelling, and painting are good. The jewelling and embossing
of some of the services, and the happy combinations of colours in
others, combined with careful artistic treatment, show how thoroughly
the designing as well as the manufacturing departments are “managed” by
this enterprising firm.
Messrs. Robinson & Co. at _The Foley_, also produce china of the
usual classes, both for home and export trades.
* * * * *
_St. Martin’s Lane._ (Taylor, Hudson, & Middleton.)--At these works,
which have been established about forty years, a general assortment of
plain and decorated china, in all the various services, is made both
for home and foreign markets.
* * * * *
_Heathcote Works._--Established in 1854 by Messrs. William Brammall
and John Dent, from whom it passed to William Brammall, then to
Messrs. Edwin Brammall and T. S. Repton, and is now carried on by W.
H. Derbyshire & Co. The works are in Heathcote Road. The manufactures
consist of china tea, breakfast, and other services, and all the usual
useful articles in that material suitable for the home trade.
* * * * *
_Green Dock Works._--Messrs. Cooper, Till, & Co. (formerly Hampson
Brothers) manufacture improved stoneware, ordinary earthenwares,
and lustres, for the home, American, Australian, and other markets.
Established in 1846.
* * * * *
_Chadwick Street._--Messrs. Frederick Jones & Co. manufacture
earthenware of the more ordinary class.
* * * * *
_High Street._--Mr. J. L. Johnson produces all the usual services,
&c. in the commoner classes of china.
* * * * *
_Baddeley._--About 1720 William Baddeley (an old name in the district)
commenced making brown ware at Eastwood, Hanley. About 1740, having
invented an “engine-lathe,” he began to make “turned articles in
cane and brown ware. He was succeeded in the pottery by his son,
William Baddeley; his other son, John Baddeley, taking the business
of the lathe making, by which he acquired a competency, and died
in 1841, aged eighty-five.” This second William Baddeley made many
improvements in the ware, and attempted, both by an imitation of
body of his vitreous wares, and by his mark, to palm off some of his
goods as Wedgwood’s. His mark was the word EASTWOOD impressed on the
ware, but he contrived always to have the EAST indistinct and the
WOOD clear (EASTWOOD), thus hoping to catch the unwary by the latter
syllable. He died at an advanced age, and the works at Eastwood having
been sold, his son, William Baddeley, commenced in Queen Street,
Hanley, for the manufacture of terra-cotta articles, and a large
trade was carried on in earthenware knobs for tin and japanned tea
and coffee-pots. He also made fancy pipes, japanned terra cotta, and
other goods. He also, at the Market Lane Works, “was the first to make
telegraph insulators in iron moulds with screw and lever pressure.”
The works were in 1846 removed to Longton (Wharf Street), and here
the manufacture of imitation stag, buck, and buffalo-horn, and bone
handles for knives, forks, &c., for the Sheffield trade, was first
introduced. In this branch “a very good trade was done, but the working
handlers of Sheffield refused to work them up, and threats were sent
to several masters, that if they did not give up the terra-cotta
knife-handle trade, their works would be blown up.” The masters, thus
intimidated, gave up the use of these handles, and on Mr. Baddeley
visiting Sheffield, an attack was made on his life, and letters sent
to him on his return threatening that if he did not give up making
the handles, he and his works “would be done for.” The manufacture
was then discontinued. Mr. Baddeley “invented the thimble placing
rack, now so extensively used; this he sold to Elias Leak, of Longton,
who, in 1856, took out a patent for the invention.” Mr. Baddeley, who
died in 1864, held the St. Martin’s Lane Works, and his widow now
carries on business in Commerce Street. Their son, William Baddeley,
commenced manufacturing in the Normacott Road, in 1862. His productions
were rustic terra-cotta articles for floral, horticultural, useful,
and decorative purposes; the principal articles being fern-stands,
vases, flower-stands, hyacinth-pots, flower-pots, garden-seats,
flower-baskets, mignonette-boxes, crocus-pots, globe-stands, brackets,
inkstands, &c. The designs were all taken from nature, and appropriate
to the intended use of the vessel. His imitations of bark, &c., and of
various woods and plants, were remarkably good.
* * * * *
_Waterloo Works_, Stafford Street. (Brough & Blackhurst).--Built
in 1815, the year of the Battle of Waterloo, and in honour of that
event named the “Waterloo” Works. The date 1815 occurs on one of the
ovens. The manufactory formerly belonged to Messrs. Ratkin & Booth,
who were so justly celebrated for their gold and silver lustre wares.
At these works, which are large and commodious, are produced the
ordinary classes of earthenware suitable both for the home and for
foreign markets, enamelled and gilt services, &c.
* * * * *
_Heathcote Road Pottery._--Messrs I. and H. Procter removed here in
1876 from the New Town Pottery. The productions are common earthenware
in the usual cream colour, printed, painted, and lustred varieties.
The mark is a crown upon a ribbon, bearing the words WARRANTED; over a
crown is STAFFORDSHIRE, and beneath the ribbon P for Procter.
* * * * *
_Sutherland Pottery_, Daisy Bank.--Established in 1870 by Mr. Joseph
Holdcroft, their present proprietor, for the manufacture of majolica,
Parian, and silver lustre ware for the home, continental, South
American, and Australian markets. Mr. Holdcroft, who for eighteen years
was in the employment of Minton & Co., commenced business in another
manufactory in Longton, which he left on the erection of his present
pottery. His majolica productions are of a high class, both in design,
in quality, and in workmanship; a “Wren Vase,” with well-modelled birds
and flowers, is a speciality of his works. His mark is his initials
[symbol] impressed in the ware.
* * * * *
_Church Street._--These works, for the production of Parian, jasper,
and majolica ware, belonging to Mr. G. A. Robinson, were pulled down
in 1876 for town improvements, Mr. Robinson erecting new works in
Sutherland Road.
* * * * *
_Cornhill Works._--Messrs. Poole & Unwin entered on these works, which
had previously been carried on as general earthenware works by others,
in 1871. The productions are middle-class earthenware; stoneware jugs,
&c., chiefly intended for the home market. Gold and silver lustres of
the ordinary kind, and rustic majolica, were also at one time made. The
initials of the firm are [symbol] impressed in the body of the ware.
[Illustration]
* * * * *
_Sutherland Works_, Barker Street.--Established by the present
proprietor, Mr. Sampson Smith, for the production of china, tea,
and other services, silver and gold lustre, and china figures and
ornaments.
* * * * *
_Sutherland Pottery_, Normacott Road.--These works were established by
their present proprietors, Messrs. Skelson & Plant, who were previously
of the New Market Works, Chancery Lane, Longton, and the Heathcote Road
Pottery. They are also proprietors of the _Heathcote Road Pottery_.
These latter were established by Mr. Thomas Beardmore, and much
enlarged by Messrs. Stubbs & Bridgwood, before they came into the hands
of Skelson & Plant. At these works china is made in all the usual
useful services.
* * * * *
_St. James’s Place._--The St. James’s works were established by
William Bradshaw, and afterwards occupied by John Gerard, Jesse Cope &
Co., and Baggaley & Ball. In 1831 they were taken by Robert Gallimore,
who about 1840 was joined in partnership by George Shubotham. In 1842
Mr. Gallimore retired from the concern, and the business was then
continued by George Shubotham and William Webberley, under the style of
“Shubotham & Webberley.” In 1847 Mr. Shubotham died, and the works are
now carried on by Mr. Webberley alone. In 1858 this gentleman purchased
the premises, and soon afterwards pulled down the old buildings and
erected the present commodious “four-oven” manufactory. Originally
lustre ware only was produced, but china was added by Mr. Gallimore.
In 1844 lustre was entirely abandoned, and since that time china alone
has been made. This is produced in all the usual services both for the
home, Dutch, and Australian markets. No mark is used.
* * * * *
_Daisy Bank._--These are among the most historically interesting
works in this immediate locality. They were built in the latter part of
last century by a Mr. Hughes, and passed successively through the firms
of Drury, Ray, & Tideswell, and Ray & Wynne, to Charles James Mason
& Co., who succeeded the latter firm. It was in these works that Mr.
Mason produced his ever famous “Ironstone china,” the firm at that time
being “George Miles Mason and Charles James Mason,” and subsequently
“C. J. Mason” only. The patent taken out by C. J. Mason in 1813 was
for “a process for the improvement of the manufacture of English
porcelain;” the process, according to the specification, consisting
“in using scoria or slag of ironstone pounded and ground in water, in
certain proportions, with flint, Cornwall stone, and clay, and blue
oxide of cobalt;” doubtless, however, this was not correct so far as
the first ingredients are concerned. It should also be added that the
name “Ironstone” was simply a combination of “iron” and “stone,” used
to denote the extreme hardness of the body, as combining the strength
of both. From various causes the manufactory, after some years, became
a commercial failure, though a great artistic and manipulative success;
in 1851 the patent right, moulds, copper-plates, &c. were sold to Mr.
Morley; and in 1853 the lease of the premises was sold to Messrs.
Hulse, Nixon, and Adderley. (For an account of Mason’s ironstone china,
&c. see pages 315, 407, and 408.)
The freehold of the premises was afterwards purchased from John
Edward Heathcote, Esq., by Hulse, Nixon, and Adderley. In 1869 Mr.
Nixon died, and the firm was changed to “Hulse and Adderley,” and so
continued until 1874, when (Mr. Hulse having died in the preceding
year) it was altered to that of “William A. Adderley,” who was the
surviving partner, and is now the sole proprietor of the place. Since
Mason’s time the premises have been very considerably enlarged and
improved. The productions are china and earthenware for the home,
Canadian, West Indian, South American, Australian, New Zealand, and
continental markets, the operations being conducted on a large scale.
No distinctive mark is used.
* * * * *
_Park Hall Street._--Messrs. Daniel Sutherland & Sons entered on
these works in 1863, and they are now carried on by the sons under
the same style. The productions are majolica and Parian of various
qualities. In the former, jugs of an infinite variety of shapes and
patterns; vases, tripods, and flower-holders; Stilton cheese, butter,
and sardine stands and boxes; bread, cheese, and fruit dishes;
water-bottles; tea and coffee-pots; kettles; flower-pots; brackets, and
scent-jars, taper-stands, candlesticks, and other articles are largely
made. In Parian, the firm produces groups, figures, busts, &c., in
considerable variety, as well as all the usual lesser articles, jugs,
brooches, crosses, and trinkets. Stoneware jugs, tea-pots, &c., are
also made. The mark of the firm was formerly S & S, but none
is now used.
* * * * *
_Viaduct Works_, Caroline Street.--Established about 1836. This
manufactory, in 1863, passed into the hands of Cooper, Nixon, &
Co., and next to Cooper and Dethick. They produce plain and printed
earthenware of the ordinary kinds, and drab and other coloured bodies,
both for the home and foreign markets. The mark is the initials of the
firm, C & D.
* * * * *
_High Street and Sutherland Road._--Messrs. James Beech & Co., the
present proprietors, opened those works about 1846. They produce all
the usual tea, breakfast, and dessert services in china of a more than
ordinary quality, and in various styles of decoration. They are also
grinders of flint and stone for the trade.
* * * * *
_King Street._--These works were established in 1875, being opened
on March 25th of that year, by their present proprietors, Messrs.
Bridgett, Bates, & Beech. They manufacture china only, but in this are
produced all the usual services in every variety of style. No mark is
used, but the productions are both for the home and foreign markets.
* * * * *
_Anchor Pottery._--Messrs. Sampson Bridgwood, & Sons, who are
extensive manufacturers, first carried on business in the Market Street
Works, and next for many years at a manufactory in Stafford Street,
originally occupied by G. Forrester, which was purchased by the late
commissioners of Longton, and pulled down for the erection of the
present market buildings. They then removed to their present works,
the “Anchor Pottery,” where they produce both china and earthenware.
In china all the usual tea, breakfast, and dessert services are made,
partly for the home, but principally for the United States and Canadian
markets. In earthenware they produce largely the white granite for the
United States, Australian, and Canadian trade, and they also produce
for the home market. One of their specialities is what is technically
called “Parisian granite” (stamped as “Limoges”), which is of fine
hard durable body and excellent glaze. In this ware, tea, breakfast,
dessert, dinner, and toilet services are largely produced; many are of
excellent design. The marks used are, on china, an impressed stamp of
the name “S. BRIDGWOOD & SON.” The Parisian granite bears the impressed
stamp, an oval, with the word “LIMOGES,” and in the centre
P. G. (for Parisian granite). It also bears the printed mark
of an elaborate shield of arms with mantling, sceptres, &c., and the
words “PORCELAINE OPAQUE,” “BRIDGWOOD & SON.”
* * * * *
_Dresden Works_, Normacott Road, established by Mr. John
Proctor.--These works, after being worked successively by Messrs.
Glover & Colclough, and Messrs. Goodwin & Bullock, came into the hands
of the present firm of Mason, Holt, & Co., in 1858, since which time
they have been much enlarged. All the usual tea, breakfast, dessert,
and other services, in china of excellent commercial quality, are made,
both for home and foreign markets.
* * * * *
_Dresden Works_, Stafford Street.--These works were established by
Mr. John Ferneyhough, and in 1858 passed into the hands of Messrs.
Shelley & Hartshorne, who were succeeded by Messrs. Adams & Scrivener,
who in turn were again succeeded by, in 1866, John Ferneyhough, who
manufactures all the usual varieties of services, &c. in china of good
quality.
* * * * *
_Palissy Works_, Chancery Lane.--These works were erected in 1862,
by Mr. R. H. Grove, for the purpose of decorating, not manufacturing,
china ware. In 1867 he retired, and was succeeded by his son, Mr.
Fredk. Wedgwood Grove, and his partner, Mr. John Stark, who continued
them for decorating purposes alone until 1867, when they commenced
manufacturing, having increased the premises for the purpose, and
erected the necessary kilns and machinery. They manufacture earthenware
only. In this all the usual dinner, dessert, toilet, and other services
and domestic articles are produced, and of all degrees of decoration,
from plain and printed up to enamelled and gilt varieties. Some of
their more beautiful patterns are the “Hindoo,” “Arabesque,” and
“Shell,” and these are made in a variety of styles of more or less
richness in detail. Spirit and wine show-barrels or casks are also
specialities.
* * * * *
_Minerva Works, Fenton._--In 1812 these works were held by Charles
James Mason & Co., the producers of the famous “Patent Ironstone
China” (which see), and from them passed to Messrs. Pratt & Co., who
were succeeded by Mr. Gerard (or Jerrad) and Mr. Richard Hassall.
About 1833 or 1834 Mr. Hassall was joined in partnership by Mr. Thomas
Green (son of Mr. Thomas Green, of the Churchyard Works at Burslem),
of Bank House, Fenton, who produced the common classes of china.
Shortly afterwards, Mr. Hassall retired, and Mr. Green was joined in
partnership by Mr. W. Richards, of Great Fenton, and the business was
continued by “Green & Richards,” until 1847, when the latter withdrew.
The business was then continued by Mr. Thomas Green alone, until his
decease in 1859; from that date to the present time it has been carried
on by his widow, Mrs. Margaret Green, under the trading style of “M.
Green & Co.” under the careful management of her sons. The china made
by the earlier firms was of the commonest kind of blue figured, white
and gold, and lustre wares. During the partnership of Mr. Richards,
a variety of ornaments, small ewers and basins, toy mugs and jugs,
&c., were extensively made; this trade was, however, checked by the
introduction of a similar, but cheaper, class of goods from France.
This had a good effect on the firm, for it induced attention to be
turned to a better class of productions; and this again was more
decisively done in 1851, when goods of a highly creditable character
were made. The present productions of Messrs. M. Green & Co. are china
tea, breakfast, dessert, trinket, and other services; toy sets; jugs,
mugs, feeders, wheel-barrow, and spade salts; and a large variety of
other articles, both for home and foreign markets.
* * * * *
_Victoria Works_, for many years carried on by Mr. S. Ginders, are now
held by Mr. James Reeves, who produces the more ordinary qualities of
earthenware.
* * * * *
_Fenton Potteries._--The goods produced are of the commoner class of
printed, sponged, and pearl-white granite wares suitable for British
North American, United States, West Indian, African, and Indian
markets. None are produced for the home trade. The works are carried
on by Messrs. W. Baker & Co., who were awarded a medal at the Paris
Exhibition.
* * * * *
_Fenton Pottery._--This was established in 1825, by Messrs. C.
J. & G. M. Mason, for the manufacture of their famous “Ironstone
China” ware (which see). “The works of C. J. Mason & Co.,” says Ward,
in 1843, “standing obliquely to two turnpike-roads, and on the line
of the Canal Company’s railway, present an extensive front of four
stories in height, inscribed in large letters ‘Patent Ironstone China
Manufactory.’ For this article of trade, which Messrs. G. & C. J. Mason
introduced some years ago, they obtained extensive public favour, and
an almost exclusive sale, on account of its resemblance to porcelain,
and its very superior hardness and durability.” Messrs. Mason were
succeeded by Mr. Samuel Boyle, from whom the works passed into the
hands of Messrs. E. & C. Challinor, formerly E. Challinor & Co. of
Sandyford and Tunstall, who still carry them on. The goods produced
are white granite, printed, sponged, and common earthenware, for the
American, Australian, and other foreign and colonial markets. In these,
tea, coffee, breakfast, dinner, toilet, and other services, and all
the usual useful articles, are largely produced. The white granite, or
ironstone china, is of good, hard, sound, and durable quality; some of
their most successful embossed patterns being the Ceres or Wheat, the
Garland, and the Vine-leaf patterns. In jugs, Messrs. Challinor produce
the Ceres or Wheat, Paris, Garland, Barberry, Lily, Missouri, Florence,
Versailles, Lotus or Cora, and other shapes, both plain and embossed.
The earthenware is of the ordinary common quality, specially designed
and well adapted for the various markets to which it is sent.
The marks are the Staffordshire knot [symbol] impressed in the ware--
[Illustration:
E & C CHALLINOR
FENTON
E & C CHALLINOR
IRONSTONE
CHINA
E & C CHALLINOR]
within an ornamental border, surmounted by the royal arms, &c., also
impressed in the ware; and the following printed on the surface:--the
royal arms with crown, supporters, motto, &c., and, beneath, a ribbon
with IRONSTONE CHINA, E & C CHALLINOR FENTON; the name of the pattern,
as “Australia,” “Gothic,” “Portland,” &c. within various borders, &c.,
and the name E & C CHALLINOR, or E & C C.
* * * * *
_Old Foley Pottery._--Messrs. Moore & Co., late Samuel Bridgwood,
produce white granite ware, of the ordinary character, for the American
markets.
* * * * *
_Anchor Works_, Market Street.--These works were carried on for some
years by T. and J. Carey, until about 1845, when they came into the
possession of Mr. Ashwell, who occupied them for about thirteen years.
They were afterwards carried on by Mr. W. Green, from whom they passed
to Copestake Brothers, and are now occupied by Mr. George Copestake,
who produces china of the usual varieties for both the home and foreign
markets.
* * * * *
_Fenton Potteries._--These works appear to have been in the hands
of the present firm, Messrs. Pratt, ever since the commencement of
this century. The style of the firm is “F. & R. Pratt & Co.,” and they
produce all the ordinary classes of earthenware goods in services, and
the usual useful and ornamental articles. They are large makers of
“druggists’ sundries,” as that particular branch of trade is described,
for which they are in high repute. Messrs. Pratt also produce a variety
of articles in a peculiarly compact, vitreous terra cotta; the colour
is a good, full, rich red, and the enamel ornamentation is usually
artistically arranged. Another speciality of this firm is under-glaze
colour-printing, for which, and their Etruscan ware, they received
a medal at the 1851 Exhibition. A silver medal was also awarded to
them by the Society of Arts for a pair of the largest Etruscan-style
vases up to that time produced; they were exhibited in 1851, and were
purchased by the Prince Consort.
* * * * *
_Lane Delph Pottery_ (John Pratt & Co.).--These works have been in the
hands of the present firm for above half a century. The goods produced
are earthenware of the ordinary class, chiefly for foreign markets.
* * * * *
_Grosvenor Works_, Foley Place.--The works were established about
1850 by Messrs. Till, Bourne, & Browne, and since their time the
successive changes in the proprietorship have been Bourne & Browne;
Charles Browne, alone; Jackson & Browne; and Jackson & Gosling, by whom
they are now carried on, and who do a large home and foreign trade.
The manufactures are confined to china, in which tea, breakfast, and
dessert services are produced.
* * * * *
_Park Works_, Market Street.--Mr. Ralph Malkin, doubtless a descendant
of the old pottery family of Malkin, manufactures here the ordinary
classes of earthenware goods.
* * * * *
_Foley Pottery._--This is one of the oldest works in the district. It
was originally occupied by Samuel Spode, who lived in a large house
adjoining, which was pulled down some years ago. It was afterwards
occupied by Christopher Bourne. It has been in the possession of the
present occupiers (Messrs. W. Hawley & Co.) since 1842. The productions
are earthenware of the ordinary kind both for home and export markets.
* * * * *
_The Foley Potteries._--These potteries take their name from the Foley
family, who own property in the neighbourhood. They were built by Mr.
John Smith, of Fenton Hall, about 1820, the first firm by whom they
were worked being Messrs. Elkin, Knight, & Bridgwood (who made the
better classes of “Willow pattern,” “Broseley pattern,” and other
blue printed services). On the retirement of the latter the style was
changed to Knight & Elkin, and, subsequently, on the retirement of Mr.
Elkin, the works were carried on by Mr. John King Knight alone, till
1853, when he was joined in partnership by the late Mr. Henry Wileman,
wholesale china dealer, of London, the style being Knight & Wileman. On
the retirement of Mr. Knight, in 1856, Mr. Wileman carried on the works
alone until his death, in 1864, when his two sons succeeded him as J. &
C. Wileman. In 1866 the partnership was dissolved, and from that time
till the present the business has belonged to Mr. James F. Wileman,
the present proprietor. The goods produced are the usual granite ware,
printed wares, lustres, Egyptian and shining black, and cream-coloured
wares. All of these of the ordinary classes for household use, and the
great bulk of the trade are export to the States, Panama, Australia,
South Africa, Ceylon, Java, and India.
* * * * *
_The Foley China Works_ were built in 1860 by the late Mr. Henry
Wileman, the owner of the Foley Potteries. At his death, in 1864,
they were continued by his sons, Messrs. J. & C. Wileman, till 1867,
when the partnership was dissolved, the latter (Mr. C. J. Wileman)
continuing the china, and the former the earthenware works. In 1870 Mr.
C. J. Wileman retired, and his brother then became proprietor of both
manufactories, and shortly afterwards took into partnership Mr. J. B.
Shelley, the firm being styled Wileman & Co. The china produced is of
the ordinary useful class for household purposes.
* * * * *
_King Street Works._--These works were established in the latter
part of last century by Mr. Shelley, who was succeeded by Mr. Marsh,
from whom they passed to Messrs. T. & J. Carey. The productions of
these firms were the ordinary Rockingham ware and common classes of
earthenware; Messrs. Carey also occupying two other manufactories
at Longton. They were next held by a company, and about 1850 passed
into the hands of the present proprietor, Mr. John Edwards. The goods
now produced are semi-porcelain and white granite for the American
markets. Until 1856 Mr. Edwards produced china in addition, but this
has since then been discontinued. Mr. Edwards is patentee of a process
for making thimble pins; and he also, in 1859, took out a patent for
“improvements in stacking or holding biscuit, earthen, china, and
glossed ware for firing” by means of “a ring frame or holder, with a
rim or flange projecting inwardly, so as to occupy the whole or part of
the centre of the ring.”
* * * * *
_Heath._--Thomas Heath was a potter in Lane Delph in 1710, and produced
a good hard grey-coloured ware. His three daughters married three
potters, Palmer and Neale, of Hanley, and Pratt of Fenton. Heath was an
enterprising potter, and was successful in making the coated or delft
ware, same as made by Astbury.
* * * * *
_Bacchus._--Thomas Bacchus, who, according to Shaw, married first
a widow named Astbury, manufactured cream-coloured and blue painted
ware; his second wife being a skilled painter, his late productions
were of a more superior character.
* * * * *
_William Meir_ had pot works at Fenton in the middle of last century,
which he rented from Whieldon, as the following entry in his book
shows: “Mr. Wm. Meir, of Fenton Low, for a house and pottworks & 3
small closes, March 25, 1750, a year’s Rent due--£14--10--0.” Whieldon
at that time owned much land about Fenton, and Fenton Hall seems also
to have belonged to him. This he let to Ralph Woolf, at a yearly rental
of £4; the “New House in Lower Lane” being at the same time let to
Thos. Woolf for £2 2_s._ a year. Fenton Hall was afterwards, in 1750,
let at the same rent to Wm. Marsh and Wm. Kent; it was afterwards
divided.
* * * * *
_Harrison._--George Harrison was an earthenware manufacturer in
the latter part of last century. His productions, according to an
invoice of August 20, 1793, consisted of “large and less tureens,”
“sauce tureens,” “root dishes,” “sallad bowls,” and “tureen ladles,”
blue edged; and cream-coloured “ewers.”
* * * * *
_Martin._--Anne Martin (I presume, widow of S. Martin), was a
manufacturer at Lane Delph in 1793. Her productions, as appears from
invoices of hers of that year in my possession, were “variegated
jugs” of different sizes, “blue-gray mugs and jugs,” “hand-basins,”
different sizes, “egg cups,” “pattie pans,” “cups and saucers,” (these
were 10_d._ a dozen!) “sauce boats,” “bottles,” “bowls,” “cowlerd
toys,” “hand bowls,” “dip^d bosed jugs,” “sallad bowls,” “flower pots,”
“stoole pans,” “blue painted mugs and jugs,” “pickel jars,” “table
services,” &c.
* * * * *
_Miles Mason_ was a manufacturer in the latter part of last century.
An invoice of his of 1797 enumerates blue dessert ware sets, each
consisting of “1 centre piece, 4 shells, 2 hearts, 2 cucum. tureens,
dishes & stands, and 24 desert plates;” “melon shapes,” “squares,”
oval and round baking dishes, oval and square salad dishes, “Nankeen
spitting pots,” basins and egg cups. Miles Mason was the father of
George Miles Mason, Charles James Mason, of “Ironstone china” celebrity
(see page 408), and William Mason. The family of Mason was originally
of Westmoreland, where they were tenants of Sir Michael Freeman, of
Rydal Hall. One of the sons went to London and established a shop for
the sale of East India china. He afterwards, I am informed, opened
a manufactory at Liverpool. He then bought land at Fenton from the
Bagnall family, on which he erected the works now occupied by Mrs.
Green, and called the “Minerva Works,” at Fenton. Afterwards he and his
brother built the “Fenton Pottery” (which see), and after some reverses
removed from it to a much smaller and less pretentious manufactory, the
“Daisy Bank Works” (which also see). Miles Mason’s marks were--
[Illustration:
[symbol] MILES MASON. Miles Mason. M. Mason.
M. MASON.]
* * * * *
_Whieldon._--Thomas Whieldon, whose name is more intimately mixed up
with the early development of the potter’s art than that of almost any
other man, was a manufacturer at Little Fenton in the middle of last
century. Spode, Astbury, Garner, Greatbach, Heath, Edge, Marsh, and
many others, were his apprentices or employés, and Josiah Wedgwood,
when quite a young man, and Harrison, were his partners, while his
mottled and other wares were of high character. In 1740 Whieldon’s
works consisted of a small range of low thatched buildings. “His
early productions were knife-hafts for the Sheffield cutlers, and
snuff-boxes for the Birmingham hardwaremen to finish with hoops,
hinges, and springs, which himself usually carried in a basket to the
tradesmen, and, being much like agate, they were greatly in request.
He also made toys and chimney ornaments, coloured in either the clay
state or biscuit by zaffre, manganese, copper, &c., and glazed
with black, red, or white lead. He also made black glazed tea and
coffee-pots, tortoiseshell and melon table plates (with ornamented
edge and six scollops, as in the specimens kept by Andrew Boon, of the
Honeywall, Stoke), and other useful articles. Mr. A. Wood made models
and moulds of these articles; also pickle leaves, crab-stock handles,
and cabbage-leave spouts for tea and coffee-pots, which utensils, with
candlesticks, chocolate-cups, and tea-ware, were much improved, and
his connections extended subsequently, when Mr. J. Wedgwood became
Whieldon’s managing partner. He was a shrewd and careful person. To
prevent his productions being imitated in quality or shape, he always
buried the broken articles, and a few months ago we witnessed the
unexpected exposure of some of these, by some miners attempting to
get marl in the road at Little Fenton. The fortune he acquired by his
industry enabled him to erect a very elegant mansion near Stoke, where
he long enjoyed, in the bosom of his family, the fruits of his early
economy. He was also sheriff of the county in the twenty-sixth year of
the late reign. The benevolence of his disposition, and his integrity,
are honourable traits of character, far superior to the boast of
ancestry without personal merit. Mr. Whieldon lived, I am informed by
Mr. John Ward, in a large house near the lower part of Fenton, called
Whieldon’s Grove; the line of railway passes through the grounds, and a
part of the house is used by the railway company as a store. He died in
1798 at a very old age, and in 1828 his relict was interred beside him
in Stoke churchyard.
In 1749, Thomas Whieldon built an addition to his works, and the
account of the “Expenses of the new end & Seller of the Over
Work-house” are in my own possession.
From this period downwards for some years the dates and terms of
“hirings” of workpeople, “setting” of houses and land to different
tenants, and many other matters of interest, are all entered in his
own handwriting in a pocket account-book belonging to Whieldon, now in
my own possession. From this book I extract the following entries of
“hirings,” for the purpose of showing the small amount of wages paid in
those days as compared with the present, and the curious and amusing
bargains which were made between master and workman as to “earnest
money” and gifts of “old cloaths,” &c. The entries relating to Josiah
Spode and Robert Gardner I have already given in another part of this
volume:--
1749. _£ _s._ _d._
Jany. 27. Hired Jno. Austin for placeing white,
&c., pr. week 0 5 6
Pd. his whole earnest 0 3 0
Feby. 14. Then hired Thos. Dutton 0 6 6
Pd. 1 pr. Stockins 0 3 6
Earnest for vineing[55] 0 15 0
1 pr. Stockins 0 2 6
Pd. in part 0 1 0
Pd. do. in 7 yds. cloth 0 8 9
„ 16. Hired Wm. Keeling for handling 0 6 0
Pd. his whole earnest 0 1 0
„ 20. Hired Wm. Cope for handleing & vineing
& cast ware, for 0 7 0
Pd. his whole earnest 0 10 6
March 8. Then hired Jno. Barker for ye huvel, 0 5 6
Pd. earnest in part 0 1 0
Pd. it to pay more 0 1 0
„ 24. Hired ... Low for making Slip 0 5 3
Pd. him in part of his earnest 0 2 6
To pay more 0 2 6
„ 26. Then hired George Bagnall, for fireing
for this year, for 0 5 3
Full earnest, 5_s._
Pd. in part, 2_s._ 6_d._
Hired for 1750 0 5 6
June 2. Hired Jos. Astbury 0 1 6
Pd. earnest 0 0 6
1751.
April 6. Hired Thos. Astbury 0 6 0
Till Michaelmas, pd. earnest 0 1 0
Oct. 26. Then hired Cupit 0 2 3
Pd. earnest 0 0 6
I am to give him a old pr. of stockings or
something.
1752.
Hired George Bagley for 2 years. 1st year 0 3 6
2nd year 0 4 0
To give him a pair of shoes each year.
1753.
June 21. Hired Wm. Marsh for 3 years. He is to have
10_s_. 6_d_. earnest each year and 7_s_.
per week. I am to give an old coat or
something about 5_s._ value.
Aug. 29. Hired Westaby’s 3 children, per week 0 4 0
Pd. earnest 0 0 6
Hired John Everal, per week 0 4 6
Pd. earnest, 2 pr. Stockings 0 4 0
1 shilling in cash 0 1 0
To have a handkerchief.
1749.
June 2. Hired a boy of Ann Blowrs for Treading ye
lathe, per week 0 2 0
Pd. earnest 0 0 6
1751. _£ s. d._
Jany. 11. Then hired Elijah Simpson for Turning,
he is to have pr week 0 8 0
Whole earnest 2 2 0
Pd. in part 1 2 0
Then hired Saml. Jackson for Throwing
Sagers and fireing pr. week 0 8 0
Whole earnest 2 2 0
Pd. in part 1 2 0
Pd. more 1 1 0
Feby. 9. Hired Jno. Edge, for per week 0 6 0
He is to have earnest 0 5 0
& a new pr. stockins 0 2 0
Pd. in part 0 1 0
Hired his son Saml for 0 1 3
April 6. Hired Wm. Kent, per week 0 7 6
To give for earnest 0 12 0
Pd. in part 0 1 6
To give a new Shirt at 16_d._ per yard.
Hired Ann Blowrs Girl & Boy
Girl 0 0 9
Boy, Joseph 0 2 0
To give earnest, Testament.
The names of workpeople occurring in these hirings are:--
Jno. Austin,
Wm. Lawton,
Robt. Gardner,
George Bagnall,
Siah Spoade,
Jos. Matthewson,
Jno. Everel,
Wm. Sale,
Wm. Ward,
Thos. Halam,
Daniel Greatbach,
Richd. Bell,
Wm. Marsh,
Jno. Marsh,
Jno. Barker,
Henry Averills,
Two lads,
Thos. Barlow,
Thos. Astbury,
Sanders,
Two lads,
---- Cupit,
Uria Sutton,
Benj. Burrows,
Thos. Dutton,
Thos. Mee,
Jno. Kent,
Wm. Kent,
Bet. Blower,
Ann Blowers,
Boy and Girl,
James Blower,
John Blower,
Ned Blower,
Wm. Reeves,
Old Thos. Mee,
Wm. Keeling,
Wm. Fox,
John Lowe,
Jos. Astbury,
Thos. Steen,
Elijah Simpson,
John Knight,
Thos. Bagley,
George Bagley,
---- Booth,
Westaby,
Jno. Edge, Senr.,
Wm. Cope,
Jos. Botham,
James Leigh,
Saml. Jackson
Thos. Hallins,
Jno. Edge,
Wm. Kent,
Wm. Amery,
Boy.
That Whieldon was a man of large property is evident from the entries
of “settings” of lands and houses, in the same book, but this is not
pertinent to my subject of the goods manufactured during the same
period. One or two entries give interesting particulars; thus:--
To send Mrs. DAVISON.
6 ½ pt. mugs, white, 2_d._
1 flat candlestick, Tor.[56]
Mr. THOS. FLETCHER, Dr.
_£ s. d._
To 1 doz. Plates, Tor.[56] 0 8 0
„ 2 ¼ do. plate 0 2 6
„ 2 2 dishes 0 2 0
„ 1 do. painted 0 2 0
„ 1 do. Cream Colr. 0 1 8
„ 5 pails 0 2 6
Mr. DAVISON.
1 pail 0 0 6
To make for Mr. GREEN (of Hovingham,
near Heylsham, Norfolk).
4 Tor.[56] Teapots, all Toys; 4 Coffee Pots;
4 Slop bowls;
4 Ewers; 4 Sugar boxes, china make; 4 Mustard
pots, high;
8 Salts, high feet; 12 2 Dishes, Tor.[56]; 5 doz.
pails;
2 doz. piggins; 6 doz. large plates; 4 doz.
round ditto;
8 doz. a size less; 7 of ym round with Ribd.
edge;
1 do. Sqr.; 3 doz. Bread & butter plates,
Ribd.; 3 qt. Coffee Pots;
6 pints; 4 2nd size dishes; 2 larger.
[Illustration: Figs. 640 to 644.]
The goods manufactured by Whieldon, both before, during, and after his
partnership with Wedgwood, were of good quality and excellent form.
They are now very scarce, and are highly and deservedly prized by
collectors. Two “tortoiseshell plates,” a small “cauliflower jug,” a
marbled, or “combed-pattern” plate, and an imitation agate knife-haft,
are shown by Figs. 640 to 644.
In 1754 Wedgwood and Harrison entered into partnership with Thomas
Whieldon. The partnership with Harrison, however, continued but for
a short period, and in 1752 he went out of the concern, Wedgwood and
Whieldon continuing in partnership five years, and carrying on their
trade at Whieldon’s works at Fenton Low. In 1754 Wedgwood here produced
his famous green glaze, which helped much to extend the fame of the
manufactory. In 1759 the partnership expired; Wedgwood returned to
Burslem, and Whieldon continued the business alone. He acquired a large
fortune, in 1786 was high sheriff of the county, and in 1798 died at an
advanced age.
* * * * *
_Turner._--Messrs. William and John Turner, whose manufactory was
in the High Street, have often been referred to in this work. They
were among the best and most successful potters of the end of last and
early part of the present century. About 1756 Mr. John Turner and Mr.
Banks made white stone ware at Stoke, but in 1762 Turner removed to
Lane End, “where he manufactured every kind of pottery then in demand,
and also introduced some other kinds not previously known.” About 1780
he discovered a valuable vein of fine clay at Green Dock, from which
he “obtained all his supplies for manufacturing his beautiful and
excellent stone ware pottery of a cane colour, which he formed into
very beautiful jugs, with ornamental designs, and the most tasteful
articles of domestic use.” Turner produced “a shining blue glazed
pottery similar to that of the Japanese porcelain,” as well as making
many other improvements in the art. He died in 1786, and was succeeded
by his sons William and John Turner, who became, as just said, among
the best potters of the day--equalling in many respects Josiah Wedgwood
himself. In jasper ware, in Egyptian black, and other finer wares,
there is little choice between Turner and Wedgwood, although the
composition of the two bodies was not the same, and had been obtained
by different processes. In 1800 Messrs. Turner took out a patent
for a new method of manufacturing porcelain and earthenware by the
introduction of “Rafferness Mine Rock, Little Mine Rock, and New Rock.”
The works were closed about 1803. The mark used by the Turners was
simply the name TURNER, impressed on the jasper and other fine
bodies; on their blue-bordered and printed wares sometimes they used
the Prince of Wales’s feathers, with the name Turner beneath.
[Illustration: TURNER. Fig. 645.]
* * * * *
_Garner._--Robert Garner, or Gardner, son of Robert Gardner, was an
apprentice with Thomas Whieldon, and afterwards employed by him, at
the same period as his fellow workman, Josiah Spode, was employed. The
following entry is in Whieldon’s own handwriting, in my possession:
_£ s. d._
“1749. Feb. 28. Then hired Robt. Gardner, per week 0 6 6
Earnest 0 10 6
Pd. him toward it 0 1 0
I am to make his earnest about 5s.
more in something.
1751. Feby. 22. Agreed with Robt. Gardner for his
son for next year, pr. week 0 7 0
I am to give him earnest 1 1 0
Paid it.
1754. Novr. 11. Hired old Robt. Gardnr & pd. earnest 1 1 0
March 16. Pd. Robt. Gardner, senr., earnest
for this year 1 1 0
1757. May 30. Pd. earnest for this year 1 1 0”
Gardner was also a tenant of Whieldon’s, as shown by the following
entry:--
“1752. May 11. Let Robt. Gardner a house at Fenton
Hall Bank, pr. year £2 2 0”
This he continued to hold for some years, as receipts for rent show.
Robert Gardner, who was hired from his father in 1751, married Margaret
Astbury, daughter of Astbury, the well-known potter, and at one time
was in partnership with one of her brothers at the Foley. He built a
large house, then known as the Foley House, but latterly as the Bank
House. By his wife Margaret Astbury, Mr. Garner was the father of
Robert Garner, potter, of Lane End, some of whose accounts of 1797
are in my possession. He married a Miss Middlemore, daughter and
co-heiress of the Middlemores of Edgbaston and Studley, by whom, with
other issue, he had a son, the present Robert Garner, Esq., F.L.S.,
surgeon, of Stoke-upon-Trent, the author of the “Natural History of the
County of Stafford,” and other works, and one of the most talented and
enlightened of the worthies of the pottery district.
About 1750, it is said, the elder Robert Garner, in conjunction with
Messrs. Barker, “commenced the manufactory of Shining Black and White
Stone Ware, salt glaze, at the Row Houses, near the Foley, Fenton, and
where afterwards they made tolerable cream colour. They realised a good
property here, and Mr. R. Garner rented a manufactory and the best
mansion of the time in Lane End, near the old turnpike gate.” Robert
Garner, of Lane End, was a potter in a large way of business, and
excellent in Queen’s or cream-coloured ware. Some examples of his make
are preserved in the Stoke Museum. A sister of his married Mr. Banks,
formerly one of the principal potters of Stoke.
* * * * *
_Edwards._--William Edwards, a potter at Lane Delph in 1750, made
a very superior kind of earthenware. One of his productions, described
by Shaw, was a plate with basket-work rim, the centre part divided into
compartments of embossed work, and decorated with various devices.
* * * * *
_Johnson._--Thomas and Joseph Johnson made white stone, Crouch, and
other wares. Their manufactory was afterwards held by Mayer and Newbold.
* * * * *
_Phillips._--About 1760, a son of Mr. Phillips, of Lane Delph,
commenced making white stone and other wares at Green Dock, Longton,
and afterwards produced cream-coloured ware of good quality.
* * * * *
_Sampson Bridgwood._--His manufactory was erected in 1756 by Roger
Wood, of the Ash, and occupied by a Mr. Ford, for stone and brown wares.
* * * * *
_Greatbach._--Robert Greatbach was bound apprentice with Thomas
Whieldon. He afterwards carried on business at Fenton, where he
produced a number of good and useful patterns in various wares. Thomas
Radford was associated with him in this business, and his engravings
were very popular. One of the best examples is a mug bearing “The World
in Planisphere,” on which occurs the name “engraved by Radford;” it is
very sharply and clearly engraved, and bears, on an heraldic wreath,
the initials “E. T.” Another celebrated production was the subject of
the “Prodigal Son” on tea-pots, &c. Greatbach was afterwards engaged by
Wedgwood, and was a successful modeller.
* * * * *
_Greenwood._--A potter named Greenwood was in Fenton, in Staffordshire,
about 1770–80.
Other potters in Fenton were Thomas Heath, Bourne, Baker & Bourne,
Thos. Bacchus.
Other potters about 1760 were Phillips, Matthews, Moses Simpson, John
Adams, John Prince, and William Hilditch.
* * * * *
_Heathcote & Co._--The Heathcotes were potters in Staffordshire, I
believe, at the close of last and in the early part of the present
century. The wares produced were good quality blue printed, painted,
and gilt services, and ornamental goods. The mark was the Prince of
Wales’s feathers with the name C. HEATHCOTE & CO. above, and on a
ribbon beneath the name of the pattern, as CAMBRIA, &c. Some good
examples are in the Mayer Museum.
[Illustration: Fig. 646.]
* * * * *
_Matthews._--William Matthews, of Lane Delph, was a maker of
tortoiseshell and clouded pottery.
* * * * *
_Myatt._--“At the southern extremity of Foley,” says Shaw in 1829, “are
the house and factory of the late Mr. Myatt, one of the first persons
who received the Wesleyan and Methodist preachers, and in whose parlour
the late Mr. J. Wesley stood, while from the window he preached to a
vast congregation, when last he passed through Staffordshire only a few
months prior to his decease.” He produced ordinary white and printed
earthenware and red ware.
His mark was his name, impressed:
MYATT.
MYATT.
* * * * *
_Williamson._--Hugh Williamson was a potter in the latter part of
last century, and principally made the ordinary blue printed ware. A
plate or tray with blue flowers and border is in the Mayer collection,
and is labelled as “Made at Hugh Williamson’s. It was transferred by
Mrs. Hancock, seventy-eight years of age, when she was an apprentice.”
* * * * *
_Harley._--Thomas Harley, a manufacturer at “Lane End,” produced some
good earthenware services, jugs, and other articles. He sometimes
marked with his name in full in writing letters, _T. Harley, Laneend_,
and at other times HARLEY.
* * * * *
_Plant._--Benjamin Plant was a potter here at the close of last
century. His name sometimes occurs as below.
_B. Plant,
Lane End._
_Benjamin Plant,
Lane End._
* * * * *
_Bailey & Batkin._--This firm (see Batkin & Booth, page 403) made
a fine quality of lustre ware--a brown clay with lustre wash all over
outside, and often inside. In the Mayer collection is a service of it,
and one large piece with “BAILEY & BATKIN, SOLE PATENTEES,”
running round a central band.
* * * * *
_Mayer & Newbold._--This firm produced excellent goods in the early
part of the present century. One of their marks was--_May^r & Newb^d_,
and another Mayer & Newbold in full.
* * * * *
It will be interesting to add that at Longton Hall William Littler,
of Brownhills, at one time resided, and there, according to Shaw,
“continued his experiments [in the manufacture of porcelain] until
his success surpassed all the expectations of his contemporaries; but
there not being much demand for this kind of ware he sacrificed his
estate at Brownhills, near Burslem, and then discontinued manufacturing
porcelain. His chief workman was not only a good practical potter, but
a tolerable modeller, Dr. Mills, who subsequently died at Shelton at a
very advanced age.” Littler’s removal to Longton Hall is said to have
been “about 1765.” Littler is said afterwards to have been manager of
Baddeley & Fletcher’s works at Shelton. Ten years previously William
Duesbury, the founder of the Derby China Works, was also of Longton
Hall. In a deed of that year, which I have given in _extenso_ on
page 66, he is described as “William Duesbury, of Longton Hall, in the
parish of Stoke-upon-Trent,” and in another deed as “Wm. Duesbury,
of Longton, in ye County of Stafford, Enamellor” (see under “Derby,”
_ante_).
CHAPTER X.
Tunstall--Early Potters--Enoch Booth--Child--Winter--Unicorn
and Pinnox Works--Greenfield Works--Newfield Works--George
Street Pottery--Phœnix Works--Sandyford--Lion
Works--Victoria Works--Swan Bank Works--Church Bank
Works--Well Street Works--Old Works--Black Bank--High Street
Works--Woodland Pottery--Greengate Pottery--Sandyford
Works--Tunstall Works--Highgate Pottery--Clay Hill
Pottery--Royal Albert Works--Soho Works--Marshall &
Co.--Walton--Stevenson--Birch--Eastwood--Shorthose &
Co.--Heath & Son--Newcastle-under-Lyme--Tobacco-pipes--Charles
Riggs--Garden Edgings--Thomas Wood--Terra-cotta
Works--Armitage--Lichfield--Penkhull, &c. &c.
The Tunstall potters enumerated by Shaw in 1829 are: John Mear, T.
Goodfellow, Ralph Hall, S. & J. Rathbone, J. Boden, Bourne, Nixon &
Co., Breeze & Co., and Burrows & Co. Ward in 1842 enumerates seventeen
manufactories at Tunstall; these were as under. China and earthenware,
three, viz.: Hancock & Wright, Bill & Proctor, and Rathbone & Brummitt.
Earthenware only, twelve, viz.: Wood & Challinor, Thos. Goodfellow,
John Meir & Son, Joseph Heath & Co., Hall & Holland, Wm. Adams, Jun.,
& Co. (Greenfield), Podmore, Walker & Co. (two manufactories), James
Beech (two), Thos. Bowley, and Mayer & Mawdesley. China toys and black
ware, two, viz.: Michael Tunnicliffe and John Harrison. Mr. Abraham
Lowndes was also a manufacturer here. Messrs. James Beech & Abraham
Lowndes had a manufactory here in 1829.
In the sixteenth and seventeenth centuries the common coarse brown
ware of the period was made at Golden Hill, near Tunstall, and later
on the ordinary “brown chequered and Porto Bello wares were made.” In
the beginning of this century there was a small establishment for the
manufacture of cream colour and porcelain, but it is now (says Shaw in
1829) discontinued, and the building is converted into dwelling-houses.
At Green Lane, Golden Hill, coarse black and brown ware was formerly
made.
* * * * *
_Enoch Booth._--This potter established a manufactory at Cliff
Bank, Tunstall, and about 1750 commenced making cream-coloured ware
of a superior kind, “which was coated with a glaze of lead ore and
ground flint.” He married Ann, one of the daughters of Thomas Child,
of Tunstall, on a part of whose property he settled and commenced his
works. By this marriage he had, with other issue, a daughter Ann, who
married Anthony Keeling, by whom he was succeeded in business. The
works were afterwards carried on by Mr. T. Goodfellow. Keeling about
1793 built a large residence adjoining his works, and in 1810 retired
from business; he died at Liverpool in 1866 (see Phœnix Works).
* * * * *
_Child._--About 1763 Mr. Smith Child established a pottery here, which
was afterwards carried on by Mr. Clive. It was subsequently occupied by
Messrs. Joseph Heath & Co., Mr. Anthony Shaw, and the Messrs. Adams.
Some examples are known which bear the impressed name CHILD (see
Newfield Works).
* * * * *
_Winter._--“Early in the present century,” says Shaw, “Captain Winter
having boasted that the articles of his manufacture at Tunstall were
the only true porcelain made in Staffordshire, experienced no little
chagrin on ascertaining that his ware would fuse at a heat much below
that usually required,” &c.
* * * * *
_Unicorn Pottery_ and _Pinnox Works_.--These large and important
manufactories, situated in Amicable Street and Great Woodland Street,
for the production of general earthenware, early in the present century
were occupied by Mr. E. Challinor, who was succeeded in 1825 by Messrs.
G. Podmore Walker & Co., who also occupied the Swan Bank Pottery. That
firm was succeeded by the present proprietors, “Messrs. E. Wedgwood &
Co.,” the head of the firm being Enoch Wedgwood, Esq., of Port Hill,
J.P. for the county of Stafford, whose elder son, Edmund M. Wedgwood,
is also a partner. The works are of large extent, and give employment
to six or seven hundred persons; they occupy an area of about an acre
of ground, and are among the most substantially built and best arranged
in the pottery district. The goods produced are the higher classes of
earthenware. In these, dinner, tea, breakfast, dessert, toilet and
other services, and all the usual miscellaneous articles, are made to
a very considerable extent, both for the home, colonial, continental,
and American markets, to which considerable quantities are regularly
exported. The quality of the “Imperial Ironstone China”--the staple
production of the firm--is of remarkable excellence, both in body and
in glaze, and the decorations are characterized by pure taste, artistic
feeling, and precision of execution; they consist of an endless variety
of admirable patterns, printed in various colours, wholly or partially
hand-painted, enamelled, and gilt. The great and laudable aim of the
present firm has been and is to produce the best, most artistic, and
most pleasingly effective designs, and to adapt them to ordinary
purposes, so that they may become the every-day surroundings of the
artisan as well as of the educated man of taste. Thus they associate
durability of quality in body and a perfect glaze with purity of
outline in form, chasteness of decoration, and clearness and harmony of
colour--adapting their designs and styles of decoration to the national
tastes of the people in the various climes to which the goods are sent.
One of the most successful of their ordinary printed designs is the
pattern known as “Asiatic Pheasants,” which has become so popular as
to be considered one of the standard patterns of this country and the
colonies. Other equally effective designs have also been introduced by
Mr. Wedgwood with great success.
In the higher classes of decoration--painting, jewelling, and
gilding--the productions of this firm also rank deservedly high, and
they are particularly successful in services bearing monograms and
armorial decorations.
Besides the usual classes of useful and ornamental earthenware in
services, &c., E. Wedgwood & Co. produce beautiful specimens of inlaid
decorations for hall stairs, and elaborately carved furniture, which
may hereafter be in general repute.
They have not made a public display of their distinct manufacture,
except at the Paris Exhibition, where they were awarded a medal for the
excellence of their earthenware. The marks used by the firm are the
following, impressed in the body of the ware:
[Illustration: STONE CHINA
WEDGWOOD & CO
Fig. 647.]
* * * * *
_Greenfield Works (William & Thomas Adams)._--This business was
originally established at Stoke by the grandfather of the present
owner, William Adams, who then carried on the business in his own
name until 1829, when the firm was changed to Wm. Adams & Sons; the
second William Adams being head of the firm. In 1834 the business
was considerably enlarged, and the present works at Greenfield,
Tunstall, opened. In 1853 a dissolution of the firm took place, and
the Greenfield works were carried on by William Adams (the second)
until 1865, when he retired in favour of his sons, William and Thomas
Adams, the present owners of the manufactory. The trade of this large
and important manufactory is entirely confined to foreign markets,
the principal trade being done with the Brazils, Cuba, Central
America, Java, Manilla, Singapore, the United States, &c., the first
six of which are the special trade of this firm. The quality of the
earthenware is the best of its class, and is noted in the markets
for which it is specially prepared for its durability, its “pleasant
handling,” and the richness and variety of its coloured and sponged
patterns, the bright fancy character of which is much admired in the
out markets of the world which have been named. The goods produced are
tea, toilet, and table services, besides a variety of other articles;
and these are all the best of their class, both in body, in form, and
in decoration. White granite (or ironstone china) of an excellent
quality is also made for the American and other markets, some of the
raised patterns--as, for instance, the “Dover”--being remarkably good,
and the forms of the pieces--side-dishes with covers, &c.--being
faultless. Transfer printing is much used, and is by this firm
judiciously combined with “sponged” patterns with good effect.
William Adams was an apprentice to Josiah Wedgwood, and was a great
favourite with him. He commenced business for himself at Tunstall, and
there produced some fine works of art in jasper and other wares. He
died quite in the beginning of the present century, and was, I have
heard, succeeded in the Tunstall business by his son Benjamin Adams.
Occasionally the name ADAMS, or W. ADAMS & SON, is met with.
“About 1800,” according to Shaw, “Mr. Benjamin Adams, of Tunstall, was
successful in the manufacture of jasper” in imitation of, though not
equal to, that of Wedgwood.
_Newfield Works._--These were occupied in 1857 by the father of the
members of the firm whose works have just been spoken of, and are now
carried on by Mr. William Adams. The goods are of a similar excellent
character and are produced for the same markets, with the addition of
Australia and Cape of Good Hope. An extensive business is done with the
United States, especially in Philadelphia and Baltimore (see Child).
* * * * *
_George Street Pottery_, established 1862.--At these works Mr. W.
Holdcroft (formerly Holdcroft & Wood) manufactures all kinds of
earthenware dinner, toilet, tea, and other services, and the usual
varieties of useful articles. Jugs are produced in immense quantities
and of great variety, both in form and in styles of ornamentation,
as is also every variety of goods. Even in the commoner classes a
better style of decoration is observable in the productions of this
manufactory than in many others. The styles of ornamentation are hand
painting, transfer printing, ground colours, lustre-glazes, &c. The
markets produced for are both home and foreign, and the general classes
of goods are what may be called generally commercial. Connected with
these works is the highly interesting fact that Mr. Holdcroft was
the first to introduce the down-draught system of firing into the
potteries, which has effected a great saving in fuel and a freedom from
smoke. Mr. Wood was great-nephew of one of the most celebrated men of
the district--the late Enoch Wood--and is now a partner in the firm of
Poole, Stanway, & Wood, of Stoke.
* * * * *
_Phœnix Works._--These works were built in the last century by
Anthony Keeling, one of the eminent potters of the district in the
“olden days,” and of whom a notice has already been given (page 424).
He married Ann Booth, daughter of the celebrated Enoch Booth, to whose
business he succeeded. At the commencement of the present century he
was the principal manufacturer in Tunstall, but was unsuccessful and
retired on a small independence in 1810. He was succeeded by Mr. Thomas
Goodfellow, who made considerable additions to the establishment. They
afterwards passed into the hands of Mr. Bridgwood, by whom (being,
later on, joined in partnership by Mr. Edward Clarke) they were carried
on under the style of “Bridgwood & Clarke.” Mr. Bridgwood dying in
1864, Mr. Clarke, whose large practical experience had added much to
the already extensive transactions of the establishment, became sole
proprietor, and carried on the concern until 1877, when he removed
to the New Bridge Works at Longport, which see. Mr. Clarke produced
“white granite” (_porcelain opaque_) in immense quantities and of
the very best quality, for the American markets, where it successfully
competed with “French porcelain;” artists’ palettes, tiles, slabs,
saucers, &c., were also made in large quantities, and possessing all
the requirements of hardness, evenness, and durability of glaze, are
much esteemed. Finger plates and door furniture of every variety, both
in black in white and in ivory coloured body, and plain or variously
decorated, were also produced in large quantities. In ivory body, in
white, and in brown, Mr. Clarke manufactured, very largely, castor
bowls, which are used on legs of tables, chairs, sofas, &c., and on
other varieties of furniture which require constant moving. Mr. Clarke
also for many years carried on the “Churchyard Works” at Burslem,
of which a lengthy notice is given on page 244. The marks used were
EDWARD CLARKE, impressed on the body of the ware, and the
royal arms, with supporters, garter, motto, &c., above a flowing ribbon
on which are the words “EDWARD CLARKE, PORCELAIN OPAQUE,” and,
beneath, TUNSTALL (see Enoch Booth).
* * * * *
_Lion Works_, Sandyford.--These works were commenced for goods for the
home trade by James Beech in 1838, and afterwards passed into the hands
of Thomas Walker, who made South American goods, and next, in 1856,
to Broughton & Mayer, whose productions were for the United States.
In 1862 the present firm, “Ford & Challinor,” became proprietors, and
have continued the manufacture of general earthenware for the home and
foreign markets.
* * * * *
_Victoria Works._--Established and built by Mr. John Tomkinson in 1858,
and carried on by him and Mr. G. W. Turner under the style of “Turner &
Tomkinson” until 1873, when Mr. Tomkinson retired. The business is now
carried on by Mr. Turner and his sons, under the style of “G. W. Turner
& Sons.” The goods produced are the ordinary printed and enamelled
earthenware in dinner, toilet and other services, &c., for the home and
colonial markets. The mark used is simply the initials of the firm.
* * * * *
_Swan Bank Works._--This is one of the oldest manufactories in
Tunstall. In the beginning of the present century it belonged to
and was worked by Mr. Ralph Hall, and is still the property of his
descendants, his sole executor being Mr. Frederick J. Bowers, by whom
(as successor to his father, Mr. George F. Bowers) the Brownhills
Pottery was carried on until that concern was formed into a company
(see page 288). Mr. Ralph Hall was succeeded in the manufactory by
Messrs. Podmore Walker & Co., by whom it was carried on until about
1862, when it passed into the hands of Messrs. Beech & Hancock, by whom
it was much improved, and from them to its present occupier, James
Beech.
The productions of the firm are the ordinary classes of earthenware and
stoneware for the home trade. In these wares dinner, tea, toilet, and
all the usual services are largely produced in every variety of style
and of various degrees of ornamentation, both in “sponged,” printed,
painted, enamelled, gilt and lustred styles. Stoneware jugs and other
articles are also largely made and are of excellent quality, as are
also black ware and other jardinières flower vases, &c.
* * * * *
_Church Bank Works._--The Church Bank Works were built in 1842 by
Mr. Robert Beswick (of Chell, the present owner), by whom they were
carried on till 1860, and afterwards successively by the firms of Beech
& Hancock, Eardley & Hammersley, and Ralph Hammersley alone. In 1870
the manufactory passed into the hands of its present occupiers, Messrs.
Thomas Booth & Son. The firm commenced business in 1864 at the Knowles
Works, Burslem, under the style of Evans & Booth, which in 1868 was
altered to Thomas Booth & Co. In 1872 the style was changed to its
present form of Thomas Booth & Son. The productions are earthenware
of medium quality in which all the usual services and other domestic
articles are produced for the home and colonial markets.
* * * * *
_Well Street Pottery_, called also the _Old Works_.--These works--of
old foundation--are carried on by Mr. Stephen Clive under the style
of Stephen Clive & Co., whose productions are the ordinary middle
classes of earthenware goods for the home and foreign markets. The
firm was formerly Clive & Lloyd, and after Mr. Lloyd retired became
Stephen Clive & Co. “About 1802 Mr. William Brookes, engraver, then of
Tunstall, afterwards of Burslem, suggested to Mr. J. Clive a new method
of ornamenting by blue-printing. The border of the plate was engraved
from a beautiful strip of border for paper-hangings of rooms, and many
of the manufacturers approved of the alteration. The New Hall Company
instantly adopted it for some of their tea-services.”
* * * * *
_Black Bank and High Street Works._--These works are carried on by
Mr. Ralph Hammersley; the latter for the production of ordinary
earthenware, and the former for common jet, red, and Rockingham ware
articles.
* * * * *
_Woodland Pottery._--Messrs. Hollinshed & Kirkham, formerly Edmund
T. Wood, is situated in Woodland Street. Earthenware for the home and
foreign markets is produced in all the usual varieties.
* * * * *
_Greengate Pottery._--Messrs. Henry Meir & Son manufacture earthenware
in all the usual services of the more ordinary classes.
* * * * *
_Sandyford Works._--Ordinary earthenware is here made by Mr. Jabez
Blackhurst.
* * * * *
_Tunstall Works._--Messrs. Blackhurst & Dunning commenced these works
in 1857 for the manufacture of ordinary earthenware for the home and
South American markets. In 1867 Mr. Dunning died, and since then the
business was carried on by Mr. Richard Blackhurst alone; he died in
1877.
* * * * *
_Highgate Pottery._--Established by George Hood, who purchased the
land from Mr. Randle-Wilkinson in 1831, and built the manufactory. The
works were purchased by Mr. William Emberton in July, 1846, and carried
on by him until his death in 1867, since which time they have been
carried on by his two sons, Thomas Isaac Emberton and James Emberton,
the present owners. The goods manufactured are all the usual varieties
of earthenware for the home markets, and the firm are also large
producers of special goods for Ceylon, Calcutta, Bombay, and other
Indian markets.
* * * * *
_Clay Hill Pottery._--Messrs. Thomas Elsmore & Son manufacture ordinary
earthenware.
* * * * *
_Royal Albert Works._--Mr. Albert Meakin produces the ordinary classes
of earthenware goods.
* * * * *
_Soho Works._--Mr. George Guest here manufactures common earthenware.
* * * * *
[Illustration: Fig. 648.]
_Marshall & Co._--This firm were manufacturers in the early part of
this century, but their locality is unknown to me with certainty. The
mark, Fig. 648, occurs in the Mayer Museum. It is impressed on the
bottom of a shell-piece, a part of a dessert service, painted in pink
waves with gilt edge. It is a very good design, and in painting and
gilding excellent.
* * * * *
_Walton._--The name WALTON in a scroll, and also “Walton” alone, occur
impressed in the ware of common earthenware statuettes.
* * * * *
_Stevenson._--There were more than one firm of potters named Stevenson
in Staffordshire. Some were of Cobridge. One potter of that name used a
vesica-shaped mark bearing a three-masted ship with the name Stevenson
above it impressed in the ware. Another used the mark of a crown within
a circle, bearing the words A. STEVENSON, WARRANTED, STAFFORDSHIRE,
impressed in the ware. Another mark was simply the name STEVENSON, also
impressed.
* * * * *
_Birch._--Mr. Birch produced Egyptian black ware articles of good
quality. His mark was the name BIRCH, impressed in the ware.
* * * * *
_Eastwood._--Red ware, cane-coloured ware, with raised foliage,
flowers, figures, &c., and black ware tea-pots, were made by Eastwood,
and bear his name impressed in the body of the ware, EASTWOOD or
Eastwood.
* * * * *
_Shorthose & Co._--I have met with the marks of SHORTHOSE & CO.,
SHORTHOSE, Shorthose & Co., Shorthose, on a variety of wares, including
ordinary cream-coloured services, white and printed goods, and Egyptian
black and other articles. My late friend, Mr. Bagshawe, owned some good
examples; he considered the works to have closed about 1820.
* * * * *
_Heath & Son._--The two impressed marks here engraved, Figs. 649
and 650, are supposed to be those of Messrs. Heath & Son. They occur on
well-decorated earthenware services of average quality.
[Illustration: Figs. 649 and 650.]
[Illustration: Fig. 651 and 652.]
NEWCASTLE-UNDER-LYME.
_Charles Riggs’s Tobacco-pipes._--Two hundred years ago, when Plot
wrote, there was a famous manufactory of tobacco-pipes at this place.
The maker was Charles Riggs, and he made “very good pipes of three
sorts of clay.” Plot says (1676), “As for _Tobacco-pipe clays_ they
are found all over the county, near Wrottesley House, and Stile Cop,
in Cannock Wood, whereof they make pipes at Armitage and Lichfield,
both which, though they are _greyish clays_, yet burn very white. There
is _Tobacco-pipe clay_ also found at Darlaston, near Wednesbury; but
of late disused, because of better and cheaper found in Monway-field,
betwixt Wednesbury and Willingsworth, which is of a _whitish_ colour,
and makes excellent _pipes_, as doth also another of the same colour
dug near the Salt Water poole in Pensnet Chase, about a mile and a half
south of Dudley. And _Charles Riggs_, of Newcastle, makes very good
_pipes_ of three sorts of clay--a _white_ and _blew_--which he has
from between Shelton and Hanley Green, whereof the blew clay burns the
_whitest_, but not so _full_ as the _white_, _i.e._, it _shrinks_ more;
but the best sort he has is from Grubbers Ash, being _whitish_ mixt
with _yellow_. It is a short britle sort of clay, but burns full and
white; yet he sometimes mixes it with the blew before mentioned.”
With reference to this Charles Riggs, pipe maker, of
Newcastle-under-Lyme, it is interesting to add that nearly a hundred
pipes, each bearing, as a heel or other mark, the initials C R
in various forms--found at Newcastle and other localities in the
district--have come under my notice, and are, there can be but little
doubt, examples of his workmanship. They are interesting too as showing
the transition in the lifetime of one maker from the flat heel to the
pointed spur. Two of these are engraved on page 432 (Figs. 651, 652).
The first has a stamp on the heel bearing the initials C R between two
crescents, one above, the other below. The second, being a pipe with
pointed spur, has the stamp on the front of the bowl so as to face the
smoker; it bears the same mark of initials C R (Charles Riggs?) and
crescents. Another mark of Riggs was simply the initials C R as shown
on the same group.
NEWCASTLE-UNDER-LYME.
_Thomas Wood’s Garden Edgings._--Tiles for garden edgings were in
Plot’s time made at Newcastle-under-Lyme, and must have had extensive
sale, as the gardens of the better kind were in those days always laid
out in “Knots” of more or less elaborate design. Plot, speaking of this
branch of manufacture, says: “Also at Newcastle-under-Lyme the _Tiles_
burnt in a _Kill_, the usual way, being found not to last, one _Mr.
Thomas Wood_, of the same Towne, first contrived to burn them (which we
may look upon as an art relating to fire) in a _Potter’s Oven_, wherein
he made them so good and lasting, that notwithstanding they have been
put to the hardship of dividing the parts of _Garden Knots_, to endure
not only the perpetual moisture of the earth, but frost, snow, and all
sorts of weather; yet they few of them decay, scarce 5 tiles in 500
having failed in 20 yeares time; so that now he has been followed by
all the countrey thereabout.”
* * * * *
_Newcastle Pottery._--This manufactory was established by Messrs.
Harrison & Baker in 1866, for the production of red ware, ebony or jet
ware, and terra cotta, as well as ordinary horticultural goods. In red
and jet wares the usual useful and ornamental classes of articles are
made, and are of average quality. Rockingham ware is also somewhat
largely made.
* * * * *
_Keys and Mountford._--In the Exhibition of 1851 Messrs. Keys and
Mountford exhibited, and received honourable mention for parian
statuettes.
ARMITAGE.
In 1676, when Plot wrote, there was a manufactory of pipes at this
place. They were made from the native greyish clay of the district,
which burned very white.
LICHFIELD.
The manufactory of pipes from the native clays of Cannock Wood and
other places in the county, which, though naturally grey, burned very
white, is mentioned by Plot in 1676.
PENKHULL.
In 1600, it is stated by Shaw, there “were three manufactories for
coarse brown pottery” at Penkhull, “one of which belonged to Mr. Thomas
Doody, whose descendants now reside at Tunstall.”
CHAPTER XI.
Swansea--Cambrian Pottery--Dillwyn’s Etruscan Ware--Swansea
China--Glamorgan Pottery--Richard’s Pottery--Landore
Pottery--Llanelly--South Wales Pottery--Ynisymudw--Terra
Cotta Works--Nantgarw--Billingsley--Nantgarw
China--Brown and Stoneware Potteries--Cardigan--Cardigan
Potteries--Hereford--Lugwardine Tile Works--Torquay--Terra
Cotta Works--Alderholt--Smethwick--Reading--Coley Avenue
Works--Wakefield Moor--Houghton’s Table of Clays--Ditchling
Pottery, &c.--Amblecote--Leicester--Spinney Hill
Works--Wednesbury--Winchester--Aylsford--Exeter--Lincoln.
SWANSEA.
_Cambrian Pottery._--A small manufactory of earthenware appears to
have existed at Swansea in the middle of last century, at which time
the works had come into the hands of, and belonged to, a Mr. Coles, who
afterwards took into partnership a Mr. George Haynes. The buildings
were originally copper-works, and were converted into a pottery. In
February, 1783, the works were offered for sale, as will be seen by the
following highly interesting advertisement, which I now, for the first
time, reprint. It shows the importance and extent of the works at that
time.
“POTTERY AND MILLS.
“To be SOLD, A very capital SET of WORKS, well calculated for
the POTTERY, GLASS, or any other Business, wherein well
constructed Cones are necessary.
“These Works have been built within these few Years, and have
been employed in a very extensive Pottery and Earthenware
Manufacture. They are situated at Swansea, in Glamorganshire
(the most flourishing Port in that Part of this Island), and
have every Convenience for carrying on the present or any other
similar Business. Coals of a most excellent Quality are brought
into the Works for less than 5s. per Ton; Teignmouth Clay for
12s. per Ton; and Flints for 20s. per Ton; and may be landed at
the Door of the Works, from Vessels of 300 Tons.
“The Country being full of excellent Coals, and there being
several considerable Manufactures of Copper, Lead, Tin, &c. on
the River, the Port of Swansea is resorted to by great Numbers
of Ships from the West of England, Ireland, Holland, France,
Spain, Portugal, Sweden, and Norway, by which Means advantageous
Connexions are already formed and may be easily extended. The
Country is very populous, Provisions in great plenty, and Labour
very cheap.
“There are two excellent Water Mills included in the Premises,
for grinding the Flints, one of which is more than sufficient
for the Works; the other may be very advantageously altered to
a Grist-Mill, not being above a Quarter of a Mile from Swansea;
and at present the Inhabitants of that populous Town are under
the Necessity of sending their Corn above three Miles to be
ground.
“The Purchaser may be accommodated with a very good
Dwelling-House, Gardens, Stable, and some Pasture Ground, close
to the Works.
“The present Proprietor accidentally became possessed of the
Works, and is settled in a very different Way of Business, at a
100 Miles distance; which is the Reason of the Premises being
disposed of.
“Further Particulars may be had by applying to Mr. John Miers,
Merchant, in London; Messrs. J. and W. Cave, Merchants, in
Bristol; Mr. Edward Coles, on the Premises; or Mr. John Coles,
at the Iron Warehouse, Glocester.”
Later on, probably after the sale, Mr. Haynes became sole proprietor,
and by him and his partners, under the firm of “Haynes & Co.,” the
works were much enlarged, and were by them styled the “Cambrian
Pottery.”
In the year 1800, when Donovan wrote his excursions in South Wales and
Monmouthshire, the works, then carried on by G. Haynes & Co., of which
he gives an extended account, were considered to be extensive, and to
be producing wares of a superior class; the buildings being said to
be arranged on the same plan as those of Josiah Wedgwood, at Etruria.
In 1802 Mr. Haynes sold his works, moulds, models, stock, &c., to
Mr. Lewis Weston Dillwyn, and by him the buildings were very greatly
enlarged, and the business considerably extended.
At first, only the ordinary descriptions of common earthenware were
made at these works; but the manufacture was gradually improved by Mr.
Haynes, who produced a fine white earthenware, a cream-coloured ware,
an “opaque china,” and other varieties, as well as a very passable
kind of biscuit ware. This “opaque china,” a fine, hard, compact, and
beautiful body, is doubtless the “porcelain” ware spoken of by Donovan,
on which so much unnecessary stress was laid by a recent writer in
attempting to prove that veritable porcelain was made at Swansea before
the time when Mr. Dillwyn commenced it; the same writer forgetting
to notice that in the same paragraph in which Donovan speaks of the
Swansea “_porcelain_” he speaks also of it and other wares bidding
fair some day to vie with “Sieve _pottery_.”
In 1790, one of the “throwers” was Charles Stevens, who had been an
apprentice (at the same time as William Taylor) at the Worcester China
Works. In that year he applied to be employed at the Derby China Works,
sending as his address “The Pot Work, Swansea,” and next “at Mr.
Bothwell’s, engraver, in the Strand, Swansea.”
In the body of the Swansea wares, “the North Devon or Bideford clays
seem to have been early employed; as also the Dorset or Poole clays,
the last still continuing to be used. Cornish Kaolin and China stone
likewise formed a portion of the porcelain body.”
Upon the works passing into the hands of Mr. Lewis Weston Dillwyn, in
1802, the opaque china was much improved, and the decorations assumed
a much more artistic character. Mr. Lewis Weston Dillwyn, who was a
Fellow of the Linnæan Society, was the author of “A Synopsis of British
Confervæ, Coloured from Nature, with Descriptions;” “A Description of
Recent Shells;” and “Catalogue of the more rare Plants found in the
neighbourhood of Dover;” and, in conjunction with Dawson Turner, of
“The Botanist’s Guide through England and Wales.”
[Illustration: Fig. 653.]
The principal painter employed for the decoration of this ware appears
to have been a Mr. W. W. Young, an artist of great ability, who was
particularly skilful in painting flowers, but more especially natural
history subjects--birds, butterflies and other insects, and shells.
These he drew from nature, and was remarkably truthful and free in
his delineations. Pieces decorated with his painting are now of rare
occurrence, especially those with his name signed upon them. When
it does appear, it is, so far as my knowledge goes, either _Young
pinxit_, or _Young f_. In the Museum of Practical Geology
are some interesting examples of this “opaque china,” or “_opaque
porcelain_.” The decorations consisted--we are told by Donovan--in
1800, of “emblematical designs, landscapes, fruit, flowers, heraldic
figures, or any other species of ornamental devices,” so that several
artists must at that time have been employed. Mr. Young, of whom I
have just spoken, had been for some time previously employed by Mr.
Dillwyn in illustrating his works on Natural History; and having been
instructed in the use of enamel colours, he proved a great acquisition
to the manufactory. He afterwards became one of the proprietors of
the Nantgarw China Works, as I shall show in my account of that
manufactory.
In 1814 Mr. Dillwyn received a communication from Sir Joseph Banks,
that a specimen of china had been submitted to Government from
Nantgarw, and he was requested to examine and report on those works.
This matter is thus spoken of by Mr. Dillwyn himself: “My friend Sir
Joseph Banks informed me that two persons, named Walker and Beeley,[57]
had sent to Government, from a small manufactory at Nantgarw (ten or
twelve miles north of Cardiff), a specimen of beautiful china, with
a petition for their patronage; and that, as one of the Board of
Trade, he requested me to examine and report upon the manufactory.
Upon witnessing the firing of a kiln at Nantgarw, I found much reason
for considering that the body used was too nearly allied to glass
to bear the necessary heat, and observed that nine-tenths of the
articles were either shivered, or more or less injured in shape, by
the firing. The parties, however, succeeded in making me believe that
the defects in their porcelain arose entirely from imperfections in
their small trial-kiln; and I agreed with them for a removal to the
Cambrian Pottery, at which two new kilns, under their direction, were
prepared. While endeavouring to strengthen and improve this beautiful
body, I was surprised at receiving a notice from Messrs. Flight &
Barr, of Worcester, charging the parties calling themselves Walker and
Beeley with having clandestinely left an engagement at their works,
and forbidding me to employ them.” In 1814, then, William Billingsley
and George Walker commenced for Mr. Dillwyn, at the Cambrian Pottery,
Swansea, the manufacture of china, of the same body and glaze as that
they had produced at Nantgarw.
For this purpose some new buildings, kilns, &c., were erected, and the
utmost secrecy was observed. The new buildings for the manufacture
of china were erected on a place previously a bathing-place. Mr.
Dillwyn--or rather Billingsley and Walker for him--succeeded in
producing a beautiful china; but the loss of time in building and
altering the kilns, &c., and the losses and disappointments attending
numerous experiments and trials, prevented it being made to more than
a limited extent. Soon after the receipt of Messrs. Flight & Barr’s
letter, Mr. Dillwyn dismissed Billingsley and Walker (who returned to
Nantgarw), and continued the manufacture of china, but of a somewhat
different body. About 1817 the manufacture was laid aside by Mr.
Dillwyn, and for a time carried on by Mr. Bevington. In 1823, the
moulds, &c., were purchased by Mr. Rose, of the Coalport Works, and
removed to that place; and since that time no china has been made at
Swansea.
The Cambrian Pottery passed successively from Mr. Lewis Weston Dillwyn
(who afterwards became, from 1832 till 1835, Member of Parliament for
Glamorganshire) to Mr. Bevington, who, I am informed, was at one time
manager of the works, and who subsequently took a partner, and carried
them on under the style of “Bevington & Roby,” and “Bevington, Roby,
& Co.,” and so back again, ultimately to Mr. Dillwyn, and thence to
his son, Mr. Lewis Llewellyn Dillwyn, M.P. for Swansea. Under this
gentleman’s management the works were carried on with much spirit and
consequent success. In 1840 negotiations were entered upon between Mr.
Dillwyn and the Messrs. Brameld of the “Rockingham Works” (which see)
for the letting of the “Glamorgan Pottery” to the latter firm for the
purpose of manufacturing china ware. The following letter in my own
possession is too interesting to omit:--
“BURROWS LODGE, SWANSEA.
“June 1, 1840.
“GENTLEMEN,--I am altogether unacquainted with the China
manufacture and should therefore decline any partnership in
one. I have, however, no doubt that China may be manufactured
very profitably in Swansea, and should rejoice to see a
manufacture established here. I am also convinced that a China
and Earthenware factory might very materially assist each other
in many ways. On these accounts I have made an arrangement, at
some inconvenience to myself, by which I shall be enabled to let
you the Glamorgan Pottery, which I should think was in every way
well calculated for a China work. I am ready also to let the
premises to you on lower terms than I should have expected from
any other party.
“The terms I would let them upon to you would be £300 per annum,
with a stipulation on your part that nothing but China of the
best transparent body should be manufactured upon them.
“Should you think this offer worth your consideration, if one
of your Firm will come down, I shall be happy to shew him
everything in my power.
“I remain, Gentlemen,
“Yours very truly,
“L. L. DILLWYN.”
“Messrs. Brameld & Co.
Near Rotherham.”
The letter is addressed to Messrs. Brameld, and a pencilled note by Mr.
Brameld says, “Too high, unless a good mill with it.” The negotiations
fell through, and thus Swansea was deprived of a good chance of
becoming an important centre of porcelain manufacture.
About 1848 or 1850 Mr. Dillwyn introduced a new branch of
manufacture--that of an imitation of Etruscan vases, &c. This ware,
which was called “Dillwyn’s Etruscan Ware,” was a fine rich red body.
On this was printed, in black outline, Etruscan figures, borders,
&c., and the general surface was then painted over and up to the
outlines with a fine black, leaving the figures of the original red
of the body. The effect was extremely good, and some remarkably fine
examples, although but few pieces were made, are still preserved.
The accompanying engraving exhibits an example formerly in my own
collection. It is of extremely elegant form, and the pattern, both
border and figures, is in remarkably good taste. The mark is the one
shown below. It is printed in black on the bottom of the vase. The
forms were all taken either from vases in the British Museum, or from
Sir William Hamilton’s “Antiquités Etrusques, Grecques, et Romaines.”
But very little was produced, as it was not a ware, unfortunately, to
command a ready sale. It was made from clay found in the neighbourhood,
which, when not too highly fired, burns to a good red colour.
[Illustration: Fig. 654.]
[Illustration: Fig. 655.]
In 1852 Mr. Lewis Llewellyn Dillwyn retired from the concern, and it
then passed into the hands of Mr. Evans, who carried it on, under the
firm of “Evans, Glasson, & Evans,” until 1859, when, for a time, the
style was altered to “Evans & Co.,” and, subsequently, to “D. J. Evans
& Co.” (son of the Mr. Evans just alluded to), by whom it is at the
present time carried on. The manufacture consisted of the ordinary
classes of white, blue and white, and agate earthenware; the markets
being principally Wales, Ireland, West of England, and Chili. No
trade-mark is used.
About the end of 1869 earthenware was rather suddenly discontinued
being made at the Cambrian Pottery, and the bulk of the workpeople
discharged, a portion only being retained till the ware made was
printed and finished by passing through the kilns. The site of the
Cambrian Pottery, adjacent to the Swansea Canal and the North Dock,
having become more valuable for other commercial purposes than for a
pottery, an arrangement was made by Mr. Dillwyn with Messrs. D. J.
Evans & Co. to surrender the short unexpired term of their lease, so
that as soon as the stock and plant could be cleared off, the buildings
might be taken down or converted to other uses. The whole site was let
to Messrs. Cory, Yeo, & Co., who held an adjoining wharf, and about
June, 1870, they commenced clearing space for erecting their new Patent
Fuel Works, and cutting a branch from the canal across the site to
near the North Dock. The “Patent Fuel Works” was quickly erected (in
part from the old pottery materials at hand), about the centre of the
site, the kilns, workshops, and warehouses taken down (except one or
two buildings and sheds on the west side, converted), so that scarcely
a vestige of what was properly called the working part of the Cambrian
pottery now remains. At the close of the works the copper-plates were
sold to the South Wales Pottery, Llanelly.
Among the artists at one time or other employed at Swansea, besides
Young, of whom I have already spoken, it may be interesting to note
the following: Pardoe, who was an excellent flower-painter (afterwards
of the Nantgarw Works); Baxter, a clever figure painter, who came to
these works from Worcester, to which place he afterwards returned;[58]
Bevington, a flower-painter, also from Worcester; Reed, a modeller
of considerable repute; Hood, also a clever modeller; Jenny, a tracer
in gold; Morris, a fruit-painter; Colclough, who was much admired as
a painter of birds; Evans, who was a talented flower-painter; and
Beddoes, who was the best heraldic painter; to these, of course, must
be added Billingsley, who was the best flower-painter of the day, or
since.
The principal marks used at these works appear to have been the
following:--
[Illustration: Fig. 656.]
This occurs on a beautiful dark mottled blue oviform earthenware vase
(formerly in the collection of Mr. S. C. Hall), having on one side
an exquisitely painted group of passion-flowers, roses, &c. The mark
is painted on the bottom, and is, I believe, unique. In Mr. Hall’s
collection, besides this splendid example of “Cambrian” ware, were an
oviform vase and cover, having a yellow ground, with blue borders and
handles, and brown scrolls at top; a flower vase on a tripod stand,
blue ground with a white border, painted with acanthus scroll, and on
the cover a bouquet of flowers in relief; a pair of cup-shaped vases,
with blue ground, black borders, and white classical figures at the
top; and a lamp, the handle in form of a female holding a pitcher, the
lamp resting on a pedestal and triangular foot.
Another mark occasionally met with has the words “Cambrian Pottery” in
writing letters, and another has the same words but in capital letters.
_Cambrian Pottery._ CAMBRIAN
POTTERY.
On the porcelain made by Billingsley and Walker for Mr. Dillwyn, the
mark appears to have simply been the name SWANSEA printed in red; or,
as on the subsequent make of china, the name sometimes occurs simply
impressed,
SWANSEA. SWANSEA, or SWANSEA, or Swansea.
Sometimes the name DILLWYN & Co. appears impressed in the body
of the ware, at other times with the addition of a trident, “which,”
Mr. Dillwyn says, “denotes a supposed improvement which was not
ultimately found to answer.” It is thus--
[Illustration]
or
[Illustration: SWANSEA]
Another mark, which I here engrave, has two tridents in saltire and the
name Swansea, thus--
[Illustration: SWANSEA]
Other marks which I have met with, or have notes of, are--
DILLWYN & COMPANY DILLWYN & CO.
[Illustration] CAMBRIAN POTTERY.
OPAQUE CHINA, HAYNES, DILLWYN & CO.
SWANSEA. CAMBRIAN POTTERY.
SWANSEA.
The _Glamorgan Pottery_, already alluded to, was situated to the west
of the “Cambrian Pottery,” on the opposite side of the road leading
to the North Dock Bridge. In extent it was about two-thirds of the
Cambrian, and produced similar wares. It was discontinued some years
ago, the kilns taken down, and part of the building converted into iron
warehouses. It was, I am informed by Mr. Holland, built about the
year 1816, by a Mr. Baker, who was soon after joined in partnership
by Mr. Bevan and Mr. Herwain, and the business carried on under the
style of “Baker, Bevan, & Herwain,” until 1839, when it seems to have
been purchased by Mr. Dillwyn, who, in the following year, as I have
shown, offered it to Messrs. Brameld, of the Rockingham China Works,
for the purpose of carrying on the porcelain manufacture there. Mr.
Baker also, at one time, held another small pottery for a finer kind of
earthenware, near the river Tawe, in another part of Swansea.
* * * * *
_Rickard._--In Swansea, too, is also a small potwork belonging to Mr.
Rickard or Ricketts, who produces only the commonest kinds of black and
Rockingham ware tea-pots, jugs, &c., and hardware jugs of mixed local
clay and Dorset clay (principally for the home markets), ornamental
flower-pots, garden vases, &c.
* * * * *
_Landore Pottery._--About 1848 Mr. John Forbes Calland, of Swansea
district, built a pottery, conveniently situated, on the Swansea Canal,
and near the river Tawe at Landore, about a mile from Swansea. This was
worked for a few years by Mr. Calland, who produced printed and common
earthenware from white clays, in dinner, tea, and toilet ware, for the
home trade under the style
and mark of J. K. CALLAND & CO., and CALLAND
LANDORE POTTERY. SWANSEA.
Not being commercially successful, Mr. Calland discontinued the
manufacture about 1856, when the whole of the copper-plates then in use
were transferred to the South Wales Pottery at Llanelly. The Landore
Pottery has since been converted into a smelting-works, and is now used
for smelting copper ores.
LLANELLY.
_South Wales Pottery._--These works, belonging to Messrs. Holland
& Guest, are now the only blue and white earthenware manufactory in
the principality. They were established in 1839 by William Chambers
Jun., Esq., of Llanelly House, Llanelly, who carried on the manufacture
of earthenware for home and foreign markets, with different managers,
up to the end of 1854. The general classes of goods manufactured were
for the home trade, and included white or cream colour, edged, dipt,
painted, and printed wares. Other descriptions of goods, viz., coloured
bodies, figured, enamelled, and parian, were tried and worked for a
time, but soon discontinued. It was also intended, a few years after
starting the pottery, to commence the making of china, and a kiln was
built specially for that purpose, but the idea was then abandoned, and
porcelain has never been made at these works. For some two or three
years, about 1850, a large quantity of white granite, printed, and
flown printed ware, was made for the United States market, the crates
being sent per vessel from Llanelly to Liverpool for transshipment.
During the first few years after the commencement of these works the
principal trade was by coasting vessels carrying coals to ports in
England and Ireland, and by carts and waggons inland. When the South
Wales Railway (now Great Western, South Wales section) was opened to
Swansea, crates of earthenware for forwarding were frequently sent
there by road, twelve miles, till the continuation of the railway past
Llanelly was opened.
At the end of 1854 the business of the South Wales Pottery was
transferred to Messrs. Coombs and Holland, who were then connected
in the management, and they carried on the works till May, 1858,
when there was a dissolution of partnership, and Mr. W. T. Holland
continued the business alone till November, 1869, when he was joined
in partnership by Mr. D. Guest, under the firm of Holland & Guest. The
trade after 1854 was chiefly local or South Wales, with the West of
England districts and South of Ireland for seven or eight years, when
there was a partial discontinuance of travelling, and introduction of
orders for foreign markets, as for South America, Brazil, Chili, East
Indies, France, and the Mediterranean, so that the working became about
half for foreign markets. The goods produced consist of a variety of
table, tea, and toilet services, and other ordinary articles in printed
and flown printed earthenware of average quality, and the usual classes
of white, cream-coloured, sponged and painted wares.
It is interesting to add that the copper-plates formerly in use at
the other earthenware potteries in South Wales--now discontinued
working, viz., the Landore, the Ynisymudw, and the Cambrian Pottery,
Swansea--were purchased for the South Wales Pottery, and selections
of patterns made from these (as well as more modern styles) have been
introduced in patterns and shapes. Mr. Holland was an exhibitor at the
International Exhibition of 1862.
YNISYMUDW.
_Terra Cotta Works._--This manufactory, now devoted to terra cotta
goods, fire bricks, and sanitary pipes, was formerly an earthenware
pottery, where ordinary blue printed ware was manufactured. It is
situate in the Swansea Valley, about ten miles from Swansea on the
Brecon road, is on the Swansea Canal (which extends seven miles higher
up the valley), and about two miles from Pontardawe station, on the
Midland Railway Swansea Vale section. It was commenced as a fire brick
works (there having been a small common brick works there previously)
in 1840 by Mr. William Williams and his brother, Mr. Michael Martyn
Williams, of Swansea, who then took a long lease of the premises, and
soon afterwards introduced, in addition, the manufacture of the now
famed “South Wales Dinas Bricks” from the Cribbath stone, obtained near
the top of the Swansea Canal. These bricks are still made there, and
the “Ynisymudw dinas” are equal to the best “dinas” or silica bricks
made. Terra cotta work was also introduced, and made in buff of good
quality, with some success. About 1850 Mr. William Williams and his
brother decided to add the manufacture of earthenware, in table, tea,
toilet, and other services, &c., in common white, painted and printed
wares, for home or local trade, and foreign shipment (chiefly worked
for South America, crates sent to Liverpool per steamer from Swansea);
and this was continued till about 1859, when the blue-and-white
earthenware branch was discontinued (the copper-plates being purchased
for the South Wales Pottery, Llanelly), and the works transferred to
another brother, Mr. Charles Williams, and in course of a year or
so it was disposed of to Messrs. Griffith Lewis and John Morgan, of
Pontardawe, who carried it on under the style of the “Ynisymudw Brick
Company,” “Ynisymudw Pottery Company,” and “Lewis & Morgan,” at various
periods during eleven years, in the early part of which the manufacture
of Rockingham tea-pots, &c., glazed stoneware bottles and similar
goods, was for a time carried on. From the first, arrangements had
been made for the extension of the manufacture of salt glazed sanitary
pipes, using the three old pottery glost kilns for this purpose, and
the manufacture of these, together with fire bricks and terra cotta
goods, was continued till the end of 1870, when the works and business
were transferred to Mr. William Thomas Holland, of the South Wales
Pottery, Llanelly, by whom they have been continued. In 1871 Mr.
Holland exhibited specimens of his fire bricks, glazed pipes, and
terra cotta manufacture at South Kensington. The premises consist of
ten kilns, with ample space for extensions, and the works are situate
in a beautiful part of the Swansea Valley, on the river Tawe, with a
tributary stream, the Cwm Du, running through the premises, giving a
supply of good water. Probably the manufacture of white earthenware
will ere long be revived at Ynisymudw as an addition to the present
manufactures.
NANTGARW.
These short-lived works, whose history is so mixed up with those of
Swansea, Derby, Coalport, Pinxton, and other places, were commenced on
a very small scale, in 1813, by William Billingsley,[59] the famous
flower-painter of Derby, and his son-in-law, George Walker; the former
at that time passing under the assumed name of Beeley, which was
simply a contraction of his own name B’ley or B[illings]ley. Shortly
afterwards, having applied to the Board of Trade for patronage and,
of course, Government aid, Mr. Dillwyn, of the “Cambrian Pottery,”
at Swansea, went over to examine and report upon the ware; and
this examination resulted in his entering into an engagement with
Billingsley and Walker, by which they, with their recipe, their moulds
and other appliances, removed to Swansea. In about two years this
engagement was brought to a close, and Billingsley and Walker returned
to Nantgarw, where they again commenced the manufacture of china of the
same excellent and peculiar kind for which they had become so famous.
The proprietors appear to have met with liberal friends to assist them
in their undertaking. The Hon. William Booth Grey, of Duffryn, is said
to have subscribed £1,000 towards the undertaking, and other gentlemen
almost equally liberal sums. The whole of the money subscribed,
understood to have been about £8,000, is said to have been expended in
little more than two years. This in great measure appears to have been
caused by experiments and trials and alterations in buildings, &c.,
and by the immense waste in “seconds” goods, or “wasters,” which were
invariably broken up, instead of, as now at most works, being disposed
of at a cheaper rate.
That Billingsley and Walker, with Mr. Young, who appears to have come
from Swansea to join them, as also Mr. Pardoe, from the same works,
who was formerly of Staffordshire (with Mr. Turner), and afterwards
of Bristol, and who was a clever painter, were the proprietors of
the renewed works, seems evident, and they were carried on with
considerable success.
[Illustration: Fig. 657.--Nantgarw Works.]
The productions of Nantgarw were, as far as beauty of body and of
decoration, as well as form, are concerned, a complete success, and
the works gradually, but surely, made their way in public estimation.
The London houses--especially it is said Mr. Mortlock’s--found it to
their advantage to support the manufactory, and there was thus no
difficulty in finding a good and profitable market. A service was made
and presented to the Prince of Wales (afterwards King George IV.); “the
pattern was a green vase, with a single rose on every piece, and every
rose different.” This beautiful service was painted, I believe, partly
by Billingsley and partly by Pardoe. It helped very materially to make
the works fashionable, and it is said that they were visited by numbers
of the nobility and gentry, “as many as forty gentlemen’s carriages
having been known to be there in one day.” A considerable quantity of
the Nantgarw ware was sold in the white to Mortlock, who had it painted
in London, and fired at the enamel kiln of Messrs. Robins & Randall
of Spa Fields. Webster, one of the painters of the Derby China Works,
thus decorated a deal of this ware in London. The trade which was thus
beginning to prosper being felt to be likely to some considerable
extent to affect that of the Coalport Works, Mr. Rose (of those works)
entered into an arrangement with Billingsley and Walker by which he
bought up their concern, made a permanent engagement with them, and at
once removed them and their moulds, and everything else to Coalport.
The manufacture of china was, therefore, closed at Nantgarw. In 1823
Mr. Pardoe died. Mr. Young removed, I am informed, to Droitwich, where
he carried on a salt-work. Billingsley and Walker, as I have already
stated, removed to Coalport, where Billingsley died in 1827 or 1828.
Walker ultimately sailed for America, where he established a pottery,
still, I believe, in operation.
[Illustration: Fig. 658.]
In 1823 the greater portion of the china works were pulled down, the
dwelling-house and some other portions alone remaining. In 1832, Mr.
William Henry Pardoe, of Bristol (who was a china painter of great
skill), a good practical potter of great experience in the art which
had, through Richard Champion and his successors, made his city famous,
entered upon the premises, and commenced there a red-ware pottery,
in connection with an extensive tobacco-pipe manufactory. To this he
afterwards added Rockingham ware and stoneware departments, in each
of which he produced goods of excellent quality. Mr. Pardoe died in
1867, and the Nantgarw works--those works around which such a halo of
interest exists--are still carried on by his widow and her family. The
goods now produced are red or brown earthenware, made from clay found
in the neighbourhood--many of the pitchers being of purely mediæval
form--stoneware bottles of every kind, jugs, butter-pots, cheese
and bread pans, foot and carriage warmers, snuff-jars, hunting jugs
and mugs, tobacco-jars, jugs, &c., and other goods; tobacco-pipes,
which experienced smokers declare to be at least equal to those from
Broseley, garden-pots, pancheons, &c., are also made.
The only marks used at Nantgarw which can be considered to be marks of
the works are the following, impressed in the the body of the china:
NANT-GARW
G. W.
the G. W. being the initials of George Walker, the son-in-law and
partner of Billingsley; and the single word NANT-GARW in red
colour.[60] Another mark, supposed to belong to these works is this:
[symbol]; with the number of the pattern as “No.” added.
[Illustration: Fig. 659.]
[Illustration: Fig. 660.]
The goods produced were tea, dinner, and dessert services, vases,
match-pots, cabinet cups, pen and wafer trays, inkstands, and a large
variety of other articles. One of the most interesting relics of these
works which has come under my notice is the cup here engraved, which
was formerly in my own collection. It has been painted with what
is technically known as the “Chantilly pattern,” in blue, and then
has been used as a trial piece for colours and glazes. It bears in
different parts of its surface various washes of colour, with marks
and contractions to show the mixture, which have been submitted to the
action of the enamel kiln. In my own collection are also some other
highly interesting examples, including an oval tray, painted with
flowers, a plate, “Chantilly” pattern saucers, and some interesting
fragments and relics of the old works. In the Jermyn Street Museum the
collector will find some good examples for comparison, as he will also
in some private collections. Some remarkably fine examples of Nantgarw
china are in the possession of Sir Ivor Bertie Guest, Bart., and others
are in various collections.
The village of Nantgarw is situated in the parish of Eglw y Sillan,
in Glamorganshire; it is eight miles from Cardiff, and one mile from
the “Taffs Well” Station, on the Taff Valley Railway; and the Rhymney
Valley Railway is also equally near.
The works shown in the engraving are picturesquely situated by the side
of the Glamorganshire Canal, on the road to Caerphilly, from whose
glorious old ruined castle they are only a few miles distant.
* * * * *
_Brown and Stoneware Potteries._--The other works (besides Nantgarw)
in Glamorganshire and Monmouthshire are those of Messrs. Henry James,
Joseph Rogers, Evan Davies, George Sherrin, and Thomas Moore. At these
only common, coarse brownware pitchers and other domestic vessels are
made.
CARDIGAN.
_The Cardigan Potteries._--These pottery works were established in 1875
by Mr. J. H. Miles and Mr. William Woodward, and were at first intended
simply for the production of common coarse red earthenware goods for
domestic and horticultural purposes. The clay of this district having
been found to be of a superior character and capable of being turned
to good account for better classes of goods, the firm turned their
attention to its development, and have succeeded in producing not only
articles of an artistic character, but architectural decorations of
more than average excellence. The productions of Messrs. Woodward and
Co. are vases, jugs, flower stands, and other ornamental articles,
and these are decorated and glazed in a manner peculiarly their own,
and which gives to them a distinctive character over those of other
manufactories. In some, quaint and well-designed patterns are impressed
in the clay, and the whole being surface coloured and highly glazed
have a rich and peculiar appearance. The firm trade under the names
of “The Cardigan Potteries,” “Woodward and Co.,” and their works are
called the “Patent Brick, Tile, and Pottery Works” and “Cardigan
Potteries.” The goods are principally for the Welsh coast and for
England, but the trade is rapidly developing itself, and by the
addition of other branches, especially in blue clay goods, will become
an important feature in Welsh manufactures. Glazed and unglazed bricks
and tiles, coloured tiles for interior mural decoration, and paving
tiles of various kinds, form also a staple branch of trade of the
Cardigan Works.
The marks used by the firm are the words “CARDIGAN POTTERIES” and
“WOODWARD AND CO.,” impressed in the ware, and a design of a brick
bearing the words WOODWARD AND CO., CARDIGAN.
HEREFORD.
_Lugwardine Works._--These encaustic tile works, situated at
Withington, four miles from Hereford, were established in 1861 by Mr.
William Godwin, and are of considerable extent. In encaustic tiles Mr.
Godwin has paid particular attention to the reproduction of mediæval
patterns in all their entirety, both as to fac-simile of form and
ornament, and antique appearance of surface, and in these essentials to
artistic effect has succeeded admirably. Many of his tiles are exact
reproductions, not old designs modernised, and this it is that gives to
floors laid by him that peculiar charm which they undoubtedly possess.
In addition to actual copies of old tiles, Mr. Godwin has produced a
large variety of new designs, in which the patterns are characterized
by pure mediæval feeling and by excellent workmanship. The tiles are of
extremely hard and durable quality, and the colours clear, distinct,
and good. Mr. Godwin’s name impressed on the back of the tile is his
mark.
TORQUAY.
_Terra-Cotta Works._--The Terra-Cotta Works at Hele Cross, Torquay,
were established in October, 1875, by Dr. Gillow, who that year
discovered the bed of clay, and are worked by a Limited Liability
Company, with that clever and energetic gentleman as chairman and
general director. The clay is of remarkably fine, tenacious, and
durable quality, and is capable of working to the very highest degree
of perfection. Its colour is a rich full red, and its surface almost
metallic in its hardness and fine texture; it is almost identical in
quality and beauty of tone to that at Watcombe, to whose productions
those of Torquay bear a marked resemblance. Dr. Gillow has, very
wisely, directed his efforts entirely in an Art direction, with a
determination to produce only works of a high class of excellence,
whether the designs or objects be simple or elaborate, low priced
or costly, useful or strictly ornamental. Architectural terra-cotta
is not made or intended to be made, but only Art productions of an
ornamental character. To this end a staff of forty or more experienced
workmen has been got together, and skilled modellers, enamellers, and
decorators engaged from other seats of manufacture. The company started
with the aim of producing works of a high standard of excellence,
and thus expressed their intention: “They (the Company) believe that
they have at Hele Cross the best deposit of clay yet discovered,
and their one aim and object is to improve the artistic standard by
persevering energy; one year’s existence has given grounds for hope and
encouragement; much has been done, but much more remains to be done.
They trust to improve year by year until they place terra-cotta in
its old proud position as a favoured branch of Ceramic Art, and until
Devonshire productions stand unrivalled throughout Europe.” The success
which has so far attended Dr. Gillow’s efforts is very marked, and
shows that they have been directed in a right way and in a commendable
spirit.
[Illustration: TORQUAY TERRA COTTA C^o. LIMITED.
Figs. 661 and 662.]
The productions of the Torquay Terra-Cotta Company are statuettes,
single figures and groups, busts, groups of animals, birds, &c.;
vases, ewers, bottles, jugs, and tazzæ; butter-coolers, spill cases,
and other domestic appliances; plaques of various sizes; candlesticks,
toilet-trays, water-bottles, tobacco vases, &c. Many of the productions
are painted and enamelled in good taste, and the ornamentation,
whether in colour or gilding, is characterized by clever workmanship
and judicious arrangement. Many designs of vases, plaques, &c., are
original and in good taste. The company supply not only the home but
foreign markets, and have received high recognition, with medals from
the Royal Cornwall Polytechnic Society and from the Turners’ Company.
The marks used by the firm are an oval garter bearing the words TORQUAY
TERRA-COTTA CO., and in the centre LIMITED, printed on the ware; the
name TORQUAY impressed in the clay; the words within a single oval
line; and the monogram, Fig. 652, which is a combination of the letters
T T C, for “Torquay Terra Cotta.”
ALDERHOLT.
At this place, in Hampshire, potteries for common coarse ware for
domestic purposes exist. The bed of clay is the same as that in the New
Forest worked in early ages, as described in the first volume.
SMETHWICK.
_Tile Works._--Mr. T. W. Camm commenced the business of Art decoration
of tiles in 1866, in Brewery Street, and later on new buildings were
erected in High Street. Having been joined in partnership by Messrs.
J. M. and H. C. Camm, the business was carried on under the style of
“Camm Brothers”--the general management of the business being divided
into three departments, each under the special management of one of
the partners, the first-named taking the designing department, the
second the painting, and the third the glazing. By this excellent
arrangement the whole processes from beginning to end are carried
on under the eye of the entire firm, and thus excellence in each is
insured. Messrs. Camm Brothers do not manufacture the tiles themselves,
but purchase them in their unglazed state and then decorate and
glaze them. Their designs are extremely varied, and the whole being
hand-painted they are adapted to the tastes and requirements of their
customers and designed in strict accordance with the style of building
they are intended to adorn. The figure subjects, whether allegorical,
historical, or otherwise, the productions of this firm, are of the
highest order; the drawing bold, firm, masterly, and effective, and the
colouring rich, full, and harmonious. Some other larger works, notably
historical plaques of two or three feet in length and proportionate
depth, are grand in conception, and form historical pictures of
considerable value. The firm also produce appropriate tile-decorations
for furniture, cheeks of fire-places, hearths, linings of bath and
other rooms, friezes, memorial figures and other designs for churches
and for every purpose where they can be made available, and these are
characterized by the same good taste that is shown in their stained
glass. The mark is simply the name “CAMM BROTHERS, SMETHWICK.”
READING.
_Coley Avenue Works._--These works were established in 1861 by Messrs.
Collier & Son, and are continued under the style of “S. & E. Collier.”
Brown terra-cotta, glazed and unglazed brown ware, and roofing and
other tiles are the products of these works.
WAKEFIELD MOOR.
“Potters Pale Yellow Clay of Wakefield Moor,” is mentioned in a
list of clays, by Houghton, in 1693. As the list contains valuable
particulars I give it entire. In the same work is a vast deal of
curious information on tobacco-pipe clay and the making of pipes, brick
and tile-making, etc. The list is as follows:
“A TABLE OF CLAYS.
Pure, that is, such as is soft like butter to the teeth, and has
little or no greetiness in it.
Greasy, to be reckoned amongst the medicinal earth, or _terræ
sigillatæ_.
1. Fullers earth.
{At _Brickhill_ in _Northamptonshire_.
{yellowish {At ... under the _Yorkshire_ woolds.
{brown about _Halifax_.
{white in _Derbyshire_ lead mines.
2. Boli {In _Cleveland_.
{At _Linton_ upon _Wharfe_.
3. Pale yellow, in the marlepit at _Ripley_.
4. Cow shot clay, or the soap scale lying in coal mines.
5. A dark blue clay or marl at _Tolthrop_. Harsh and dusty when
dry.
6. Creta properly so called, or the milk-white clay of the isle
of _Wight_.
7. The potter’s pale yellow clay of _Wakefield_ moor.
8. The blue clay of _Bullinbrooke_ pottery in _Lincolnshire_.
9. A blue clay in _Bugthorp_ beck, in which the _astroites_ are
found.
10. Yellow clay in the seams of the red sand rock at _Bilbro_.
11. Fine red clay in sand rock, {at _Bilbro_.
{at _Rippon_.
12. A soft chalky blue clay} at _Buttercrain_.
}
13. A soft chalky red clay }
Stony when dry.
14. A red stone clay } In the banks of _Whitcar_ beck, near
_Leppington_: and at
15. A blue stone clay} _Housam_ in the _Milscar_.
16. Clunch, a white stone clay in _Cambridgeshire_.
Mixt with round sand or pebble.
17. The yellow loam of _Skipwith_ moor, _Yorkshire_.
18. A red sandy clay in the right hand bank of the road beyond
_Collingham_, near the lime kilns going to ----
19. A red sandy clay in the red sand rock near _Rippon_.
With flat or thin sand, guttering with _Mica_.
20. _Crouch_ white clay _Derbyshire_, of which the glass pots
are made at _Nottingham_.
21. Grey or bluish tobacco-pipe clay at _Halifax_.
22. A red clay in the red sand rock at _Rotherham_.”
DITCHLING.
At Ditchling, in Sussex, pot-works are said to have existed for
“several hundred years.” Be this as it may, some old pot-works for
the coarsest brown ware, and bricks and tiles, were bought in 1870 by
Messrs. H. Johnson & Co., in the belief that from the superior quality
of the native red clay they would be able to produce architectural
terra-cotta of a more than ordinarily durable quality. By them the
Ditchling Works were much extended, and they have succeeded in making
terra-cotta, both useful and ornamental, of an excellent bright red
colour, and a fine hard, durable, and almost metallic surface. In this,
with careful workmanship, they manufacture well-designed terminals,
ridge crestings, crosses, panels, mouldings and all the usual varieties
of architectural pottery, as well as moulded bricks, tiles, &c. Among
public buildings where the Ditchling terra-cotta has been successfully
used is the St. James’s Hall, Piccadilly, and the firm have received
medals from the London International Exhibition and the Philadelphia
Exhibition. In 1875 Messrs. H. Johnson & Co. opened extensive works on
the same vein of clay at Keymer Junction. They are the largest works in
Sussex.
AMBLECOTE.
A pottery at this place is mentioned by Plot in 1686.
LEICESTER.
_Spinney Hill Works._--At these works, belonging to Mr. Fielding Moore,
garden vases, flower baskets, rustic ornaments, fountains, pedestals,
flower-pots, and all the usual variety of terra-cotta goods are made;
as are also similar articles in ordinary red and other clays.
WEDNESBURY.
A potwork existed here in the seventeenth century. Plot, who wrote in
1686, says “of these (_i.e._ clays from Horsley Heath, &c.) they make
divers sorts of vessels at Wednesbury, which they paint with slip, made
of a reddish sort of earth gotten at Tipton.”
WINCHESTER.
A famous manufactory of tobacco-pipes existed here in the seventeenth
century. Ben Jonson notes that they were the best made in his day.
AYLESFORD.
_Terra-cotta Works_ were established here about 1850, by Mr. Edward
Betts, who discovered a valuable bed of plastic clay on his estate in
the neighbourhood. At the Exhibition of 1851 Mr. Betts exhibited a
terra-cotta vase (Fig. 663) made at Aylesford from this native clay,
from a design furnished by Mr. John Thomas, the architect.
EXETER.
[Illustration: Fig. 663.]
That tobacco-pipes were made in Exeter in 1654 is curiously proved by
the following case of supposed witchcraft:--“12 August, 1654. One Diana
Crosse, a widow, suspected of being a witch, was ordered by the judge
of Assize to be committed for trial at the city sessions. Mr. Edward
Trible, a tobacco-pipe maker, one of the victims of the witch’s arts,
deposed that Mrs. Crosse on one occasion came to his house for fire,
which was delivered to her, but for the space of one month afterwards
he could not make or work his tobacco-pipes to his satisfaction--they
were altogether either over or under burnt. The witch, too, cast her
evil eye upon a boy in his employ, and ‘affirmed’ that he should never
be well, and thereupon the boy ‘grew into a distracted condition, and
was much consumed and pyned away in body.’”
LINCOLN.
A very interesting discovery of potter’s moulds, for heads for
impressing on earthenware, was made a few years back in the parish of
St. Mary-le-Wigford, Lincoln. The discovery consisted, according to
the last edition of Marryat (edited by my friend Mrs. Pallisser) where
the relics are described and carefully engraved, of the remains of a
potter’s kiln with numerous fragments of glazed pottery, among which
was one piece bearing the head impressed from one of these moulds. One
of them, engraved in Marryat’s highly interesting volume, represents
a male head, probably that of Edward III., both beard and hair curled
at side as on the coins of that monarch and the first and second
Edwards, and the other the head of a lady, probably Queen Philippa,
with the characteristic square-topped reticulated head-dress. These
moulds are in the Trollope collection. A potter’s mould of a head, of
the Romano-British period, found by myself at Headington, is in my
possession, and is engraved in Vol. I., Figs. 166, 167.
CHAPTER XII.
Irish Ceramics--Early Pottery of Ireland--The
Cairns--The Crannogs--Mediæval Pottery of
Ireland--Dublin--Delamain--Stringfellow--Grants by
Irish Parliament--Donovan--Delft Ware--Brown Ware
Manufactories--Belfast--Leathes and Smith--Delft Ware--Coates’
Pottery--China Works--Florence Court Pottery--Coal Island
Pottery--Youghall Pottery--Captain Beauclerc’s Terra
Cotta--Larne Pottery Works--Castle Elspie Pottery--Belleek China
and Earthenware Works, &c.
The early pottery of Ireland, although bearing a general resemblance
in many of its characteristics to that of England and other nations,
nevertheless differs from all others in some of its features, both
of form and decoration. As in other countries, the great bulk of
examples of early fictile art that remain to us in Ireland, and upon
which we have to found our knowledge, are the cinerary urns--the clay
vessels in which, when cremation was in vogue, the ashes and burnt
bones of the dead were placed for burial in cairns or otherwise--and
food and drinking-vessels found (when inhumation was observed) in the
grave-mounds of the people. But, in addition to this, the “crannogs,”
or lake dwellings of the Irish people, afford a vast fund of
information upon the form and decoration of the domestic vessels in use
in former ages.
In the first volume of this work I have written much upon early fictile
art, and in other works have treated so fully upon the contents of
the barrows[61] of early ages, that it is not needful to pursue
the subject here. I may, however, with special reference to Irish
examples, quote the words of my late friend, Sir William Wilde--one
of the most painstaking authorities upon Irish antiquities-and then
pass on to a consideration of some of the examples that remain to us.
“Irish cinerary urns have,” Sir William says, “been found under three
circumstances: in small cists, placed without any ostensible mark, at
least at the present day, beneath the surface of the soil, each just
sufficiently large to hold one or two vessels. The chamber is sometimes
occupied with the urn and its contents alone; in other cases, it also
contains charcoal and portions of burned bone; and, in some instances,
the flooring-stones have become vitrified upon the upper surface, thus
leading us to believe that the funeral pyre was lighted over the grave
after it was formed; of this, the charcoal and the vitrification of the
stones afford presumptive proof. These small chambers are sometimes
found near the surface, or on the periphery of the larger tumuli that
usually cover cromlechs or surround extensive sepulchral chambers, and
appear to be of a much more recent date than the original structure
of the tumulus in which they are placed. Such minor interments
may have been those of the family or descendants of the persons
originally interred beneath; or the place--strong in the odour of
sanctity--may have been resorted to as a burial-ground long subsequent
to its original foundation, from that feeling of veneration which
instinctively consecrates the resting-place of the dead. These urns
are also found imbedded in the earth, in which case they are generally
aggregated in cemeteries upon the sides of hills.“ As in England, so in
Ireland, interments both by cremation and inhumation[62] were made,
and, with the latter, vessels of clay of various forms were placed.
[Illustration: Fig. 664.--From Altegarron, near Belfast.[63]]
[Illustration: Fig. 665.--From Ballon Hill, Co. Carlow.]
The material of the early Irish urns is simply coarse clay, but this
varies in different localities. With some sand has evidently been
more or less mixed with the clay, while “in those which show a higher
degree of culture in the makers,” as Sir William Wilde says, “sand
and small fragments of stone, possibly broken for the purpose, were
mixed through the plastic mass, and also rubbed (perhaps to assist in
drying, as well as in giving them stability) upon the inner surface,
especially near the bottom. A micaceous clay here appears to answer
the same end; but in some of the very fine specimens minute particles
of quartz and felspar may be observed coating the interior, which,
from the sharpness of their fracture, would appear to have been broken
specially for the purpose. These fragments of sand or stone may also be
seen in the fracture, but are never observed upon the outer surface.
In colour the Irish urns differ considerably upon the outer and inner
surfaces. The latter is almost invariably blackish or dark brown, the
result of partial torrification, and perhaps from the heated bones and
charcoal placed within them, either when soft or after they had been
sun-baked.[64] The colouring generally passes through four-fifths of
the mass. The outer surface is either a light red, grey, or brown. The
first is most usual, and appears to be the result of the atmosphere,
which was, however, excluded from the interior by the mass of the
contents of the urn. The colour of the exterior usually passes for some
distance within the lip. The drab or clay-coloured urns bear but little
mark of fire, either within or without. The brown belongs only to the
thinnest and hardest description of pottery. Assuming that the majority
of the mortuary urns (except those for very distinguished persons) were
constructed at the grave, the artist was indebted to the clay at hand
in the locality for the materials with which he worked, and hence the
great variety in the composition of our cinerary urns.”
[Illustration: Fig. 666.--From Cairn Thierna, Co. Cork.]
[Illustration: Fig. 667.--From Ballydoolough.]
The ornamentation upon the earliest Irish pottery, both cinerary urns
and otherwise, is extremely varied, both in character and in mode of
arrangement. Sometimes simply a number of dots, or punctures, pretty
nearly cover the surface; at others, these punctures are intermixed in
regular patterns with other ornaments. Sometimes again they exhibit
ridges or raised bands more or less decorated, and at others the usual
herringbone or zigzag patterns produced by incised or impressed lines
are the most prominent feature. Again, in some examples, patterns
produced by pressing a twisted thong into the pliant clay are met with,
while incised or impressed circular, semicircular, and other lines
ornament others. “Many of these lines have a pectinated appearance,
as if indicated with a traverser, or a rowel-like instrument, such
as that used by pastry-cooks” at the present day, and sometimes the
ornament is produced by simple scratches. Other urns are one mass of
ornament, rich in appearance and varied in character; and others have
what may not inaptly be called flat circular medallions on their sides.
Others, again, present a series of “slashes” with intervening impressed
ornaments.
[Illustration: Fig. 668.--From Trillick Barr.]
It is a remarkable fact, as pointed out by Sir W. Wilde, that no
examples, so far as his knowledge went, occurred on which “any trace
of the spire, which characterizes the decorations of some of the very
oldest sepulchral monuments in Ireland,” is to be found; but a peculiar
form of ornamentation, made by straight lines, is identical with that
on some carved stones at the entrance to the most remarkable of these
edifices--that of New Grange.
Fig. 668 is a remarkably elegant urn found in a cairn at Trillick
Barr, Tyrone. In general form it is slightly contracted towards the
mouth, and has two raised encircling bands, and an extended rim at the
base. The lower part of the body is decorated with vertical lines, the
spaces between being here and there filled in with impressed ornaments;
and the portions between the encircling bands are also filled in with
diagonal lines of indentations. These also are continued round the rim
at the mouth, while the raised bands bear a double engrailed pattern.
Fig. 669, five inches in height, was found at Ballybit, Lisnevagh,
county Carlow. Like the last, it contracts slightly towards the mouth.
It has three encircling raised bands, with intervening indented
ones, around its centre, and these are richly ornamented. The upper
portion of the vase bears a border of curved lines--a large species of
engrailing--incised, and the lower portion similarly produced lines
forming herringbone and “crossed” patterns; around the rim and the
upper rib it is elaborately ornamented with impressed points.
[Illustration: Fig. 669.--From Ballybit, Co. Carlow.]
Fig. 670 is of a totally different character, both in form and
ornamentation. It was found in a cist, on the lands of Mackrackens,
in the parish of Leckpatrick, county Tyrone, and is five inches in
height. “At its greatest circumference, it is surrounded by a narrow,
circular groove [much of the same character as some Celtic urns found
in Derbyshire, and this groove is, as it were, clasped by five small
pierced knobs, equidistant from each other. From their shape, and
closeness to the vessel,” continues Mr. Geoghegan, “I cannot think they
were intended for handles. There are no indentations or marks to lead
us to suppose they were designed for that purpose. It appears to me
their use was to retain in the groove a strong cord which twined round
the urn. From this strong cord three strings could be attached, meeting
in a knot, for the purpose of carrying or conveying the urn from the
scene of cremation to the cist in which it was finally to be placed,
or from the place where it was made.” It bears a strong resemblance
in outline to the wooden vessel, Fig. 667. In the museum of the Royal
Irish Academy urns of this same general form are preserved, as are also
examples of almost every known variety. Figs. 671 to 675 are from that
Museum, and tell their own tale, both as to peculiarity of outline
and richness of decoration. An immolation urn, found within a larger
vessel at Mayhora, near Castlecomer, of much the same form as Fig. 671,
has been described by my friend Mr. Graves in the _Archæological
Journal_; the lower part is elegantly ribbed.
[Illustration: Fig. 670.--From Mackrackens, Co. Tyrone.]
Fig. 687, from the “Giant’s Grave,” on the Loughrey demesne, in county
Tyrone, is of globular form, five inches in height, and decorated with
vertical lines of indentations and encircling lines incised in the
clay. Between the encircling lines at the top, as well as those at the
bottom, are rows of square indentations; and inside the mouth is also
ornamented.
[Illustration: Figs. 671 to 675.--From the Museum of the Royal
Irish Academy.]
Urns of a different character of ornamentation were discovered some
years ago at Ballon Hill, between Fenagh and Tullow, county Carlow.
Among these was one, more than fifteen inches in height, about fourteen
inches in width at the mouth, and of “flower-pot” form, very similar
to some English examples. It had two raised encircling ribs, and the
upper part was ornamented with a chevron or zigzag pattern produced
by impressed twisted thongs. Another was of bowl form with raised
bands, and every part elaborately ornamented, the upper and lower parts
bearing saltires alternating with incised lines; it was of much the
same general form as the one engraved on Fig. 687. Another, of more
flowing form, whose outline took a graceful jar-like curve, gradually
swelling outward from the contraction below the mouth and tapering
down to the foot, was ornamented with impressed thongs and incised
lines. Others were found which partook of the same general shapes
as other examples here engraved, and were more or less ornamented
with encircling lines, zigzag and other patterns, and impressed
points, curves, &c.; one or two had raised knobs. One of the richest
of “immolation urns,” about two and three-quarter inches in height
(and filled with small burnt bones when found), of the Irish series,
also brought to light in this interment, is engraved on Fig. 665.
Another remarkable urn (Fig. 666), found at Cairn Thierna, county Cork
(engraved in the _Archæological Journal_), has its outline totally
different from others, and is elaborately and delicately ornamented
over almost its entire surface.
Fig. 664 carefully represents an urn found some years back at a
place called Yellow Jack’s Cairn, in the townland of Altegarron, on
the slopes of Divis Mountain, near Belfast. It was five inches in
height, and six in diameter at the mouth. The whole surface was richly
decorated with incised and impressed lines, and other ornamentation;
these are sufficiently well shown in the engraving, and therefore need
no description.
Occasionally covers made of the same clay as the urns themselves, and
ornamented in a similar manner, have been found. One remarkable example
discovered at Danes Fort had a perfect cover, or lid, with a handle at
the top.
Some of the most curious and certainly most interesting urns which have
come under my notice, were found at Drumnakilly, near Omagh, county
Tyrone, in 1872–3, and have been described and figured by Mr. Wakeman.
The first of these, Fig. 676, 3 feet 6 inches in circumference at the
mouth, and of proportionate height, is elaborately ornamented with
incised lines, “exactly of that class which we find upon the golden
ornaments and other antiquities of pre-historic times preserved in our
museums;” its outline bears a graceful curve from the mouth, swelling
out in the middle, and gradually tapering down to the foot. Around
the upper part is a series of perpendicular broad indentations with
herringbone pattern between; next follow a number of encircling lines,
scoriated between; and the middle part of the urn is ornamented with
zigzag and other lines. Another of pretty much the same general form
(Fig. 679) but devoid of ornament, contained within it an immolation
urn (Fig. 680). Another (Fig. 682) is unique in its ornamentation; “its
neck and lip, though exquisitely proportioned, are devoid of ornament,
while the body of the vessel is encircled by a network pattern executed
in bold relief; the substance of this pattern is different from, and
finer in quality than, that of which the rest of the urn was composed.
It is evident upon even a slight examination that this raised ornament
was added after the formation and fire-hardening of the vessel, from
portions of which it is easily detached.” It contained a smaller
urn, both being as usual filled with burned bones. Fig. 677, 3 feet
9 inches in circumference at the neck, has an overlapping rim with a
remarkably elegant outline. Figs. 681, 683, 685, of much the same form
as Fig. 682, have incised lines round the neck, the body of the latter
being covered with a reticulated ornament. Figs. 681 and 683 are of the
same general form, but extremely rich in ornamentation.
[Illustration: Figs. 676 to 680.--From Drumnakilly, Co. Tyrone.]
[Illustration: Figs. 681 to 686.--From Drumnakilly, Co. Tyrone.]
[Illustration: Fig. 687.--From the Giant’s Grave, Loughrey
Demesne.]
Two unusually fine urns have been brought to my notice by Miss Stokes,
of Carrig Breac, near Dunamase, and are, I believe, now in the R. I.
A. Museum. The larger of the two, which is of the same general form
as the Altegarron urn, Fig. 664, but rather more contracted in the
upper part, has two raised encircling rims around its widest part;
between these the urn is ornamented with a series of diagonal lines
of impressed squares. Round the upper part is a line of curves or
undulations, between elaborate diagonal indented lines as before. The
lower part of the urn has around its upper and lower edges a row of
undulations, and around its centre an encircling border of rude lozenge
formed indentations; the whole of the rest of the surface being covered
with vertical lines of square indentations, same as already described;
these are of the same class as those shown in Figs. 706 and 718. The
other urn in general form of outline resembles the one from Ballon Hill
(Fig. 665); it is richly decorated with encircling bands of herringbone
lines, and three borders, one on its neck and two on the lower part of
chevron ornament.
The pottery found in the Crannogs presents many peculiarities of
pattern. The vessels are considered by Mr. Wakeman, to whom the
antiquarian world is indebted, in many cases, for their discovery,
to be the remains of what have been used for cooking purposes. They
are mostly vessels, sometimes of very large size, wide at the mouth,
contracted in the neck, and gradually, with easy flow of line, tapering
downwards on the sides. Mostly they appear to have had handles at the
top, which take a gradual curve from the rim down to their junction
with the tapering body. They are more or less decorated with punctured,
incised, impressed, or other simple ornaments.
[Illustration: Fig. 688.]
The general form of these crannog vessels will be best understood on
reference to the accompanying engraving, which is a restored example
from fragments found in a crannog in Drumgay Lake, near Enniskillen,
and carefully described by Mr. Wakeman in the Journal of the Royal
Historical and Archæological Association of Ireland. The lake wherein
this crannog was discovered--the “Loch of Drumgay”--is a picturesque
sheet of water, nearly midway between Enniskillen and the village of
Bellinamallard, in the county of Fermanagh. The examination of these
lake dwellings yielded many highly interesting and important results,
and brought to light several fragments of pottery, and many other
objects of antiquity. Some of the patterns of fictile ornamentation are
shown on the Figs. 691 to 704, which are drawn of one half their real
size. One pattern is a simple chevron; another a punched right-line
ornament, very characteristic of this primitive ware; another has a
series of incisions, giving the rim somewhat the effect of a cable
moulding; and another is reticulated, or has what may be described as a
series of saltires, all round the rim.
[Illustration: Fig. 689.]
Some other excellent examples were yielded by the examination, by Mr.
Wakeman, of a crannog in Ballydoolough[65]--a loch of about twenty-four
acres in extent, a few miles from Enniskillen, not far from the old
road to Tempo. The “lake dwelling” where these fragments were found,
is said to be “one of the most instructive yet discovered in Ireland.”
In it, “among other instructive remains, were found a very large
number of fragments of pottery, along with quantities of bones of _bos
longifrons_, _cervus elephas_, _sus scrofa_, _equus asinus_, and other
animals, including the goat, which gave good testimony to their being
portions of cooking vessels.” A restoration of one of these “crocks”
is given on the accompanying engraving, Fig. 689, and its pattern is
shown of a larger size on Fig. 718. “It measures three feet two inches
round the mouth, and is tastefully ornamented on the rim and sides. The
decoration, which was impressed upon the soft clay before the vessel
was burnt, is extremely like that which appears upon silver bracelets
preserved in the Museum of the Royal Irish Academy, and also found
amongst the Cuerdale hoard.” Its colour is drab, or light yellowish
red, and it is of close texture. The pattern is impressed or indented,
and from its chevron character is undoubtedly early. Several varieties
of this pattern occurred. The next examples exhibit simply a series
of zigzag incisions of precisely the same character as is found on
Celtic cinerary urns. Indeed the decoration of many of these domestic
(?) vessels is exactly identical with that of some of the finest
sepulchral urns found in that country. “It may be said further, that in
the numerous designs found upon the crannog vessels there is not one
that is suggestive of the work of Christian times in Ireland; on the
contrary, the greater portion--chevrons and circular depressions--are
expressive of pagan ideas of ornamental art. The log-house at
Ballydoolough is almost precisely of the same size and of the same
style of construction as the celebrated dwelling described by Captain
Mudge in the ‘Archæologia,’ in which was found a stone hatchet.” These
crannog vessels must not, therefore, be assigned to a later period than
pagan times.
[Illustration: Fig. 690.]
[Illustration: Figs. 691 to 704.]
Some other examples from this crannog are of extreme interest.
The “fragment, Fig. 719, bears upon its ear,” says Mr. Wakeman,
“two figures somewhat like a St. Andrew’s Cross, but which here, I
apprehend, need not be regarded as a Christian symbol. Such figures
have been found in Ireland, inscribed on rocks, and upon the walls of
natural or partly artificial caverns, and even within the inclosure
of pagan tumuli, as at Dowth, accompanied in several instances by
‘scorings’ at present unintelligible.” Many appear in the cave of
Lochnacloyduff (the _loch of the dark trench_, or _mound_)
and in the “lettered caves” and the cliffs of Knockmore. These vessels
are “of a dingy brown colour, and their ‘scorings’ are deeply impressed
in what was a paste of unusually gritty matter. It may not be out of
place to state here, once for all, that between the crannog pottery
and the vases found in cairns, and usually styled sepulchral, there
is apparently no difference in style of manufacture. Strange to say,
both classes exhibit the action of fire more strongly upon the interior
than upon the external sides or base. Their colouring upon the whole
is generally similar, varying from a dull red to a dark brown, nearly
black; and in no instance, as far as my observation carries, has
glazing been practised.” (Wakeman.)
[Illustration: Fig. 705.]
[Illustration: Figs. 706 to 715.]
[Illustration: Figs. 716 to 721.]
In another remarkably interesting lake dwelling in Lough Eyes, not
far from Lisbellaw, in the same county of Fermanagh, a variety of
patterns of crocks, along with bones of animals, including the “remains
of _bos longifrons_, or ancient Celtic short-horned ox, of the
red-deer, ass, sheep, goat, and pig,” were found. These were of the
same general form as those already described, and they were more or
less ornamented with indented patterns, sometimes arranged simply
in lines and sometimes in chevron or zigzag designs. It is worthy of
special note too, that several flat discs of the same material as the
crocks were found with them; these were doubtless covers or lids; one
of these is shown on Fig. 703.
A very unusual and clever “provision for the escape of steam during
the process of boiling, or cooking, is observable in several of these
earthen pots. It consists of a small circular hole in the neck or
upper side of the vessel, just below the point where the lid would be
supported or caught;” the lid of course resting on the narrower part
of the neck. Doubtless the contraction of the neck would be formed
for this special purpose. The perforation is shown on the fragments
engraved, Figs. 692 and 716. Figs. 712 and 720 show, very carefully,
two examples of ornamentation on pottery from this crannog; the one
with incisions only, the other with both incisions and impressed
ornaments, the dotted pattern being almost identical with some found in
the lake habitations of Switzerland. The other woodcuts give very clear
representations of other patterns found at Lough Eyes. One of these,
Fig. 706, has both the impressed herringbone and rim patterns; Fig. 700
is simply “notched” on its edge; Fig. 701 has a series of incisions or
“thumb-nail” indentations; Figs. 691 and 699 have the zigzag pattern;
and Fig. 694 a series of lozenge-formed indentations. Figs. 715 and
717 are among the most pronounced examples of herringbone or zigzag
patterns which these lake dwellings have produced, and they are, as
the engravings show, exact counterparts, in appearance, character,
and style, with that which forms so marked a characteristic of Celtic
sepulchral urns of one kind or other.
During mediæval times the pottery of Ireland was much of the same
coarse kind as described under “England” in the first volume; but
little, however, is known concerning either its localities of
manufacture or its general characteristics. Wood (both platters and
noggins) and pewter appear to have been in much more general use for
domestic purposes than earthenware, and the manufacture of the latter
was consequently very small. Later on, manufactories of a finer kind of
ware were established in Belfast, Dublin, and other places; of these
but very meagre particulars are known.
DUBLIN.
_Delamain._--A manufactory of delft-ware existed here in the Strand, in
the early and middle part of last century. Before 1753 the manufactory
had passed into the hands of Captain Henry Delamain, who, as stated by
himself, “when the delft manufactory in this city [Dublin] failed,”
“being convinced that it might be carried on greatly to the advantage
of this nation, took said manufactory into his hands, built workhouses
and kilns, erected a mill to grind flint and metals,” and so forth. In
that year he appears to have had as a confidential manager Mr. William
Stringfellow, who probably had either been the previous owner of the
manufactory or one of the “most knowing persons” of those works. In the
year referred to Capt. Delamain petitioned the Irish House of Commons
for assistance in carrying out his undertaking. His case was thus
stated:
“A.D. 1761. 1st November. Geo. II.[66]
“A Petition of HENRY DELAMAIN the Younger, of the
City of Dublin, Gentleman, Setting forth:--that when the
Delft Manufactory in this City failed, the petitioner being
convinced that it might be carried on greatly to the advantage
of this Nation, took said Manufactory into his hands, built
Workhouses and Kilns, erected a mill to grind flint and Metals,
and discharged debts affecting the old Manufactory, and also
supported the most knowing persons that were employed at the old
Manufactory, while his new one was building, to prevent their
leaving the Kingdom; and purchased the Art of Printing Earthen
Ware with as much Beauty, Strong Impression, and Dispatch as
it can be done on paper. That the Petitioner lived above 20
years abroad, where he acquired a knowledge in the Manufactures
of Delft and Earthen Ware and having taken a Circuit thro’
this Kingdom found that every Province therein is furnished
with proper Materials for making thereof. That the Petitioner
after many repeated experiments has discovered the secrets of
Glazing Delft Ware with Coals, and Painting and Glazing Flint
Ware. That the petitioner employs upwards of 40 families in his
Manufactory, and proposes taking a number of Charter School
Boys apprentice, by which means he will be able to supply New
Manufactories with Artists; and the petitioner is willing not
only to communicate all the secrets of his business to any one
setting them up, but also to assist them in the construction of
their kilns, &c. That the petitioner laid Specimens of the Wares
made by him before the Dublin Society, who were of opinion that
they were as good, and some of them better than any imported
into Ireland; and found on Experiments made, that they stood
boiling water without breaking or Cracking; and as it can be
made near 20 per cent. cheaper than it can be imported, he
apprehends a great benefit will arise, not only by preventing
large sums from going out of the Kingdom for said Manufactures,
but also by exporting it to Foreign Markets, and praying aid to
enable him to carry on the said Manufactory, was presented to
the House and read.
“_Ordered to be reported on by Sir Arthur Gore and a
Committee._”
“Sir A. Gore reported that the Committee considered the
Allegations proved, and that the Petitioner deserved
encouragement.[67]
“_Referred to Committee of Supply._”
“Resolved, That it is the opinion of this Committee that a sum
of £1000 be given to HENRY DELAMAIN the Younger, Manufacturer
of Earthen Ware, for his encouragement, and to enable him more
effectually to carry on the said Manufacture.”[68]
In the same year, 1753, Delamain having discovered a way to use coal
instead of wood in the manufacture of earthenware, applied to the
English Parliament for compensation for making his invention public.
From the Journal of the House it appears his petition, wherein he is
described as “Henry Delamain, gentleman,” was read on the 21st of
January, 1754, and referred to a Committee, where, however, the whole
matter seems to have ended. In it he says that “he has discovered a
method of firing kilns of a particular construction,” “which perfectly
burn and glaze all sorts of white ware with coal in less time and in
larger quantities than the method now practised by burning of wood,
and at one-third of the expense.” In a not very honourable letter,
printed by Owen, Delamain speaks of his intention of applying to
“the Parliament of England for a reward for having burnt and glazed
delft-ware with coals,” instead of wood or turf. In this letter
Delamain writes to Stringfellow that he has seen the Liverpool potters
and told them of the success of his plan, and he desires him to write
how well he has succeeded with the coal; he says, even “suppose it
has happened quite the reverse, do you write what I desire you, for
your own advantage as well as my credit; for I have set them all on
fire to burn their ware with coals, and have come to this agreement
with them, that you are to come over to build their kilns, for which
they will pay you handsomely.” And again he says, “by all means answer
to them by return of post all you can say in its favour, and more if
necessary.” The letter is addressed, “to Mr. Wm. Stringfellow, at the
Delft Manufactory, on the Strand, Dublin,” and dated 19th of December,
1753. Another letter, addressed to his wife, “Mrs. Mary Delamain, at
the India Warehouse, Abbey Street, Dublin,” by Capt. Delamain, is to
the same effect, and runs as follows:--
“_To Mrs. Mary Delamain, at the India Warehouse, Abbey Street,
Dublin._
Tuesday, Liverpool [Jany.] 18th, 1753.
“My D^r Poll,
“Inclos’d I send you a letter to Mr. Stringfellow the purport
of it is to desire him by all means to answer some letters that
will be wrote to him this night from Liverpoole to know how our
large kiln has turned out; send for him on the rec^t of this and
right or wrong beg of him to write it was burnt twice before I
left Ireland and once since, and that it succeeds so well that
not a bit of ware was smoked and that it Glazes the Ware better
than Turf and Wood & makes it harder, less subject to peel,
and that about two Tun or 2 and a half of coals will burn it
off, give him this letter for fear he s^d forget writing them
all the above particulars, let him write the night he receives
mine, for as soon as his letter arrives at Liverpoole the Mayor
Corporation and all the Potters will joyne in a petition for me
to parliament & they will give Mr. Stringfellow a handsome some
of money to build them kilns. I go to London this day and shall
call in my way at Worster to see the fine new China Manufactory.”
To Delamain, doubtless, belonged the credit of introducing the use of
coal in the manufacture of earthenware, and he deserved the recognition
he sought, but did not succeed in obtaining, for his invention from the
English Parliament. In 1755 Capt. Delamain received from the Dublin
Society a grant or “bounty” of £1,100, which he expended in furthering
his manufacture.
Capt. Delamain died on the 10th of January, 1757, and his death is
thus curiously recorded in the _Belfast News Letter_ of that period.
“Dublin, January 15th:” “Monday last, died, universally lamented by
all true lovers of their country, Captain Henry Delamain, formerly
in the Duke of Saxe-Gotha’s service, Master of the Irish Delft Ware
Manufactory, who, by the expense of a large fortune and unwearied
application, brought that ware to such perfection as totally to prevent
the enemies of our country, the French, from draining large sums
yearly from this country for Burgundy and Roan ware. Mary Delamain,
his widow, carries on said manufactory and hopes for the continuance
of the friendship of the nobility, gentry, and whole kingdom.” On the
9th of November, 1759, Mrs. Delamain, his widow, petitioned the Irish
House of Commons for further assistance to enable her to carry on and
extend the business, but nothing seems to have been done for her. Mrs.
Delamain, who survived her husband three years, died in March, 1760,
her death being recorded in the Dublin _Public Gazetteer_ of that date:
“Tuesday last died Mrs. Mary Delamain, widow of the late Captain Henry
Delamain, who was the first that brought the earthenware manufacture
to perfection in this kingdom; and since his decease his said widow
(endowed with all the virtues of a good Christian, tender parent, and
sincere friend,) continued it with such advantage to the purchasers as
to prevent the further importation of foreign wares,” &c. In 1763 the
executors of Mrs. Delamain petitioned the Irish House of Commons for a
further grant. The petition contains many interesting particulars, and
is as follows:--
“A.D. 1761. 6th November. Geo. III.
“A Petition of SAMUEL WILKINSON and _William Delamain_,
Esq^{res}. Executors of Mary Delamain, late of the City of
Dublin, Earthen-Ware Manufacturer, was presented to the House
and read, Setting forth, That the late Henry Delamain erected a
Manufactory for Making of Earthen-Ware in which he discovered
the Art of burning with Coal instead of Wood, and brought it to
such Perfection as not only to excel any thing of the kind ever
attempted in this Kingdom before, but to equal the best Foreign
Ware imported: in which he expended his entire Fortune to the
amount of £6,000, and upwards, as appeared to a Committee of the
late Parliament who were appointed to take his Petition into
consideration.
“That in the Session 1753, the House of Commons did grant him
£1,000 as an encouragement for carrying on said Manufacture,
and the Dublin Society upon Inspection had, and Satisfaction
received of his having expended said Bounty in the Improvement
of said Manufacture, did in the year 1755 confer a further
Bounty on him of £1,100, which sum was also expended with the
best Economy, in improving said Manufacture. That on the Decease
of said HENRY DELAMAIN, his late WIDOW, MARY DELAMAIN, carried
on said Manufacture with Great Success, and declined troubling
Parliament in Session 1757, assured that the Manufacture would
support itself: but finding that the export of the Ware to
Foreign Markets was prevented by the continuance of the War,
she, the said MARY, Petitioned in the Session of 1759, praying
the further Sanction of Parliament, and Proved the Allegations
of her Petition; but in that Session no money was granted to
Private Petitions.
“That the Petitioners, since the Decease of said MARY DELAMAIN,
have carried on the same Manufacture, for the advantage of
the orphans of the said HENRY and MARY, in particular, and of
the Nation in General, with so much success as to prevent the
Import of Foreign Ware, which Annually carried out of this
Country above £10,000 to France, and have supplied Dealers in
every principal Seaport of this Kingdom. That Petitioners by
commencing on a Small Stock are disabled of purchasing Coal and
other Materials in the proper Season requisite for carrying
on the Work, and lowering the price of the Ware, or employing
between 2 and 300 of the poor Natives which the Apparatus is
equal to; and on a Peace, of exporting to Foreign Markets about
£20,000 worth every year, over and above the Home Consumption;
and therefore praying the House to take their Case into
Consideration, and to grant such assistance and relief as shall
seem meet.
“_Referred to a Committee._”[69]
A similar petition appears to have been presented by the same parties
on 9th Nov., 1763, and was referred to a Committee, but no votes in
either case seem to have been taken.
DUBLIN.
_Donovan._--Whether Mr. Donovan, of Poolbeg Street, on the Quay,
Dublin, was a manufacturer or not is uncertain, but I believe not. He
purchased both English and Continental wares in the white and decorated
them in his own place. He amassed a large fortune and purchased estates
in Sussex. In his business he was usually known in Dublin as “The
Emperor of China.” “About 1790 he had a glass manufactory at Ringsend,
near Dublin, and he employed a painter to decorate pottery, and placed
all sorts of fancy and imitation marks on china and earthenware.” His
name sometimes occurs as DONOVAN only, and at others as
_Donovan_ or DONOVAN
_Dublin_ DUBLIN.
[Illustration: _Dublin._
Fig. 722.]
A mark on Delft ware which has come under my notice is a crowned harp
with the word Dublin. It is quite uncertain to whose make this is to be
ascribed.
Two or three brownware manufactories also existed during last century
at Dublin, and produced all the usual commoner kinds of coarse domestic
vessels.
BELFAST.
_Leathes and Smith._--A pottery was established here in the middle
of the seventeenth century by Captain Leathes and Mr. Smith. It is thus
alluded to by William Sacheverell, some time Governor of the Isle of
Man (a descendant of the Sacheverells of Morley, in Derbyshire), who in
1688 made a voyage to I-Columb-Kill, which he printed in his “Survey
of the Isle of Man.” He left Liverpool on the 23rd of June, 1688, on
his way to I-Columb-Kill, and as “it blew very hard for a whole week”
he “took the opportunity of visiting Carrick Fergus and Bellfast,” and
stayed in the latter two nights, being thither invited by “the Earl of
Dunagall, whither he was going with the Earl of Orrery and the Lord
Dungannon.” “Bellfast,” he says, “is the second town in Ireland, well
built, full of people, and of great trade. The quantities of butter
and of beef which it sends into foreign parts are almost incredible; I
have seen the barrels piled up in the very streets. The new pottery is
a pretty curiosity, set up by Mr. Smith, the present sovereign, and his
predecessor, Captain Leathes, a man of great ingenuity;” and, again,
“Captain Leathes, who was chief magistrate of Belfast, and reputed a
man of great integrity.” The pottery is also spoken of at a later date,
1708, by Dr. Molyneux, in his MS. tour to the Giant’s Causeway. “Here,”
at Belfast, he says, “we saw a very good manufacture of earthenware,
which comes nearest to delft of any made in Ireland, and really is not
much short of it. It is very clear and pretty, and universally used in
the north; and, I think, not so much owing to any peculiar happiness in
the clay, but rather to the manner of beating and mixing it up.” The
works were continued for very many years, and produced much useful ware
of good quality.
[Illustration:
M
H * R
_1724_]
The curious example of Belfast pottery engraved on Fig. 723 is highly
interesting as bearing the name of Belfast and the date 1724. It is
a “choppine,” or lady’s high-heeled shoe, and is in Delft ware. It
is six inches in length and the heel is two inches in height, and is
decorated in blue and white, the flowers and foliage being blue on a
white and white on a blue ground. On the sole are the initials M H R, M
being the surname and H and R the Christian names of husband and wife,
with the name and date in writing “Belfast, 1724,” as shown on the
engraving. These are painted under the glaze in blue. For the notice of
this interesting example, in the possession of a lady in Belfast, to
whose grandmother it formerly belonged, I am indebted to Mr. Benn, the
historian of that town.
[Illustration: Fig. 723.]
* * * * *
_Coates’ Pottery._--On an old map of Belfast, published in 1791, a
building marked as “Coates’ Pottery” occurs. This, it is recorded by
Mr. Pinkerton, was “set up by Mr. Victor Coates, at Lagan village, long
before he established the well-known foundry at the same place. Red
ware and a coarse kind of delft were made.”
* * * * *
_China Works._--On the same map of Belfast, engraved in 1791, just
referred to, occurs a building marked “China Manufactory,” close by
“Coates’ Pottery,” “The partners in this Belfast china manufactory,”
says Mr. Pinkerton, “were Thomas Gregg, Samuel Stephenson, and John
Ashmore. That they carried on the manufacture of china there for some
years is certain; for on January 29, 1793, the Earl of Hillsborough
presented a petition from them to the Irish House of Commons. The
original petition may be seen in the Journals of the House. In it the
petitioners state that, recognising the great advantages arising from
a manufacture of Queen’s Ware, and other fine kinds of ware such as
are made in Staffordshire, they united themselves into a company for
producing such wares in Ireland, and by their exertions had carried
this manufacture to a greater perfection in the County of Down, near
Belfast, than was ever known in this kingdom; that they had been at
great expenses in erecting buildings, and importing machinery, and
in bringing workmen from foreign places; that the difference in the
prices of coal between Belfast and Staffordshire had greatly exceeded
their expectations, and they now prayed for pecuniary aid. A committee,
consisting of the Earl of Hillsborough, Mr. Johnson, and others, was
immediately appointed by the House to report on the petition; and on
the 2nd of February they reported that the petitioners had fully proved
their allegations. The report was then ordered to be laid on the table;
but it does not appear that anything was done further in the matter.
FLORENCE COURT, COUNTY FERMANAGH.
There is a manufactory at this place where common red ware is made.
The products are chiefly flower-pots and the coarser kinds of domestic
vessels.
COAL ISLAND, DUNGANNON.
At this manufactory only the coarser kinds of fire-clay and terra-cotta
goods--chimney-pots, flower-pots, vases, &c., are produced.
YOUGHAL.
There was a manufactory of brown ware, for pitchers and common goods,
at this place. It was of old foundation.
LARNE.
_Larne Pottery._--Pottery works were, I am informed by Mr. Patterson,
built close to the small sea-port of Larne, county of Antrim, by James
Agnew, Esq., the proprietor of the estate, and were worked under the
management of his agent, Mr. Walker, from about 1850 to 1855, and
afterwards for two or three years by the Greenock Pottery Company,
since which time the works have been closed. The buildings still
remain, but lie vacant. The goods produced were white and printed
earthenware, cane ware, Rockingham tea-pots, and brown pans, crocks,
and dairy and kitchen utensils of various kinds. Some of the latter
named were made from local clays, and were very good of their kind.
Their rubbish heaps are on the borders of Larne Lough, and the beach
is strewed with fragments of pottery, the little triangular supports,
saggars, &c.
CASTLE ESPIE POTTERY.
At Castle Espie, near Comber, county of Down, Mr. Samuel Minland, J.P.,
some years ago, I am informed by Mr. Patterson, established brick and
tile works. Common pottery is now manufactured there from the local red
clay. The brown glazed ware consists of dairy vessels, tea-pots, flower
vases, and other plain household articles.
[Illustration: Figs. 724 and 725.]
Captain Beauclerc, at the exhibition of 1851, exhibited two terra-cotta
vases, his own modelling, made in Ireland, of Irish material. They were
engraved in the “Art Journal Illustrated Catalogue,” page 257, and are
here reproduced, Figs. 724 and 725. The productions were in two tints;
the body of each vase being of a deep red, and the figures of a lighter
and much yellower clay.
BELLEEK.
The village of Belleek, county Fermanagh, Ireland, is situated on the
banks of the river Erne, near the borders of Donegal and Fermanagh
and on the outskirts of the Donegal highlands. It has a station on the
Enniskillen and Bundoran line; which line communicates with Dublin,
Belfast, and the various other lines of the kingdom. Belleek is within
three miles of Ballyshannon; six of Bundoran; four of Lough Melvin,
renowned for its salmon and trout fishery, and especially famous
for the _Gillaroo_ trout. It is also within short distances of
Pettigo, Garrison, Devenish Island, with its monastic ruins and a
perfect round tower, the beautiful park and grounds of Castle Caldwell,
and many other objects of attraction.
[Illustration: Fig. 726.--The Belleek China Works.]
The manufactory, a view of which is given on Fig. 726, stands on a
small island in a bend of the river Erne. Near the bridge is a large
water-wheel, over 100-horse power, which gives motion to grinding-pans,
lathes, turning-plates, and all the varied and skilfully designed
apparatus of the works. “In the interior, the factory bears all the
appearance of business and bustle. Enormous grinding-pans, in which the
raw material is prepared for the hands of the artisan, rumble and roar,
driven by the irresistible and constant power of the large water-wheel;
the furnaces of the great ovens, in which the moulded clay is baked,
roar by the draught caused by their great height; while in the
workshops the lathes and turning plates whiz noiselessly round, as the
soft, putty-like clay is being deftly moulded by the skilled workman
into many beautiful designs.”
The works at Belleek were established in 1863 by the present
proprietors, Messrs. David McBirney and Robert Williams Armstrong.
Before the establishment of the works, trials were made with the
felspar of the Irish locality with ordinary Cornish china clay, at the
Royal Porcelain Works at Worcester. The results were so satisfactory
that Mr. Armstrong, who at that time was architect to the proprietor,
laid the project for forming a manufactory at Belleek before his
friend, Mr. David McBirney of Dublin, a gentleman well known for his
energy in aiding any movement to advance the prosperity of Ireland,
and he embarked with him in the attempt to produce first-class ceramic
goods in Ireland. The firm, composed of these two gentlemen, trade
under the style of “D. MCBIRNEY & CO.” There are now employed
at the Works about two hundred “hands,” among whom are several skilled
artists; the Art director being the founder and proprietor, Mr.
Armstrong.
The chief peculiarities of the ornamental goods produced at Belleek
are, its lightness of body, its rich, delicate, cream-like, or
ivory tint, and the glittering iridescence of its glaze. “Although
the principal productions hitherto have been formed of this white
ware--which either resembles the finest biscuit (of Buen Retiro or
Dresden), or almost the ivory of the hippopotamus, or shines with a
lustre like that of nacre--local clays have been found which yield
jet, red, and cane-coloured wares. Facsimiles of sea shells, and
of branches of coral, which might well be supposed to be natural,
are among the principal features. The iridescent effect produced is
somewhat similar to that of the ruby lustre of the famous Gubbio
Majolica; that Italian enamelled ware which commands such fabulous
prices, and of which an unrivalled collection is to be seen at the
South Kensington Museum. Lustres were introduced many years ago for
English pottery by Hancock, by Gardner, and by Stennys; and in the
booths of our country fairs, rude inartistic forms, glowing with a gold
or a silver lustre, are often to be seen. The effect of a good lustre
may be compared to that of “shot silk,” or to the changing hues that
adorn the neck of a black or dark blue pigeon, or the crested pride
of a drake. Oil of turpentine, flour of sulphur, gold solution, and
tin solution, constitute the gold glaze, the purple hue being due to
the tin. Platinum, and spirits of tar enter, with oxide of zinc, into
the composition of the silver lustre. But neither of these glazes, any
more than the Italian enamel of which the secret was lost so long ago
as the sixteenth century, can compare with the beauty of the Belleek
ware, an idea of which can only be given by recalling the beautiful
hues of a highly-polished mother-of-pearl shell. We can convey no
idea of it by engravings; and it seems equally difficult to do so by
written description. We may apply to it the common-place expression:
‘It must be seen to be admired;’ and certainly it must be examined to
be estimated. We can, however, with some degree of accuracy, represent
some of the forms produced by this manufactory.”[70] Fig. 727 is the
grounds-basin of a tea-service, made for the Queen (Her Majesty being
one of the early patrons of the Belleek Pottery), and presented by
her to the present Empress of Germany. The basis of the design is the
_echinus_ or sea-urchin, which abounds on the coast of Donegal,
and has, both the native and rarer foreign species, been utilised by
the firm in many of their productions. In this instance it forms the
bowl, and the supports are branches of coral.
[Illustration: Fig 727.--Grounds-Basin: for the Queen’s Service.]
[Illustration: Fig. 728.]
[Illustration: Figs. 729 to 731.]
Besides the “Royal” services--breakfast, dessert, and tea--made
for her Majesty, other services have been made for H.R.H. the Prince
of Wales, and others of the royal family. From the Prince of Wales’s
services the engravings, Figs. 732 to 735 are selected.
[Illustration: Fig. 732.--Ice-Pail: for the Prince of Wales.]
Fig. 732 is the ice-pail. The base is formed of three exquisitely
modelled mermaids, in Parian, who support the shell-formed base of
the vase, around which a group of Tritons and dolphins in high relief
are sporting in the water, with an effective background of aquatic
plants. A wreath of coral surrounds the rim. The effect of the charming
contrast between the dead and the iridescent surfaces is heightened by
gilding the conches of the revellers. The cover or lid is as it were
the boiling surging sea, from which three sea-horses have partially
risen, and in the centre a Triton, riding on a dolphin, forms the
handle.
[Illustration: Fig. 733.--Compotier: for the Prince of Wales.]
Fig. 733 is a compotier, whose base represents the surface of the
sea, upon which float three _cardium_ shells. From between these
spring up three small sea-horses, not, indeed, the _hippocampi_ of the
naturalist, but those of the mythologist, the figures which, in antique
gems and in Italian paintings, are intended to serve as the artistic
embodiment of the roll and the dash of the breaker. A trumpet-shell
forms the central column, which, in its turn, supports the shell that
serves as a fruit-dish.
The tall centre-piece (Fig. 734) is designed on a more ambitious
scale. A triton or merman is blowing a conch; a mermaid is wringing
and dressing her redundant locks; and a sea-horse dashes through
the spray. Between these figures, which thus divide the base
into three compartments, are placed three shells of the species
_hippopus maculata_, which form convenient receptacles for bonbons,
candied fruit, or other smaller delicacies of the dessert-table.
A trumpet-shell is again selected to form the main stem, which is
surrounded with aquatic plants; and three _paludina_ shells are so
introduced as to form suitable vases for sprays of flowers. The
shell-dish, with its beautiful markings and projections, again forms
the cap of the tazza.
[Illustration: Fig. 734.--Centre-piece: for the Prince of Wales.]
The low compotier (Fig. 735) are modelled _en suite_; the idea of
the entire service being that of the combination of natural objects,
selected for their appropriate shape, and for their beauty of form or
of sculpture, with imaginary forms. The shells which are modelled for
the dishes are supported by conventional dolphins.
The tazza vase and pedestal (Fig. 736), on which hangs a wreath of
flowers, dependent from rams’ heads, is a fine specimen of Irish art.
Our next engraving (Fig. 737) is a flower-stand composed of shells
supported by dolphins, and is so iridescent as to have almost an
unearthly appearance of liquid beauty.
[Illustration: Fig. 735.--Low Compotier: for the Prince of Wales.]
“The reproduction of natural forms by Ceramic Art,” says the _Art
Journal_, “is not by any means a novelty. We are familiar with the
fish, the reptiles, and the crustacea of Bernard Palissy, with the
relieved and coloured foliage of Luca and of Andrea della Robbia.
In England we have seen the shells reproduced by the artists of the
Plymouth china, and the delicate leaves and flowers of the old Derby
ware. The designer of much of the Belleek ware has the merit, so far
as we are aware, of being the first artist who has had recourse to
the large sub-kingdom of the _radiata_ for his types. The animals
that constitute this vast natural group are, for the most part,
characterized by a star-shaped or wheel-shaped symmetry; and present
a nearer approach to the verticillate structure of plants, than to
the bilateral balance of free locomotive animals. For, at all events
a portion of their existence, indeed, most of the _radiata_ are fixed
to the earth. The five-fold radiation, which is most common among
dicotyledonous plants, is the usual division assumed by these zoophytic
creatures. From the globular shape of the commonest _echinus_, or
sea-urchin, through the flattened and depressed form of others of
the family, the transition is regular and gradual, to the well-known
five-fingered star-fish, and to those wonderfully branched and foliated
forms which shatter themselves into a thousand fragments when they are
brought up by the dredge from deep water and exposed for a moment to
the air. Under the name of _frutti di mare_, these sea-eggs, covered
as they are with innumerable pink and white spines, form a favourite
portion of the diet of the southern Italians. When the spines, by
which the creature moves, are stripped off, the projections and
depressions of the _testa_, or shell, are often marked by great beauty
of pattern; and it would have been hardly possible to bring into the
service of plastic art a more appropriate group of natural models.
Again, in the fantastic and graceful forms of the mermaid, the nereid,
the dolphin, and the sea-horse, the Belleek art-designer has attained
great excellence of ideality; the graceful modelling is set off, with
the happiest effect, by the contrast between the dead, Parian-like
surface of the unglazed china, and the sparkling iridescence of the
ivory-glazed ground.”
[Illustration: Fig. 736.--Flower Tazza and Pedestal.]
The productions of the Belleek works comprise all the usual
services--dinner, breakfast, tea, dessert, and toilet--in large variety
of patterns and of various styles of decoration, and in addition to
these a vast variety of ornamental goods are produced. Figures and
groups of figures, animals, &c., are also made, and are characterized
by excellent modelling and judicious colouring--the peculiar Belleek
glaze imparting to them a beauty all their own. Boudoir candlesticks
and other choice examples of art also evidence considerable skill on
the part of the artists in the modelling of the flowers and foliage and
in the arrangement of the wreaths.
Among the choicest examples of actual manipulative skill produced by
any manufactory are some cabinet cups and saucers, the extreme delicacy
of which far surpasses the ordinary “egg-shell” china. The cup itself
is the _echinus_, and the saucer is also tastefully modelled from
the same; the body is so thin, and worked to such a degree of nicety,
as to be of little more than the thickness of common writing paper.
This delicate body, either plain, or tinted and gilt and then glazed
with the iridescent glaze so characteristic of the Belleek ware, is
unique in its appearance and matchless in its extreme delicacy. Of the
same filmy body _cardium_ and other shells are also produced, and
are exquisitely tinted.
[Illustration: Fig. 737.--Boudoir Flower Shells.]
Besides the speciality of these works (the “Belleek China”) Messrs.
McBirney and Armstrong manufacture to a large extent white granite
ware services of every variety, and of excellent quality both in body,
in glaze, and in printed, painted, enamelled, and gilt decorations.
Many of the patterns are of more than average excellence, and in every
respect the Irish earthenware equals the ordinary commercial classes of
Staffordshire wares. The dinner-ware is especially serviceable, being
a true felspathic body, semi-vitrified, and hence ranking next to the
true porcelain; smooth and admirably potted. The simple ornamentation
to which it has been subjected is pure in style and Art, while the
article competes as to price with inferior ware in the markets of
England and America. Indeed the trade with America is already large,
and is regularly increasing.
Parian and ordinary white china, as well as ivory body, are also
largely made in a vast variety of styles.
Not only in these home essentials is its place established; Belleek
furnishes largely the “porcelain insulators” (containing 70 per cent.
local felspar) used for telegraph poles, and these have been pronounced
by “authorities” the best. In pestles and mortars the factory has
considerable trade, and of the minor articles of patch-boxes, &c.,
there is enormous produce. For supremacy in these objects it is
indebted to the purity of the clay and felspar, producing a clear
brilliant white, and singular “compactness,” resulting in remarkable
hardness and durability. In sanitary ware, cabinet-stands, plug-basins,
and other articles, form a staple part of the trade of these works.
The marks used by the Belleek Company are the following:
[Illustration: BELLEEK CO. FERMANAGH.
Figs. 738 and 739.]
CHAPTER XIII.
Early Pottery of Scotland--Cinerary Urns--Mediæval
Pottery--Glasgow--Delft Ware--Verreville Pottery--Garnkirk
Works--Gartcosh Works--Heathfield Pottery--Glasgow
Pottery--North British Pottery--Saracen Pottery--Port
Dundas Pottery Company--Hyde Park Potteries--Britannia
Pottery--Annfield Pottery--Bridgeton Pottery--Barrowfield
Pottery--Coatbridge--Glenboig Star Works--Glenboig Fire-Clay
Works--Cardowan and Heathfield Works--Paisley--Ferguslie
Works--Shortroods and Caledonia Works--Paisley
Earthenware Works--Crown Works--Grangemouth--Fire-brick
Works--Greenock--Clyde Pottery--Dumbarton--Rutherglen--Caledonia
Pottery--Portobello--Midlothian Potteries--Portobello
Pottery--Kirkcaldy--Sinclairtown Pottery--Kirkcaldy
Pottery--Gallatown Pottery--Boness--Boness Pottery--Prestonpans
Pottery--Alloa--Alloa Pottery--The Hebrides.
SCOTLAND.
The early pottery of Scotland appears, as a general rule, to bear a
close analogy to that of England both in form, in intention of use,
and in ornamentation. The cinerary urns, the food and other vessels,
and the immolation urns, all bear a marked resemblance to those of the
sister country, and lead one to the inference that the same feelings,
habits, and customs obtained in the one nation as the other. A cinerary
urn found on the Hill of Tuack is of identical shape and pattern of
ornament with the one engraved on Fig. 15 of Vol. I., while others
bear an equally strong resemblance to others already engraved. To
Professor Wilson the antiquarian world is indebted for much valuable
information concerning the early pottery of Scotland, and to his
important and standard work, the “Pre-Historic Annals of Scotland,”[71]
it owes most of the knowledge it possesses of this, and other important
branches of national history. “It is altogether impossible,” says the
learned Professor, “within the limited amount of accurately observed
facts with which the Scottish archæologist has to deal, to picture
and classify into distinct periods the pottery found in the ancient
tumuli and cairns. Many of the fictilia are so devoid of art as to
furnish no other sign of advancement in their constructors from the
most primitive state of barbarism, than such as is indicated by the
piety which provided a funeral pyre for their dead, and even so rude
a vase, wherein their ashes might be inurned.... The rudimentary
form of the true cinerary urn is that of the common flower-pot, still
retained as the easiest and simplest into which the plastic clay can be
modelled.... From this simple shape was gradually developed the varying
forms both of sepulchral and domestic pottery found deposited with the
dead; inurning the sacred ashes and the costly tributes of affectionate
reverence, or placed in the grave with offerings of food and drink
designed to sustain the deceased on his final journey to the world of
spirits.” Fig. 740 is of this form and is almost identical with the
English example Fig. 15, Vol. I. It is from the Hill of Tuack, near
Kintore, in Aberdeenshire, and was found in the usual inverted position
close to one of the monoliths of the stone circle at the place. Another
of the same form, Fig. 741, ornamented with impressed dots and incised
herringbone pattern, was dug up in 1855 on the farm of Belhelvie, in
Fifeshire. It was 4 feet 6 inches in circumference at the mouth, and
when perfect must have been about 2 feet in height. When found it was,
as is commonly the case, inverted, as shown in the engraving, and was
imperfect. Another fine example is engraved on Fig. 742. It measures
thirteen and a half inches in height, and was dug up at the Ha’ Hill
of Montblairy, in Banffshire. It bears a marked resemblance to many
English examples, both in general form and in ornamentation; it bears
encircling lines of herringbone or zigzag ornament.
[Illustration: Fig. 740.--From the Hill of Tuack, near Kintore.]
[Illustration: Fig. 741.--From Belhelvie, Fifeshire.]
[Illustration: Fig. 742.--From the Ha’ Hill, Montblairy.]
[Illustration: Figs. 743 to 745.--From Banchory, and Arthur’s
Seat, Edinburgh.]
[Illustration: Figs. 746 and 747.--From Memsie and Rathbo.]
Figs. 743 to 745 are of different form, the two larger being probably
food vessels, and the latter an “immolation urn.” The first two were
found in a cist on a farm at Banchory, in Kincardineshire, along
with an interment by inhumation, and the latter at Arthur’s Seat, in
Edinburgh. In the next engravings, Figs. 746 and 747, the larger vessel
was found in a tumulus at Memsie, in Aberdeenshire, and the smaller at
Rathbo, near Edinburgh. Figs. 748 to 750 are three interesting vessels
from Lesmurdie, in Banffshire, now in the Museum of the Society of
Antiquaries of Scotland. The largest is eight inches in height, and the
smallest five inches. Fig. 751 was found in one of a group of cists,
under a large cairn, at Sheal Loch, in the parish of Borthwick, near
Edinburgh. It is made of fine baked clay, burned to an unusually hard
and durable consistency, and measures four and a half inches in height
by about six and a half in diameter. Five perforated projections are
disposed at nearly equal distances around it, and the interior of the
vessel bears evident marks of fire. Fig. 752 is from the Montrose
Museum and was found in that burgh some years back. The other three,
Figs. 753 to 755, are “immolation urns,” as I have before termed
them, which are respectively from Old Penrith, from Dunbar, and from
Ronaldshay in Orkney.
[Illustration: Figs. 748 to 750.--From Lesmurdie.]
[Illustration: Fig. 751.--From Sheal Loch.]
[Illustration: Fig. 752.--From Montrose.]
During Scoto-Roman times, pottery, there can be no reasonable doubt,
was made in Scotland, and many examples that have been brought to
light are evidently native manufacture; there are, however, no
marked peculiarities belonging to them. Of a later period, “the
last pagan period in Scotland,” according to Professor Wilson, some
remarkable glazed urns were found, one at East Langton, the other
in Aberdeenshire. They were found in stone cists by the sides of
skeletons, and were “of rough grey ware, ornamented externally with
parallel grooves running round them, and internally covered with a
green glaze.” They appear originally to have had “two projecting
ears opposite each other, which fitted into corresponding double
ones attached to a lid, by which the vessel, when found, was closely
covered; and the whole of the projections were perforated to admit a
pin which completed the fastening.” (See Figs. 757, 758.)
[Illustration: Figs. 753 to 755.--From Dunbar, Old Penrith, and
Ronaldshay.]
[Illustration: Fig. 756.--From Penicuik.]
[Illustration: Fig. 757.--From East Langton.]
[Illustration: Fig. 758.--From Aberdeenshire.]
As of the primitive so of the mediæval pottery of Scotland; it differs
but little from that of England, and indeed, except in a few instances,
cannot be distinguished from it. Pitchers of the usual form, perforated
jugs, bowls, dishes and platters--all were pretty nearly identical with
those of English make, and but few seats of manufacture existed. The
wares were of the commonest and coarsest kind. As in Ireland wood was
more generally used than anything else for such utensils.
Of mediæval pottery Figs. 756 to 759 are characteristic examples.
The first of these is a pitcher found in 1792, filled with coins of
Alexander II. of Scotland and Edward I. and Edward II. of England,
near Penicuick House, where it is preserved. It measures three and
three-quarter inches in height, and is perforated at tolerably uniform
distances. It is of coarse unglazed earthenware. Fig. 759 is a mediæval
pitcher found near North Berwick Abbey, in East Lothian; it bears a
marked resemblance to some engraved in Vol. I.
[Illustration: Fig. 759.]
That china was attempted to be made in Scotland in the middle of last
century is evident from the following paragraph from the _London
Chronicle_ of 1755: “Yesterday four persons, well-skilled in the making
of British china, were engaged for Scotland, where a new porcelain
manufacture is going to be established, in the manner of that now
carried on at Chelsea, Stratford, and Bow.” But nothing is known as to
the locality of the proposed works.
GLASGOW.
The first pottery established in Glasgow was, it would appear, founded
in 1749 as a delft-ware works. It was situated near the Broomielaw, in
a lane which was called the “Delft-field Lane.” “Delft-field Lane” is a
very suggestive name, and of course took its origin from the pot-works.
The name was, I am informed by Mr. Cochran, “changed to ‘James Watt
Street’ in later years. The celebrated inventor of the steam-engine
lived in this lane, and it was in one of the rooms of the pottery
that he was in the habit of working at his invention, and it is said,
perfected it. The ware manufactured at this pottery was delft ware,
and was a close imitation of the old grey Dutch ware of that name;
but about the year 1770 the proprietors began to make ‘Queen’s ware,’
or white ware. They also began to make both plain and ornamented
china, of such excellent quality that they received the compliment
of being appointed potters to the Prince of Wales. How long this
pottery lasted I have not been able to ascertain, but it was working
in full perfection in the beginning of the present century. The next
pottery which was built in Glasgow was about the year 1801, when the
“Caledonian Pottery,” on the banks of the Monkland Canal, was erected.
This is the oldest pottery now working in Glasgow, for although
Verreville was built more than twenty years before it, yet earthenware
was not made there till the year 1820.”
* * * * *
_Verreville Pottery._--In 1777, as the name implies, the Verreville
Works were built for a glass-house, by a Mr. Cookson, of Newcastle, and
a Mr. Colquhoun, of Glasgow. In 1806 they were sold to the Dumbarton
Glass Work Company, who immediately resold them to Mr. John Geddes,
with this stipulation, that he was not to manufacture crown or bottle
glass. Mr. Geddes carried on the manufacture of flint glass until 1820,
when he commenced making earthenware as well as glass. In 1835 the
works passed into the hands of Mr. Robert Alexander Kidston, who four
years afterwards added the manufacture of china to that of glass and
earthenware.
“He began,” I am told by Mr. Cochran, “by bringing skilled workmen
and artists from the principal seats of china manufacture. Figures,
porcelain basket work and flowers, were produced by workmen who had
acquired their skill in the old and celebrated porcelain works of
Derby, while Coalport and several of the most famous Staffordshire
china works supplied a general staff of potters, together with gilders,
and flower and landscape painters. Mr. Kidston carried on the business
for several years and produced a beautiful porcelain, and upon his
retiring from the business in 1846 was succeeded by the late Mr. Robert
Cochran, who carried on the works with great vigour and success. In
1856 he ceased the manufacture of china, and devoted the whole of the
works to the manufacture of earthenware. Mr. Cochran devoted great
attention and spared no expense in promoting the introduction of
labour-saving machinery. He also made great improvements in the kilns
or ovens in which the earthenware is fired, by which he reduced the
quantity of coal used to nearly one-half. It was applied successfully
in his own works of Verreville and Britannia, but was not adopted by
other manufacturers. This improvement was patented in 1852, and it is
only now that the same principle, with some slight alterations, has
been patented and is likely to be generally adopted by potters. Mr.
Cochran died in 1869, and was succeeded in the Verreville Pottery by
his son, also named Robert Cochran, by whom the works are still carried
on. The goods manufactured are principally for the home trade, and
consist of white, sponged, printed, and enamelled ware. No marks have
ever been used except the initials of the proprietors stamped on the
ware.” Verreville it is said was the first work in Scotland where china
was manufactured.
* * * * *
[Illustration: Figs. 760 to 762.]
[Illustration: Fig. 763.]
_Garnkirk Works._--These works were established about half a century
ago by Messrs. Sprott, by whom--and later by Mr. Mark Sprott--they were
carried on. They are now continued by the trustees of the late Mr. Mark
Sprott (Messrs. Sprott, Gillespie, and Cameron), under the style of the
“Garnkirk Fire Clay Company.” The goods produced at these works are
the ordinary classes of fire-clay and terra-cotta articles, including
ornamental chimney shafts and smoke-valves of good design and excellent
mechanical construction; sanitary pipes and other appliances;
architectural enrichments; garden edgings and balustrades of more than
average beauty in design, of which examples are given in Figs. 760 to
762; garden vases of great variety in design and of different sizes;
fountains, notably an example of five tiers, supported by figures of
dolphins and cranes, with basin twenty-four feet in height and sixteen
feet across, erected in the public park at Aberdeen; busts, statuary,
both single figures and groups, including Baily’s lovely conception of
“Eve at the Fountain,” “Gleaner,” “Minerva,” “Bacchus,” “Atlas,” &c.;
pedestals, brackets, and every other variety of ornamental goods, as
well as fire-clay, bricks, blocks, &c. The markets principally supplied
are the home, and those of France, Germany, Russia, and the East and
West Indies. The mark used is simply the word _Garnkirk_ impressed in
the clay.
* * * * *
_The Gartcosh Works_ were established by Mr. James Binnie, in 1863,
and have since then been considerably extended. The produce of these
works is terra-cotta vases, tazzas, pedestals, fountains, &c., of
remarkably good design and of fine and durable quality; ornamental and
plain garden edgings; gothic, clustered, and other chimney tops; ridge,
flooring, and roofing tiles; cattle, horse, and dog troughs; copings;
sewage and sanitary pipes of every description; glazed and unglazed
fire bricks, furnace blocks, and all other goods for fire-resisting
purposes. The clay is found about fifty fathoms below the surface,
at Gartcosh; the strata being from eighteen to twenty-five feet in
thickness. It is found underlying large beds of sandstone in what is
called the limestone series, which lies between the upper and lower
coal series of this district. The following is the analysis: silicic
acid or silica, 60·96; alumina, 37·00; peroxide of iron, 1·16; lime,
0·64; magnesia, 0·24; total, 100.00.
* * * * *
_Heathfield Pottery._--At these works Messrs. Ferguson, Miller, & Co.
produced some admirable vases in terra cotta, which were shown at the
1851 Exhibition, and are here engraved. One of these (Fig. 764) was a
vase of large size and excellent modelling; it bore a frieze of figures
typical of the great gathering in 1851. Fig. 765 shows, among its other
ornaments, a nuptial procession, designed in the style of the antique;
these figures were modelled with great accuracy, and are arranged in an
artistic manner. The works passed in 1862 into the hands of Messrs.
Young (which see); the moulds, &c., including those of these vases,
became the property of the Garnkirk Company.
[Illustration: Figs. 764 and 765.]
[Illustration: Figs. 766 to 769.]
[Illustration: Fig. 770.]
[Illustration: Figs. 771 to 781.--Messrs. Bell and Co.’s 1851
Exhibits.]
* * * * *
_Glasgow Pottery._--These works were established in 1842, by Messrs. J.
& M. P. Bell & Co., in Stafford Street, Glasgow, for the manufacture
of white and printed earthenware, and soon rose to the first rank
among the potteries of Scotland. Particular attention was from the
first paid not only to the excellence of body of the ware, but to
improvement in form and in style of decoration. In these particulars
they were eminently successful, and in 1851 received honourable
mention at the Great Exhibition. Later on the manufacture of china was
commenced, and later still the fine white and pearl granite wares, and
white and decorated sanitary wares. The works are of great extent, and
produce all the usual varieties of goods in dinner, breakfast, tea,
toilet, dessert, and other services, as well as all the usual classes
of articles, and in every variety of style, from the plain white
or cream colour to the most richly enamelled and gilt patterns. The
earthenware services are of more than average excellence of quality,
and the china, both body and glaze, of superior class. Some of the
dessert plates issued by Messrs. Bell, with hand-painted groups of
flowers and perforated or open-work rims, are equal to most English
makes; while some of the tea services are of tall classic form and
of excellent taste in colour and decoration. In parian Messrs. Bell
& Co. produce some admirable vases with figures in relief, and other
ornamental goods; the quality is far above the average. The old marks
used by the Glasgow Pottery are the following: Fig. 782, an eagle
holding a roll, on which is inscribed the name of the pattern, and,
underneath, the initials of the firm, J. & M. P. B. & Co.; Fig. 783,
the Warwick vase and the name, J. & M. P. BELL & Co. The later marks
are (Fig. 784), a garter bearing the initials of the firm, J. & M. P.
B. & Co., surrounding the trade mark of a bell; the name of the pattern
below. These are all printed on the ware, while another, impressed in
the body, is a bell with the initials J. B. (Fig. 785). Another is a
bell only (Fig. 786).
[Illustration: Figs. 782 to 786.]
Some of Messrs. Bell & Co.’s exhibits are shown in the engravings Figs.
766 to 781.
* * * * *
_North British Pottery._--These works on Dobbies Loan, produce the
ordinary qualities of earthenware goods.
* * * * *
_Saracen Pottery._--The Saracen Pottery was established in 1875
by Messrs. Bayley, Murray, and Brammer, at Possilpark. The firm
manufacture Rockingham, cane-coloured, Egyptian black, jet, and
mazarene blue wares on an extensive scale, mostly, in tea-pots, jugs,
and other useful domestic articles, both for the home and foreign
markets. The mark used is the initials of the firm and name of the works
B M & Co
SARACEN POTTERY.
* * * * *
_Port Dundas Pottery Company._--These works were established for
the manufacture of stoneware articles about the year 1819. In the
earlier years of its existence there were several changes in the
proprietorship, but for the last thirty years it has remained in the
hands of, and been carried on by, Mr. James Miller. The works, from a
somewhat small beginning, have attained considerable proportions. In
1856 they contained three salt-glaze ovens, in which were manufactured
chemical vessels and apparatus of various kinds, spirit bottles, jars,
&c.; and about this time many of the towns in the North of Scotland,
finding the desirability of having a good water supply introduced, had
recourse to high-pressure stoneware water-pipes for that purpose, which
were manufactured in large quantities at these works. Several towns
and many country mansion houses at the present time have their water
supply conducted through miles of the Port Dundas pipes. In the same
year a new glaze was introduced, giving to the ware a cream-coloured
appearance, much purer and cleaner for many purposes than the old brown
salt glaze, and with this a great demand sprang up for stoneware beer
bottles for warm climates, and the works consequently have been greatly
enlarged to meet the increased demand.
By far the greatest portion of ware made in Port Dundas is thrown on
the potter’s wheel, the motive power for which was supplied, until
1866, by girls, who turned a large driving wheel communicating with
a pulley under the workman’s wheelhead by a rope. The proprietor in
that year endeavoured to introduce steam power for this purpose, but
so strong was the opposition of the throwers that the machines and
accompanying shafting, &c., lay aside for three years unused. They
were then erected in a distant part of the works, and apprentices all
but forced to work on them. These, however, had not been long fitted
up when the workmen, seeing the immense advantages to be derived from
their use, gladly availed themselves of the offer of the proprietor to
substitute steam machinery for hand-power throughout the whole factory,
the immediate result of which was to raise the piece-work earnings
of the workmen from 30 to 49 per cent.; they had one attendant less
to pay, a part of whose wages the workman kept to himself, while a
proportion of it was paid to the Company for the use of the steam-power
and up-keep of the machinery. The speed of the wheel requiring to
be varied according to the different operations performed upon it,
is now under the complete control of the workman’s foot, and not as
formerly at the will, or according to the strength of, the assistant
wheel-turner. In this way a complete revolution was quietly effected in
the stoneware potting of Scotland, and the incentive having been given,
orders came from many potteries in England to the Scotch machine maker
for similar steam machines.
With the introduction of the cream-coloured stoneware glaze the ovens
had to undergo extensive alterations, the old salt-glaze cupboard kilns
giving place to much larger sagger ovens, in which the ware is now
burned. The improvement in the appearance of the ware having brought
it into much greater demand, the works rapidly extended, until at the
present time, in the Port Dundas Pottery with its branch work, the
Crown Pottery, there are fifteen ovens in regular operation.
The wares produced are beer, ink, and spirit bottles; preserve, acid,
butter, and druggist’s jars; chemical vessels and apparatus, and every
kind of article made in stoneware, water filters, Rockingham and cane
ware.
All the goods made are stamped with the name of the firm in an oval
stamp.
The home markets are supplied with all descriptions of general
ware, immense quantities of preserve jars, &c. Export bottlers in
Glasgow, Edinburgh, and Liverpool, are supplied with stone bottles.
Water filters, Rockingham, and cane ware are regularly shipped to
the colonies and the continent of Europe. Two years ago a process of
printing on the unfired stoneware body was perfected and patented by
this firm, eminently suitable for consumer’s labels, trade marks, &c.,
no extra firing in the shape of muffle or hardening-in kiln being
required.
The Company exhibited their manufactures at the Chilian Exhibition
held in Santiago in 1875, and there received the first prize gold
medal for the general excellence of their wares. The clay from which
this stoneware is made is obtained only from the Devonshire mines, is
very free from iron, and burns a light buff colour. Somewhere about
10,000 tons are annually used in Glasgow, nearly the whole of which is
brought by sea from the port of Teignmouth to the Clyde. Very little
preparation and no mixing with other ingredients is required before
passing into the hands of the workman; after being milled it is ready
to be fashioned into all kinds of articles. It is also singular in this
respect that the articles are glazed before being burned; and by one
process of firing to a very high pitch of heat--higher than that to
which any other kind of pottery ware is subjected--a hard, vitreous,
and very sonorous ware is produced, glazed inside and out with a
transparent glaze, which allows the buff colour of the clay to be
seen, and which is quite proof against the action of both alkalies and
acids, rendering vessels made by this ware highly suitable for storing
and transporting acids and other chemicals. For many years London and
Bristol were the chief seats of the stoneware trade, and workmen had
to be obtained from the south to carry on business in Scotland; but
apprentices were speedily trained in Glasgow to supply all wants, and
in turn to feed largely the southern potteries. At present there is
more pure stoneware manufactured in Glasgow than anywhere else, so that
it has really become the seat of the stoneware pottery of the kingdom.
* * * * *
_Hyde Park Potteries._--This manufactory was established about 1837 by
Mr. John McAdam. His productions are ordinary stoneware bottles, jars,
spirit casks, feet and carriage warmers, pans of various kinds, and all
the ordinary classes of stoneware goods.
* * * * *
_Britannia Pottery._--These large works at St. Rollox, Glasgow,
belonging to Messrs. Cochran & Co., produce all the usual varieties of
ordinary earthenware goods in granite and cream-coloured ware for South
America; and printed, enamelled, painted, and gilt wares for the home
markets. The works were established in 1855, by Mr. Robert Cochran, the
senior partner of the Verreville Pottery Company (which see), and the
present partners are Mr. Alexander Cochran (son of the above) and Mr.
James Fleming. The works contain six biscuit and seven glost ovens.
* * * * *
_Annfield Pottery._--Messrs. John Thomson and Co., at the Annfield
Pottery, Gallowgate, formerly manufactured both china and earthenware
goods for the home and foreign markets. The works have been closed some
time.
* * * * *
_Bridgeton Pottery._--The “Bridgeton Pottery” was built in 1869 by
its present owner, Mr. F. Grosvenor, who for some years previous to
that time had been a partner in the “Caledonian Pottery” at Glasgow.
The goods manufactured are the usual classes of articles in stoneware,
including chemical wares, bottles for various uses, spirit jars,
bottles, &c., and Rockingham ware tea-pots. In 1870 Mr. Grosvenor took
out a patent for the manufacture of bottles and jars by machinery, and
he has also invented an improved bottle stopper.
* * * * *
_Barrowfield Pottery._--Established by their present owner, Mr. Henry
Kennedy, in 1866, these extensive works produce in large quantities all
the usual classes of articles of “glass-lined stoneware,” including
“glass-lined bottles and jars” for domestic and other purposes, both
for home and foreign markets. The mark used by Mr. Kennedy is three
Bottles side by side beneath a ribbon bearing the words “Established
1866.”
COATBRIDGE.
_Glenboig Star Works._--The Glenboig Star Fire Brick Works produce
bricks, retorts, furnace-blocks and similar goods.
* * * * *
_Glenboig Fire-Clay Works._--These works belong to the Glenboig
Fire-Clay Company, and produce sewage and sanitary pipes, &c., retorts,
fire-bricks, &c.
* * * * *
_Cardowan and Heathfield Works._--The first of these works, belonging
to Messrs. John Young and Son, was built in 1852 by Messrs. John Hurll
and John Young, previous to that time of the Garnkirk Company. The
clay is the Garnkirk seam, and is of much the same character as the
Stourbridge clay. The Heathfield Works were acquired about 1860 from
Messrs. Miller and Ferguson (which see), and were largely extended and
altered, and improved machinery introduced. The clay was won at 350
feet, passing through a solid bed of freestone of 120 feet, giving off
much water; the seam itself is known as the Glenboig seam of clay, as
it was first wrought at the “Glenboig Works,” with which Mr. Young
was also till quite recently, a partner. At the “Cardowan Works” the
firm manufacture the usual varieties of fire-bricks, blast-furnace
blocks, gas retorts and fittings, vases, garden edgings, and plain
and ornamental chimney shafts. At the “Heathfield Works” they produce
fire-bricks, and vitrified salt-glazed pipes for sewerage and water
purposes, and invert sewer blocks and all the usual salt-glazed
articles. In 1874 Messrs. Hurll and Young dissolved partnership;
Mr. Young, along with his sons John and Robert, being now the sole
proprietors. The product of these works when in full work is about
20,000 fire-bricks per day and about 1,500 yards of pipes weekly.
PAISLEY.
_Ferguslie Fire-Clay Works._--These extensive works were established
in 1839, and are carried on by Messrs. Robert Brown and Son. The
productions are mainly chimney shafts in great variety and of good
design, sewage pipes and sanitary goods of all kinds, garden vases and
tazzæ, flower boxes, suspenders, fern and flower stands, &c. of various
designs; statuary, both single figures and groups, architectural
enrichments, pedestals, brackets, garden edgings, fire and other bricks
and tiles, copings, finials, &c.
* * * * *
_Shortroods and Caledonia Works._--These are brick and tile works
connected with the Ferguslie Works of Messrs. Robert Brown and Co.
* * * * *
_Paisley Earthenware Works._--Messrs. Robert Brown and Co. established
these works in 1876, and at them produce white enamelled earthenware
goods of a similar quality to those of Staffordshire. Their principal
productions are cabinet stands and lavatories of every requisite shape
both for domestic and shop fittings, plug basins, pans, and other
sanitary appliances, baths of every kind (a speciality being the
larger baths, five feet six inches in length, a size rarely attempted
in earthenware), washing tubs, sinks, &c., plumber’s fittings,
washhand-table tops, with and without toilet ware, plain and coloured
pavement and wall tiles, &c.
* * * * *
_Crown Works._--At the Crown Crucible Works, belonging to Messrs.
Robert Brown and Son, plumbago crucibles and kindred goods are
manufactured. The marks are a crown and name, BROWN PAISLEY, and a
crucible within an oval border surmounted by a crown.
GRANGEMOUTH.
_Fire-brick Works._--These works, belonging to the Grangemouth Coal
Company, were established in 1842. The clay, which is of good quality,
is got at a depth of about forty-eight fathoms, under lease from the
Earl of Zetland. The productions of the works consist of ornamental
vases, and tazzæ of various patterns; statuary, both single figures and
groups; fountains, vases and plinths; flower-stands and pots; chimney
shafts, some of which are highly decorated in relief; pedestals,
brackets, &c.; and salt-glazed pipes, grate backs, bricks, tiles,
&c. The company received honourable mention for their goods at the
Exhibition of 1851, and at the Hamburg Exhibition of 1866 had a medal
awarded to them for their vases and ornamental figures.
GREENOCK.
_The Clyde Pottery._--The “Clyde Pottery” works were built and
established by Messrs. James and Andrew Muir and others in 1815, and it
is still the property of the Muir family, the present proprietors being
the daughters of the late Andrew Muir. The business was first carried
on by the proprietors under the style of the “Clyde Pottery Company,”
with Mr. James Stevenson as manager. Mr. Stevenson was succeeded in the
management by Thomas Shirley, to whom the business was transferred,
and who altered the name of the firm to Thomas Shirley & Co. In 1857
the Messrs. Shirley were succeeded by the “Clyde Pottery Company
(Limited),” with James Brownlie as manager. This company acquired the
ground adjoining the pottery known as the “Blubber Yard” (from the fact
that formerly the blubber obtained at the whale-fishing was boiled
there), and this piece of ground gave ample scope for extending the
works. The “Clyde Pottery Company (Limited)” existed for five years,
and was then succeeded by the present firm, who carry on the business
under the old style--the “Clyde Pottery Company”--and who, in taking
over the lease, also acquired the ground adjoining already referred to,
and have extended the works so as to do double the business of any of
their predecessors. The firm consists of three members--John Donald,
Robert Gibson Brown, and John McLauchlan--the two last taking the
active management of the concern. The goods produced are the ordinary
qualities of cream-coloured, sponged, painted, printed, pearl-white,
enamelled, and gilt, suitable for the home trade, and various kinds of
ware also to suit particular foreign markets. The mark used upon goods
is “C. P. CO.” (Clyde Pottery Company). The markets supplied
are the Home, Scotch, and Irish; and considerable business is done
abroad with Calcutta, Mauritius, Rangoon, Java, Newfoundland, and
Canada.
DUMBARTON.
There were pot-works at Dumbarton in the latter part of last and the
beginning of the present century. About 1800, or thereabout, Anthony
Amatt, originally of Derby, and afterwards with Champion, of Bristol,
worked at Dumbarton. He afterwards returned to Bristol, and died there
in 1851, aged ninety-two.
RUTHERGLEN.
_Caledonian Pottery._--The “Caledonian Pottery” at Rutherglen, near
Glasgow, was established at Glasgow about 1780 by a joint stock
company, and from the company was acquired, about 1825, by the
grandfather and father of the present head of the firm of Murray and
Co., by whom the manufactory is carried on. In 1870 the works were
removed from Glasgow to Rutherglen, about a couple of miles from that
city. At first fine porcelain and china were made; then cream-coloured
printed ware, with Rockingham and salt-glazed wares. In 1851 the demand
sprang up for stoneware ale and other bottles, and this has become
one of the staple trades of Glasgow and the surrounding district. The
goods now produced are the usual classes of “Bristol” glazed stoneware,
salt-glazed stoneware, cane ware, and Rockingham and Egyptian black
wares. In these classes of goods all the usual domestic articles are
very extensively made, both for the home and continental markets. The
quality produced is much above the average in excellence, and the goods
of this firm are in much repute. A speciality of Messrs. Murray and
Co. is their patent “spongy iron filter” which has been officially
recommended by Royal Commission and has been awarded a medal. It is
one of the most perfect and useful of filters, and its principle of
construction is thoroughly good. The mark used by Murray and Co. is a
lion rampant.
PORTOBELLO, NEAR EDINBURGH.
_Midlothian Potteries._--The Midlothian Stoneware Potteries at
Portobello and Musselburgh, near Edinburgh, were established about
1857 by Mr. W. A. Gray, for the manufacture of general stoneware goods,
but they had, I am informed by him, been in existence as earthenware
works for upwards of a century before that time. They are now carried
on under the style of “W. A. Gray & Sons.” The goods produced are all
kinds of stoneware, and the more ordinary descriptions of earthenware.
In the first are all the usual descriptions of spirit jars and bottles,
spirit barrels, bowls and pans, jugs and pitchers, butter, beef, and
jam-pots, bottles, feet and carriage warmers, &c.; and in earthenware
many useful articles. They are principally supplied to the home market.
* * * * *
_Portobello Pottery._--These old-established works at Portobello,
near Edinburgh, were established in 1770, and are now carried on by
Messrs. A. W. Buchan & Co. For a number of years they turned out
ordinary white earthenware and Rockingham ware, but since 1842 the
manufacture has been entirely confined to stoneware. In this ware
bottles of various kinds, jars, jugs, feet and carriage warmers,
spirit bottles, and all the usual classes of goods, are extensively
manufactured, principally for the home markets. The mark of the firm is
a star.
KIRKCALDY.
_Sinclairtown Pottery._--Messrs. George McLachlan & Son were
manufacturers of ordinary earthenware at this place; the works are now
closed.
Other manufactories are, the _Kirkcaldy Pottery_ belonging to
Messrs. David Methven & Son, and the _Gallatown Pottery_ belonging
to Messrs. Robert Heron & Sons.
BONESS.
_The Boness Pottery_, as it is now called, dates from 1766. It was
originally planned and partly constructed by a Mr. Roebuck, an
enterprising Englishman, largely engaged in the coal and iron trade
in this district, who for some time lived in Kenneil House, belonging
to the Duke of Hamilton. For some cause Mr. Roebuck left for England,
and the pottery came by purchase into the possession of a Mr. Cowen,
and afterwards, in 1799 of Mr. Alexander Cumming, who carried it on
successfully for a number of years; then his nephew James Cumming
carried on the business, and although it only consisted of three kilns
it became one of the largest potteries in Scotland, if not the very
largest. Earthenware and brown ware were manufactured in all their
branches. The firm had another manufactory, called the “South Pottery,”
where brown ware was made for the home markets. In the possession of
the present firm is a punch bowl manufactured in these works with the
following inscription painted upon it:
“What art can with the potter’s art compare?
For of what we are ourselves of such we make our ware.”
It was made in the time of Thos. Cowen, and bears the date 1794. They
have in their possession also other, but undated, specimens of the
productions of the early manufactory. At the death of James Cumming the
works passed into the hands of his nephew, William Cumming, and being
sold in 1836 were bought by James Jamieson, and carried on for a number
of years, under the firm of James Jamieson & Co., and afterwards by the
son of Mr. Jamieson under the same style; the proprietors being John
Marshall and James Jamieson. After Mr. Jamieson’s death that part of
the works belonging to him was, in 1854, bought by Mr. John Marshall
and carried on, on his own account, until 1867, when he was joined by
Mr. William McNay as a partner, under the style of John Marshall & Co.
These works were the first in Scotland to adopt Needham’s patent for
manufacturing clay. The productions are the ordinary useful classes
of earthenware goods in dinner, tea, toilet, and other services, and
all the usual domestic articles; these are produced in white, sponged,
printed, painted, enamelled and gilt styles, and are supplied both to
home and foreign markets.
PRESTONPANS.
_Prestonpans Pottery._--There were, until 1838, two old pot-works,
each more than a century old, in Prestonpans; in that year they
were both closed. In 1836 Messrs. Belfield & Co. established the
“Prestonpans Pottery,” which they still carry on; the goods produced
being Rockingham tea-pots, cane jugs, &c.
ALLOA.
_Alloa Pottery._--These works were established in 1790 by Mr. James
Anderson, and were afterwards carried on by Mr. William Gardner; in
1855 they passed by purchase into the hands of the present proprietors,
Messrs. W. & J. Bailey. At first the works, under Mr. Anderson,
produced common brownware pans and crocks, and by Mr. Gardner the
addition was made of Rockingham ware tea-pots. By the present firm
this branch of manufacture has been considerably improved, and so
greatly extended that at the time I write, I am informed, no less than
twenty-six thousand tea-pots can be produced by them per week. Majolica
and jet ware goods are also largely made and are of good quality,
and a speciality of the firm is its artistic engraving of ferns and
other decorations of the finer qualities of tea-pots, jugs, &c. The
productions of the Alloa Pottery, besides a home trade, are exported in
large quantities to Australia, New Zealand, Canada, Germany, France,
America, &c., and medals have been awarded to them at the Paris and
Philadelphia Exhibitions. The excellent quality of the Alloa goods
“arises from the nature of the clay got in the neighbourhood,” and
the density of colour and softness to touch of the glaze are highly
commendable.
THE HEBRIDES.
Hand-made pottery is still made, and used, in all its primitive
simplicity. The following letter, which I am permitted to print,
is so full of interesting matter concerning this curious phase of
fictile art, that I give it entire. It was addressed by W. Morrison,
Esq., M.P., to my friend, Mr. W. H. Goss, and dated from the House of
Commons. It runs as follows:
“The circumstances under which I came upon the hand-made pottery
were as follows. In conversation with a Scotch friend on
archæological matters, he happened to mention that _hand-made
pottery_ is still used in the Hebrides. Taken in connection
with the fact that the inhabitants of some of the islands still,
I believe, live in the same circular dry stone huts, with their
cattle under the same roof, of which so many traces remain on
Dartmoor, Ingleborough in Yorkshire, the Yr Eifel Hills in
Carnarvonshire, and with the curious speculations contained in
the introduction to the popular tales of the West Highlands,
by Mr. Campbell, this fact seemed to be of some archæological
interest. Mr. Tyler, in his ‘Early History of Mankind,’ gives
many instances of the old savage instruments having lasted to
our times, _e.g._, the flint knife used to cut cabbages by
some old woman in Orkney, the bone ‘barker’ from Cornwall, in
Christy and Blackmore Museums, the stone hammer for breaking the
shells of whelks in Brittany, and so on.
“My friend gave me an introduction to Mr. D. Munro, the
chamberlain of Sir James Matherson, Bart., at Stornoway, in the
Lewes, and Mr. Munro promptly sent me a complete tea-service
consisting of teapot, milk-jug, sugar-basin, slop-basin, egg
cups (or probably dram cups), cups and saucers, and marmalade
pot! which he had purchased for the magnificent sum of 10s.
from an old woman at Stornoway, who was actually using them
in the year of grace 1868 at her tea table. The pottery is
evidently hand-made, and is of a very rough quality and form,
baked, but not turned on the wheel. I gave half the set to the
Blackmore Museum at Salisbury, and half to the Christy Museum,
at 103, Victoria Street (visible on Fridays between 10 and
4 p.m. by ticket obtained at the British Museum; no doubt a
letter enclosing stamped envelope would save the trouble of an
application to the British Museum). The pottery is in a case in
the secretary’s room. I am not sure if this room is shown to the
public, but of course it would be shown to any one having an
object in view.
“The remarkable thing is, that the pottery is distinctly copied,
rudely enough, from modern pottery. The forms are ordinary
Tottenham Court Road forms, and their continued use in an island
with a regular steamboat service from Glasgow strikes me as very
curious.
“Of course the view of the pottery is open to you, and all the
information contained in this letter. I should prefer, however,
not having my name published, unless to substantiate any
statements I have made.”
Manufactories of brown ware, of delft, of common earthenware, and
fire-clay goods, have also existed, or exist, in other parts of
Scotland.
CHAPTER XIV.
The following list, now for the first time printed, will be found
to contain all the specifications, relating in any way to pottery,
enrolled from the year 1626 down to 1877. The first portion of the
list, down to 1862, I have compiled from the “Abridgments of the
Specifications,” prepared by Mr. B. Woodcroft; and for the latter
portion I am indebted to Mr. William Spence, As. Inst. C.E., the
well-known Patent agent, by whom it has been specially prepared for me,
and to whom I tender my acknowledgments.
A LIST OF PATENTS RELATING TO CERAMICS
FROM 1626 TO 1877.
DATE. TO WHOM GRANTED. OBJECT.
1626 Oct. 26 Rous and Cullyn Stone potts, juggs, and
bottells.
1635 Feb. 17 Ramsey, Arnold, and Improvements in fuel for
Ayliffe drying, &c., of pottery,
tiles, &c.
1671 April 23 Dwight, John Porcelain or china.
1676 Oct. 27 Van Hamme, J. A. Tiles, porcelain and
earthenwares.
1684 June 12 Dwight, John “White gorges, marbled
porcelaine vessels,
statues and figures,” &c.
1722 June 13 Holt and London Composition or mixture for
making white ware.
„ Oct. 17 Billin, Thomas “Refined earthenware” from
native materials.
1724 Jan. 28 Redrich and Jones Staining, clouding,
damasking, &c.
1726 Nov. 5 Benson, Thomas Grinding, &c., of flint.
1729 May 9 Bell, Samuel Red marble stoneware.
1732 Jan. 14 Benson, Thomas Grinding, &c., of flint.
1733 April 24 Shawe, Ralph Chocolate and white ware.
1744 Dec. 6 Heylyn and Frye China.
1749 Nov. 17 Frye, Thomas „
1762 Jan. 25 White, William Crucibles, &c.
1764 Dec. 5 Williamson and Spackman China.
1766 June 10 Lauraguais, Count de „
1768 March 17 Cookworthy, William „
1769 Nov. 16 Wedgwood, Josiah Encaustic painting.
1775 Sept. 15 Cookworthy and Champion China.
1781 March 28 Parker, William Pedestals, candlesticks,
busts, figures, &c.
1782 Aug. 1 Crease, James Construction of stool-pans.
1783 May 31 Cartledge, J. Glazing.
1784 Feb. 5 „ „ „
1785 May 3 De la Mayne, Thomas Buttons of burnt earth or
porcelain.
1786 Aug. 5 Skidmore, John Decoration.
1789 Dec. 8 Baynes, John Improvement in ladles, &c.
1790 Oct. 16 Hempel, Johanna Composition for wares.
1796 June 20 Keeling, James Glazing, &c.
„ July 5 Close and Keeling Kilns, &c.
„ Oct. 3 Wedgwood, Ralph Improvements in
manufacture.
„ Oct. 3 „ „ Composition.
„ Oct. 3 „ „ Potters’ ovens, &c.
„ Oct. 3 Pepper, John „ „
1799 Feb. 28 Hickling, S. S. Chemical and other vessels.
1800 Jan. 9 Turner, W. and J. China and earthenware.
„ Jan. 20 Sanford, Isaac Bricks, tiles, pottery, &c.
1806 Nov. 6 Vazie, Robert Machinery, &c.
1807 Feb. 7 Spershott, James Improvements in body.
1809 July 26 Murphy, J. C. Mosaics, &c.
„ Sept. 29 White, John, jun. Artificial stone figures,
&c.
1810 May 22 Docksey, William Preparation of glazing
materials, &c.
1811 June 14 Waters, Richard Improvements in manufacture.
„ Aug. 7 Gilbert, Thomas „ „ „
1812 Dec. 16 Hamilton, Joseph „ „ „
1813 April 28 „ „ „ „ „
„ July 23 Mason, C. J. “Improvements in manufacture
of English porcelain.”
„ July 31 Hamilton, Joseph New application of earths,
&c.
1817 Dec. 5 Busk and Harvey Pipes and tubes, &c.
1818 April 16 Clayton, Robert Decoration.
„ Nov. 10 Poole, Moses Statues, &c.
„ July 26 Bagshawe, Samuel Vases, &c.
1820 June 2 Hague, John Improvements in materials.
1823 Nov. 22 Bourne, Joseph Kilns and ovens.
1825 June 21 Brookes, Philip Moulds, &c.
„ Nov. 1 Ridgway, J. and W. Cock, tap, or valve.
1828 March 13 Jones, R. G. Lithographic decoration of
china, &c.
1830 Jan. 26 Wright, Samuel Tiles, &c.
1831 May 18 Cooper, R. B. Cock, tap, or valve.
„ Sept. 7 Potts, Oliver, and Potts Printing on earthenware.
1833 May 11 Spinney, Thomas Crucibles, fire-bricks, &c.
„ Dec. 11 Wisker, John Improvements in machinery.
1835 April 14 Embrey, G. Decoration.
„ Dec. 3 Potts, W. W. Surface printing on pottery.
1836 May 12 Wilson, Richard Improvements in machinery.
1837 July 10 Chubb, William Commode pans, &c.
„ Sept. 14 Davies and Wilson Improvements in machinery.
1838 March 14 Dale, William Columns, bedposts, &c., of
earthenware.
1839 April 23 Singer and Pether Tiles, &c.
„ May 25 Clarke, T. and C. Glazing.
„ June 4 Nickels and Greenwood Decoration.
„ June 22 Turner and Minton Improved porcelain.
„ June 26 Ducôté, P. A. Printing on pottery.
„ July 3 Yates, James Raised ornaments, &c.
„ Nov. 2 Cutten, John Garden pots.
„ Nov. 12 White, James Improvements in machinery.
„ Nov. 21 Ducôté, P.A. Printing on pottery.
„ Dec. 4 Trewhitt, H. Improvement in manufacture.
„ Dec. 16 Wood, John Decoration.
1840 Jan. 11 Ridgway, John Moulds.
„ Jan. 11 Ridgway and Wall Improvements in manufacture.
„ Jan. 11 „ „ Preparing bats.
„ Feb. 2 Kerr, Thomas Improvements in body.
„ June 17 Prosser, Richard Buttons, &c.
1841 April 29 Gibbs, Joseph Materials.
„ June 12 Palmer, Edward Printing on pottery.
„ Aug. 21 Harvig and Moreau Decoration
„ Nov. 20 Venables and Tunnicliffe Kilns, ovens, &c.
1842 April 30 Barclay, Henry Decoration
„ July 23 Ayers, C. R. „
1842 Nov. 15 Brown, Robert Garden pots, &c.
1843 Jan. 14 Fontainemoreau, P. A. Improvements in body.
„ June 3 Brown, William Improvements in manufacture.
„ June 15 Booth, G. R. Firing kilns, ovens, &c.
„ Oct. 5 Boote, Richard Decoration.
„ Oct. 5 Wall, George, jun. Improvements in manufacture.
„ Oct. 18 Graham, James „ „ „
„ Dec. 28 Thorneycroft, G. B. „ „ „
1844 Jan. 20 Basford, William „ „ „
„ Jan. 23 Wright, Samuel „ „ „
„ Nov. 2 Smith, Charles Enamelling, &c.
„ Dec. 30 Betts and Stocker Bottles, jars, &c.
1845 May 22 Hullmandel, C. J. Decoration.
„ May 24 Simpson and Seddon Kilns, flues, &c.
„ Nov. 6 Cooper, R. B. Taps, cocks, stoppers, &c.
„ Nov. 20 Skinner and Whalley Improvements in manufacture.
„ Dec. 4 Leslie, John Gas fittings, &c.
„ Dec. 15 Findler, Thomas Flint grinding, &c.
1846 Feb. 25 Maddock, John Kilns, ovens, &c.
„ March 25 Smith, Charles Improvements in manufacture.
„ May 22 Lutwyche, C. F. Buttons, &c.
„ May 28 Stocker, A. S. Bottles, &c.
„ July 23 Fourdrinier, G. H. Printing on pottery, &c.
„ July 30 Mallet and Dawson Uses for porcelain, &c.
„ Nov. 17 Masters, Thomas „ „
„ Dec. 14 Ford, Charles Improvements in manufacture.
1847 July 29 Newton, A. V. Kilns, ovens, &c.
„ Aug. 4 Bourne, Joseph „ „
„ Oct. 21 Ridgway, John Boxes, &c.
„ Nov. 20 Walker, Thomas Decoration.
„ Dec. 31 Pratt, F. E. Improvements in manufacture.
1848 March 8 Whishaw, F. „ „ „
„ March 14 Collins and Reynolds Decoration.
„ April 10 Spencer, Thomas Improvements in manufacture.
1849 Feb. 8 Tooth, William „ „ „
„ May 3 Buller, T. W. „ „ „
„ May 22 Da Costa, S. I. „ „ „
„ May 24 Goodfellow, T. and G. „ „ „
„ June 7 Masters, Thomas „ „ „
„ Sept. 20 Edwards, D. O. Stoves, kilns, &c.
„ Sept. 20 Lorkin, Josiah Improvements in machinery,
&c.
„ Sept. 27 Browne and Veale Grinding flint, &c.
„ Dec. 15 Harcourt, Robert Knobs, handles, &c.
1850 June 4 D’Angely, Paul Improvements in manufacture.
„ Oct. 17 Baddeley, J. H. „ „ „
1851 Feb. 2 Févre, G. D. „ „ „
„ March 17 Minton and Hoffstaedt Faces for dials, clocks, &c.
„ April 26 Nasmyth and Minton Tiles, &c.
„ May 10 Harding, H. Gas burners, &c.
„ Oct. 2 Hodge, William Improvements in manufacture.
„ Oct. 29 Biddell and Green „ „ „
„ Nov. 4 Beswick, Robert „ „ „
„ Dec. 8 Pidding, William „ „ „
1852 March 24 „ „ „ „ „
„ April 15 Beltzung, F. J. Bottles, jugs, &c.
„ April 20 Ridgway, John Decoration.
„ June 12 Reid and Brett Electric telegraph
insulators, &c.
„ July 13 Palm, J. B. Tiles, bricks, &c.
„ Oct. 11 Moorhouse, H. Improvements in machinery.
„ Oct. 12 Smith, W. H. Lava ware.
„ Oct. 19 Harcourt, J. and W. Knobs, handles, &c.
„ Oct. 19 Allman, F. H. Brush backs, &c.
„ Oct. 26 Rowley, Charles Nail heads, &c.
„ Oct. 30 Bale and Sanders Improvements in machinery.
„ Nov. 6 Gosnell, J. E. and C. Brush backs, &c.
„ Nov. 17 Way and Paine Improvements in manufacture.
„ Dec. 16 Healey, John Application of porcelain,
&c.
„ Dec. 22 Roberts, John „ „ „
1853 Jan. 1 Brough, Joseph Opaline, &c.
„ Jan. 25 Remonde, A. F. Decoration.
„ Jan. 26 Ador, N. F. Improvements in manufacture.
„ Jan. 31 Lightfoot, Thomas Glazes, &c.
„ Jan. 31 Pinkerton, John Decoration, &c.
„ Feb. 10 Breese, C. „
„ March 29 Pym, John Earthenware sleepers, &c.
„ April 4 Steigewald, F. Improvements in manufacture.
„ April 6 Johnson, William Decoration.
„ April 11 Campbell, William M. Kilns, &c.
„ April 25 Bernard, J. Improvements in manufacture.
„ April 26 Poole, Moses „ „ „
„ May 16 Richardson, Thomas „ „ „
„ July 14 Needham and Kite „ in machinery,
&c.
„ July 14 Brown, Hon. Sir Richard Coffins, catacombs,
sarcophagi, cenotaphs,
&c.
„ July 15 D’Huart, H. J. Improvements in manufacture.
„ July 25 Ferguson, J. Kilns, ovens, &c.
„ Aug. 12 Wareham, H. Decoration.
„ Aug. 17 Grimsley, Thomas Bricks, tiles, &c.
„ Aug. 18 Cornelius, William Decoration.
„ Aug. 18 Bergevin, A. M. M. de Improvements in manufacture.
„ Sept. 14 Nash, William „ „ „
„ Sept. 16 Thomson and Lockerbie Kilns, ovens, &c.
„ Oct. 7 Ellis, William Decoration.
„ Oct. 11 Campbell, W. M. Kilns, ovens, &c.
„ Oct. 13 „ „ „ „
„ Nov. 1 Bale and Lucas Decoration.
„ Nov. 4 Pratt, Henry Improvements in manufacture.
„ Nov. 19 Daniell, Henry „ „ „
„ Dec. 27 Prideaux, T. S. Kilns, ovens, &c.
1854 Jan. 18 Sharp, Edmond Improvements in machinery.
„ Jan. 19 Webb, Thomas Kilns, &c.
„ Jan. 21 Venables, T. B. Improvements in manufacture.
„ Feb. 18 Britten, B. „ „ machinery.
„ May 11 Doulton, Henry Kilns, ovens, &c.
„ May 24 Jennings and Davenport „ „
„ June 15 Kite, James Improvements in machinery.
„ June 22 Blashfield, J. M. „ „ manufacture.
„ July 5 Venables and Mann Decoration.
„ July 15 Brindley, E. H. „
„ Aug. 26 Wall, George Improvements in manufacture.
„ Aug. 29 Seithen, John „ „ „
„ Sept. 4 Mayer and Bush Grinding flint, &c.
„ Oct. 25 Rickhuss and Toft Parian, porcelain, &c.
1855 Jan. 3 Venables and Mann Decoration.
„ Jan. 3 „ „ Figures and Ornaments.
„ Jan. 13 Hollins, M. D. Slip-kilns, &c.
„ Jan. 27 Mayer and Bush Grinding flint, &c.
„ April 3 Evrard, M. Improvements in manufacture.
„ May 11 Pascall and Fry Garden pots.
„ May 28 Grafton, Henry Heating, &c.
„ June 12 Hackney, Nathan Improvements in manufacture.
„ June 20 Gernon, James „ „ „
„ June 23 Silbermann, I. J. „ „ „
„ June 27 Margueritte, L. J. F. „ „ „
„ July 2 Tooth, W. H. „ „ „
„ July 6 Bellay, J. A. „ „ „
„ July 13 Cochran, Robert „ „ „
„ July 31 Dalman, G. J. „ „ „
„ Sept. 4 Gilbee, W. A. „ „ „
„ Oct. 1 Illingworth, W. Printing on pottery.
„ Oct. 4 Sanders, F. G. and T.
R., jun. Improvements in manufacture.
„ Oct. 23 Richardson, Thomas „ „ „
„ Nov. 28 Barbier, C. J. B. Kilns, &c.
1856 Jan. 7 Jarvis and Clare „
„ Jan. 26 Gardner, E. V. Heating, &c.
„ Feb. 12 Jablonowski, J. F. P. Chromo-lithographic
decoration.
„ Feb. 20 Barsham, John Improvements in manufacture.
„ March 4 Rosenberg, C. T. Decoration.
„ March 6 Pochin, H. D. Improvements in manufacture.
„ March 10 Hannah, Robert Kilns, &c.
„ March 10 Chablin and Hennique Decoration.
„ March 25 Bromley and Adams Kilns, ovens, &c.
„ March 25 Illingworth, Wm. Decoration.
„ March 26 Tolhausen, A. Improvements in manufacture.
„ March 31 Looker, B., jun. Burial indicators.
„ May 9 Léon and Blamond Decoration.
„ May 24 Illingworth, William „
„ May 31 Needham and Kite Improvements in machinery.
„ June 27 Johnson, J. H. Carbonate of barytes, &c.
„ June 28 McAdam, William „ „
manufacture.
„ June 28 Bellford, A. E. L. Ovens, kilns, &c.
„ July 2 Nourisson, Alfred Kilns, ovens, &c.
„ July 2 Spittle, W. F. Improvements in machinery.
„ July 7 Chenot, A. L. S. and
E. C. A. Improvements in machinery.
„ July 12 Petrie, Wm. Porous goods.
„ July 21 Leak, Elias Improvements in manufacture.
„ Aug. 4 Gottgetreu, C. G. Lithographic printing on
pottery.
„ Aug. 8 Davenport, Robert Kilns, &c.
„ Aug. 13 Lesser, David Improvements in machinery.
„ Aug. 28 Gardissal, C. D. Fuel.
„ Nov. 3 Tearne and Richmond Decoration.
„ Nov. 3 Kirkham, John Kilns, ovens, &c.
„ Dec. 4 Bellford, A. E. L. Bricks, tiles, &c.
„ Dec. 4 Margueritte, L. J. F. Retorts, crucibles, &c.
„ Dec. 30 Brooman, R. A. Improvements in manufacture.
1857 Jan. 21 Neville, Samuel „ „ machinery.
„ Jan. 21 „ „ „ „ „
„ Jan. 24 Green, Daniel Kilns, &c.
„ Feb. 7 Skertchley, Joseph Saggers, &c.
„ Feb. 23 Kirkham, John Kilns, ovens, &c.
„ March 21 Blackburn, B. Porcelain, &c., pans.
„ March 28 Girard, H. B. Telegraph insulators, &c.
„ April 9 Harland, John Purifying clay.
„ April 25 Tonks and Breeden Gas burners, &c.
„ May 6 Bousfield, G. T. Improvements in machinery.
„ May 7 Dolléans, L. C. Decoration.
„ May 11 Siemens, C. W. Heating, &c.
„ June 1 Tingle, George Improvements in manufacture.
„ June 4 Boote, T. L. and R. Mosaic and other pottery.
„ June 6 Dopter, A. J. V. Decoration.
„ June 24 Bourry, E. A. Improvements in manufacture.
„ June 25 „ „ Kilns, ovens, &c.
„ July 1 Newton, W. E. Decoration.
„ July 8 Brianchon, J. J. H. „
„ July 23 Bouvert and Pascal Improvements in machinery.
„ Oct. 15 Negretti and Zambra Decoration, lettering, &c.
„ Oct. 28 Greening, William Decoration.
„ Oct. 30 Prideaux, T. S. Heating, &c.
„ Dec. 9 Westendarp, C., jun. Artificial ivory.
„ Dec. 24 Burleigh and Danchell Improvements in machinery.
„ Dec. 29 Mourot, Victor Kilns, ovens, &c.
„ Dec. 30 Harmer, Richd. Cigarette mouthpieces.
1858 Jan. 22 Basford, William Kilns, ovens, &c.
„ Jan. 28 Spence, William Chimney-pots.
„ Feb. 11 Looker, B., jun. Telegraph insulators, &c.
„ April 26 Lee, E. E. Buttons, &c.
„ May 31 Girerd and Wohlgemuth Decoration.
„ June 7 Vigers, Edward Bricks and tiles.
„ July 12 Northen, William Application of stoneware.
„ July 20 Doley, Bigland, and
Worrall Decoration.
„ July 22 Blake, Benjamin Kilns, &c.
„ Sept. 18 Luis, Jozé Machinery.
„ Sept. 27 Lander, William Decoration.
„ Oct. 2 Monier, H. Gas-burners, &c.
„ Nov. 6 Cliff, John Kilns, &c.
1859 Jan. 3 Furnival, Derbyshire,
and Emery Improvements in manufacture.
„ Feb. 11 Cogan, Robert „ „ machinery.
„ Feb. 14 Parkinson, James Earthenware coffins.
„ Feb. 19 Basford, William Bricks and tiles.
„ Feb. 23 Russell, Samuel Handles, &c.
„ March 1 Edwards, John Improvements in manufacture.
„ March 21 Leoni, S. „ „ „
„ April 7 Garrett, John Goblets, jugs, &c.
„ May 26 Dorn, Charles Kilns, ovens, &c.
„ June 23 Doulton, Henry Earthenware jars and bottles.
„ June 25 Roberts, John Filters.
„ July 30 Seithen, A. B. Cases, covers, &c.
„ Aug. 3 Dowling, Edward Rosettes, &c.
„ Oct. 6 Hind and Lowenthal Improvements in manufacture.
„ Oct. 17 Berry, George „ „ „
„ Nov. 2 Hess, R. H. China gas-burners, &c.
„ Nov. 28 Bower, Joseph Crucibles, &c.
„ Dec. 9 Spiller, Joel Drying, &c.
1860 Jan. 17 Brooman, J. A. Cements, &c.
„ Jan. 20 Ferté, F. J. J. de la Photographic decorations.
„ Jan. 24 Gatellier, E. L. Crucibles, &c.
„ Jan. 30 Holmes and Cordon Improvements in manufacture.
„ Feb. 6 Skertchley, Joseph „ „ „
„ Feb. 18 Bewley, R., jun. Heating.
„ March 1 Blashfield, J. M. Kilns, &c.
„ March 7 Chapuis, C. A. Decorating, &c.
„ March 23 Meyer, F. C. Copying ornamental figures
and forms.
„ April 27 Northen, William Kilns, &c.
„ June 5 Jardin and Girard Bricks, tiles, &c.
„ June 23 Jobson, Robert Moulding.
„ July 19 Shaw, I. B. and J. E. Decoration.
„ Aug. 30 Lockett and Goodwin Kilns, &c.
„ Sept. 15 Barnwell and Rollason Improvements in body.
„ Sept. 20 Richardson and Prentice „ „ „
„ Sept. 20 Morley, J. R. Baking dishes.
„ Sept. 25 Geoghegan, Robert Improvements in machinery.
„ Sept. 26 Boulton, William Stoves, &c.
„ Nov. 19 Jowett, H. A. Fixing ovens, &c.
„ Nov. 22 Jobson, Robert Moulding.
„ Nov. 23 Venables, John Decorating.
„ Nov. 26 McKenzie and Hamilton Bobbins, &c.
„ Dec. 4 Lepetit, Maxime Improvements in manufacture.
„ Dec. 4 Walter and Henry Decoration.
„ Dec. 27 Parry, William Chimney-pots, pedestals, &c.
„ Dec. 29 Chamberlain, H. Improvements in manufacture.
1861 Jan. 22 Siemens, C. W. and F. Furnaces, &c.
„ Jan. 28 Newton, W. E. Dinner plates.
„ Feb. 23 Spencer, Thomas Improvements in manufacture.
„ April 1 Brooman, R. A. Decoration.
„ April 3 Blanchard, M. H. Terra-cotta, stoneware, &c.
„ April 20 Clark, William Decoration.
„ May 15 Doulton, Henry Chemical vessels, &c.
„ May 18 Poulton, A. C. Improvements in body.
„ June 20 Lesneur, A. N. Panels, &c.
„ June 25 Lafon, Jules Chromo-lithographic
decoration.
„ July 8 Cobley, Thomas Improvements in manufacture.
„ July 15 „ „ „ „ „
„ Aug. 1 Pratt, Matthew Candle moulds.
„ Aug. 3 Lewis, Joseph Printing on pottery.
„ Aug. 13 Jacob, Joseph Decoration.
„ Aug. 15 Kain, F. A. Artificial stone
earthenware.
„ Nov. 12 Newton, A. V. Dinner plates.
„ Dec. 11 Brooman, R. A. Decoration.
1862 Jan. 11 Wilkinson, William Ornamentation.
„ Jan. 27 Robotham and Hackney Purifying slip, glaze, &c.
„ Feb. 12 Joseph, J. S. Improvements in coke ovens,
&c.
„ Feb. 13 Joseph, J. S. Improved retort oven.
„ Feb. 21 MacAdam and Chrystal Earthenware for sheaves,
pulleys, &c.
„ Feb. 26 Cliff, John Improvements in glazing
stoneware, &c.
„ Feb. 28 Mackenzie, Murray and
Hamilton Improvements in machinery.
„ March 19 Brooman, R. A. Printing and painting upon
glass, &c.
„ March 22 Henry, Michael Kilns, ovens, and furnaces.
„ March 27 Birkbeck, G. H. Imitation mosaics.
„ April 26 Le Souëf, D. C. Improvements in nails, &c.
„ May 7 Markland, Thomas Wearing apparel appliances.
„ May 15 Birkbeck, G. H. Apparatus for consuming
smoke.
„ June 17 Clark, William Buttons.
„ June 21 Yapp, G. W. Chromo-lithographic printing.
„ June 27 Brooman, R. A. „ „
„ June 30 Murray, W. F. Stoneware bottles, &c.
„ Aug. 18 Cimeg, J. Depositing metals on.
„ Aug. 18 Boetius, H. Fireproof materials.
„ Sept. 4 Platt and Richardson Burning bricks, &c.
„ Sept. 19 Maw, G. Mosaic inlays.
„ Sept. 29 Ellis, H. Compound silicates.
„ Sept. 30 Hughes, J. L. Ornamental patterns.
„ Oct. 3 Robotham and Oswald Purifying glaze, slip, &c.
„ Oct. 16 Nelson, E. Heating apparatus.
„ Oct. 27 Lindemann, G. Bricks, tiles, &c.
„ Nov. 25 Ranson, G. Sifting clay.
„ Nov. 28 Buller and Mugford Spur-supporting rings.
„ Dec. 5 Tildesley and Sharpe Knobs and spindles.
„ Dec. 6 Craig, J. and M. Manufacturing clay.
1863 Feb. 7 Miller and Struthers Securing bottle stoppers.
„ Feb. 21 Malpas, C. Ovens or kilns.
„ Feb. 23 Brooman, R. A. Ornamenting, &c.
„ Feb. 24 Hawthorn, J. Handles for doors, &c.
„ Feb. 26 Clark, W. Buttons.
„ March 26 Johnson, J. H. Boiler furnaces.
„ April 7 Macintyre, J. Knobs, &c.
„ April 22 Durand, F. Moulding.
„ May 11 Parkinson, J. Monumental tablets.
„ May 12 Warren, T. Furnaces or kilns.
„ June 15 Forrester, J. Bricks, &c.
„ June 24 Hughes, J. L. Ornamenting porcelain.
„ June 30 Johnson, J. H. Moulding.
„ July 2 Brooman, R. A. Coating slate, &c.
„ July 27 Ford, F. and L. Enamelling, &c.
„ Aug. 31 Kramer, H. E. Ornamenting.
„ Oct. 3 Wilson, E. B. Porcelain and glass.
„ Oct. 7 Leak, E. Supporting ware in ovens.
„ Nov. 6 Campbell, C. M. Drying plates, &c.
„ Dec. 11 Cliff, J. Transmitting power.
1864 Jan. 11 Woolf, S. Packing.
„ Feb. 1 Prince, A. Artificial pavement.
„ Feb. 4 Edwards, J. Supporting in ovens.
„ Feb. 19 Scrivener, R. Preparing and drying.
„ March 8 Newton, A. V. Preparing clay.
„ April 23 Worssam, G. J. Expressing liquids.
„ May 11 Gisborne, T. M. Kilns.
„ May 18 Boulenger, H. A. C. Moulding.
„ June 23 Cochran, R. Treating clay.
„ June 24 Chamberlain, Craven and
Wedekind Kilns.
„ Aug. 2 Johnson, J. H. Glazes.
„ Aug. 9 Clark, W. Ornamenting.
„ Aug. 10 Johnson, J. H. Gilding.
„ Sept. 23 Woodbury, W. B. Photography.
„ Oct. 13 Clauss, L. Ornamenting.
„ Nov. 10 Boote, T. L. and R. Manufacture of pottery.
„ Dec. 6 Martius, C. A. Photography.
„ Dec. 16 Brown, G. Cylinders.
„ Dec. 29 Baugh, B. Enamelled wares.
1865 Jan. 28 Burg, Victor Filtering apparatus.
„ Feb. 1 Meakin, J. Placing in ovens.
„ Feb. 15 Emery, F. J. Ornamenting.
„ March 22 Wright, J. Preparing china clay.
„ April 21 Scarratt and Dean Impressions from grain of
wood.
„ April 22 Grainger and Girdler Designs on porcelain, &c.
„ April 26 Smith, W. H. Photographing.
„ April 27 Grainger and Girdler „
„ May 23 Hett, A. Preparing and ornamenting.
„ June 10 Broomam, R. A. Kilns.
„ June 16 Gedge, W. E. Manufacture of pottery.
„ Aug. 11 Armstrong, R. W. Moulding.
„ Nov. 9 Newton, W. E. Preparing surfaces.
„ Nov. 24 Turner, G. W. Manufacture of pottery.
„ Nov. 27 Lake, W. R. Enamel.
„ Dec. 8 Boulton and Worthington Mortars, bowls, &c.
1866 Jan. 15 Holdcroft, W. and Wood, J. Instruments for potters’
use.
„ Jan. 31 Greaves, G. Glazed surfaces.
„ Feb. 3 Jobson, R. Moulding.
„ Feb. 6 Worthington, J. Manufacture of dishes, &c.,
&c.
„ Feb. 9 Revan and Fleming Furnaces and kilns.
„ Feb. 9 Armstrong, R. W. Manufacture of earthenware,
&c.
„ Feb. 14 Henry, Michael Photography.
„ Feb. 22 Leak, E. Improvements in tools used
by potters.
„ March 17 Ashton, R. H. Ornamentation.
„ May 12 Price, A. P. Combustion of fuel.
„ May 19 Brown, J. B. Mowing machines.
„ June 26 Cotterill, Ch. F. Earthenware pipes.
„ July 2 Bonneville, H. A. Furnaces and kilns.
„ July 7 Huntsmann, R. Burning and drying bricks.
„ Aug. 29 Davis, J. Improved method of treating
limestone, &c.
„ Sept. 20 Walker, A. B. Improvements in brewing, &c.
„ Nov. 27 Atterbury, J. H. and
Woolf, S. Manufacture of earthenware.
1867 Jan. 9 Doulton, Henry Pottery kilns.
„ Feb. 2 Robinson, J. G. Construction and arrangement
of kilns and ovens.
„ March 7 Newton, W. E. Manufacture of porcelain.
„ March 8 Hawthorn, Stephen China and earthenware knobs.
„ March 30 Higginson, G. Producing opaline pictures
into china, &c.
„ April 1 Brooman, C. E. Producing surfaces for
printing, &c.
„ April 23 Leigh, Elisha Bowls, jugs, &c.
„ April 26 Abel, C. D. Pulverizing substances.
„ May 20 Tongue, J. G. Pottery ovens (furnaces
for).
„ May 22 Cartland, J., and Bold, H. Ornamenting bowls.
„ May 23 Green, T. G. Manufacture articles of
earthenware.
„ May 30 Orr, William Drying potter’s clay.
„ June 10 Orr, William Potter’s clay.
„ July 3 Borlase, Thomas China clay.
„ July 13 Fletcher, Henry For mixing clay.
„ Oct. 23 Abel, C. D. Pulverisation of substances.
„ Oct. 24 Adcock, Henry Kilns.
„ Oct. 30 Piercy, F. Tinting or colouring.
„ Nov. 2 Hicks, J. J. Manufacture of earthenware
handles for brushes.
„ Nov. 13 Bland, P. E. Baking potter’s ware.
„ Nov. 23 Boulton, William Transmission of motive power
to potter’s wheels, &c.
„ Nov. 28 Pratt, J. R. Earthenware articles.
„ Dec. 5 Leigh, T. J. Improvements in furnaces.
„ Dec. 13 Lintzenich, E. R. Substitute for earthenware.
„ Dec. 16 Kerr, William H. Preparation of material used
in manufacture of
porcelain and pottery.
1868 Jan. 15 Nimms, G. Composition furnace linings.
„ Jan. 16 Postill, F. Kilns or ovens.
„ Jan. 18 Newton, W. E. Kilns or ovens.
„ Jan. 25 Johnson, J. H. Kilns for earthenware.
„ Jan. 27 Hicks, J. J. Earthenware handles and
backs for mirrors.
„ Jan. 27 Rendie, W. E. Earthenware structures for
protecting fruit trees.
„ Feb. 26 Walker, E. R. Transmitting motive power
to potter’s machinery.
„ March 26 Cliff, W. D. Furnaces or kilns.
„ April 7 Siemens, C. W. Furnaces for kilns.
„ May 27 Vidie, James Ornamentation of
earthenware.
„ June 6 Maw, George Earthenware plant labels.
„ June 11 Newton, W. E. Cement.
„ June 11 Thenard, A. E. G. Combustion of fuel in
pottery furnaces.
„ June 12 Fleury, A. L. Improvements in treating
quartz for porcelain
manufacture.
„ June 17 Clark, A. M. Purification of ceramics,
&c.
„ June 27 Hodge, P. R. Smelting porcelain, &c.
„ June 30 Green, Thomas G. Composition to be used in
earthenware.
„ July 20 Newton, A. V. Making pottery ware.
„ Aug. 11 Moore, H., Moore, T.,
Moore, G. China tablets.
„ Aug. 15 Leak, A. J., Leak, E. Machinery for pottery.
„ Aug. 15 Scott, H. Y. D. Pottery kilns.
„ Aug. 19 Atterbury, J. H. Earthenware manufacture.
„ Aug. 20 Ensell, H. C. Earthenware kilns.
„ Sept. 7 Massellon, W. A. Kilns.
„ Sept. 30 Horton, E. Earthenware for chandeliers,
&c.
„ Oct. 22 Carr, Thomas Machinery for disintegrating
clays, &c.
„ Oct. 26 Boulton, William Machinery for irregular
shaped articles of
pottery.
„ Oct. 31 Langford, J. Knobs and feet of vessels.
„ Nov. 9 Sweatman, J. L. K. Kilns.
„ Nov. 11 Wilson, G., Jun., Wilson,
J., Jun. Kilns.
„ Nov. 14 Harrison, William Ovens and kilns.
„ Nov. 30 Forbes, J. S. Implements in pottery
materials.
„ Dec. 5 Holmes, J. Kilns.
„ Dec. 12 Prince, A. Cementing materials used
in making porcelain.
1869 Jan. 2 Batchelor, A. Kilns.
„ Jan. 6 Robbins, E. Pottery or china
manufacture.
„ Jan. 7 Fairburn, H. E. Machinery for compressing
clay, &c.
„ Jan. 22 Maw, A. Moulds for earthenware.
„ Feb. 2 Bird, J. Kilns or ovens.
„ Feb. 3 Baker, Valentine Hot liquid vessels.
„ Feb. 17 Round, E. Vessels for cooling or
heating liquids.
„ Feb. 24 Rees, George Designs upon surface of
glazed ware.
„ March 9 Bonneville, Henry A. New sort of porcelain.
„ April 14 Brooman, C. E. Apparatus for burning
liquid hydrocarbon.
„ April 19 Scott, H. Y. D. Ovens or kilns.
„ April 23 Lyttle, W. A. Voltaic batteries
(earthenware cells).
„ May 19 McAdam, W. Manufacture of pottery.
„ June 3 Morgan, W. Chemical porcelain ware.
„ June 21 Cashin, T. F., and Furnaces.
Green, J.
„ Aug. 2 Hodge, P. R. Vitrifying porcelain.
„ Aug. 16 Mitchell, J. Kilns.
„ Aug. 16 Pinkus, Henry Porcelain furnaces.
„ Aug. 25 Cederwaller, A. F., and Improvements in manufacture
Westerlund, A.F. of porcelain furnace, &c.
„ Sept. 11 Tongue, J. G. Pottery kilns.
„ Sept. 14 Newton, W. E. Moulding plastic materials.
„ Sept. 16 Bettison, William Potter’s glaze.
„ Sept. 28 Scott, H. Y. D. Pottery kilns.
„ Sept. 29 Dulake, A. S. Improved pot or vessel for
butter, &c.
„ Oct. 14 Lesage, L. A. Porcelain or china ware.
„ Oct. 14 Kleven, William Transfers for pottery.
„ Nov. 12 Gorman, William Pottery furnaces.
„ Nov. 30 Ensor, Edward, jun. Kilns.
„ Dec. 1 Green, T. G. Machinery for manufacture
of earthenware.
„ Dec. 7 Johnson, J. H. Crucibles, retorts, saggars,
&c.
„ Dec. 29 Newton, W. E. Improvements in tilting
vessels and stands for
same.
1870 Feb. 10 Ferguson, F. T. An improved jug or pitcher.
„ March 2 Johnson, J. H. Enamels for pottery.
„ March 7 Wood, Edward Potter’s glazes.
„ March 12 Dunnachie, J. Stoves.
„ April 4 Baker, Worsnop and Grainge Kilns.
„ April 23 Morand, A. Kilns.
„ May 5 Brough, William, sen. and Ovens and kilns.
jun.
„ June 23 Spence, William Boxes for packing crockery,
&c.
„ June 29 Lee, G. S. Metallic jugs (porcelain
lining).
„ July 15 Gedge, W. E. Incorporating metal and
cement in construction of
vases, &c.
„ July 15 Maw, A. Apparatus for manufacturing
tiles, &c.
„ Aug. 30 Grosvenor, F. Improvements in manufacture
of certain articles of
pottery.
„ Oct. 15 Murray and MacFarlane Shaping earthenware.
„ Oct. 25 Follows and Bate Machine for cutting
vegetable substances.
„ Nov. 3 Bewley and Cotton Machinery for grinding.
„ Dec. 24 Holdcroft, William Utilisation of waste
materials used in
manufacture of pottery.
1871 Jan. 25 Blackmore, J. Earthenware cisterns.
„ March 15 Hollins, M. D. Plates for flat printing,
&c.
„ April 5 Newton (Spenser) Pyrometers,
linings, &c.
„ April 8 Von Levetzow, F. C. A. Flower-pots.
„ April 22 Wrigley, B. Kilns, &c.
„ April 29 Stocker, A. S. Bottles and stoppers.
„ May 27 Bowden and Shaw Improvements in machines
for planking felt hats,
&c. (earthenware rollers).
„ June 3 Chadwick, E. Walls, floors, &c.
„ July 12 Moffat and Henley Kilns, &c.
„ Aug. 18 Murray, K. Fences, &c. (earthenware
sockets).
„ Sept. 15 Gillespie, J. Preparing and moulding
fire-clay.
„ Sept. 16 Chapman, G. T. Coating with india-rubber,
&c.
„ Sept. 30 Goreham, W. Cement bricks, tiles,
pottery, &c.
„ Oct. 2 Varley and Varley Telegraphs, &c.
„ Nov. 21 Hughes (Hoggson) Printing on enamelled
surfaces.
„ Dec. 6 Johnson (Muller) Kilns or ovens.
1872 Jan. 27 Newton (Morgan) Kilns.
„ Feb 2 Johnson (Caldwell) Burning hydrocarbons.
„ Feb 17 Hunt (Thompson) Pottery ware.
„ March 14 Smith (Martin) Gases for heating, &c.
„ March 18 Jackson, C. Sewing machine shuttles.
„ April 8 Hermann and Laurent Lamp shades.
„ April 11 Lüttringhaus, G. Cutting out metal plates,
&c.
„ May 11 Davey, G. Artificial ivory.
„ May 14 Monckton, E. H. C. Furnaces.
„ June 21 Smith and Williams Smelting ores and re-heating
metals.
„ June 22 Wrigley, B. Kilns.
„ July 2 Thwaites, Fondeville, and
Bertin Glaze or coating for stone.
„ Aug. 14 Lipscombe, F. Treating noxious vapours.
„ Aug. 16 Emmens, S. H. Producing light and heat.
„ Sept. 9 Lafarque, A. Gauges.
„ Sept. 25 Smith, G. Enamelling stoneware.
„ Sept. 25 Hughes (Wilbaux) Printing, impressing, or
enamelling paper, &c.
„ Oct. 16 Tugby, H. Kilns for bricks.
„ Oct. 17 Stocker, A. R. Appendages for feeding
bottles.
„ Oct. 23 Goss, W. H. Moulding ceramic materials.
„ Oct. 23 Menet, Gally, Oswald, and
Peigner Imitation ceramic ware.
„ Oct. 30 March, T. C. Applying glass, &c., to
ornament furniture.
„ Oct. 30 Perry, G. Presses for moulding glass,
&c.
„ Nov. 8 Bonneville (Avril) Furnaces.
„ Nov. 11 Scott, H. Y. D. Treating sewage.
„ Nov. 27 Ensor, E. Drying bricks, pottery, &c.
„ Dec. 2 Newton (Tilghman) Cutting, &c., hard
substances.
„ Dec. 3 Bacon, J. Brick and other kilns.
„ Dec. 11 Claus, C. Bricks, blocks, tiles, &c.
1873 Jan. 4 Whitburn, T. Printing.
„ Jan. 20 Bacon, J. Drying bricks, pottery, &c.
„ Feb. 4 Derham (Morand) Kilns.
„ Feb. 5 Hunt (Colfs Heyne) Kilns.
„ Feb. 25 Stocker, A. R. Caps and stoppers for
bottles.
„ Feb. 28 Engledue, W. J. Drying peat, china clay, &c.
„ March 1 Smith, G. Kilns or ovens.
„ March 6 Philipps, G. Drying and roasting grain,
&c.
„ March 12 Wood, G. Furnaces.
„ March 15 Robey, Banks, and Forester Kilns.
„ April 4 Bonner, S. Kilns.
„ April 9 Ecroyd and Worss Furnaces.
„ April 12 Weigelin, G. Drying bricks, &c.
„ April 17 Nicklin and Frost Kilns.
„ April 18 Hunt (Mendheim) Firing ceramic ware.
„ April 22 Billups and Lee Photographic pictures on
porcelain.
„ April 22 Torr and Johnstone Furnaces.
„ April 23 Haggett. W. Treating metals to increase
their strength.
„ April 23 Klüh, S. Printing in colours on
earthenware, &c.
„ April 26 Minton, T. W. Ovens for pottery, &c.
„ April 29 Barrow and Barrow Kilns.
„ May 7 Skelton and Mobberley Furnaces.
„ May 9 Cowdery, G. Bricks, kilns, and
buildings.
„ May 10 Minton Ovens for pottery.
„ May 31 Ray (Heilmann) Furnaces.
„ June 6 Bodmer and Bodmer Extracting moisture from
potters’ clay.
„ June 12 Frèret (Goddard) Designs on porcelain.
„ June 16 Robbins, E. Cements, &c.
„ June 19 Harrison, F. Cements, &c.
„ Oct. 4 Rice, J. Vessels for liquids.
„ Nov. 4 Dean, W. Ornamenting or graining
wood.
„ Nov. 12 Hyatt, T. Applying asbestos.
„ Nov. 15 Hornblower, L. Fireproof buildings.
„ Dec. 11 Burroughes, J. S. Billiard rests and boards.
„ Dec. 23 Holland Fireproof cements and
bricks.
1874 Jan. 21 Maw, A. Constructing moulds or dies.
„ Feb. 5 Hyatt, T. Asbestos saggers.
„ Feb 7 Rose, L. Earthenware bottles.
„ Feb. 12 Harlow, B. Printers’ stoves.
„ Feb. 25 Baggeley, H. Composition for gas and
water pipes.
„ Feb. 27 Brown, J. Ornamenting.
„ March 27 Jensen (Erichson and Kilns.
Maardt)
„ March 31 Boulton, W. Potters’ clay.
„ April 1 Lee, E. Ornamental designs.
„ April 2 Cleghorn and Paterson Asbestos cloth for
enamelling.
„ April 2 Clark, J. K. Treating clay slip.
„ May 1 Bull, W. Pottery kiln.
„ May 4 Brock, C. Ornamenting.
„ May 18 Clark (Jackson) Suspending crockery in
kilns.
„ May 30 Ivimey (Long) Packing crockery.
„ June 11 Cliff, W. D. Heavy articles in clay.
„ June 23 Buchan, A. W. Shaping clay.
„ July 15 Holland, W. T. Salt-glazing clay goods.
„ July 20 Alsing (Edwards) Pulverising porcelain waste.
„ July 22 Perry, A. Cockle stove for drying
pottery.
„ July 24 Ivimey (Long) Packing china.
„ July 27 Lee, E. Ornamenting.
„ July 30 Durand, A. Decorating.
„ Sept. 8 Scott, W. S. Separating water from slip.
„ Sept. 15 Morgan Brown (Hansen) Depositing metals on
earthenware.
„ Sept. 17 Hyatt, T. Sheets for holding
porcelain.
„ Sept. 21 Whitehead, J. Pipe and sanitary tube
making machine.
„ Oct. 7 Murray and Crighton Bottles, &c.
„ Oct. 8 Holyoake, W. R. Printing, transferring
designs, &c.
„ Oct. 8 Codd, H. Serrated liquid bottle.
„ Oct. 28 Gedge (Guelton & Co.) Imitation “faience
parisienne.”
„ Nov. 11 Ramsey, H. W. Stoneware pipes.
„ Nov. 17 Williams, S. de la G. Kilns.
„ Dec. 17 Clark (Ulmann) Imitation china, &c.
1875 Feb. 6 Webster, L. Applying earthenware to
milling machines.
„ Feb. 26 Brown, J. Ornamenting.
„ March 23 Malpas, C. Kilns.
„ April 7 Holyoake, W. R. Printing.
„ April 24 Bonneville (Perlau) Protecting articles of
earthenware.
„ April 28 Gedge (Guelton & Co.) Imitation “faience
parisienne.”
„ May 7 Gaskell, J. Rotary tool holder.
„ May 8 D’Humy, J. R. de F. Combining ceramic ware with
glass, &c.
„ May 10 Napier, J. M. Tools for potters’ clay.
„ May 11 Hill, J. Separating clay from water.
„ May 11 Bartlett and Murray Designs for pottery.
„ May 22 Mariotti, L. Earthenware covers.
„ May 27 Holyoake, W. R. Ink and transferring
designs.
„ June 22 Brock, C. Mural fresco paintings,
decorating, &c.
„ June 23 Batchelar, A. Kilns.
„ July 6 De la Perrelle (Guerin) Jars for cooking, &c.
„ Sept. 21 Monckton, E. H. C. Annealing glass as a
substitute.
„ Sept. 30 Murray and Crighton Shaping bottles, &c.
„ Oct. 1 Rhodes, J. China-ware suspenders.
„ Oct. 21 Paget, H. S. Machine for china painting.
„ Dec. 2 Boulton, W. Grinding materials.
„ Dec. 2 Cliff, W. D. Carriages for use in making
retorts.
„ Dec. 2 Clamond, C. Waterproofing baked clays.
„ Dec. 6 Jackson, Hy. Drying, or partially
drying, bottles.
1876 Jan. 25 Miller, J. Designs on pottery.
„ Jan. 25 Green, T. G. Machinery for potters’ bats.
„ Feb. 7 Tucker and Hodson Kilns.
„ Feb. 11 Humy, P. R. de F. Manufacture of earthenware
articles.
„ Feb. 28 Dennison, J. W. Earthenware pipes.
„ March 27 Ford, C. Preparing clay.
„ April 20 Heuer, F. W. Printing on ceramic
articles.
„ April 28 Vatcher, H. Manufacture of porcelain.
„ May 31 Wood, J. Moulding and shaping.
„ June 3 Taylor, T. Driving potters’ lathes.
„ July 17 Brock, C. Imitation stones.
„ Sept. 14 Vernon, J. Decanters, &c.
„ Oct. 10 Siemens and Hesse Improvements in pottery and
other kilns.
„ Oct. 26 Binns, R. W. and C. F. Heating kilns.
„ Oct. 31 Faucheux d’Humy, P. R. de Ornamentation.
„ Nov. 7 Blake and Tebbs Manufacture of pots.
„ Nov. 21 Smith, J. Sanitary pottery pipes.
„ Nov. 21 Wirth, F. Drying bricks, &c.
„ Dec. 20 Michele, V. D. Kilns.
1877 Jan. 10 Carr, J. Bleaching china clays.
„ Feb. 23 Pratt, F. E. Oven for pottery.
„ Feb. 24 Cameron and Rockliffe Flower-pots and saucers.
„ Feb. 28 Boulton, W. Machinery.
„ March 21 Webb, W. G. Ornamenting.
„ March 26 Batchelor, H. C. Coating casks, protecting
metals, &c.
„ March 28 Leak and Edwards Supporting pottery in kilns.
„ March 31 Campbell Minton, T. W.
and H. Surfacing and ornamenting
tiles, &c.
„ April 21 Leak, H. Moulds.
„ May 22 Clark, A. M. Ornamenting.
„ May 23 Cooke, Alexander, and Improvements in manufacture
Sheridan of china, &c.
„ June 30 Kerr, W. H. Materials for porcelain, &c.
„ July 26 Wood, J. Shaping and moulding.
„ Aug. 21 Okolowicz, A. A. X. Colouring porcelain.
„ Sept. 11 Guest, E. and T. Ornamenting.
GENERAL INDEX.
Aërial zone, i. 491
Alderholt pottery, ii. 454
Aldgate pottery, i. 157
Ale-pots, i. 92
Alfreton potteries, ii. 133
Aller pottery, i. 348
Alnwick potteries, ii. 17
Alloa pottery, ii. 521
Amblecote pottery, ii. 456
Amphoræ, i. 55, 57
Ancient British pottery, i. 2–23
Anglo-Saxon banquet, i. 65, 77, 82
glass, i. 68
house, i. 65
MSS., i. 65 _et seq._, 77, 82
pottery, i. 64–75
tables, i. 78
Annfield pottery, ii. 515
Armitage potteries, ii. 434
Aylesford potteries, ii. 457
Barrowfield pottery, ii. 516
Barrows, pottery of, i. 2–75; ii. 459–470, 500–504
Basin, Roman, i. 59
Bear drinking-vessel, i. 420–421
Belfast potteries, ii. 483–485
Bell Works, ii. 247
Bellarmine, i. 92, 128
Belleek china and earthenware, ii. 486–498
Belle-Vue pottery, i. 464–466
Belper potteries, ii. 125–127
Benthall tiles and pottery, i. 307
Bideford ovens, i. 346–347
pottery, i. 346
Billingsley, notice and pedigree, ii. 101 _et seq._, 447–451
Bishop Auckland pottery, ii. 12
Bit-stoneware, i. 111
Blackfriars Road, i. 153
Blackwall potteries, i. 162
Bolingbroke pottery, i. 438
Boness pottery, ii. 520
Boscobel and the Royal Oak, i. 263
Bourne Valley pottery, i. 413
Bovey Tracey pottery, i. 343–346
Bow, books of, i. 209
china works, i. 113, 198–214
discoveries at, i. 203
Brampton potteries, ii. 116–122
Branksea pottery, i. 413
Bread, Anglo-Saxon, i. 78
Bridgeton pottery, ii. 515
Brislington pottery, i. 406
Bristol china, i. 350–405
delft-ware, i. 350–356
glass, i. 403
Temple Backs, i. 398
salt glaze pottery, i. 405
St. Thomas’ and Temple, i. 402
Broseley Blue Dragon, i. 268
clay and pipes, i. 43, 263, 290–299
tileries, i. 317
Broughton, Spencer, gibbeted, i. 524
Brownhills potteries, ii. 287 _et seq._
Broxbourne terra cotta, i. 427
Building tiles, i. 60
Burial customs, Roman, i. 62
Burley Hill pottery, i. 76
Burslem, Pot-works at, ii. 236–297
earthenware gravestones, ii. 238
potteries at, ii. 236–297
Wedgwood Institute, i. 435
Burton-on-Trent china, ii. 156
pottery, ii. 155
Bust of L. Jewitt, ii. 227
S. C. Hall, ii. 227
Butter-pots, i. 95–96
Cadborough pottery, i. 456
Cadogan tea-pots, i. 219
Canton, New, i. 199
Caolin, i. 322 _et seq._
Cookworthy’s account of, i. 324
Cardigan potteries, ii. 451
Cardowan potteries, ii. 516
Castle Espie pottery, ii. 486
Castleford pottery, i. 485
Castor-ware, i. 28–33, 49
Caughley china, &c., i. 196, 263–273
Place, i. 269
Cauldon Place potteries, ii. 318 _et seq._
Celtic pottery, i. 2–23
Champion, life and works, i. 335–337, 356–397
Cheam pottery, i. 167
Chelsea, articles made at, i. 180–189
buns, i. 168
china works, i. 168–198; ii. 70 _et seq._
pensioners, i. 168
pottery, i. 198
second china works, i. 196
Wedgwood’s works, i. 196
Chesterfield potteries, ii. 115–116
China tokens, i. 254; ii. 141
Chiselhurst pottery, i. 167
Church Gresley potteries, ii. 159, 166
Churchyard works, ii. 244
Cinerary urns, i. 2–16, 59, 67 _et seq._; ii. 458 _et seq._,
500–504
Clay coffin, i. 61, 63
coin moulds, i. 63
Clays, Cornish, i. 322 _et seq._; ii. 35 _et seq._, 187
Devonshire, i. 343
Dorsetshire, i. 414
Oxfordshire, i. 120
Staffordshire, i. 97
table of, ii. 455
Clyde potteries, ii. 518
Coades’ wares, i. 138 _et seq._
Coalbrookdale terra cotta, i. 299
Coalmoor, pottery, i. 317
Coalport china, i. 263, 273–290
Coalville pottery, i. 422
Coatbridge potteries, ii. 516
Cobridge, Potteries at, ii. 290–297
Cock-pit Hill pottery, ii. 56–60
Codnor Castle, ii. 127
Park potteries, ii. 127
Coffee, i. 139–141; ii. 97, 98
Coffin, clay, i. 61, 63
Coin moulds, i. 63
Coke’s china, i. 136–144
Colchester pottery, i. 46
vase, i. 35, 37
Coleorton pottery, ii. 166
Cologne ware, i. 92
Combed ware, i. 98
Cookworthy, life and works, i. 318–337, 356
Copeland family, ii. 167 _et seq._
Copeland’s works, ii. 167–184
Cornish clay, discovery of, i. 322 _et seq._; ii. 35 _et seq._, 168
Cossey terra cotta, i. 455
Costrils, i. 87
Costume pottery, ii. 153
Coventry pottery, i. 427
Cradle, i. 105
Craft’s china, i. 201
Crannog pottery, ii. 471 _et seq._
Cremation (_see_ “Cinerary Urns”)
Crews Hole pottery, i. 407
Crich pottery, ii. 133–135
Crispe’s china, i. 153, 157–160
Crouch ware, i. 95, 101
Cruskin, i. 88
Dale Abbey tiles, ii. 144
Dale Hall potteries, ii. 261 _et seq._
Davenport’s china, ii. 283–288
Denaby pottery, i. 526
Denby potteries, ii. 126, 128–132
Deptford pottery, i. 165
Derby china (_see_ “Bow,” “Chelsea,” “Kentish Town,” “Vauxhall,”
“Worcester,” “Nantgarw,” “Derby,” &c.), ii. 57–166
Cock-pit Hill pottery, ii. 56–60
Earls of, i. 79
elections, ii. 73
“hands” employed, ii. 94–114
Derbyshire potteries, i. 68–74, 76–82; ii. 56–166
Devonshire potteries, i. 318–348
Ditchling terra cotta, ii. 456
Divining rod, i. 321
Doe, suicide of, i. 137
Don pottery, i. 519 _et seq._
Dorsetshire pottery, i. 50, 411
Doulton’s wares, i. 144–151
Dowsing rod, i. 321
Drinking vessels, i. 3, 16–18
Droitwich kilns, ii. 150
Dublin, potteries of, ii. 478–483
Dumbarton potteries, ii. 519
Dungannon pottery, ii. 485
Durobrivian ware, i. 28
Dwight’s china, &c., i. 98, 114, 118–132
Earthenware gravestones, ii. 238, 239
Earthenware ovens, i. 346–348
Easton pottery, i. 407
Ebisham bricks, i. 454
Eckington potteries, ii. 125
Edinburgh potteries, ii. 519
Electric telegraph, i. 491
Elers ware, i. 99
Encaustic tiles, Bathurst’s, i. 317
Boote’s, ii. 255
Camm’s, ii. 454
Craven, Dunnil & Co., i. 305
Godwin’s, ii. 452
Hollin’s, ii. 213–218
Malkin, Edge, & Co., ii. 260
Maw & Co., i. 307
mediæval, ii. 144–150
Minton Taylor, &c., ii. 228 _et seq._
Minton’s, ii. 185 _et seq._
Poole, i. 411
Stephan’s, i. 305
St. John’s, i. 258; ii. 144–150
Webb’s, i. 258
Encaustic vases, ii. 357
Essex pottery, i. 53
Etruria works, ii. 345–385
Euston Road terra-cotta, i. 219
Ewell pottery, i. 166
Exeter pipes, ii. 457
pottery, i. 343
Fairy pipes, i. 296
Feeding bottles, i. 52, 53
Fenton, potteries at, ii. 409–422
Ferrars, Earls of Derby, i. 79, 80
pitcher, i. 79
Ferrybridge pottery, i. 495
Fireplaces, i. 315
Flaxman’s works, ii. 364 _et seq._
Florence Court pottery, ii. 485
Foley, potteries at, ii. 408–422
Food vessels, i. 18–21; ii. 458 _et seq._, 500–4
Frankish pottery, i. 68
Fremington potteries, i. 347–348
Fulguri-polygraph, i. 490
Fulham wares, i. 98, 114, 118–132
Bailey’s works, i. 131
Dwight’s recipe books, i. 125
Funeral garlands, i. 62
Garnkirk pottery, ii. 507
Gartcosh pottery, ii. 508
Gateshead potteries, ii. 6
Geometric tiles (_see_ “Encaustic tiles”)
George IV. at Wentworth, i. 219
Gestingthorpe tiles, i. 458
Gibbeted man, i. 524
Giles, of Kentish Town, i. 214–218
Gladiatorial combats, i. 37
Glasgow potteries, ii. 505–516
delft ware, ii. 505
Glenboig works, ii. 516
Godet, or Goddard, i. 89
Goss’s china and parian, ii. 225 _et seq._
Grangemouth potteries, ii. 517
Grave mounds, pottery of the, i. 2–75, 459–470, 500–504
Gravel Lane potteries, i. 161
Gravestones of earthenware, ii. 238, 239
Grenades, i. 106
Greenock potteries, ii. 518
Greenwich artificial stone, i. 162
china, i. 162
Gresley potteries, ii. 159, 166
Grotesque knights, &c., i. 84
Hammersmith pottery, i. 220
Hampshire pottery, i. 44
Hancock, notice of, i. 230; ii. 93, 109
Hancock’s work (_see_ “Worcester” and “Caughley”)
Hand grenades, i. 106
Hanley, potteries at, ii., 298–344
Hartshorne potteries, ii. 160–166
Headington pottery, i. 46
Heathfield pottery, ii. 508–516
Hebrides, potteries of the, ii. 522–523
Herculaneum pottery, ii. 44–50
Herefordshire potteries, ii. 452
Holdship’s blue printing, i. 229 _et seq._; ii. 89
notice of i. 225 _et seq._; ii. 89
poem to, i. 230
Holkham terra-cotta, i. 458
Holmes’ pottery, i. 519
Honiton pottery, i. 343
Horspath tobacco-pipes, i. 459
Hounslow china, i. 161, 166
pottery, i. 161, 166
Hoxton pottery, i. 220
Hull pottery, i. 461–466
Hunting subjects, i. 33
Hylton pottery, ii. 8
Ilkeston potteries, ii. 135
Immolation urns, i. 21–23; ii. 460–470, 502–504
Indiho pottery, i. 344
Ipswich artificial stone, i. 162–165, 455
Orwell works, i. 163
Ireland, potteries of, ii. 459–498
Irish pottery and potteries, ii. 459–498
Isleworth china, i. 161
pottery, i. 161
Ivy House works, ii. 249
Jackfield encaustic tiles, i. 305–307
pottery, i. 304
Jewitt, A., notice of his pottery, ii. 123–125
Jewry Wall, Leicester, i. 58
Kaolin, i. 324
Kent potteries, i. 24
Kentish Town china, &c., i. 214–218
Giles, i. 214–218
Kilnhurst pottery, i. 526
Kilns, potters, Ashdon, i. 53
Burley Hill, i. 76
Castor, i. 29
Colchester, i. 42
London, i. 39
New Forest, i. 42
Stamford, i. 431
tile, ii. 144–150
Wilderspool, i. 42
Winterton, i. 53
King’s Newton pottery, i. 64–75; ii. 154, 155
Kinson pottery, i. 413
Kirkcaldy potteries, ii. 520
Knights, mounted, i. 84
Lake dwellings, ii. 471 _et seq._
Lambeth, Coades, i. 136
pottery, i. 138–153
delft-ware, i. 133 _et seq._
Lambeth, Griffiths, i. 136
Doe, i. 137
Stiff and Sons, i. 140
Doultons, i. 144
Waters, i. 150
Green & Co., i. 151
Crispe, i. 153
Lamps, i. 62, 63
Lancashire pottery, i. 51; ii. 18–55
Landore pottery, ii. 444
Lane End, potteries at, ii. 421, 422
Llanelly potteries, ii. 444, 445
Langley Mills pottery, ii. 135
Larne pottery, ii. 485
Layerthorpe pottery, i. 461
Leeds pottery, i. 466–485
Leicester terra-cotta, ii. 456
Lichfield pipes, ii. 434
Lincoln pottery, ii. 457
Lincolnshire pottery, i. 53; ii. 457
Little Chester pottery, ii. 150
Littler’s china, ii. 287, 422
Liverpool china, ii. 34
potteries, ii. 18–50
delft-ware, ii. 18–50
Sadler and Green’s printing, ii. 27
crest of, ii. 49
London, potteries in, i. 119–220
tile kilns, ii. 148–150
Longport, potteries at, ii. 283–288
Longton, potteries at, &c., ii. 386–422
Lowesby pottery, i. 421
Lowestoft china, i. 439–454
pottery, i. 439 _et seq._
Madeley china, i. 303
Market Bosworth terra-cotta, i. 423
Marsh Balden pottery, i. 459
Mask, i. 51, 52
Malvern tile kiln, ii. 148
Mammiform bottles, i. 87, 88
Mayer museum, &c., ii. 19–55
Mediæval pottery, i. 83–98; ii. 471–478, 504–505
Mexborough pottery, i. 517
Middlesborough potteries, ii. 16
Millwall Works, i. 160
Minton’s pottery and china, ii. 185–218
Monkwearmouth potteries, ii. 11
Mortaria, i. 47, 59
Mortlake pottery, i. 160
Mortlock’s delft-ware, i. 160
Mosaic tiles (_see_ “Encaustic tiles”)
Mould pottery, i. 46
Nantgarw china, ii. 447–451
New Canton, i. 199
New Forest pottery, i. 44
Newbold potteries, ii. 125
Newbottle pottery, ii. 12
Newcastle-on-Tyne potteries, ii. 1–8
Newcastle-under-Lyme potteries, ii. 433 _et seq._
New Canton (_see_ “Bow”)
New Hall, ii. 302 _et seq._
Nonsuch pottery, i. 166
Norman pottery, i. 76–82
Northamptonshire potteries, i. 28
Nottingham bears, i. 420
potters, i. 416, 417
ware, i. 415–421
Nuneaton terra cotta, i. 427
Nuneham Courtenay pottery, i. 459
Oade, outrage by, i. 161
Old Hall, ii. 311 _et seq._
Orange jumper, i. 521
Osmotherley pottery, i. 461
Ouseburn pottery, ii. 3
Ovens of earthenware, i. 346–348
Oxfordshire pottery, i. 46
Oxford Street, Mortlock’s, i. 219, 220
Paisley, potteries at, ii. 517
Pancheons, i. 44
Patents and Specifications,--
List of, from 1626 to 1877; ii. 523–536
Bell, i. 110
Benson, i. 109, 110
Billin, i, 109
Champion, i. 361, 375
Cookworthy, i. 115, 329, 361
Count de Lauraguais, i. 114
Cartledge, i. 115
Crease, i. 115
De la Mayne, i. 116
Dwight, i. 98, 114, 118, 121
Frye, i. 113, 198
Heylin, i. 112
Ramsey, i. 91
Redrich and Jones, i. 109
Rous, i. 90
Shawe, i. 110
Simpson, i. 89
Van Hamme, i. 98
Wedgwood, i. 115, 116
Williamson and Spackman, i. 114
Pedigree of Billingsley, ii. 101
Pednandrea works, i. 349
Penates, i. 62
Pennæpolygraph, i. 491
Penkhull potteries, ii. 454
Pilgrim’s bottles, i. 87
Pinxton china, ii. 94–97, 137–144
Pipes, tobacco, i. 263, 290–299, 459; ii. 432, 434, 456, 457
clay, i. 326
Planché’s china, ii. 64 _et seq._
Place’s Ware, i. 460
Plymouth china, i. 318–338
earthenware, i. 338
Polesworth terra cotta, i. 4, 23
Pontefract pottery, i. 489
cakes, i. 489
Poole pottery, i. 411
Porringer, i. 80, 89
Port Dundas pottery, ii. 513–515
Portland vase, ii. 365
Portobello pottery, ii. 519
Posset pots, i. 107, 418; ii. 117, 118, 119
Potovens pottery, i. 528
Pottery, Celtic, i. 2–23; ii. 459 _et seq._
Anglo Saxon, i, 64–75
Crannog, ii. 471 _et seq._
English, works, i. 83–528; ii. 1–452
Frankish, i. 68
Irish, i. 98; ii. 459–498
Mediæval, i. 83–98
Norman, i. 76–82
Romano-British, i. 24–63
Scottish, ii. 499–523
Welsh, ii. 435–452
Prescot potteries, ii. 54
Prestonpans pottery, ii. 521
Printing (_see_ “Transfer”)
Puzzle jugs, i. 106, 480; ii. 117, 118, 119
Randall, notice of, i. 303
Rawmarsh pottery, i. 519
Reading pottery, ii. 455
Repton tile kilns, &c., ii. 144–150
Robinson Crusoe, i. 130
Rockingham china, &c., i. 495 _et seq._
Romano-British pottery, i. 24–63
Roman wall, i. 58
tiles, i. 58, 59, 60
tile tombs, i. 60–63
lamps, i. 62, 63
Rotherham pottery, i. 519
Runcorn potteries, ii. 53
Rutherglen potteries, ii. 519
Rye pottery, i. 457
Salopian pottery, i. 42, 196, 263–317
Salt glaze, discovery of, i. 94
Samian wares, i. 33, 39, 46, 47, 50, 51
Scottish pottery and china, i. 214, 499
Seacombe pottery, ii. 54
Seaham pottery, ii. 13
Sepulchral urns (_see_ “Cinerary”)
Severn Valley, potteries of the, i. 42, 263–317
accident in, i. 277
Shelton, potteries at, ii. 298–344
Sheriff-Hutton potteries, ii. 6
Shields potteries, ii. 7
Shipley potteries, ii. 132
Shotover tobacco pipes, i. 459
Shropshire pottery, i. 42, 263–317
Smethwick tiles, ii. 454
Somersetshire potteries, i. 350–415
Songs of potters, i. 230, 399, 400; ii. 9, 43
Southwark potteries, i. 161
Southwick potteries, ii. 10
Spode’s pottery and china, ii. 167 _et seq._
Stratford china, i. 214
Stepney pottery, i. 162
Stepney Bank pottery, ii. 3
china, i. 162
Stone pots, i. 90
St. Helen’s potteries, ii. 54
Stourbridge potteries, i. 260–262
Stamford terra cotta, i. 431
Stockton potteries, i. 12
Stoke-upon-Trent, potteries at, &c., ii. 167–235
Stowmarket “white bricks,” i. 454
Sun-dried urns, i. 4
Sussex pigs, i. 458
potteries, i. 456 _et seq._
Sutton pottery, ii. 53
Swinton pottery, i. 495 _et seq._
Swadlincote potteries, ii. 156–159
Swansea potteries, ii. 435–451
Tamworth terra cotta, i. 424
Tees, potteries of the, ii. 12–17
Telegraph, invention of electric, i. 491
Tesselated pavements (_see_ “Encaustic tiles”)
Tetinæ, i. 52, 53
Tickenhall potteries, ii. 151–153
Tile tombs, i. 61 _et seq._
Tiles, Encaustic (_see_ “Encaustic tiles”)
Roman, i. 58–63
Tobacco pipes (_see_ “Pipe”)
Toby Fill-pot, ii. 157
Toft dishes, &c., i. 102; ii. 239
Tokens, i. 351; ii. 141
Torquay terra cotta, ii. 452–454
Transfer printing, i. 229, 271; ii. 27
Tumblers, i. 68
Tunstall, potteries at, ii. 423–431
Tygs, i. 104
Tyne, potteries of the, ii. 1–8
Upchurch ware, i. 24
Vauxhall pottery, i. 157
Verreville pottery, ii. 506
Virgula Divina, i. 321–322
Wakefield pottery, i. 527; ii. 455
Wales, potteries of, ii. 435–452
Wall, Dr., notice of, i. 222
Warmstrey house, i. 224
Warrington pottery, i. 51; ii. 50–53
Watcombe terra cotta, i. 338–343
Wath-upon-Dearne pottery, i. 527
Watt, James, ii. 505
Wear, potteries of the, ii. 8–12
Wedgwood, Burslem potteries of, ii. 244–251
Etruria works, &c., ii. 345–385
family, ii. 345–385
Ralph, notice of, i. 490
Wedgwood’s case of Staffordshire potteries, i. 371
opposition to Champion, i. 360 _et seq._
Wednesbury pottery, ii. 456
Welch potteries, ii. 435–452
Westbury pottery, i. 407
Weston-super-Mare terra cotta, i. 408
Whittington potteries, ii. 122–125
Revolution house, ii. 122
Wilderspool pottery, i. 51
Willow pattern, i. 268
Wilnecote terra cotta, i. 424
Winchester pipes, ii. 456
Wirksworth china, ii. 142–144
Wisbech pottery, i. 438
Witchcraft, ii. 457
Wooden Box potteries, ii. 160–166
Woodville potteries, ii. 160–166
Worcester china, i. 221–262
Worcester gloves, i. 221
Worcester, Grainger’s works, i. 254
Royal porcelain works, i. 221–254
sauce, i. 221
St. George’s works, i. 258
St. John’s encaustic tiles, i. 258
tokens, i. 254
Webb’s tileries, i. 258
Wrotham pottery, i. 454
Yarmouth pottery, i. 455
Ynismudw pottery, ii. 445–447
York china, i. 461
pottery, i. 44, 46, 460
Yorkshire potteries, i. 460–528
Youghall pottery, ii. 485
INDEX OF NAMES OF PLACES.
Abberley, i. 224
Aberdeen, ii. 500
Aintree, ii. 28, 44
Aldborough, i. 61, 63
Alderholt, ii. 454
Alderwasley, ii. 143
Aldgate, i. 133, 134, 157–160, 166
Alfreton, ii. 104, 133
Aller, i. 348
Allerthorpe, i. 528
Alloa, ii. 521
Alnwick, ii. 17
Alsager, ii. 247, 288
Altegarron, ii. 460, 467, 470
Alton Towers, ii. 199
Alverthorpe, i. 528
Amblecote, i. 260, 261; ii. 456
Ancaster, i. 56
Andenwood, i. 44
Annfield, ii. 515
Armitage, ii. 432, 434
Arpley Moor, ii. 53
Arthurlie, ii. 155
Arundel, i. 512
Ashbourne, ii. 109
Ashby-de-la-Zouch, ii. 161, 163
Ashby Holes, ii. 160
Ashdon, i. 53
Ashmolean, i. 67, 83, 84, 120
Ashover, ii. 116
Ashwood, ii. 139
Astbury, ii. 351
Aston, ii. 95
Attercliffe, i. 524
Aylesford, ii. 457
Baddaley Edge, i. 96–98
Bagnall, i. 94; ii. 297
Ballidon Moor, i. 4
Ballon Hill, ii. 461, 466, 470
Ballybit, ii. 464
Ballydoolough, ii. 462, 472–475
Ballyshannon, ii. 487
Banchory, ii. 501
Bangor, ii. 397
Barlaston, i. 303; ii. 357, 372
Barnstaple, i. 347
Barrow, i. 266
Barrowfield, ii. 516
Basford, i. 420
Bath, i. 237, 295, 407; ii. 65, 68
Battersea, i. 169, 211, 230, 232–235; ii. 27
Belfast, ii. 467, 479, 483, 484, 487
Belhelvie, ii. 500, 501
Belleek, ii. 227, 486–498
Belper, ii. 111, 125–127, 129
Benthall, i. 264, 307–317
Berkeley, i. 397
Berwick, ii. 505
Bewdley, i. 261
Bideford, i. 346–348
Bilbro’, ii. 455
Birchwood, ii. 128
Birmingham, i. 200, 433; ii. 62, 98, 110, 114, 194, 334
Bishop Auckland, ii. 12
Bishopthorpe, i. 507
Blackfriars Road, i. 153, 432
Blackheath, i. 202
Blackley, i. 115
Blackwood, ii. 346
Boconnoc, i. 322, 323
Bolingbroke, i. 438; ii. 455
Boness, ii. 520, 521
Boroughbridge, ii. 142
Borthwick, ii. 502
Boscawen-Un, i. 13
Boscobel, i. 263
Bosporthennis, i. 13
Bosworth, i. 423, 424
Botham, i. 41
Bourne Valley, i. 413
Bovey-Tracey, i. 343–346
Bow, i. 111–113, 153, 162, 169, 177, 195, 198–214, 221, 223, 395,
443; ii. 68, 70, 74, 505
Bradwell, i. 99; ii. 283
Braintree, i. 458
Brampton, i. 41, 108, 421, 458; ii. 115–125, 127, 135
Branksea, i. 413
Bransford, i. 490
Breadsall, ii. 369
Bredenham, i. 224
Brettell Lane, i. 260
Brickhill, ii. 455
Bridgeton, ii. 515
Bridgnorth, i. 264; ii. 111
Brigg, i. 53
Brighton, i. 153, 163, 353
Brislington, i. 403, 406
Bristol, i. 116, 130, 136–138, 142, 209, 226, 261, 327, 331, 333,
335–339, 343, 350–407, 410, 424, 425, 442, 446; ii. 302
_et seq._, 364, 448, 515, 519
Brixton, i. 41
Broad Down, i. 9, 15, 21, 22
Broadwas, i. 265
Brookhill, ii. 141
Broseley, i. 258, 263 _et seq._, 290–317; ii. 105, 110, 111, 185,
268
Broughton, i. 265
Brownhills, i. 94; ii. 287, 422, 429
Broxbourne, i. 428–431
Bug Hole, i. 260
Bugthorpe, ii. 455
Buildwas, i. 263
Bundoran, ii. 487
Burley Hill, i. 78, 80, 415
Burslem, i. 94, 97, 99, 100, 101, 110, 111, 153–155, 466, 489, 490,
524, 526; ii. 30, 31, 106, 167, 236–297, 304, 345, 346
_et seq._, 418, 428, 429, 436
Burton-on-Trent, ii. 98, 109, 155, 156, 159, 160, 163
Buttercrain, ii. 455
Butterley, ii. 127, 128
Butt House, ii. 156
Buxton, ii. 139
Byerley Hall, ii. 369
Cadborough, i. 456, 457, 458
Caerphilly, ii. 139, 451
Cairn Thierna, ii. 462, 467
Calais Wold, i. 11
Calke, ii. 151
Camden, i. 394
Cannock, ii. 66
Cardiff, ii. 451
Cardigan, ii. 451, 452
Cardowan, ii. 516
Carrickfergus, ii. 483
Castle Caldwell, ii. 487
Castlecomer, ii. 465
Castle Espie, ii. 486
Castleford, i. 476, 485–489
Castor, i. 28–37, 46, 49
Caughley, i. 196, 227, 238, 262, 446; ii. 27, 110, 185
Cauldon Place, ii. 318–324, 341
Charlestown, ii. 190
Chatham, i. 3, 8
Chatsworth, i. 513
Chatterley, ii. 304
Cheadle, ii. 199
Cheam, i. 167
Chelsea, i. 101, 114, 162, 165, 168–198, 202, 213, 214, 221, 223,
442, 443, 492, 512; ii. 61, 68, 70 _et seq._, 96, 97, 98, 106,
107, 112, 113, 359, 505
Chester, i. 93, 120, 213
Chesterfield, i. 55, 59, 108, 520; ii. 115–125, 127, 165, 191
Chester, Little, i. 56
Chestersovers, i. 72
Chesterton, i. 28
Chipping Norton, i. 293
Chiselhurst, i. 167
Chiswick, i. 408; ii. 364
Church Broughton, ii. 68
Church Gresley, ii. 159, 160–166
Cirencester, i. 57, 60
Clattershall, i. 260
Cliff Bank, ii. 17, 233, 262
Cliff Vale, ii. 374
Coalbrookdale, i. 274 _et seq._, 299–302
Coal Island, ii. 485
Coalmoor, i. 317
Coalport, i. 227, 232, 238, 262–290, 448; ii. 97, 101, 105, 111,
138, 438, 447, 449, 506
Coalville, i. 422, 423
Coatbridge, ii. 516, 517
Cobridge, ii. 167, 247, 290–297, 306
Coburnbrook, i. 261
Cock-pit Hill, ii. 56 _et seq._, 111
Codnor Park, ii. 127, 128, 129
Colchester, i. 35, 37, 42, 45, 46, 55, 57, 60, 62, 63
Coleorton, ii. 166
Coleraine, ii. 172
Collingbourne Drucis, i. 88
Collingham, ii. 455
Cologne, i. 63, 89, 90, 92, 98, 99, 127
Comber, ii. 486
Conisborough, i. 510, 518
Cossey, i. 455
Coventry, i. 427
Coxhoe, ii. 17
Cradley, i. 260
Craigleith, i. 163
Crewshole, i. 406, 407
Crick, ii. 133–135
Criselly, ii. 369, 371
Crockle, i. 44
Cromford, ii. 142 _et seq._
Crosby, ii. 19–21
Cuerdale, ii. 473
Cumberton, i. 265
Cupet Green, ii. 128
Daisy Bank, ii. 463 _et seq._
Dale Abbey, ii. 144
Dale Hall, ii. 261–270
Danes Fort, ii. 467
Darley Dale, i. 6, 7, 11, 139; ii. 369
Darlington, ii. 191
Dartmoor, ii. 522
Darwen, i. 10, 14
Debdale, ii. 136, 138
Delph, The, i. 260
Denaby, i. 526, 527
Denby, ii. 125, 128–132, 133, 135, 165
Dennell, i. 12
Denzell, i. 22
Deptford, i. 165; ii. 10, 11
Derby, i. 67, 78–80, 108, 114, 139–141, 161, 176–198, 202–214,
215–218, 221, 223, 227, 228, 233, 264, 266, 273, 283, 295, 302,
305, 390, 391, 396, 397, 407, 410, 441, 442, 452, 512, 524; ii.
56–114, 136 _et seq._, 150, 155, 156, 159, 179, 226, 244, 331,
359, 369, 422, 436, 447, 449, 495, 506, 519
Derbyshire Pottery, i. 67 _et seq._, 78–80, 88, 108
Derventio, i. 56
Devenish, ii. 487
Dimsdale, i. 99, 460
Ditchling, ii. 456
Divis Mountain, ii. 467
Don, i. 455, 464, 476, 478, 503, 509, 519, 520–526, 527
Donegal, ii. 486
Dorking, i. 303
Dorset, i. 50
Dothill, i. 265
Dowth, ii. 475
Drakelow, ii. 155, 160, 163
Dresden, ii. 167, 342
Droitwich, ii. 150, 449
Drumgay, ii. 471
Drumnakilly, ii. 467, 470
Dublin, i. 165; ii. 478–483, 487, 488
Dudley, i. 260; ii. 422
Duffield, i. 78–80, 415; ii. 114
Duffryn, ii. 447
Dulwich, i. 435
Dumbarton, ii. 506, 519
Dunamase, ii. 470
Dunbar, ii. 503, 504
Dungannon, ii. 485
Dunkirk, i. 486
Dunstable, i. 293
Dunwood, ii. 346
Durham, ii. 1, 141
Durobrivian, i. 28–37, 43, 51
East Langton, ii. 503, 504
East Moor, ii. 117
Easton, i. 407
Easton Pierse, i. 123
Eastwood, ii. 334–337, 341, 401, 402
Ebbisham, i. 454
Eccles, i. 76
Eckington, ii. 125
Edgbaston, ii. 419
Edinburgh, i. 311; ii. 502, 514, 519, 520
Edingley, ii. 140
Edmonton, i. 201
Eglw-y-Sillan, ii. 101, 451
Elk Low, i. 17
Ellenborough, ii. 106
Eller Field, i. 101
Ellesmere, ii. 50
Elmley, i. 265
Ely, i. 22, 339
Enniskillen, ii. 471, 472, 487
Epperstone, i. 419
Epsom, i. 93
Epsom Wells, i. 93
Etruria, i. 115; ii. 14, 45, 167, 187, 245, 247, 326, 327, 344,
345–390, 489
Etwall, ii. 111
Euston Road, i. 219
Ewell, i. 166, 167
Exeter, i. 343, 345; ii. 457
Falmouth, i. 320
Farringdon Street, ii. 150
Fenagh, ii. 466
Fenton, ii. 87, 167, 229, 232, 315, 407–422
Ferguslie, ii. 517
Fermanagh, ii. 475–498
Ferrybridge, i. 485, 489–494, 517, 518
Fimber, i. 14, 18, 19
Finchley, i. 353
Florence Court, ii. 485
Foley, The, ii. 401, 421
Ford, ii. 10
Foremark, ii. 143
Fowey, i. 13
Fremington, i. 347, 348
Frog Hall, ii. 139
Frome, i. 258
Fulham, i. 93, 98, 99, 114, 118–132, 169, 221, 421
Gallatown, ii. 520
Garnkirk, ii. 507 _et seq._, 516
Garrison Island, ii. 487
Gartcosh, ii. 508
Gateshead, ii. 1–17
Germo, i. 322, 324
Gervans, i. 12
Gestingthorpe, i. 458
Glasgow, i. 137; ii. 2, 178, 505–516, 523
Glenboig, ii. 516
Glen Dorgal, i. 12
Gloucester, ii. 436
Godalming, i. 302
Golden Hill, ii. 423–432
Gospel Hillock, i. 15
Gravel Lane, i. 161
Great Hucklow, i. 105
Great Malvern, ii. 148
Greendock, ii. 232, 303
Greenfield, ii. 325 _et seq._
Green Lane, i. 94
Green Low, i. 15
Greenock, i. 165; ii. 485, 518
Greenwich, i. 139, 162–165, 454
Gresley, ii. 155, 156, 159, 160–166
Grindlow, i. 16
Gunton, i. 440 _et seq._, 453, 456
Gunville, ii. 372
Hackney, i. 237
Hagley, i. 260
Halifax, ii. 455
Ham, i. 112, 198, 199
Hampton Court, i. 408, 435
Hanley, i. 96, 339; ii. 12, 40, 51, 97, 109, 167, 187, 273, 288,
298–344, 401, 412
Harracles, ii. 346
Harrogate, i. 485
Hartfield, ii. 372
Hartington, ii. 139
Hartshorne, ii. 160–166
Hawcaster-rigg, i. 528
Hayes, i. 266
Haygreen, i. 260
Hay Top, i. 19
Headington, i. 46 _et seq._, 51, 52, 59, 61, 459; ii. 458
Heathfield, ii. 508, 509, 516
Hebrides, The, ii. 522, 523
Hendra, ii. 187
Herculaneum, ii. 44–50
Hereford, ii. 452
Heworth, ii. 7
Hitter Hill, i. 17
Holden Lane, i. 94; ii. 297
Holkham, i. 458, 459
Hollowaysend, i. 261
Holly Bush, ii. 172
Holmes, i. 519, 520
Honiton, i. 343
Hopton, ii. 143
Horsehay, i. 263, 317
Horsley Heath, i. 97; ii. 456
Horspath, i. 120, 459
Hot, or Holt, Lane, ii. 302, 303
Hounslow, i. 161, 166
Housam, ii. 455
Hucklow, i. 105
Hucknall Torkard, i. 417
Huddersfield, i. 461
Hull, i. 463–466
Hungary Hill, i. 260
Hylton (_see_ “North and South Hylton”)
Ibstock, i. 422
I-Columb-Kill, ii. 483
Ilkeston, ii. 135, 136
Indiho, i. 344, 345
Ingleborough, ii. 522
Ipswich, i. 162, 454
Ironbridge, i. 263
Island Thorn, i. 46
Isleworth, i. 161, 162, 166
Islington, i. 302, 445; ii. 39, 42
Jackfield, i. 263, 274, 282, 304–317; ii. 97, 108, 110
Jarrow, ii. 7
Kempsey, i. 265
Kensington, i. 504
Kentish Town, i. 201, 214–218; ii. 68
Kentmore, i. 514
Kew, i. 408, 504
Keymer, ii. 456
Kilmory, ii. 199
Kilnhurst, i. 496, 504, 527
Kimmeridge coal, i. 50
Kingsbridge, i. 318
King’s Newton, i. 68, 69, 74; ii. 154, 155
Kingsteignton, i. 343
Kingston, i. 67, 74
Kingswinford, i. 260
Kinson, i. 413, 414
Kintore, ii. 500
Kirkcaldy, ii. 520
Kirkley, ii. 26
Knockmore, ii. 475
Knottingley, i. 489–495
Laganville, ii. 484
Lambeth, i. 101, 133–153, 169, 425; ii. 54, 74
Landore, ii. 444
Langham, i. 202
Langley Mills, ii. 135
Langthwaite, i. 514
Langton, ii. 503, 504
Lane Delph, ii. 412–422 (_see_ “Fenton”)
Lane End, ii. 139, 186, 232, 302
Lanlawren, i. 13
Larne, ii. 485
Launceston Heath, i. 8
Layerthorpe, i. 463
Leathley, i. 474, 484, 485
Leckpatrick, ii. 464
Leeds, i. 293, 460, 467–512, 520, 522, 523, 527; ii. 47, 252
Leicester, i. 38, 39, 58, 60, 106; ii. 159, 456
Leppington, ii. 455
Lesmardie, ii. 502, 503
Lewes, i. 85, 86
Lichfield, i. 296; ii. 369, 432, 434
Lightmoor, i. 301
Lincoln, i. 87; ii. 455, 457
Linton, ii. 155
Lisbellaw, ii. 475
Lisnevah, ii. 464
Little Chester, i. 56; ii. 107, 109, 113, 150
Little London, i. 528
Liverpool, i. 70, 108, 165, 211, 230, 442, 487; ii. 18–55, 88, 186,
199, 284, 339, 350, 355, 356, 413, 445, 446, 480, 483, 514
Llandoger, i. 397
Llanelly, ii. 431, 444, 445, 446
Lochgilphead, ii. 199
Londinières, i. 73
London Potteries, i. 119–220; ii. 148–150
Longport, ii. 167, 187, 268, 282, 283–287, 295, 427
Longton, i. 462; ii. 57, 64, 66, 67, 167, 287, 340, 386–422
Looe, i. 331
Lough Eyes, ii. 474 _et seq._
Lough Melvin, ii. 487
Loughrey, ii. 465
Lowesby, i. 421, 422
Lowestoft, i. 439–454, 502
Ludlow, i. 263
Lugwardine, ii. 452
Lye, i. 260, 261
Lyme Regis, i. 139
Lynn, ii. 105
Mackrackens, ii. 464, 465
Madeley, i. 263, 275, 302–304; ii. 105
Maer, ii. 327
Malvern, i. 224; ii. 148
Manchester, i. 424; ii. 32
Mansfield, i. 503; ii. 101, 104, 109
Market Bosworth, i. 423
Marlborough, i. 41
Marsh Baldon, i. 120, 459
Mayer Museum, i. 70
Mayora, ii. 465
Medway, i. 24–28
Melbourne, ii. 136
Melling, ii. 28, 45
Memsie, ii. 502
Mere, i. 86
Merton, i. 157, 166
Mexborough, i. 492, 510, 517–519, 520
Middlesborough, ii. 16, 17
Middleton, i. 467, 471
Mill Wall, i. 160, 432
Milscar, ii. 455
Milton, ii. 297
Mole Cop, i. 96–98
Monkwearmouth, ii. 11
Montblairy, ii. 501
Montrose, ii. 502, 503
Morewood Moor, ii. 134
Morley, ii. 483
Mortariæ, i. 56, 58
Mortlake, i. 160
Morvah Hill, i. 14
Monsal Dale, i. 3, 15, 16, 19
Much Wenlock (_see_ “Wenlock”)
Mullion, i. 12
Musselburgh, ii. 519
Myton, i. 463
Nantgarw, i. 283, 284, 288, 303; ii. 101, 105, 138, 437, 438, 441,
447–452
Netham Dam, i. 406
Netherend, i. 260
Newark, i. 209, 212
Newbold, ii. 125
Newbottle, ii. 1, 12
New Canton (_see_ “Bow”)
Newcastle-on-Tyne, i. 137; ii. 1–17
Newcastle-under-Lyme, i. 97, 296; ii. 97, 232, 236, 247, 326, 327,
432, 433
New Forest, i. 42–46; ii. 454
New Grange, ii. 463
New Hall, i. 381; ii. 97, 112, 296, 302–310
New Hill, i. 520, 527, 528
New Moor, ii. 12
Newport, ii. 359, 360
Newstead Abbey, i. 513
Newton Abbot, i. 348
Newton, Potters, i. 46
New Troy, ii. 105
New Wortley, i. 503
Nonsuch, i. 166
Nottingham, i. 108, 355, 415–421, 458, 466, 495; ii. 109, 119, 455
North Elmham, i. 72
North Hylton, ii. 1, 3, 8 _et seq._
North Shields, ii. 1, 5, 7
North Shore, ii. 15
Norton, i. 265; ii. 16
Norton-in-the-Moors, ii. 193
Norwich, i. 2, 67, 74, 90, 441, 445, 451, 455
Nuneaton, i. 427
Nuneham Courtenay, i. 120, 459
Nuttall, i. 420
Oldbury, i. 266
Old Hall, ii. 305, 311–315
Old Penrith, ii. 503, 504
Oldswinford, i. 261, 296
Omagh, ii. 467
Orkneys, ii. 503, 522
Osmotherley, i. 463
Ouseburn, ii. 1, 3, 4, 5
Oxford, i. 46, 67, 74, 83, 84, 120, 222, 265
Oxford Street, i. 219
Ozingell, i. 72
Painted Roman Pottery, i. 50
Paisley, ii. 517
Panshard, i. 44
Parkfield, ii. 374
Patrick’s Hill, ii. 42
Pedler’s Acre, i. 169, 177; ii. 74
Pednandrea, i. 349
Penicuik, ii. 504
Penkhull, ii. 185, 424
Penquite, i. 18
Penrith, ii. 503, 504
Penryn, i. 320, 321
Pensnett, ii. 422
Pettigo, ii. 487
Pickering, i. 23
Pinxton, ii. 101, 102, 104, 109, 111, 136–142, 144, 447
Pitt’s Enclosure, i. 46
Place, i. 13, 460–462
Plaistow, ii. 134
Plymouth, i. 114, 115, 224, 318–338, 345, 357 _et seq._, 397, 442,
477; ii. 35 _et seq._, 302 _et seq._, 495
Polesworth, i. 423
Pontefract, i. 489–494
Poole, i. 123, 411–413
Port Dundas, ii. 513
Port Hill, ii. 302, 304, 306
Portobello, ii. 519, 520
Pot-house Hillocks, ii. 134
Pot Ovens, i. 528
Potters Newton, i. 46, 466
Powick, i. 222
Prescott, ii. 33, 54
Prestonpans, ii. 521
Railshead Creek, i. 161
Ramsgate, ii. 95
Rathbo, ii. 502
Rawmarsh, i. 519, 527
Reading, ii. 455
Redcliff Backs, i. 352 _et seq._
Redruth, i. 320, 349
Red Street, ii. 304
Renishaw, ii. 123
Repton, ii. 144–150
Rhymney, ii. 451
Ridge House, ii. 355
Ripley, ii. 455
Ripon, ii. 455
Rockingham, i. 219, 220, 445, 460, 462, 495–520; ii. 439
Rode Heath, ii. 248, 279
Rolleston, ii. 372
Rollox, ii. 515
Ronaldshay, ii. 503, 504
Rosendale, i. 134
Rotherham, i. 464, 497, 502, 519–527; ii. 114
Rotterdam, i. 134; ii. 455
Roundway Hill, i. 14
Rowley Regis, i. 145
Royd’s Hall, i. 461
Runcorn, i. 151; ii. 46, 47, 53, 187
Rutherglen, ii. 519
Rydall, ii. 413
Rye, i. 457
St. Ann’s, i. 406
St. Anthony’s, ii. 5
St. Columb, i. 323
St. Germo, i. 322, 324
St. Helen’s, i. 145; ii. 54
St. Mary-Church, i. 338
St. Peter’s, ii. 5
St. Rollox, ii. 515
St. Stephen’s, i. 323
Salisbury, i. 85, 86
Salopian, i. 42 _et seq._
Saltram, ii. 139
Sandringham, i. 435
Sandyford, ii. 428
Scarborough, i. 85, 86, 265; ii. 153
Scropton, ii. 356
Sculcoates, i. 463–466
Seabridge, ii. 369, 372
Seacombe, ii. 54
Seaham, ii. 12
Selby, i. 472, 489
Selzen, i. 63
Severn Valley, i. 43
Sheal Loch, ii. 502, 503
Sheerness, i. 24–28
Sheffield, i. 506, 524; ii. 159, 359, 402, 413
Shelton, i. 95, 101, 303, 355, 433, 463, 464, 505; ii. 97, 112,
167, 195, 203, 298–344, 422
Shipley, ii. 129, 132, 133
Shirlott, i. 296
Shortroods, ii. 517
Shotover, i. 120, 459
Shrewsbury, i. 263, 305; ii. 67, 185, 369, 372
Sibson, i. 41
Silverdale, ii. 282
Sinclairtown, ii. 520
Skipwith, ii. 455
Sloden, i. 44
Smallwood, ii. 351
Smethwick, i. 145; ii. 454
Sneyd Green, ii. 297
South Hylton, ii. 1, 10
South Normanton, ii. 112
South Shields, ii. 7
Southwark, i. 161, 293; ii. 63
Southwark Bridge Road, i. 432
Southwell, ii. 140
Southwick, ii. 1, 10, 11, 12
Spondon, ii. 112
Stafford, i. 111; ii. 241
Stamford, i. 160, 261, 423, 431–438
Stanley, i. 94
Stapleton, i. 397
Stepney, i. 162, 466; ii. 1, 3, 4
Stilton, i. 518
Stockton-on-Tees, i. 2, 8; ii. 12–19
Stoke, i. 84, 427
Stoke-upon-Trent, i. 86, 304; ii. 108, 110, 167–235, 273, 284, 299,
303, 315, 327, 349, 369, 371, 374, 414, 420
Stone, i. 8
Stornoway, ii. 522
Stourbridge, i. 128, 260–262; ii. 368
Stowmarket, i. 454
Stratford, i. 214; ii. 505
Stratford-le-Bow (_see_ “Bow”)
Stratford-on-Avon, ii. 305
Studley, ii. 419
Sunderland, ii. 1, 5, 8, 10, 11, 12, 13
Suthrick, ii. 63
Sutton, ii. 53
Sutton Hall, i. 196
Swadlincote, ii. 156–159
Swansea, i. 137, 282, 338, 504, 509; ii. 101, 105, 138, 435–451
Swarkestone, ii. 106
Swinton, i. 219, 220, 445, 455, 464, 469, 482, 487, 495–520, 524,
527; ii. 439
Sydnope, ii. 369
Tadcaster, i. 470
Taffs Vale, ii. 451
Tamworth, i. 303, 424
Teignmouth, ii. 515
Thorns, The, i. 260
Thorpe-Arch, i. 470
Tickenhall, i. 88; ii. 151–153, 239
Tinkersclough, ii. 342
Tipton, i. 97; ii. 456
Tiverton, i. 407
Tolthorpe, ii. 455
Tong, i. 263; ii. 139
Torksey, ii. 104, 138
Torquay, i. 342, 343; ii. 452–454
Tottenham Court Road, ii. 108
Tours, i. 130
Tredenny, i. 9
Tregonnin, i. 324
Treloar, ii. 187
Trentham, i. 4, 17, 19, 303; ii. 367, 388
Tresvenneck, i. 4
Trevello, i. 13
Trillick Barr, ii. 463
Truro, i. 397
Trusley, ii. 136
Tuack, ii. 499, 500
Tullow, ii. 466
Tunstall, ii. 167, 246, 272, 282, 289, 302, 305, 423–432
Tunstead, ii. 283
Turnham Green, ii. 364
Tutbury, i. 95
Upchurch, i. 24–28, 30, 32, 51
Uriconium, i. 42, 44, 263, 264, 296
Uttoxeter, i. 95, 96
Vauxhall, i. 156, 157, 160, 169, 202, 295; ii. 68, 129
Vemnoll, i. 123
Verreville, ii. 506, 515
Wadshelf, ii. 118
Wakefield, i. 259, 528; ii. 163, 455
Walesby, i. 59, 61
Walton, ii. 45, 121
Wandsworth, i. 157, 166
Wanstead, ii. 139
Warrington, i. 42, 50–53, 261; ii. 50–53
Watcombe, i. 339–343
Wath-upon-Dearne, i. 527, 528
Wednesbury, i. 97; ii. 422, 456
Weggewood, ii. 345
Welbeck Abbey, ii. 85
Wenlock, i. 263, 265, 296, 307
Wentworth, i. 498 _et seq._, 507, 512, 521
Westbury, i. 407
West Ham, i. 112, 198, 199
West Kennett, i. 9
Westminster, i. 91, 120
Weston-super-Mare, i. 408–411
Wetherby, i. 470
Wheatbridge, ii. 121
Wheatcroft, ii. 134
Whitcar, ii. 455
Whitehaven, i. 411
Whitmore, ii. 111, 327
Whittington, i. 519; ii. 122–125
Whitwick, i. 422
Wilderspool, i. 42, 50, 53
Willingsworth, ii. 422
Wilmcote, i. 260
Wilnecote, i. 424–426
Wimbledon, i. 157
Winchester, i. 295; ii. 256
Windsor, i. 139, 209, 408, 435; ii. 109
Wingeworth, ii. 139
Winster, ii. 60
Winterton, i. 53
Winwick, ii. 53
Wirksworth, ii. 104, 142–144, 159
Wisbech, i. 438
Wittington, ii. 452
Wolstanton, ii. 238, 267, 345
Wolverhampton, i. 426
Wolviston, ii. 17
Wooden Box, ii. 156, 160–166
Woodville, ii. 156, 160–166
Woolwich, i. 128
Wootton-under-Edge, i. 397
Worcester, i. 41, 114, 135, 137, 161, 211, 216, 217, 219, 221–262,
264, 270 _et seq._, 307, 442, 446, 452, 490, 492; ii. 27, 63,
89, 90, 92, 101, 104, 105, 108, 111, 112, 114, 138, 141, 436,
438, 441, 442, 488
Wortley, i. 460, 466, 484, 485, 503
Wrenthorpe, i. 528
Wrotham, i. 454
Wroxeter (_see_ “Uriconium”).
Wykeham Moor, i. 21
Yarmouth, i. 139, 439, 441, 452, 455
Yellow Jack’s Cairn, ii. 467
Ynisymudw, ii. 446, 447
York, i. 44, 46, 61, 63, 115, 460–462, 489, 522; ii. 142
Youghal, ii, 485
Youlgreave, i. 104
Yr Eifel, ii. 522
INDEX OF NAMES OF PERSONS.
Abbey, ii. 44–50
Abel, ii. 533
Abington, ii. 302
Abraham, i. 286; ii. 178, 181
Absolon, i. 455
Ackroyd, i. 469, 472
Adams, i. 94; ii. 187, 224, 233, 235, 236, 237, 247, 293, 297, 310,
325, 326, 329, 336, 338, 386, 387, 388, 389, 390, 407, 420,
423, 424, 425, 426, 528
Adcock, ii. 158, 533
Adderley, ii. 98, 155, 405
Addington, i. 191
Addison, ii. 3, 329
Ador, ii. 527
Agnew, ii. 485
Ailesford, i. 216
Ainsworth, ii. 16
Alcock, i. 526; ii. 237, 268, 273, 275, 278, 280, 283, 296, 297
Aldersea, ii. 232
Aldred, i. 440, 441, 446, 452
Alexander, ii. 538
Algar, i. 338
Allcroft, i. 258
Allen, i. 317, 338, 339, 444, 445, 452, 502; ii. 237, 242, 297,
365, 371, 372, 381, 398
Allerton, ii. 390
Allies, i. 400
Allman, ii. 271, 527
Alsebrook, i. 510
Alsing, ii. 536
Alsop, i. 265, 338, 354, 397, 402
Alvery, ii. 140
Amatt, i. 396, 407
Amery, ii. 416
Amhurst, i. 224
Ancaster, i. 216
Anderson, ii. 392, 521, 522
Andrew, ii. 224
Ansell, i. 74, 75, 186; ii. 160
Anstice, i. 275, 282
Anton, ii. 21
Arde, i. 134
Argyle, i. 210
Arkwright, ii. 61, 94, 142, 143
Armstrong, ii. 8, 488, 497, 532
Arnold, i. 91, 92; ii. 524
Arnoux, ii. 193, 194
Artis, i. 28, 29, 30, 35
Arundel, ii. 190
Asbury, ii. 397
Ash, i. 416; ii. 102, 106, 140, 341, 420
Ashmore, ii. 484
Ashton, ii. 532
Ashwell, ii. 409
Ashwin, ii. 305
Ashworth, ii. 316, 317, 318, 332
Askew, i. 186 _et seq._; ii. 93, 98, 99, 101, 111
Asquith, i. 486
Astbury, i. 101, 110, 111, 196; ii. 172, 237, 298, 299, 342, 347,
348, 397, 412, 413, 415, 416, 419
Astles, ii. 442
Aston, i. 167, 286, 315
Atkins, ii. 102
Atkinson, ii. 3, 142
Atterbury, ii. 532, 533
Aubrey, i. 123; ii. 84
Austin, ii. 8, 11, 12, 415, 416
Averills, ii. 416
Ayers, ii. 526
Ayliffe, i. 91, 92; ii. 524
Aynsley, ii. 307, 392
Bacchus, ii. 412, 420
Backer, i. 135
Bacon, i. 139, 153; ii. 93, 134, 135, 535
Baddeley, i. 137; ii. 299, 310, 316, 320, 332, 401, 402, 422, 527
Baggaley, ii. 237, 253, 279, 280, 404, 536
Bagley, ii. 416
Bagnall, ii. 190, 236, 302, 304, 305, 307, 311, 413, 415, 416
Bagshawe, i. 103, 465, 513; ii. 431, 525
Bagster, ii. 301, 320
Baguley, i. 503, 506, 507
Bailey, i. 124, 126, 129, 130, 131, 132, 213, 260, 515
Bainbrigge, ii. 124
Baker, i. 167, 258–260, 408, 420, 433, 534
Bakewell, i. 197; ii. 62, 359
Baldwin, i. 455
Bale, i. 412; ii. 527
Ball, i. 411–413, 452; ii. 10, 11, 102, 236, 237, 344
Ballard, i. 303
Baller, i. 388
Bamford, ii. 331
Bancroft, ii. 94, 106, 193
Bandinell, i. 193
Banford, i. 397; ii. 99, 103, 106
Bank, ii. 297
Banks, i. 139, 190, 337; ii. 105, 139, 160, 168, 232, 343, 418,
420, 438, 536
Barbier, ii. 528
Barclay, ii. 526
Barker, i. 513, 519, 520, 525, 526; ii. 106, 237, 280, 281, 289,
400, 415, 416, 419
Barlow, ii. 311, 389, 390, 416
Barnes, ii. 24, 25, 26, 399
Barness, i. 353
Barns, i. 416, 417
Barnwell, ii. 530
Barr, i. 229, 237, 238, 240, 242, 307; ii. 104, 105, 111, 438, 442
Barrett, i. 197; ii. 359
Barrow, ii. 536
Barrs, i. 135
Barry, i. 437; ii. 161, 165
Barsham, ii. 528
Bartlett, i. 44, 46, 72; ii. 537
Bartolozzi, ii. 94
Barton, i. 178, 179, 180 _et seq._; ii. 71, 72, 102, 106
Barwick, i. 469, 472
Basford, ii. 270, 526, 529
Bass, ii. 156
Batchelor, ii. 534, 537, 538
Bate, ii. 535
Bateman, i. 3, 23, 102, 106; ii. 241
Bates, ii. 262, 263, 264, 265, 266, 267, 295, 406
Bathurst, i. 316
Bathwell, ii. 271
Batkin, ii. 402, 421, 422
Baugh, ii. 532
Baxter, i. 210; ii. 441, 442
Baylis, i. 129
Baynes, i. 116, 135, 473; ii. 252, 525
Beadle, i. 135
Bearcraft, i. 135
Beard, ii. 32, 48
Beardmore, ii. 279, 399, 404
Beattie, ii. 265, 378
Beauchamp, i. 224
Beauclerc, ii. 486
Beck, ii. 344
Becket, i. 216
Beckitt, i. 260
Beddoes, ii. 442
Bedford, i. 528
Beech, ii. 236, 237, 245, 247, 248, 272, 281, 347, 400, 423, 428,
429
Beeley, ii. 438, 447
Beevers, i. 517
Begnon, i. 397
Belfield, ii. 111, 521
Bell, i. 110, 203, 435, 464, 466; ii. 35, 237, 393, 416, 508, 512,
524
Bellamy, i. 135; ii. 392
Bellarmine, i. 92
Bellay, ii. 528
Bellense, ii. 194
Bellford, ii. 528, 529
Beltzung, ii. 527
Bemrose, ii. 152
Benbow, i. 267
Benn, i. 484
Bennet, i. 132; ii. 280, 295
Benson, i. 107, 109, 110; ii. 524
Bentinck, i. 344, 420
Bentley, i. 175, 197, 307; ii. 31, 244, 300, 301, 355–385
Berks, ii. 198
Bernard, ii. 527
Bernardeau, i. 210
Berry, i. 320; ii. 530
Berlin, ii. 535
Besche, ii. 178, 181
Beswick, i. 210; ii. 429, 527
Betew, i. 188, 201, 202
Bethell, ii. 14
Betteridge, ii. 162
Bettington, i. 399
Bettison, ii. 534
Betts, ii. 457, 526
Bevans, i. 319, 321–338; ii. 444, 532
Bevington, ii. 331, 342, 439, 441
Bewick, i. 512; ii. 6
Bewley, ii. 530, 535
Bibby, ii. 28
Biddell, ii. 527
Bigland, ii. 529
Bill, ii. 423
Biller, ii. 334
Billin, i. 107, 109; ii. 524
Billingsley, i. 283–290; ii. 93, 101, 102–105, 109, 438, 442, 443,
447, 448, 449, 450
Billington, ii. 224
Billups, ii. 286, 536
Bingley, i. 496 _et seq._, 500
Binney, i. 527
Binnie, ii. 508
Binns, i. 199, 200, 211, 229, 234, 236, 242–259; ii. 104, 136–140,
144, 238, 441, 537
Birbeck, i. 286, 536
Birch, ii. 311, 334, 431
Bird, ii. 7, 233, 235, 262, 534
Birkbeck, ii. 531
Birks, ii. 397, 399
Bishop, ii. 302, 328–331
Blace, i. 266
Blackburn, ii. 529
Blackhurst, ii. 281, 402, 430
Blackmore, i. 225; ii. 535
Blackner, i. 417
Blackwell, ii. 293
Blake, i. 201, 203; ii. 116, 118, 529, 537
Blakeway, i. 275–290, 305
Blakey, ii. 4
Blanchard, i. 139, 153–155; ii. 530
Bland, ii. 533
Blashfield, i. 139, 160, 432–438; ii. 202, 528, 530
Blayney, i. 224, 225
Blenkinsop, i. 471
Blomeley, i. 197; ii. 359
Blood, ii. 102, 103, 106, 125, 399
Bloor, ii. 86, 87, 88, 91, 106, 114
Blount, i. 224
Blower, ii. 416
Blowers, ii. 415, 416
Blunt, i. 96
Bly, i. 449, 452
Boardman, ii. 355
Boarman, i. 180 _et seq._; ii. 71, 72, 102, 103, 106, 107
Boden, i. 273; ii. 423
Bodley, ii. 278, 279
Bodmer, ii. 360
Boetius, ii. 530
Bold, ii. 240, 533
Bolton, i. 216, 239, 240; ii. 50, 51, 278
Bone, i. 331, 397; ii. 308
Bonner, ii. 536
Bonneville, ii. 532, 534, 535, 537
Booker, ii. 199
Boon, ii. 414
Boote, ii. 254, 256, 257, 282, 526, 529, 532
Booth, i. 189, 524; ii. 233, 234, 235, 237, 283, 288, 303, 304,
307, 308, 328, 339, 340, 343, 398, 402, 416, 420, 423, 427,
428, 429, 526
Boreman, ii. 71, 72, 102, 103, 106, 107
Borlase, i. 15; ii. 533
Borrows, ii. 423
Borton, ii. 102
Bosher, ii. 97
Boswell, ii. 62
Botham, ii. 416
Bothwell, ii. 437
Bott, i. 243, 251
Boulenger, ii. 532
Boulton, ii. 260, 530, 532, 533, 536, 537, 538
Bourne, ii. 125, 126, 128, 129, 130, 132, 133, 135, 159, 163, 193,
243, 247, 259, 272, 279, 283, 284, 297, 341, 347, 410, 420,
423, 525, 526
Bourry, ii. 529
Bousfield, ii. 529
Bouvert, ii. 529
Bowcock, i. 209, 210, 212, 313
Bowden, ii. 535
Bowdler, i. 286
Bowen, i. 260, 253
Bowers, ii. 288, 429, 529
Bowley, ii. 423
Bowman, ii. 93, 107
Boyer, i. 179, 180 _et seq._; ii. 71, 72, 74
Boyle, ii. 87, 190, 202, 209, 224, 233, 235, 374, 408
Bradbury, ii. 107
Bradley, i. 224, 225, 227, 237, 259, 297
Bradshawe, ii. 404
Brameld, i. 445, 496, 497, 500 _et seq._, 527; ii. 401
Bramler, i. 485
Brammall, ii. 401
Brammer, ii. 512
Brandling, i. 471
Bratt, ii. 288
Bray, ii. 62
Brayley, ii. 124
Brearey, i. 497
Breeden, ii. 529
Breeze, ii. 237, 423, 527
Brentnall, i. 515; ii. 107
Breton, i. 320
Brett, ii. 527
Brewer, i. 303; ii. 93, 107
Brianchon, ii. 529
Briand, i. 397
Brice, i. 357
Briddon, ii. 116, 121, 122
Bridgett, ii. 406
Bridgwood, i. 462, 390, 404; ii. 246, 398, 406, 409, 411, 420, 427,
439, 444
Briggs, ii. 152
Brillait, i. 390
Brimmer, i. 420
Brindley, ii. 187, 283, 353, 528
Briscoe, i. 417, 418, 420
Britain, i. 360, 386, 396
Britten, ii. 528
Britton, i. 473, 480; ii. 124
Broad, ii. 346
Brock, i. 339; ii. 536, 537
Brocklesby, ii. 103, 108
Brodbent, i. 427
Broderick, i. 12
Bromley, i. 519; ii. 122, 123, 124, 218, 221, 336, 338, 528
Brood, ii. 279
Brooks, ii. 159, 309, 429, 525
Brooman, ii. 530, 531, 532, 533, 534
Brough, ii. 402, 527, 534
Brougham, ii. 120
Broughton, i. 524; ii. 108, 271, 428
Brown, i. 209, 264, 266, 275, 297, 307, 440–443, 451; ii. 103, 311,
374, 410, 517, 518, 526, 527, 532, 536, 537
Brownfield, ii. 290, 291, 293, 297
Brownley, ii. 518
Brown-Westhead, ii. 319, 320, 321
Brummitt, ii. 423
Brunt, ii. 162
Brunton, ii. 11
Brutus, i. 222
Bryan, i. 397
Bryant, i. 338
Buchan, i. 60; ii. 364, 366, 520
Buckingham, i. 174, 175, 178
Buckle, i. 444
Buckley, ii. 280, 341
Bucknall, ii. 236, 290, 297
Bull, ii. 536
Buller, i. 216, 345, 346; ii. 526, 530
Bullock, i. 517; ii. 108, 407
Bullough, i. 503
Burdett, ii. 50, 126, 143
Burdon, ii. 9
Burgess, i. 310; ii. 275, 282, 283
Burke, i. 381, 382, 383
Burleigh, ii. 529
Burn, ii. 3, 237
Burnell, i. 338
Burnett, i. 209
Burnsall, ii. 70
Burrough, ii. 65, 416, 536
Burslem, ii. 346
Burton, i. 431; ii. 60, 127, 128, 155, 178, 311
Bush, i. 188; ii. 528
Busk, ii. 525
Butler, i. 352, 495; ii. 102, 103, 110
Butter, ii. 62
Butts, ii. 58
Byerley, ii. 187, 369, 372, 373
Byers, ii. 1, 12
Byford, i. 486
Cadle, ii. 360
Cadogan, i. 219, 498
Cagin, i. 130, 131
Caldwell, ii. 193, 243, 244, 535
Calland, ii. 444
Callender, i. 383
Callowhill, i. 247
Calvert, i. 353; ii. 135
Cambridge, i. 514
Camelford, i. 323, 335, 360
Cameron, ii. 507, 538
Camm, ii. 454
Campbell, i. v; ii. 186, 192–218, 228–232, 522, 527, 531, 538
Canning, i. 424
Cannon, i. 215
Capperman, ii. 13
Carey, i. 357, 409, 411
Carr, i. 151; ii. 157, 533, 537
Cartage, i. 216
Carter, i. 135, 355 _et seq._; ii. 224, 297
Cartland, ii. 533
Cartledge, i. 115; ii. 236, 237, 297, 342, 525
Cartwright, ii. 158, 236, 252, 397
Case, ii. 49, 54
Cash, ii. 162, 166
Cashin, ii. 534
Caskon, ii. 115, 116
Castle, i. 390
Cave, i. 227; ii. 436
Cavendish, i. 210
Cecil, i. 295
Cederwaller, ii. 534
Chablin, ii. 528
Chadwicke, ii. 280, 535
Chaffers, i. 123, 124, 448, 449, 463, 483; ii. 22, 33–37, 42
Challinor, ii. 271, 272, 409, 423, 424, 428
Chamberlain, i. 238–259, 268; ii. 105, 202, 442, 530, 532
Chambers, ii. 444
Champion, i. 158, 323, 331, 335, 336, 356 _et seq._; ii. 302, 304,
305, 306, 364, 449, 519
Chapman, ii. 399, 535
Chappell, i. 473, 485
Chapuis, ii. 530
Charlton, ii. 4, 5
Chatterley, ii. 297
Chawner, ii. 68
Chenot, ii. 528
Chesterfield, i. 192
Chesworth, ii. 399
Chetham, ii. 392
Chetwand, ii. 296
Chilcott, i. 400
Child, i. 216; ii. 424
Chilton, i. 135
Chisholm, ii. 372
Christian, ii. 41
Christie, i. 186; ii. 74, 75
Chrystal, ii. 530
Chubb, ii. 525
Cimey, ii. 531
Clais, ii. 108
Clamond, ii. 537
Clare, i. 361; ii. 280, 528
Clarence, i. 251
Clarke, i. 135, 167, 276, 280, 297, 420, 520; ii. 60, 87, 102, 103,
108, 246, 289, 295, 328, 427, 428, 525, 530, 531, 532, 533,
536, 537, 538
Clarkson, i. 216
Claus, ii. 535
Clauss, ii. 532
Clayton, i. 416, 417; ii. 525
Cleak, i. 268
Cleavey, ii. 108
Cleghorn, ii. 335
Clements, i. 129
Clementson, ii. 311, 332
Cleve, i. 302
Clews, ii. 290
Cliff, i. 151, 152; ii. 53, 529, 531, 533, 536, 537
Clifton, i. 460, 489; ii. 347
Clive, i. 212, 333; ii. 424, 429
Clokie, i. 486, 488
Close, i. 116; ii. 328, 525
Clowes, i. 401, 466; ii. 237, 284, 302, 304, 305, 306, 389
Coades, i. 118, 138–141, 153; ii. 97
Coates, ii. 484
Cobb, ii. 297
Cobden, i. 401; ii. 223
Cobley, ii. 530
Cochet, i. 73
Cochran, ii. 505, 506, 507, 515, 532
Cockayne, i. 446
Cockson, ii. 296, 307, 506, 507
Codd, ii. 537
Coffee, i. 139; ii. 93, 94, 97, 98
Cogan, ii. 529
Colclough, i. 416, 417; ii. 239, 297, 311, 398, 409, 442
Cole, ii. 442
Coleman, i. 210
Coles, i. 189; ii. 435, 436
Colfs, ii. 536
Collier, ii. 455
Collingwood, ii. 392
Collins, ii. 203, 526
Collinson, i. 514
Colquhoun, ii. 506
Colville, ii. 7
Condliffe, ii. 237
Conway, i. 140
Conyers, i. 39, 40
Cook, i. 224, 225, 286, 331, 337, 463; ii. 5, 334, 365, 538
Cooksey, i. 135
Cookworthy, i. 107, 114, 318–338, 354 _et seq._; ii. 35, 36, 302,
304, 306, 364, 524
Cooper, i. 156, 197, 216, 361; ii. 102, 103, 108, 159, 359, 390,
394, 397, 400, 401, 405, 525, 526, 528
Cope, ii. 390, 398, 404, 415, 416
Copeland, i. 284, 492; ii. 88, 106, 161, 168–184, 235, 237
Copestake, ii. 398, 409
Coppock, i. 416, 417
Corbett, i. 260
Cordon, i. 515; ii. 530
Cork, ii. 237, 259
Cormie, ii. 258, 283
Corn, ii. 281
Cornelius, ii. 527
Cornfoot, ii. 7
Cory, ii. 441
Cotterell, ii. 160, 532
Cottingham, ii. 199
Cotton, ii. 109, 535
Coulter, i. 527
Courteney, ii. 93
Cowap, ii. 14
Cowdery, ii. 536
Cowen, i. 515; ii. 520, 521
Cowley, i. 167
Cowling, i. 209
Cox, i. 174, 175, 176, 189
Coxon, ii. 3, 297
Craft, i. 200, 201, 208, 215
Craig, ii. 531
Crapper, ii. 334, 335
Craven, i. 259, 305, 307; ii. 532
Crease, i. 107, 115; ii. 525
Cremorne, i. 490
Cresswell, i. 225, 503; ii. 109
Crewe, i. 88, 298; ii. 151, 152, 153, 371
Crighton, ii. 537
Cripps, i. 353
Crispe, i. 118, 153, 157–160, 220, 444
Crocker, i. 346, 347
Croggan, i. 139
Croker, i. 291, 293, 295
Crompton, ii. 58, 62
Crosse, ii. 457
Crowther, i. 200 _et seq._
Cruger, i. 361
Cullen, i. 39, 90, 91, 133; ii. 524
Cumberland, i. 254, 462, 504
Cumming, ii. 520, 521
Cuncliffe, ii. 30, 43
Cupit, ii. 415, 416
Curtis, i. 445
Cutten, ii. 525
Cuttler, i. 135
Cutts, ii. 139
Cyples, ii. 389, 390
Da Costa, ii. 526
Dale, i. 458, 504; ii. 396, 525
Dalman, ii. 528
Dalton, ii. 3, 305
Dance, i. 222, 417
D’Angely, ii. 527
Daniel, i. 222, 287; ii. 187, 233, 235, 236, 237, 253, 254, 259,
271, 273, 297, 299, 305, 306, 309, 310, 346, 349, 527
Darbey, i. 297
Darwin, ii. 369, 372
Dauchell, ii. 529
Daught, i. 124
D’Avenant, ii. 169
Davenport, i. 284; ii. 162, 224, 253, 259, 282, 283–286, 289, 344,
528, 529
Davies, ii. 140, 525
Davis, i. 224, 225, 227, 254, 259, 353, 480, 508; ii. 7, 336, 451,
532
Davison, ii. 416
Davy, ii. 373, 535
Daw, i. 397
Dawson, i. 484, 485; ii. 10, 12, 399, 526
Deakin, ii. 393
Dean, ii. 532, 536
Deare, ii. 42, 93, 109
De Boeuff, ii. 94
Decon, i. 297
Decuber, ii. 97
De la Beche, i. 309
De la Cour, i. 213
De la Mayne, i. 116; ii. 478–482, 525
De la Perrelle, ii. 537
Dennett, ii. 118
Dennison, ii. 537
Dent, i. 221, 225, 258; ii. 401
Derby, ii. 56, 142, 337
Derbyshire, ii. 401, 529
Derham, ii. 536
Desaussure, i. 394
Desbrow, ii. 156
Dethick, ii. 405
Devonshire, ii. 84, 178
Dexter, ii. 109
D’Hancarville, i. 435
D’Huart, ii. 527
D’Humy, ii. 537
Dibb, i. 527
Dickens, ii. 223
Dicker, i. 320
Dickinson, i. 520; ii. 40, 102, 103
Dicks, ii. 282
Diggory, ii. 275, 278
Dillon, ii. 297
Dillwyn, i. 504; ii. 104, 105, 436, 437, 438, 439, 440, 441, 442,
443, 444, 447
Dimer, i. 140
Dimmock, ii. 310, 311, 334
Disraeli, ii. 223
Divett, i. 343, 346
Dixon, ii. 8, 11, 12, 109
Docksey, ii. 525
Dodd, ii. 103, 134
Dodson, ii. 109
Doe, i. 136, 137, 138, 400; ii. 103, 299, 442
Doley, ii. 529
Dolleans, ii. 529
Don, i. 455
Donald, ii. 518
Doncaster, ii. 185
Donkin, ii. 6
Donovan, ii. 436, 437, 482
Doody, ii. 434
Dooley, ii. 163
Dopter, ii. 529
Dorn, ii. 530
Doulton, i. 144–150; ii. 54, 528, 530, 532
Dowling, ii. 530
Downshire, i. 224
Doxey, i. 417
Dresser, ii. 232
Drinkwater, ii. 33
Drury, ii. 404
Dry, i. 297
Dryden, ii. 5
Dubois-Maisonneuve, i. 435
Ducôte, ii. 525, 526
Dudley, i. 192
Dudson, ii. 311, 336
Duesbury, i. 176, 180 _et seq._, 215, 216, 217, 232–259, 266, 407,
441; ii. 57, 61–132, 136, 137, 156, 422
Dugdale, ii. 142
Duke, ii. 273, 275, 278
Dulake, ii. 534
Dunderdale, i. 485 _et seq._
Dunnachie, ii. 534
Dunnil, i. 305, 307
Dunning, ii. 430
Durand, ii. 531, 536
Durham, ii. 174, 179
Dutton, ii. 414, 416
Duvivier, ii. 93, 97, 308
Dwight, i. 76, 98, 99, 118, 119, 120, 121, 122, 123, 124, 126, 127,
128, 129, 132, 169, 318; ii. 124
Dyas, i. 272
Eardley, ii. 288, 429
Earnshaw, i. 520
Eastlake, i. 331
Eberton, ii. 430
Eckingham, i. 224
Ecroyd, ii. 536
Eden, i. 361
Edge, ii. 236, 237, 259, 260, 261, 279, 413, 416
Edinburgh, ii. 321
Edkins, i. 351, 352, 353, 356, 377, 383, 387, 388, 390, 394, 395,
403, 404
Edwards, i. 197, 213; ii. 68, 86, 109, 156, 159, 160, 237, 254,
267, 268, 269, 272, 282, 299, 359, 390, 397, 399, 411, 412,
420, 526, 530, 532, 536, 538
Egan, i. 407; ii. 68
Egerton, ii. 347
Eginton, ii. 148
Elers, i. 76, 99, 100, 101; ii. 298, 299, 302, 342
Eley, i. 515
Elin, ii. 109
Elkin, ii. 411
Elkington, ii. 194, 381
Elliot, ii. 262
Ellis, i. 344; ii. 51, 311, 527, 531
Ellnor, i. 416, 417
Elsmore, ii. 430
Elton, i. 388
Embrey, ii. 525
Emery, ii. 289, 295, 529, 532
Emmens, ii. 535
Engelbrecht, i. 213
Engledene, ii. 536
Englefield, i. 435
English, i. 463
Ensell, ii. 533
Ensor, ii. 163, 164, 534, 535
Erichson, ii. 536
Evans, i. 297, 403; ii. 135, 194, 342, 429, 440, 441, 442
Evelyn, i. 461
Everal, ii. 415, 416
Evers, i. 467
Evett, i. 225, 226
Evrard, ii. 528
Exeter, ii. 142
Faulkener, i. 175
Faussett, i. 72
Fahy, i. 209
Fairburn, ii. 534
Fairholt, i. 293
Falconer, ii. 3
Farley, i. 343, 398
Farnsworth, ii. 102, 109
Faucheux d’Humy, ii. 537
Fazackerley, ii. 23
Fell, ii. 2, 5, 6, 8, 10
Fennell, i. 173
Fenton, i. 470; ii. 305, 310
Ferguson, ii. 508, 516, 517, 534
Ferneyhough, ii. 407
Ferns, i. 479
Ferrars, i. 76, 79; ii. 160
Ferte, ii. 530
Ferz, i. 188
Févre, ii. 527
Fifield, i. 397, 401
Fillis, i. 338
Findler, ii. 526
Finney, ii. 398
Fisher, i. 260
Fishley, i. 347, 348
Fison, i. 454
Fitzwilliam, i. 219, 499, 501, 503, 507, 512, 514, 515, 516, 521
Flamsteed, ii. 128
Flaxman, i. 139; ii. 265, 364, 369, 378
Fleming, i. 258; ii. 515, 532
Fletcher, ii. 50, 288, 416, 422, 533
Fleury, ii. 533
Flight, i. 216, 217, 236–259, 307; ii. 104, 105, 438, 442
Flower, i. 355, 356
Fodhla, ii. 461
Fogg, i. 209, 210; ii. 102, 103
Foley, ii. 179
Follows, ii. 535
Fondeville, ii. 535
Fontainemoreau, ii. 526
Ford, i. 173, 517; ii. 273, 275, 280, 333, 341, 428, 526, 531, 537
Fordes, ii. 524
Fordy, ii. 7
Fordyce, ii. 84
Forester, i. 268; ii. 235, 396, 406, 531, 536
Forneday, ii. 115
Foster, i. 489
Fould, i. 285
Fourdrinier, ii. 526
Fournier, ii. 65
Fowke, i. 421, 422
Fowler, i. 135
Fox, i. 320; ii, 416
Frank, i. 332, 352 _et seq._
Franklin, i. 390
Franks, i. 172, 173, 461
Freeman, ii. 397, 398, 413
Freik, i. 212
Frevet, ii. 536
Fricker, i. 407
Frost, ii. 109, 536
Fry, i. 333, 353, 357, 380, 383, 386, 387, 388, 394, 528
Frye, i. 107, 112, 113, 168, 198, 199, 208, 209, 213; ii. 524
Fulham, i. 107
Furly, i. 134
Furnival, ii. 293, 294, 295, 311, 328, 529
Fussel, i. 356
Fynney, ii. 346
Gadsby, ii. 109
Gagerly, ii. 31
Gallimore, i. 264, 265, 266, 267; ii. 226, 227, 404
Galloway, ii. 3
Gally, ii. 535
Gamble, i. 451
Gardissal, ii. 529
Gardner, ii. 414, 416, 418, 419, 488, 521, 522, 528
Garland, i. 397
Garner, ii. 299, 413, 418, 419
Garnier, i. 191
Garrett, ii. 530
Garrick, i. 201; ii. 31, 169–184
Gaskell, ii. 278, 279, 537
Gatellier, ii. 53
Gater, ii. 297
Gaurion, i. 186; ii. 72
Geddes, ii. 506
Gedge, ii. 532, 534, 537
Geoghegan, ii. 465, 530
Gerard, ii. 407
Gernon, ii. 528
Gibbs, i. 307, 424; ii. 232, 526
Gibson, i. 485; ii. 178, 339, 340
Gilbee, ii. 528
Gilbody, ii. 29
Giles, i. 214–218
Gill, i. 486; ii. 142, 143
Gillard, ii. 256
Gillespie, ii. 507, 535
Gillingwater, i. 440, 441, 443, 452
Gillow, ii. 452, 453
Ginders, ii. 408
Girard, ii. 529
Girdler, ii. 532
Gisborne, ii. 532
Gladman, i. 159
Gladstone, ii. 223, 337
Glass, ii. 310, 311
Glasson, ii. 440
Glover, i. 304, 416, 417, 528; ii. 94, 243, 407
Goddard, i. 136; ii. 536
Godwin, ii. 237, 238, 283, 295, 297, 407, 452
Goldie, i. 307, 310
Goldney, i. 356, 401
Good, ii. 78
Goode, ii. 395
Goodfellow, ii. 271, 423, 424, 427, 526
Gooding, i. 220
Goodwin, ii. 54, 55, 128, 396, 530
Gore, ii. 47, 479
Goreham, ii. 535
Gorman, ii. 534
Gosling, i. 220; ii. 141
Gosnell, ii. 527
Goss, i. viii; ii. 224, 225, 226, 227, 228, 326, 334, 335, 338,
522, 535
Gottgetreu, ii. 529
Gough, ii. 159
Goulding, i. 161, 162, 166
Gover, i. 375
Grace, ii. 53
Grafton, ii. 528
Graham, ii. 44–50, 526
Grainge, ii. 524
Granger, i. 240, 254–259, 268; ii. 159, 532
Grant ii. 112
Graves, ii. 460, 465, 532
Gray, i. 261, 303; ii. 4, 118, 309, 520
Greatbach, ii. 185, 392, 413, 416, 420
Greaves, i. 520
Green, i. 151, 197, 211, 230, 232, 235, 467 _et seq._, 486, 497
_et seq._, 520–527; ii. 26 _et seq._, 50, 88, 102, 159, 245,
279, 350, 359, 392, 393, 407, 408, 409, 413, 417, 527, 529,
533, 534, 537
Greening, ii. 529
Greenland, i. 295
Greenwell, i. 21
Greenwood, i. 138, 139; ii. 420, 525
Gregg, ii. 484
Gregson, i. 463
Gresley, ii. 98, 155, 163
Gretton, i. 431
Grey, ii. 118, 126, 447
Grice, ii. 158, 159
Griffin, i. 209
Griffiths, i. 136, 138, 144
Grimsley, ii. 527
Grispie, ii. 265
Grose, ii. 224
Grosvenor, ii. 515, 516, 534
Grove, ii. 407
Guelton, ii. 537
Guerin, ii. 537
Guest, i. 275–277, 431; ii. 444, 445, 538
Gunton, i. 456
Gurnell, i. 320
Gwyn, i. 390
Gyles, i. 201
Hackney, ii. 297, 528
Hackwood, ii. 307, 310, 311
Hadfield, ii. 139, 140
Hadley, i. 247
Haggett, ii. 536
Hague, ii. 525
Hailstone, i. 470, 478, 479, 481
Halde, i. 321
Hall, i. viii, 260, 465; ii. 109, 110, 162, 227, 238, 281, 283,
307, 423, 428, 429, 442
Hallam, i. 510; ii. 165, 166, 399, 416
Hallins, ii. 416
Halse, ii. 174
Hamilton, i. 435; ii. 224, 233, 357, 394, 395, 440, 520, 525, 530,
531
Hamme, i. 98, 133, 318
Hammersley, ii. 272, 288, 311, 386, 397, 429, 430
Hampson, ii. 401
Hampton, ii. 334
Hancock, i. 135, 225, 231, 232 _et seq._, 272, 273; ii. 87, 88, 90,
92, 93, 109, 110, 185, 193, 224, 272, 421, 423, 429, 488
Hand, ii. 110
Handley, i. 416, 417, 427; ii. 282, 311, 334
Hankey, i. 209
Hanley, ii. 412
Hannah, ii. 528
Hansen, ii. 537
Hanson, i. 135, 469, 472, 500
Hanway, i. 162
Harcourt, ii. 527
Hardenburg, ii. 110
Hardensydes, i. 361
Harding, ii. 281, 296, 307, 527
Hardinge, ii. 154
Hardy, i. 472
Harewood, i. 520
Harford, i. 357, 394
Hargreaves, i. 305, 307
Harland, ii. 529, 536
Harley, ii. 412
Harmer, ii. 529
Harper, i. 133, 134, 160, 297
Harpur, ii. 60
Harracles, ii. 346
Harris, i. 218, 361
Harrison, i. 260, 261, 486; ii. 21, 159, 166, 232, 236, 290, 344,
349, 412, 413, 417, 423, 433, 534, 536
Harrop, ii. 342
Hart, i. 297, 407
Hartenberg, ii. 93
Hartley, i. 467 _et seq._, 486 _et seq._, 522
Hartshorne, i. 286, 297, 407
Harvey, ii. 392
Harvig, ii. 526
Harwood, ii. 8, 16
Haslem, ii. 110
Haslewood, i. 268
Hassall, ii. 218, 221, 297
Hassall, i. 355; ii. 407
Hassalls, i. 355; ii. 186, 297
Hastings, ii. 162, 365
Haward, i. 446
Hawkins, i. 291, 420
Hawksyard, ii. 169
Hawley, i. 519, 527; ii. 237, 392, 410
Hawthorne, ii. 270
Hayden, i. 397
Haynes, i. 260; ii. 435, 436, 443
Hayward, i. 320
Haywood, ii. 31, 288
Hazley, i. 416
Head, ii. 3
Heald, i. 518
Healey, ii. 527
Heapey, ii. 127
Heath, i. 215, 232–259; ii. 57, 58, 59, 60, 62, 63, 64, 66, 67,
69, 89, 237, 238, 251, 281, 283, 297, 300, 304, 412, 413, 420,
423, 424, 432
Heathcote, ii. 115, 116, 405, 421
Heilmann, ii. 536
Hellyer, i. 338
Hempel, i. 116, 198; ii. 525
Hendley, ii. 112
Heuer, ii. 537
Henley, ii. 535
Hennique, ii. 528
Henry, i. 224, 232, 530, 531, 532
Henson, ii. 110
Herapath, i. 414
Hermann, ii. 535
Heron, ii. 520
Herschell, ii. 364, 366
Herwain, ii. 444
Hess, ii. 530
Hesse, ii. 537
Hewitt, ii. 119
Heylyn, i. 107, 112, 168, 198, 208, 209, 210; ii. 524
Heyne, ii. 536
Hickey, ii. 110
Hickling, ii. 525
Hickman, i. 260
Hicks, ii. 185, 258, 299, 310, 315, 316, 320, 335, 533
Higgins, i. 203
Higginson, ii. 533
Hilditch, ii. 396, 420
Hill, i. 396; ii. 62, 93, 103, 110, 223, 235, 275, 297, 537
Hillsborough, ii. 484, 485
Hinde, ii. 341, 530
Hingman, i. 486
Hingston, i. 320, 321
Hipwood, i. 463
Hirstwood, i. 461, 462
Hitchen, ii. 247
Hoare, i. 3
Hobson, i. 507, 513, 514; ii. 282
Hodge, ii. 527, 533, 534
Hodgkinson, ii. 342
Hodson, ii. 399, 537
Hoffman, i. 259
Hoffstaedt, ii. 194, 527
Hogarth, i. 188, 353
Hoggson, ii. 535
Holdcroft, ii. 297, 403, 427, 532, 535
Holdship, i. 224, 225, 230–259, 272; ii. 89, 92
Holland, ii. 45, 110, 142, 237, 392, 393, 423, 444, 445, 446, 447,
536
Hollins, i. 433; ii. 187–218, 224, 229, 302, 303, 305, 306, 310,
351, 528, 535
Hollinshed, ii. 271, 341, 430
Holmes, i. 466; ii. 102, 110, 530, 534
Holt, i. 108, 134, 407; ii. 524
Holyoake, ii. 537
Hone, i. 201
Honeychurch, i. 345
Hood, ii. 430, 442
Hope, i. 352, 402; ii. 58, 243, 297
Hopkin, ii. 283
Hopkins, i. 135, 353; ii. 237
Hopkinson, i. 132; ii. 111
Hopwood, ii. 396
Hornblower, ii. 536
Horncastle, i. 502
Horne, ii. 325, 326
Horrocks, ii. 97
Horsley, ii. 102, 110
Horton, i. 276, 277, 282
Hoton, i. 275, 276, 277, 282, 533
Hough, i. 416, 417
Houghton, i. 123, 156, 220, 293, 454, 458, 461, 528; ii. 455
Howard, i. 83, 84, 209; ii. 112, 369
Howe, i. 419; ii. 84, 94
Howson, ii. 334
Hubbart, i. 158
Hudden, ii. 399
Hudson, ii. 394, 399, 401
Hughes, i. 158, 173, 297; ii. 290, 297, 404, 534, 535
Hullmandel, ii. 526
Hulme, i. 503; ii. 258, 283, 392
Hulse, ii. 395, 405
Humble, i. 467; ii. 45
Humy, ii. 537
Hunt, i. 295; ii. 158, 202, 535, 536
Hunter, i. 186; ii. 74, 78
Huntsmann, ii. 532
Hurll, ii. 516, 517
Hurt, ii. 143
Hürten, ii. 174, 181
Hurter, ii. 95
Hutchings, i. 197, 472; ii. 359
Hutchinson, i. 467
Hutton, ii. 62, 63, 66
Huxham, i. 319
Hyatt, ii. 536, 537
Illingworth, ii. 528
Ince, ii. 143
Ingham, i. 492
Inglefield, i. 179 _et seq._; ii. 71
Inglett, i. 344
Isaacs, ii. 281
Ivimey, ii. 536
Jablonowski, ii. 528
Jackson, i. 161, 520; ii. 6, 237, 410, 416, 535, 536, 537
Jacob, ii. 530
Jäger, ii. 126, 129
James, i. 136, 297, 327, 338, 351, 389, 390, 395, 397; ii. 50, 67,
451
Jamieson, ii. 521
Jansen, i. 232
Jardin, ii. 530
Jarvis, i. 139, 520, 528
Jasper, i. 90
Jay, i. 177
Jeannest, ii. 194
Jenkinson, ii. 365, 366
Jenks, ii. 71, 72
Jennings, ii. 528
Jenny, ii. 442
Jensen, ii. 536
Jerrad, ii. 407
Jersey, i. 217, 218
Jervis, i. 337
Jessop, ii. 68, 127
Jewel, i. 320
Jewitt, i. 3, 234, 418, 490; ii. 122, 124, 326
Jinks, i. 180 _et seq._; ii. 71, 72
Jobson, ii. 530, 532
John, i. 320
Johnson, i. 133, 134, 160, 175, 176, 276, 278, 322, 419, 420, 444,
463, 464, 465; ii. 21, 39, 62, 110, 124, 185, 310, 311, 315,
316, 320, 328, 335, 365, 399, 401, 412, 420, 456, 485, 527,
528, 531, 532, 533, 534, 535
Johnstone, ii. 536
Joiner, i. 423
Jones, i. 107, 109, 218, 297, 312, 347, 397, 433, 465; ii. 160,
202, 218, 224, 237, 247, 295, 297, 311, 401, 524, 525
Jonson, i. 93, 295; ii. 456
Joseph, ii. 531
Jowett, ii. 530
Joynson, ii. 245
Jubb, i. 472
Jug, i. 93
Juleff, i. 349
Kaskon, ii. 115
Kay, ii. 102
Kean, ii. 85, 86, 91, 94
Keat, i. 291
Keeling, i. 116; ii. 280, 281, 302, 303, 304, 305, 310, 311, 328,
338, 394, 415, 416, 422, 427, 525
Keene, i. 139; ii. 102, 110
Kelsall, i. 492
Kemp, ii. 252
Kendall, i. 433; ii. 6, 134
Kendrick, i. 51, 52, 53; ii. 52, 53
Kennedy, ii. 257, 258, 516
Kent, i. 216, 217, 218; ii. 156, 190, 412, 416
Kentish, i. 209
Kerr, i. 242, 251; ii. 526, 533, 538
Key, i. 417; ii. 103, 110
Keys, ii. 93, 103
Kidd, i. 419, 420
Kidston, ii. 506
Kinder, ii. 150
King, i. 260; ii. 14, 98, 99
Kirkham, ii. 228, 271, 430, 529
Kirkland, ii. 111
Kishire, i. 157
Kite, ii. 2, 129, 528
Kleven, ii. 534
Kluh, ii. 536
Knight, i. 133, 134, 157, 158–160; ii. 66, 398, 411, 416
Knowles, ii. 116, 118, 119, 166
Kramer, ii. 531
Lace, ii. 48
Lafarque, ii. 535
Lafon, ii. 530
Lake, i. 201; ii. 532
Lakin, ii. 251, 252, 253, 329
Lambert, ii. 395
Lancaster, ii. 124, 125, 142
Lander, ii. 529
Lane, i. 291
Langford, ii. 534
Langton, ii. 372
Larkin, ii. 526
Lascelles, i. 521
Lauraguais, i. 107, 114; ii. 524
Laurence, ii. 99, 102
Laurent, ii. 535
Lavie, i. 224
Lawrence, i. 197; ii. 110, 111, 359
Lawson, i. 135
Lawton, i. 196; ii. 111, 416
Layard, ii. 178
Lea, i. 221; ii. 278
Leach, i. 330
Lead, ii. 111
Leadbeater, ii. 221, 222, 223
Leak, ii. 282, 402, 529, 531, 532, 533, 538
Lear, ii. 333, 340
Leason, ii. 198
Leathes, ii. 483
Lee, i. 254–260, 519; ii. 529, 536
Leedham, ii. 159
Leeds, i. 210
Leicester, i. 458
Leigh; ii. 275, 283, 297, 306, 307, 345, 347, 416, 533
Leinster, i. 217, 218
Legg, i. 210, 297
Leon, ii. 528
Leoni, ii. 530
Lepetit, ii. 530
Lesage, ii. 534
Leslie, ii. 526
Lesneur, ii. 530
Le Souëf, ii. 531
Lesser, ii. 529
Lessore, ii. 381, 382, 383, 384, 385
Levetzow, ii. 536
Lewin, i. 127; ii. 7
Lewis, i. 397, 433, 446; ii. 530
Leyland, i. 420
Licht, i. 259
Liddle, ii. 262
Lightfoot, ii. 395, 527
Lilly, i. 240, 242; ii. 202
Lincoln, ii. 224
Lindemann, ii. 531
Lindenschmidt, i. 72
Lintzenich, ii. 533
Lipscombe, ii. 122, 535
Little, i. 352, 353
Littler, ii. 245, 287, 288, 305, 422
Littringhaus, ii. 535
Liversedge, i. 503
Livesley, ii. 328, 336
Livingstone, ii. 178
Llandig, i. 515
Lloyd, i. 356, 397; ii. 390, 429
Locker, ii. 87, 93, 237
Lockerbie, ii. 527
Lockett, i. 417, 419; ii. 236, 237, 253, 394, 530
Lockie, i. 159
Lodge, ii. 89
Lomas, ii. 311
Lombe, ii. 61
London, i. 108; ii. 524
Long, ii. 536
Longdon, ii. 102, 103, 111
Longman, i. 352, 353
Looker, ii. 528, 529
Lount, ii. 166
Lovatt, ii. 233, 287
Lovegrove, ii. 58, 102, 111
Lowe, ii. 121, 129, 297, 399, 416, 442
Lowenthal, ii. 530
Lowndes, ii. 235, 423
Lowton, ii. 94, 111
Lubbock, i. 3
Lucas, i. 139, 430; ii. 60, 111, 527
Ludwig, i. 198
Luis, ii. 529
Lukis, i. 88
Luson, i. 44
Lutwyche, ii. 526
Lygo, i. 140, 184, 185; ii. 73, 94, 95, 96, 98, 104, 114
Lyne, i. 397
Lysons, i. 161, 196
Lyttle, ii. 534
Maardt, ii. 536
Macfarlane, ii. 177, 178, 179, 535
Machin, ii. 237, 238, 253, 283, 334
Macintyre, ii. 258, 531
Macken, i. 403, 406
Mackenzie, ii. 530, 531
Maclachlan, ii. 111, 520
Macmillan, ii. 499
Macmurdo, i. 202
Maddison, i. 277
Maddock, ii. 237, 257, 268, 270, 271, 297, 526
Madin, ii. 119, 124, 125
Maiden, i. 216
Maidment, ii. 301
Majoribanks, i. 311; ii. 365, 367, 377
Makintosh, i. 129; ii. 329
Malampre, ii. 179
Maling, ii. 1, 3, 4, 8
Malkin, ii. 161, 236, 237, 239, 259, 269, 361, 410
Mallit, ii. 526
Malpass, i. 496; ii. 531, 537
Mammatt, ii. 163
Mann, ii. 528
Manning, i. 475, 480, 509, 511, 524
Mansfield, i. 215; ii. 45, 297
March, ii. 535
Mare, ii. 297, 310
Margueritte, ii. 528, 529
Mariotti, ii. 537
Markland, ii. 531
Marlborough, ii. 28
Marryatt, i. 87, 397, 440, 454, 455; ii. 140, 457, 458
Marsh, i. 273; ii. 236, 237, 238, 279, 280, 282, 283, 286, 287,
288, 311, 347, 411, 412, 413, 415, 416
Marshall, i. 202, 417, 431; ii. 520
Marten, i. 413
Martin, i. 131, 132, 320, 353; ii. 4, 398, 413, 535
Martins, ii. 532
Mason, i. 158, 445; ii. 102, 103, 111, 158, 159, 292, 315–318, 404,
405, 407, 408, 413, 525
Massellon, ii. 533
Massey, ii. 160, 333, 340
Massey, ii. 237
Masterman, i. 486, 488
Masters, ii. 526
Matherson, ii. 522
Matthews, i. 400, 408–441, 527; ii. 420, 421
Matthewson, ii. 416
Maw, i. 258, 263, 307–317; ii. 531, 533, 534, 536
Mawdesley, ii. 423
May, ii. 310, 311, 338
Mayer, i. 442, 481; ii. 21, 24 _et seq._, 54, 56, 57, 233, 236,
237, 262, 263, 266, 267, 279, 280, 301, 302, 310, 311, 319,
333, 339, 340, 349, 420, 422, 423, 428, 528
Mayfield, i. 466
McAdam, ii. 515, 528, 531, 534
McBirney, ii. 488, 497
McClintock, ii. 178
McDowall, i. 489
McLachlan, ii. 111, 520
McLauchlan, ii. 518
McNally, i. 212
McNay, ii. 521
Mead, i. 215
Mead, i. 345
Meakin, ii. 295, 296, 297, 310, 340, 395, 430, 531
Mear, ii. 423
Meavy, i. 135
Mee, ii. 416
Meer, ii. 56, 57
Meerman, ii. 365, 366
Meigh, ii. 185, 299, 310–317, 320, 335
Meir, i. 108; ii. 288, 297, 412, 423, 430
Melbourne, i. 217, 218
Meli, ii. 222
Mellor, ii. 111, 237, 239, 259, 297, 337
Mendheim, ii. 536
Menet, ii. 535
Meredith, ii. 43
Metcalfe, ii. 23
Meteyard, i. 80
Methven, ii. 520
Meyer, ii. 530
Michele, ii. 537
Middlemore, ii. 419
Middleton, ii. 304, 401
Miers, ii. 56, 57, 436
Miles, i. 95; ii. 298, 451
Millengen, i. 435
Miller, ii. 174, 508, 513, 516, 531, 537
Mills, i. 441, 445; ii. 311, 422
Milner, i. 265
Milton, i. 462, 521; ii. 93
Minland, ii. 486
Minton, i. 220, 272, 303, 432, 433, 435; ii. 106, 108, 119, 114,
185–218, 224, 229, 233, 235, 378, 381, 384, 396, 403, 525, 527,
536, 538
Mitchell, i. 111, 457; ii. 236, 237, 241, 242, 388, 534
Mobberley, i. 260; ii. 536
Moffat, ii. 535
Monckton, ii. 535, 537
Monier, ii. 529
Montagu, i. 361
Montfaucon, i. 435
Monti, ii. 179
Moorhouse, ii. 527
Moore, i. 444; ii. 1, 11, 102, 111, 115, 140, 281, 318, 320, 321,
347, 394, 395, 409, 451, 456, 533
Morand, ii. 534, 536
Moreau, ii. 526
Morgan, i. 188, 194, 210; ii. 97, 271, 280, 446, 534, 535, 537
Morledge, ii. 102, 111
Morley, i. 416, 417, 445; ii. 316, 318, 405, 530
Morrell, ii. 102, 140
Morris, i. 303, 304, 437; ii. 3, 442
Morrison, ii. 522
Morson, ii. 4
Mort, ii. 48, 49, 54
Mortlock, i. 219, 220, 499, 508, 515; ii. 385, 448
Moser, i. 291
Moses, i. 435
Mosley, ii. 62, 245, 372
Moss, ii. 27
Mottershed, i. 452
Mount Edgcumbe, i. 333
Mourot, ii. 529
Mudge, i. 319, 322; ii. 473
Mufford, ii. 531
Muir, ii. 518
Muller, ii. 535
Mullins, ii. 111
Mundy, ii. 132, 133
Munro, ii. 522
Murphy, ii. 525
Murray, i. 471; ii. 512, 519, 531, 535, 537
Musgrove, ii. 102, 111
Muss, i. 273, 277
Myatt, i. 305, 421
Nadin, ii. 155, 162, 166
Napier, ii. 537
Nash, i. 239; ii. 527
Nasmyth, ii. 194, 527
Neale, i. 481; ii. 300, 301, 342, 412
Needham, ii. 2, 62, 129, 521, 527, 528
Negretti, ii. 529
Nel, i. 127
Nelson, i. 139; ii. 531
Nesbitt, i. 216
Neville, i. 53; ii. 529
Newbold, ii. 420, 422
Newcastle, ii. 85
Newsmarch, i. 60
Newton, i. 520; ii. 526, 529, 530, 531, 532, 533, 534, 535
Nicholson, i. 486, 488
Nickels, ii. 525
Nicklin, ii. 536
Nightingale, i. 387, 388
Nimms, ii. 533
Nixon, ii. 405, 423
Nollekins, i. 188, 190, 201, 202
Nore, i. 220
Norman, i. 395, 420, 444, 446, 449, 450, 455
North, i. 484, 485
Northampton, i. 4, 33, 202
Northcote, i. 319, 331
Northen, i. 153; ii. 529, 530
Northumberland, ii. 84, 94
Northwood, ii. 367
Nourisson, ii. 528
Nugent, i. 353
Nuneham, i. 216
Oade, i. 161
Oakes, ii. 110, 280
Oates, ii. 359
Okell, ii. 42
Okolowicz, ii. 538
Oldfield, ii. 116, 119, 120, 121
Oldham, ii. 341
Oliver, i. 40, 224
Omai, i. 337
O’Neil, i. 182
Onions, ii. 161, 237
Opie, i. 331
Orchard, i. 217
Orde, ii. 199
Orme, ii. 102
Orr, ii. 533
Orton, ii. 154
Osborne, i. 135, 209
Osgood, i. 127
Oswald, ii. 531, 535
Oulsnam, ii. 297
Overley, i. 297
Overton, i. 297
Owen, i. 138, 335, 350, 354, 356, 357, 358, 379, 383, 388, 390,
394, 396, 397; ii. 480
Page, ii. 396
Paget, i. 135; ii. 537
Pain, ii. 238
Palliser, i. 195; ii. 84, 92, 457
Palm, ii. 527
Palmer, i. 94; ii. 300, 301, 305, 412, 526
Palmere, i. 286
Palmerston, i. 216
Pankhurst, ii. 338, 339
Panzetta, i. 139
Pardoe, ii. 441, 448, 449
Pargeter, ii. 367
Parker, i. 273, 334; ii. 4, 14, 28, 116, 288, 360, 525
Parkes, i. 197; ii. 359
Parkinson, ii. 531
Parr, i. 196
Parrish, i. 441, 449; ii. 102
Parrot, i. 397; ii. 237, 297
Parry, ii. 142, 530
Parsons, i. 472; ii. 7
Partridge, i. 297
Pascall, i. 167; ii. 528, 529
Passerio, i. 435
Patience, i. 352 _et seq._
Patterson, ii. 7, 485, 486, 536
Patton, ii. 5, 7
Payler, i. 397
Payne, i. 177, 520; ii. 527
Peacock, ii. 42
Peake, ii. 160, 221
Pearce, ii. 377
Pearson, i. 260; ii. 124, 125, 295
Peartree, i. 135
Peel, ii. 202
Pegg, i. 302; ii. 93, 111, 112, 122
Peigner, ii. 535
Peirce, i. 177
Pellatt, ii. 293
Pennington, ii. 31, 38–42, 112
Pepper, i. 117; ii. 525
Perrelle, ii. 537
Perrens, i. 260
Perrin, i. 221
Perry, ii. 535, 536
Pether, i. 156
Petrie, ii. 529
Phillips, i. 332, 348, 349, 408; ii. 8, 11, 12, 109, 112, 114, 116,
127, 268, 281, 283, 298, 301, 311, 320, 377, 420, 536
Pidding, ii. 527
Piercey, ii. 533
Piggot, i. 179 _et seq._; ii. 71
Pilkington, ii. 62, 116, 125, 133, 151
Pindar, i. 272, 337; ii. 243, 258, 259
Pinkerton, ii. 484, 527
Piranesi, i. 435
Pitman, ii. 442
Pitt, i. 322; ii. 84
Place, i. 460, 461, 489
Planché, ii. 57, 63, 64, 65, 66, 67
Plant, ii. 398, 404, 421
Platt, ii. 297, 531
Plot, i. 76, 95, 96, 97, 98, 261, 458; ii. 432, 433, 434, 456
Plowes, i. 485, 492
Plowright, ii. 12
Plymouth, i. 224; ii. 84
Pochin, ii. 528
Podmore, ii. 35, 37, 281, 423, 424, 429
Pointon, ii. 237, 271
Pole, ii. 30, 43
Polwhele, i. 323
Poole, ii. 218, 221, 246, 251, 252, 297, 329, 403, 427, 525, 527
Pope, i. 383; ii. 297
Popham, i. 492
Port, ii. 41
Porter, ii. 102, 112
Portland, i. 210; ii. 365, 366
Postill, ii. 533
Potter, i. 451
Potts, ii. 525
Poulson, ii. 186, 187, 310
Poulton, ii. 530
Pountney, i. 400, 401
Powell, i. 402, 403, 407; ii. 328, 329, 330, 331
Powis, i. 217, 218
Pownall, ii. 186, 187
Pratt, i. 489; ii. 112, 300, 407, 410, 412, 527, 530, 533, 537
Prentice, ii. 530
Prestwich, i. 275–290
Price, i. 291, 297, 402; ii. 150, 532
Prideaux, i. 327; ii. 528
Pridham, i. 332
Prince, i. 500; ii. 112, 420, 531, 534
Pritchard, i. 141, 277
Pritchett, i. 224
Prockter, i. 189, 407
Procter, ii. 272, 393, 395, 396, 403, 407, 423
Proeffel, i. 397
Prosser, i. 312, 433; ii. 199, 202, 528, 529
Protat, ii. 194
Proudman, ii. 166
Pugh, i. 289, 284; ii. 243
Pugin, ii. 63, 199, 206, 232
Pulham, i. 427, 428, 429, 431
Pulleine, i. 488
Purden, i. 421
Putley, i. 295
Pye-Smith, i. 165
Pyne, ii. 527
Quin, i. 291
Quinton, i. 449; ii. 169
Raby, i. 303, 401; ii. 342
Radford, ii. 398, 420
Raleigh, i. 291, 297, 298
Ramsey, i. 91, 92; ii. 524, 537
Randall, i. 217, 218, 220, 273, 286, 302, 303, 304; ii. 448
Randle-Wilkinson, ii. 430
Ransome, i. 162–165, 454
Ranson, ii. 531
Ratcliffe, ii. 307
Rathbone, ii. 27, 48, 297, 423
Rawlins, i. 390, 427
Ray, ii. 536
Read, i. 135, 405; ii. 161, 235
Redgrave, i. 452
Redhead, ii. 3
Redrich, i. 109; ii. 524
Reed, i. 492, 493, 510, 513, 514, 518; ii. 332, 442
Reeks, i. 133, 309
Rees, ii. 534
Reeves, i. 417; ii. 408, 416
Reid, ii. 37, 38, 527
Rémond, ii. 527
Rendle, ii. 533
Repton, ii. 400, 401
Reynolds, i. 103, 130, 331, 335, 377, 417, 454; ii. 94, 203, 206,
441, 526
Rhodes, i. 197, 442; ii. 124, 272, 359, 537
Rice, ii. 536
Rich, ii. 169, 242
Richard, ii. 444
Richards, ii. 407, 408
Richardson, i. 298; ii. 527, 528, 530, 531
Richmond, i. 528; ii. 142, 529
Rickaby, ii. 11
Ricketts, ii. 444
Rickman, i. 440, 441
Rickuss, ii. 330, 528
Riddal, i. 133
Riddle, ii. 395
Ridgway, i. 411–413, 463, 464; ii. 299, 301, 310, 311, 316,
318–324, 330, 332, 338, 339, 525, 526, 527
Rigg, ii. 42, 43
Riggs, ii. 432, 433
Rigley, i. 212; ii. 101, 102
Rigollet, i. 72
Riley, ii. 258, 273, 280
Ring, i. 137, 138, 354 _et seq._
Rius, i. 90, 91
Rivers, ii. 311
Rivett, ii. 58
Robbins, ii. 534, 536
Roberts, i. 179, 182 _et seq._, 265, 297, 303, 489; ii. 71, 72,
112, 359, 527, 530
Robertson, i. 7, 94; ii. 122
Robey, ii. 536
Robi, ii. 439
Robiglio, ii. 143
Robins, i. 133, 134, 151, 160, 220, 302; ii. 102, 140, 448
Robinson, i. 320; ii. 40, 92, 112, 134, 158, 166, 222, 223, 224,
271, 273, 279, 290, 392, 399, 400, 401, 403, 532
Robotham, ii. 531
Robson, ii. 360
Rochette, i. 435
Rockingham, i. 219, 494, 498
Rockley, ii. 112
Rockliffe, ii. 538
Roden, i. 297, 298
Roebuck, ii. 520
Rogers, ii. 4, 102, 103, 112, 267, 268, 451
Rollason, ii. 530
Roscoe, ii. 49
Rose, i. 269, 274–290, 305, 448, 450, 452, 464; ii. 105, 112, 181,
439, 449, 536
Rosenberg, ii. 528
Ross, i. 188, 232, 235
Rossi, i. 139
Rosson, ii. 35
Roubilliac, i. 435
Round, ii. 534
Rous, i. 90, 91, 133; ii. 524
Rouse, ii. 112
Routledge, i. 139
Rowbottom, ii. 133
Rowland, ii. 140
Rowley, ii. 158, 161, 238, 398, 527
Ruelle, i. 198
Rufford, i. 260
Ruhl, ii. 168, 198
Rupert, i. 472
Rushworth, i. 139
Russell, i. 193, 485; ii. 127, 530
Rutland, i. 273
Ruysbranch, i. 333
Sacheverell, ii. 483
Sadler, i. 211, 230; ii. 26 _et seq._, 43, 44, 45, 88, 279, 350
Sale, ii. 416
Saliby, i. 135
Salt, ii. 340
Salway, i. 224
Sanby, ii. 94, 107
Sandby, i. 187; ii. 50
Sanders, i. 216; ii. 416, 527, 528
Sandford, ii. 311, 525
Sandys, i. 209, 222
Sans, i. 76, 104; ii. 241
Saqui, i. 331, 332, 397
Sartine, ii. 112
Saunders, i. 353, 397, 411–413
Scarratt, ii. 532
Schrieber, i. 200, 206, 211, 381, 390, 396
Scots, i. 160
Scott, ii. 1, 10, 12, 533, 534, 535
Scrivener, ii. 341, 386, 407, 532
Seago, i. 445, 446, 450
Sealy, i. 139, 140, 141, 153
Seaton, i. 489
Seddon, ii. 232, 237, 296, 526
Sedley, i. 420
Sefton, i. 417; ii. 28
Seithen, ii. 528, 530
Selby, i. 417, 497
Sewell, ii. 6
Sha, i. 201
Shackleton, i. 485
Shakespear, i. 186
Sharp, i. 486, 496; ii. 87, 93, 156, 157, 158, 528, 531
Sharratt, ii. 125
Shaw, i. 96, 100, 107, 110, 111, 196, 201, 266, 297; ii. 19
_et seq._, 34, 105, 159, 233, 236, 237, 241, 242, 270, 280,
296, 310, 346, 398, 399, 420, 421, 422, 423, 424, 426, 434,
524, 535
Sheen, ii. 112
Sheffield, ii. 86
Shelley, i. 492; ii. 407, 411
Shepherd, i. 135
Sheppard, i. 218
Sheridan, i. 212, 216; ii. 390, 538
Sherman, i. 188
Sherrin, ii. 451
Sherwood, i. 377
Shillito, i. 503
Shipley, ii. 102, 111
Shirley, ii. 103, 397
Shore, i. 161, 162, 166, 527
Shorter, ii. 396
Shorthose, ii. 431
Shrewsbury, ii. 199
Shrigley, ii. 251, 252, 518
Shubotham, ii. 404
Shuter, i. 197; ii. 359
Siddons, ii. 365, 366
Sidney, i. 493, 518
Siemens, i. 151; ii, 529, 530, 533, 537
Silbermann, ii. 528
Silk, i. 273
Simcock, i. 197; ii. 359
Simes, ii. 103, 112
Simpson, i. 76, 89, 90, 168, 196, 304, 452, 517; ii. 51, 52, 112,
125, 193, 236, 237, 297, 311, 342, 416, 420, 526
Sims, i. 163–165, 454
Singer, i. 156; ii. 525
Skardon, i. 334
Skelson, ii. 398, 404
Skelton, ii. 536
Sketchley, i. 378; ii. 529, 530
Skey, i. 425, 426
Skidmore, i. 116; ii. 525
Skinner, ii. 2, 13, 14, 526
Slater, ii. 112, 388
Smeaton, i. 337
Smith, i. 24, 28, 29, 39, 62, 72, 87, 135, 188, 265, 266, 268, 269,
275, 297, 382, 383, 388, 389, 420, 422, 452, 456, 457, 463, 464,
488, 489; ii. 13, 14, 15, 97, 102, 103, 112, 113, 142, 163,
278, 282, 297, 339, 403, 411, 483, 526, 527, 532, 535, 536, 537
Sneyd, ii. 311
Snowball, ii. 11
Snowdon, i. 181 _et seq._, 381; ii. 12, 72
Soar, ii. 102, 103, 113
Solander, i. 337
Solon, ii. 207
Son, ii. 102
Sonman, i. 134
Soqui, i. 331
Southall, ii. 113
Southorn, i. 297–299
Southwell, i. 209
Sowter, i. 519
Spackman, i. 114; ii. 524
Sparks, ii. 332
Speight, i. 503, 515, 524
Spence, ii. 524, 529, 530, 534
Spencer, ii. 33, 54, 85, 526, 535
Spengler, ii. 93, 94, 95, 96
Spershot, ii. 525
Spiller, ii. 530
Spinney, ii. 525
Spittle, ii. 528
Spode, ii. 109, 167–184, 185, 232, 233, 235, 299, 396, 410, 413,
414, 416
Spooner, ii. 90, 102, 110
Spremont, i. 168, 170, 173–198; ii. 70, 107
Sprott, ii. 507
Stables, ii. 102, 103, 113
Stafford, i. 456
Stairs, i. 210
Staley, ii. 158, 159
Stamford, ii. 244, 359
Stamp, i. 464
Standing, i. 413
Stanesby, ii. 113
Stanhope, ii. 58
Stanley, i. 427; ii. 395
Stanway, ii. 218, 221, 222, 246, 325, 326, 327, 427
Stark, ii. 407
Statham, ii. 29
St. Berry, i. 135
Steel, ii. 93, 113, 193, 236, 237, 270, 333, 349
Steen, ii. 416
Steer, i. 344; ii. 30, 73
Steigewald, ii. 527
Stenny, ii. 488
Stenson, ii. 106
Stephan, i. 305; ii. 93, 97
Stephens, i. 175, 176, 216, 358, 397; ii. 113, 297
Stephenson, i. 209, 216, 452, 471; ii. 6, 87, 341, 484
Stevens, i. 353; ii. 436
Stevenson, ii. 93, 236, 290, 297, 431, 518
Stewart, i. 463
Stiff, i. 141–144
Stirrup, ii. 393
St. John, i. 258, 307
Stocker, ii. 526, 535, 536
Stokes, ii. 470
Stone, i. 160, 113; ii. 297
Stove, i. 330
Stow, i. 90, 296
Street, i. 310; ii. 505
Stringer, ii. 186, 198, 345
Stringfellow, ii. 479, 480
Strong, ii. 62
Struthers, ii. 531
Strutt, ii. 61, 94
Stubbs, i. 215, 218; ii. 261, 341, 343, 404
Sully, i. 415, 416
Sumner, ii. 224
Sundell, ii. 305
Sussex, i. 504, 514
Sutherland, i. 514; ii. 199, 367, 388, 405
Sutton, ii. 237, 281, 307, 416
Swallow, i. 166
Swan, ii. 388
Sweatman, ii. 534
Swedenborg, i. 337
Swift, ii. 251
Swinton, i. 455
Sydney, i. 167
Tabor, i. 217
Talor, i. 103; ii. 241
Tams, ii. 392, 399
Tamworth, ii. 160
Tatham, i. 435
Tatlow, ii. 113
Tayler, ii. 102
Taylor, i. 355 _et seq._, 485, 486, 492, 493, 517; ii. 102, 103,
113, 152, 229, 232, 236, 237, 273, 280, 297, 310, 311, 319,
334, 340, 353, 394, 401, 436, 537
Tearne, ii. 529
Tebbs, ii. 537
Telwright, ii. 150, 306, 307
Tennyson, ii. 223
Thenard, ii. 533
Thomas, i. 174, 175, 180 _et seq._; ii. 65, 70, 457
Thomason, ii. 87, 115
Thompson, i. 489; ii. 1, 4, 5, 8, 161, 535
Thomson, ii. 515
Thoresby, i. 156, 460, 466, 528
Thorley, ii. 343
Thorn, i. 317
Thorneloe, i. 224
Thorneycroft, ii. 526
Thornhill, i. 188; ii. 3
Throsby, i. 418
Thursfield, i. 268, 297, 304, 305
Thwaites, ii. 535
Tideswell, ii. 404
Tilbury, i. 515
Tildesley, ii. 531
Tilewright, ii. 150
Tilghman, ii. 535
Till, ii. 159, 237, 281, 282, 397, 401, 410
Tingle, ii. 529
Tinsley, ii. 279
Tissington, ii. 143
Titensor, ii. 307
Toft, i. 76, 102, 103; ii. 56, 152, 239, 241, 310, 311, 321, 338,
381, 528
Tolhausen, ii. 528
Tomkinson, ii. 428
Tomkis, i. 299
Tomlinson, i. 489 _et seq._
Tomson, ii. 115
Tongue, ii. 533, 534
Tonks, ii. 529
Tooth, ii. 526, 528
Torr, ii. 536
Tosh, i. 411
Town, i. 356
Townsend, ii. 398, 399
Trewhitt, ii. 526
Trible, ii. 457
Triquet, i. 198
Trollope, i. 87
Trotter, i. 160
Trundell, ii. 111
Tucker, ii. 537
Tuckett, i. 335
Tufnel, i. 344
Tugby, ii. 162, 535
Tundley, ii. 272
Tunnicliffe, ii. 156, 334, 423, 526
Tunstall, ii. 236
Turley, ii. 202
Turner, i, 117, 235, 264, 265, 267–290, 455, 508; ii. 48, 109, 110,
111, 168, 185, 186, 194, 218, 221, 241, 265, 302, 303, 305,
418, 428, 437, 448, 525, 532
Twells, i. 417
Twemlow, ii. 311
Twigg, i. 507, 527
Twisleton, i. 216
Twiss, i. 218
Twyford, i. 101; ii. 310, 334, 342, 343
Tyler, i. 295; ii. 371, 522
Tynes, i. 89, 90
Tyrrell, ii. 106
Tyrwhitt, i. 450
Ulmann, ii. 537
Underwood, i. 233; ii. 89
Unwin, i. 197, 403
Upton, i. 485
Vanderkist, i. 209
Van Hamme, ii. 524
Varcoe, ii. 187, 190
Varley, ii. 130, 535
Vatcher, ii. 537
Vazie, ii. 525
Veale, ii. 526
Venables, ii. 237, 259, 344, 526, 528, 530
Vere, i. 209, 217
Vernon, i. 224, 225, 356; ii. 237, 239, 279, 282, 283, 537
Vidal, ii. 113
Vidie, ii. 533
Vigers, ii. 529
Vigor, i. 353
Vincent, i. 337
Voigne, i. 320
Von Levetzow, ii. 535
Vowell, i. 405
Voyez, ii. 299, 300
Vulliamy, i. 140; ii. 94, 112
Wade, ii. 297
Wager, i. 563
Waghorn, i. 166, 167
Wagstaffe, i. 156, 160
Wainwright, i. 469, 472, 519
Waite, ii. 133
Wakefield, i. 427
Wakeman, ii. 467, 471, 472, 473, 475
Walcot, i. 337
Walker, i. 159, 260, 277–290, 387, 440, 441, 520; ii. 5, 6, 13,
101, 104, 105, 224, 262, 263, 264, 265, 266, 267, 394, 423,
429, 438, 443, 447, 448, 449, 450, 485, 526, 532, 533
Wall, i. 222, 223, 224, 225, 232, 236, 239, 266; ii. 321, 526, 528
Wallace, ii. 3
Walley, ii. 295
Wallis, ii. 60, 64, 94
Walpole, i. 171, 188, 211, 460, 461
Walsh, i. 449
Walter, ii. 530
Walters, ii. 393, 395
Walton, i. 158, 337; ii. 237, 431
Warburton, i. 473; ii. 1, 6, 236, 295, 296, 297, 302, 303, 304,
305, 306, 308, 310
Ward, i. 196, 297; ii. 235, 237, 306, 311, 416
Wardle, i. 526, 527; ii. 102, 110, 113
Wareham, ii. 527
Warland, i. 128
Warmstrey, i. 224, 225, 227
Warne, i. 9, 59
Warner, i. 134, 135, 160, 198
Warren, i. 217, 218; ii. 5, 31
Wart, ii. 202
Water, i. 118
Waterhouse, i. 306
Waters, i. 150; ii. 525
Wathews, ii. 102, 113
Watkins, i. 171
Watkinson, i. 218
Watson, ii. 113
Watt, i. 366
Watts, i. 144; ii. 162, 166
Waught, i. 413
Way, ii. 527
Wear, ii. 316
Weatherby, i. 200 _et seq._; ii. 297
Weaver, ii. 118, 177, 181
Webb, i. 258, 304, 353, 397; ii. 190, 393, 528, 538
Webber, ii. 93, 113, 114
Webberley, ii. 404
Webster, i. 228, 463; ii. 93, 102, 114, 125, 442, 449, 537
Wedekind, ii. 532
Wedgwood, i. 94, 100, 106, 107, 114, 115, 116, 118, 137, 168, 175,
196, 197, 211, 275–290, 365 _et seq._, 442, 467, 474, 476,
478, 479, 481, 487, 489 _et seq._, 523; ii. 14, 30 _et seq._,
51, 87, 88, 90, 94, 97, 102, 105, 106, 109, 185, 187, 192, 222,
232, 236, 237, 239, 242, 244, 245, 247, 248, 249, 251, 252,
271, 281, 284, 287, 298, 299, 300, 301, 302, 315, 326, 327,
329, 333, 335, 338, 345–385, 389, 401, 413, 414, 417, 418, 420,
424, 425, 426, 436, 524, 525
Weigall, i. 435
Weigelin, ii. 536
Wellesley, i. 193
Wellington, ii. 222
Wells, ii. 102, 114
Welsby, ii. 53
Wenden, i. 135
Wesley, ii. 242, 481
West, i. 139
Westaby, ii. 415, 416
Westendarp, ii. 529
Westerland, ii. 534
Whalley, ii. 13, 14, 526
Wheatstone, i. 491
Wheeldon, ii. 114
Wheeler, i. 303
Wheldon, ii. 134
Whetstone, i. 422
Wheway, i. 427
Whieldon, ii. 167, 168, 185, 232, 242, 349, 412, 413–420
Whishaw, ii. 526
Whitaker, ii. 102, 109, 114
Whitburn, ii. 535
White, i. 107, 114, 128, 129, 153, 209; ii. 311, 524, 525
Whitehall, ii. 110
Whitfield, i. 209, 210
Whithead, ii. 297, 311, 312, 334, 537
Whitiall, ii. 102
Whittington, ii. 122, 224, 272, 280
Wiggleworth, i. 492
Wigtoun, i. 265
Wilbaux, ii. 535
Wilberforce, i. 521
Wilcock, i. 197; ii. 359
Wildblood, ii. 185
Wilde, i. 133, 134, 160; ii. 459, 461, 463
Wileman, ii. 159, 411
Wilkes, i. 201, 448
Wilkinson, i. 526, 527; ii. 11, 142, 331, 481
Wilksone, i. 297
Williams, i. 209, 210, 397, 427, 446; ii. 271, 280, 340, 446, 535,
537
Williamson, i. 114; ii. 37, 282, 283, 284, 421, 524
Willit, i. 353; ii. 282, 340
Wills, i. 219
Wilm, ii. 99, 381
Wilshaw, ii. 238
Wilson, i. 159, 320, 404, 467, 506; ii. 3, 7, 12, 16, 17, 143, 166,
301, 320, 499, 503, 525, 531, 534
Wilton, i. 453
Wiltshaw, ii. 270
Windsor, i. 224
Wingfield, ii. 114
Winrow, ii. 114
Winstanley, i. 197; ii. 359
Winter, i. 276–290; ii. 424
Winwood, i. 357
Wirth, ii. 537
Wise, i. 44, 46
Wisker, i. 156, 160; ii. 525
Withers, i. 266; ii. 62, 93, 103, 114
Withinshaw, ii. 246, 247, 278
Wohlgemuth, ii. 529
Wolfe, ii. 224, 233, 235
Wollams, i. 180–184; ii. 71, 72
Wolliams, ii. 71
Wood, i. 135, 179–260, 486; ii. 3, 62, 73, 193, 218, 221, 223, 236,
242, 243, 246, 270, 271, 273, 279, 280, 283, 287, 288, 290,
293, 295, 297, 399, 414, 423, 427, 430, 433, 526, 532, 534,
536–538
Woodall, ii. 258
Woodbury, ii. 532
Woodcroft, i. 124; ii. 524
Woodhouse, i. 417
Woodington, i. 435
Woods, ii. 43
Woodward, ii. 63, 110, 158, 451, 452
Wooley, ii. 392
Woolf, i. 492, 493, 518; ii. 39, 224, 412, 531, 532
Woorrill, i. 135, 254; ii. 529
Wornell, ii. 156
Worsnop, ii. 534
Worss, ii. 536
Worssam, ii. 532
Worthington, ii. 45 _et seq._, 342, 532
Wrede, i. 405
Wrench, i. 135
Wright, i. 24, 26, 44, 71, 72, 397, 433; ii. 94, 116, 117, 119,
121, 195, 198, 199, 203, 423, 525, 526, 532
Wrigley, ii. 535
Wyatt, i. 251, 309 _et seq._, 433; ii. 202
Wyer, i. 417
Wyke, i. 265
Wyndham, i. 460, 461
Wynn, i. 135, 404
Wyon, ii. 378
Yapp, ii. 531
Yate, i. 275–290
Yates, i. 94; ii. 102, 103, 110, 114, 297, 310, 311, 525
Yelland, i. 323
Yellowley, ii. 4
Yeo, ii. 441
Yeoman, i. 492
York, i. 172; ii. 39
Young, i. 274, 305; ii. 8, 14, 437, 441, 448, 449, 509, 516, 517
Zambra, ii. 529
Zetland, ii. 518
THE END.
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FOOTNOTES:
[1] See “North Hylton.”
[2] This may be seen in the Museum of Practical Geology, London.
[3] The following were the proportions of the ingredients used by
Pennington:--“Pennington’s body, March 18, 1769--Bone ashes, 60 lb.;
lyme sand, 40 lb.; flint, 35t frit. To every 60 of the above 20 lbs. of
clay.”
[4] “Christian’s china body (January, 1769). To 100 parts rock: flint,
24 parts; best flint glass, 6 parts; small glass, 6 parts; crown glass,
6 parts. To every 20 lbs. of the above put 1 lb. of salts. Glaze--4
china body (foreign): 16 flint glass; 3 white lead; 12 oz. of pearl
ashes.”
[5] Many of the early productions of these works have a peculiar green
tinge about them. This was the effect of the copper, which for some
time tainted the manufactory.
[6] For an account of the Roman pot-works at Wilderspool, near this
place, see vol. i. p. 51.
[7] This deed will be found printed _in extenso_ on page 63.
[8] See the “Life of William Hutton and the History of the Hutton
Family,” edited by Llewellynn Jewitt, 1872, p. 13.
[9] It may be well to note that my history of the Derby China Works
appeared in January, 1862, and Mr. Chaffers’ first edition of his book
was published in 1863; my history of these works, and information which
I supplied him, being mainly the foundation of his notice.
[10] For all the information connected with this purchase and the
removal of the Chelsea moulds, &c., to Derby (which it would be
needless to repeat here) see my account of the Chelsea China Works in
the first volume of this book. (Vol. 1. p. 176, _et seq._)
[11] This painter is also, besides being written Boreman, sometimes
entered as Bowerman, and as Bowman, and is undoubtedly the same as Mr.
Marryat, in his “History of Porcelain,” erroneously calls Beaumont. He
was afterwards employed at Derby.
[12] Mottoes.
[13] Shipped for Derby, and therefore paid for from there.
[14] Cordwood--charcoal.
[15] For other extracts from the Weekly Bills, etc., see vol. 1., pp.
179 to 183.
[16] The letters and other particulars concerning this demolition and
removal will be found in vol. 1, pages 184–5.
[17] In 1787 the weekly wages paid at the works seem to have been about
£34. In 1790 there were eleven hands employed in gilding and eight in
burnishing, and more burnishers were required.
[18] A notable instance occurs with regard to the design and
arrangement and pose of the figure of Lord Howe (modelled by Coffee),
the curious and interesting letters concerning which I possess. Another
instance was with regard to a bust of Sir Richard Arkwright, for which,
by “desire of Mr. Strutt,” Mr. Duesbury had a plaster cast taken from
the face of Sir Richard, and had also Wright’s picture lent him by
Mr. Strutt. Another instance occurred over a service made for the
Duchess of Northumberland in 1795, a letter regarding which, in my own
possession, says that the six comports are put into Wright’s hands.
[19] At this time, among other memoranda, I find he had produced “4
knife hands,” for which he was paid £3 13_s._ 6_d._; and a
“small figure of Meditation,” for which he had two guineas; and was
paid six guineas for eighteen days’ work at Aston.
[20] One of these letters is so amusing that I cannot resist printing
it. It is as follows:--“SIR,--I received your favor of the
24th Inst only this day, in Answer I shall tell you that on the 7th
Inst I wrote to Spengler to know from whether he had settled with you
that I might know whether I was discharged from my bail, he answered
me the 9th that he was working indefatigably to bring under the
pretended debt (as he call’d it) and that he was allowed out of his
weekly wages barely to maintain himself upon this I thought he would
continue to work ’till at he had compleatly discharged your debt. But
how great was my astonishment when last Saturday sen’night I saw him
arrive, in the most pity full condition. I asked him immediately what
brought hither, and whether he had settled with you and cleared me of
my responsibility, I recd. no other answer, but that nobody would ever
ask me any thing and that you owed him money; without saying any thing
more he sat down to dinner with me, and after dinner he went up into
my room to shave himself and dress his hair; a little while after my
servant going up to make my bed found him in it she told him he could
not remain in the house, all the rooms being engaged, he begged to be
left to take a little rest (being very ill) and he would rise again. I
good naturedly never intended to disturb him, and thought him really
asleep in my room! ’till 11 o’clock when I went up to take a few things
I wanted I found he was gone, and on looking round I missed several
things which he has made free with to the am^t. of £4 4_s._
Notwithstanding this I think he is still in London or its vicinity.
and that he will have impudence enough to call on me or to write:
However I give up every thought of making any good of him. Therefore
must beg you to dispose to the best advantage of those things he left
in yr possession, and to let me know what further sum is coming to
you, without any more law proceedings. When I know your demand I shall
endeavour to settle it with Mr. Lygo to whom you may give orders for
the purpose I remain Sir Yr most obedt. Hble servt H. HURTER
“London 28th Novr 1792”
[21] See Vol. I., pp. 139 to 141.
[22] For an account of those works see later on in this volume.
[23] The following brief pedigree, which I have drawn up from the
parish registers, and other sources, gives all needful information
regarding his family:--
WILLIAM BILLINGSLEY ===MARY
of Derby, buried at | survived her husband.
St. Alkmund’s, Derby, |
4th March, 1770. |
|
+-----------------------+-------+-------------+--------+---------+
| | | | | |
WILLAM ===SARAH SARAH ELIAS ===MARY MARY SARAH POSTHUMIA
BILLINGSLEY, | RIGLEY, BIL- BIL- | BIL- BIL- BILLINGS-
bap. at St. | married LINGS- LINGS- | LINGS- LINGS- LEY,
Alkmund’s, | at St. LEY, LEY. | LEY, LEY, “daughter
Derby, | Alk- bap. | bap. 4 bap. 1 of Mary
12 Oct., 1758, | mund’s, 21 | Oct., Oct., Billings-
apprenticed | Derby. Jan., | 1763. 1764, ley,
to Duesbury | 4th 1760, | bur. widow,”
26 Sep. 1774, | Nov., bur., | 27 bap.
china painter, | 1780. 24th | Sep., 3 June,
etc. | July, | 1773. 1770.
| 1764. |
| +-----------------------+
+-----------+---------------+-----------------+ |
| | | |
SARAH ===GEORGE JAMES LAVINIA BILLINGSLEY, JAMES
BILLINGSLEY, WALKER, BIL- bap. 1 Nov., 1795. BILLINGSLEY,
bap. 14 china maker, LINGS- (In the register this bap. 3 Nov.,
Sep., 1783, who was LEY, is oddly entered; 1795.
buried at associated bap. “Samuel,” being
the parish with 11 Aug., substituted for
Church of Billingsley. 1793, “Sarah.”) died at
Swansea, bur. Nantgarw, and was
January 4th, 12 Nov., buried at Eglwysilan,
1817, aged 1793. Sep. 10, 1817. In the
31, as register of that
appears by parish she is entered
the as “Levinia, daughter
registers of of William and Sarah
that Church, Beeley, Nantgarw,”
copied for aged 21 years.[25]
me by Rev.
T. D.
Thompson.
[24] Frequently, but erroneously, called “Beaumont,” “Bowerman,” or
“Bowman.”
[25] For this entry I have to thank the Rev. Rice Jones, M.A., the
Vicar of Eglwysilan.
[26] The names down to this line are in the second William Duesbury’s
handwriting, and have, been crossed through.
[27] The names from here forward seem to have been the originally
written ones of 1787.
[28] Notice.
[29] “Mr. Billingsley, at the Nantgarrow manufactory, from Lynn sand,
potash, and other components, made a porcelain which, as an artificial
felspar, has some excellence, and approaches nearest real felspar; the
expense certainly was great; and only was his ware defective through
his being unacquainted with the _principles_ of combinative
potency. This was a notable instance how much the mechanical processes
of pottery are in advance of the ‘work and labour of love’ for public
benefit--the science of chemistry in regard to atoms.”--SHAW’S
_Chemistry of Pottery_, 1837.
[30] It is worthy of note that Billingsley was a common name about
Broseley and Madeley; the entries in the parish registers are very
numerous.
[31] This agreement I have printed entire in my “Life of Wedgwood,” p.
347.
[32] Whittington, it must be borne in mind, is a place of considerable
historical and antiquarian interest. The family of De Whittington, to
which “Dick Whittington” belonged, took its rise and its name from this
place; and at the “Cock and Pynot” ale-house here, the great Revolution
of 1688 was planned; the “Revolution House” and the “plotting-chair”
being matters known to most historical readers. Here, too, the Rev.
Samuel Pegge, the great antiquarian writer, lived; he being Rector of
Whittington. “Pynot,” it may be added, is the provincial name for the
magpie.
[33] Amongst many other works, Mr. Arthur Jewitt was author of “The
History of Buxton,” “History of Lincoln,” “Lincolnshire Cabinet,”
“Hand-book of Perspective,” “Hand-book of Geometry,” &c., and he
contributed largely to the _Penny Magazine_, Brayley’s _Graphic
and Historical Illustrator_, &c., &c. He was the intimate friend
of Edward Wedlake Brayley, of John Britton, of Ebenezer Rhodes, and
others. He was born in 1772 and died in 1852, on his 80th birthday.
[34] I am informed by W. Drury Lowe, Esq., owner of the estates, that
a Roman coin in his possession was found in an old working of the
ironstone pits.
[35] The only other examples I have met with of porcelain tokens issued
by china works are those issued by the Worcester Porcelain Company,
which have been described on page 254, vol. I.
[36] For a full account of this discovery see the _Reliquary_,
vol. viii., pp. 129 to 140.
[37] See page 74, vol. i.
[38] Other urns from this place are engraved in vol. i., Figs. 233 to
242.
[39] In this partnership Mr. Copeland had no interest in the works, and
Mr. Spode’s interest in the London house was comparatively small.
[40] Many of the old Derby models, moulds, etc., passed into the hands
of Mr. Alderman Copeland, and have been made available by the firm.
[41] Recently purchased by the present head of the firm, C. Minton
Campbell, Esq., M.P.
[42] Then the principal inn, removed thirty years ago to make room for
the new market buildings.
[43] The price (1873) delivered in the Potteries was £2 10_s._
[44] A bust of my dear old friend, Mr. S. C. Hall, editor of the _Art
Journal_, has, since this was written, been prepared for me by Mr.
Goss, from Gallimore’s modelling. It is a splendid work of Art, and, as
a likeness, is perfect.
[45] For the entire extract, containing many interesting particulars,
see vol. i., p. 97.
[46] A copy of these indentures is printed in my “Life of Wedgwood,”
pages 66–7. They are signed by “Ralph Wood,” “Aaron Wood,” and “Dr.
Tho. Wedgwood,” and witnessed by “Sara =X=[symbol] Wood, her
mark,” and “Jos. Allen.”
[47] The managing man at this time was T. Heath.
[48] Mr. Lakin travelled for orders at this time.
[49] It is said that a John Shrigley in 1765 built the largest hovel of
his day, and that it fell to pieces soon after the last brick was laid.
[50] Probably from the manufactory at Cliff Bank, previously worked by
D. Bird. Shaw says that those works were had by T. Mayer in 1829, and
continues, “We shall just notice here that Mr. T. Mayer has succeeded
in a _chef d’œuvre_ of the Art of Pottery, by many considered
as the best Specimen of Solid Earthenware hitherto produced. It
is an Earthenware Table, of truly elegant workmanship, thirty-two
inches diameter, on an elegant pedestal of proportionate dimensions,
ornamented in a very chaste style, with subject from National History.”
[51] Vol. I., p. 350.
[52] “The Wedgwoods; being a Life of Josiah Wedgwood, with Notices of
his Works and their Productions,” &c. By Llewellynn Jewitt, F.S.A.
London: Virtue & Co., 1865. 1 vol. 8vo, illustrated.
[53] For memoir of Bentley and others see my Life of Wedgwood.
[54] While speaking of the Portland Vase I desire to take the
opportunity of putting on record the fact that in 1877 Mr. John
Northwood and Mr. Philip Pargeter completed a unique and matchless work
of art--a literal copy of the Portland Vase in its own material, glass,
and cut by exactly the same process as must have been employed by the
artist of the original one thousands of years back. Of this marvellous
work I gave a careful account in the “Reliquary,” from which I make the
following extract:--“The material is, of course, glass, and, thanks
to the skill and perseverance of Mr. Pargeter, this has been produced
of as nearly as possible the same rich full deep tone of blue colour,
closely approaching to black when seen with the light upon it, but
of vast richness in dark blue when the light passes through it. Upon
this blue body Mr. Pargeter succeeded in laying a layer of fine white
soft opal glass, specially made for the purpose, to a considerable
thickness; and the welding of these two together was a process of
exceeding difficulty. The two kinds of glass, the one being opaque
and the other transparent, are usually of very different degrees of
specific gravity (the usual opal being of much lighter material than
ordinary glass), but for this special purpose they had to be made of
the same degrees of specific gravity and of expansion and contraction.
This difficult task was, through the skill and constant trials of Mr.
Pargeter, brought to a successful result, and the welding accomplished
with the utmost thoroughness and delicacy; not a flaw, or air-bubble,
or even partially-united spot being visible in the whole of the work.
The body of the vase being entirely coated, even to half-way up the
neck, with the opal, it was ready for Mr. Northwood to operate upon,
and he set about his herculean task--one he had desired all his life
to accomplish--with that spirit of determination that ensured success.
For three years he has unceasingly devoted himself to his task, never
working less than six hours a day, and oftener more, at his gem-like
material, and patiently cutting away, by hand, and by hand only, the
opal coating, so as to leave the blue surface clear as a groundwork,
and the figures and other parts of the design in relief. The whole of
the grouping, the figures, the trees, and indeed every minute portion
of the decoration is delicately carved in the opal, and entirely
carved and cut by hand as in the original. By the entire cutting away
of the opal the amethystine glass of the vase itself is cleared and
polished, while by the gradations of thickness in the carving all the
most delicate shades of colour, from the finest white to the sweetest
of all half-tones--produced by leaving simply a thin and fairylike
film of the coating on the body--in blue, are produced. The effect, as
may be imagined, is rich and gorgeous in the extreme; but its general
effect is the least part of its merit; this lies in the nature of the
work itself, in the extreme delicacy and beauty of manipulation, and
in the almost microscopic nicety of its finish. It is literally cameo
engraving in its highest, most difficult, and most beautiful phase; and
the vase, now completed, is indeed, in Art, a ‘gem of the first water,’
and one that can never, in point of execution and in artistic skill, be
surpassed.”
I may also add, while speaking of the Portland Vase, that in 1877 one
of the first fifty was brought to the hammer and realised £273.
[55] Veining, same as in the combed and tortoiseshell wares.
[56] Tortoiseshell ware.
[57] George Walker and his father-in-law, William Billingsley, who had
assumed the name of _Beeley_ or _Bealey_.--(See “Derby” and
“Nantgarw.”)
[58] Of this clever painter Mr. Binns says:--“Baxter was certainly the
most accomplished artist who painted Worcester porcelain in the first
half of the present century, and his productions are the most covetable
works of the time. We have been favoured by his son, Mr. Thomas Baxter,
F.G.S., with a few notes respecting him. It was Mr. Baxter’s early
training, aided by a naturally artistic mind, which enabled him to
take the high position which we have assigned to him. Mr. Baxter’s
grandfather had workshops in London for painting and gilding china;
they were situated at No. 1, Goldsmith Street, Gough Square, Fleet
Street, a locality connected with Worcester from an early date. It was
usual for Mr. Baxter, sen., to obtain white porcelain from France,
Staffordshire, and elsewhere, and decorate for the London dealers.
It appears that Mr. Baxter, jun., was patronised by Lord Nelson, and
frequently employed by him in making sketches at Merton; he also
painted a rich dessert service for his lordship. Many of the celebrated
subjects of the time painted by Sir J. Reynolds, West, and others, were
introduced by him on plaques of porcelain; some of them are now in his
son’s possession, viz., ‘Thetis and Achilles,’ after West; ‘Puck,’
after Sir J. Reynolds; and ‘Boy with Cabbage Nets,’ after the same
artist. Mr. Baxter was also engaged by a celebrated connoisseur, in
London, to copy some of the more remarkable works in his collection.
This gentleman, in his conversation on Art matters, frequently stated
that, in his opinion, there was no decorative Art in England. After his
return from Paris, on one occasion, he showed Mr. Baxter a fine piece
of porcelain which he had purchased in that city, and asked him whether
such a work could be produced in England. To his great surprise,
Mr. Baxter replied that he had painted that very piece himself, in
Goldsmith Street. This little occurrence will give us some idea of the
superior character of our artist’s work, and the effect of his teaching
is evident in Messrs. Flight & Barr’s ornamental productions. Mr.
Baxter established a School of Art during his visit to the city, from
1814 to 1816; and some of those who afterwards distinguished themselves
in connection with the Arts and Art-manufactures of the city formed
part of his class. Amongst these, we may name Doe, Astles, Webster,
Pitman, Lowe, and S. Cole. When Mr. Baxter left Worcester, in 1816, he
went to Mr. Dillwyn, at Swansea, and continued there for three years.
Amongst the special works painted at that establishment, may be named
the ‘Shakespeare Cup,’ now in the possession of his son, and a dessert
service of garden scenery (a style peculiar to himself), which, we
believe, is in the possession of Mr. Dillwyn. Mr. Baxter returned to
Worcester in 1819, and joined Messrs. Flight & Barr’s establishment
again, but subsequently removed to Messrs. Chamberlain’s. The handle of
a well-known vase, formed by horses’ heads, was modelled by Mr. Baxter
from the head of a favourite mare of Messrs. Barr. During Mr. Baxter’s
residence with Messrs. Chamberlain, we believe his principal works were
services; and the last of which he was engaged was a service of fruit,
of which a specimen is in our cabinet. He died in April, 1821.” The
‘Shakespeare Cup’ or goblet, here alluded to, was “turned by Baxter
himself, the form of the leg having the outline of the dramatist’s face
in profile; the cup is adorned, both on its inner and outer side, with
subjects from the plays.”
[59] A notice of Billingsley, his family, and the various works he
founded, will be found on pp. 101 to 105 _ante_.
[60] In reference to these initials, Chaffers absurdly says, “Sometimes
the letters C. W. are found stamped under, which may perhaps mean
‘China Works.’”
[61] “Grave Mounds and their Contents,” “Half Hours among some English
Antiquities,” &c.
[62] “So early as A.M. 3959, we learn from the books of Leinster and
of Lecan, the body of Slanoll, son of Ollamh Fodhla, was buried in the
earth.”
[63] For this and several other of the engravings illustrating this
notice of the ancient fictilia of Ireland, I am indebted to my good
friend the Rev. J. Graves, M.A., and through him to the council of the
“Royal Historical and Archæological Association of Ireland,” whose
truly valuable “Journal” they have graced.
[64] As I have elsewhere explained, this is an error of Sir William’s;
no urns were simply “sun-baked;” they were, there can be no doubt,
burned on the funeral pyre, as already stated.
[65] _Ballydoolough_, the Place or Town of the Dark Lake.
[66] Journal of the House of Commons, Ireland, vol. v., p. 175.
[67] “3_rd_ November 1753, page 181.
[68] “8th November, 1753, page 185, Committee of Supply.
[69] Journal of the House of Commons, Ireland, vol. vii., p. 43.
[70] _Art Journal._
[71] To Messrs. Macmillan & Co., the publishers of this truly important
and invaluable work--a work which ought to be in every library--I am
indebted for the illustrations, Figs. 740 to 759, which through their
courtesy I am enabled to here introduce. To them I beg to tender my
best thanks.
Transcriber’s Notes:
1. Obvious printers’, punctuation and spelling errors have been
corrected silently
2. Where hyphenation is in doubt, it has been retained as in the
original.
3. Some hyphenated and non-hyphenated versions of the same words have
been retained as in the original.
4. Where appropriate, the original spelling has been retained.
5. Superscripts are represented using the caret character, e.g. D^r. or
X^{xx}.
6. Italics are shown as _xxx_.Project Gutenberg
The ceramic art of Great Britain from pre-historic times down to the present day, Volume 2 (of 2) : $b being a history of the ancient and modern pottery and porcelain works of the kingdom and of their productions of every class
Jewitt, Llewellynn Frederick William
Chimera67
Academic