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.
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.
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.”
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.
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.”
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.
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
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.”
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.”
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.”
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.
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.
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.”
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.
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.
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.”
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.
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.
“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.
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.
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.
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.
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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.
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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.
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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.
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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.
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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.
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Crown Works.--Messrs. Collingwood & Greatbach manufacture china services, &c., of the commoner classes. The works were formerly carried on by Anderson & Bellamy.
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Crown Works, Stafford Street.--Mr. John Tams manufactures the usual classes of earthenware.
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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.
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.
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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.
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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.
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Chancery Lane.--Messrs. Taylor, Hudson, & Middleton here produce all the ordinary varieties of china ware.
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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.
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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.
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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.
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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.
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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.
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High Street.--Messrs. Thomas Birks & Co. manufacture china, earthenware, and gold and silver lustre of the more ordinary qualities.
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New Street.--Messrs. Cooper, Till, & Co. produce both earthenware and china goods of the more ordinary qualities.
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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.
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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.
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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.
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Alma Works, High Street.--Messrs. Copestake & Allen produce here the ordinary services, &c., in china.
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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.
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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.
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Stafford Street.--Mr. James Dawson occupies these works and produces ordinary earthenware of the usual classes.
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Russell Street.--Mr. William Edwards manufactures ordinary earthenware.
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Mount Pleasant Works.--Hallam, Johnson, & Co., late Wood & Co., manufacture ordinary qualities of china.
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High Street.--Messrs. Richard Hodson & Co., china services of the ordinary quality.
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British Anchor Works, Anchor Road.--At these works, occupied by Mr. J. T. Hudden, earthenware only is made.
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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.
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Stafford Street.--Messrs. Hudson & Son produce ordinary china services.
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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.
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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.
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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.
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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.
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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.
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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.
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Chadwick Street.--Messrs. Frederick Jones & Co. manufacture earthenware of the more ordinary class.
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High Street.--Mr. J. L. Johnson produces all the usual services, &c. in the commoner classes of china.
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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.
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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.
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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.
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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.
* * * * *
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.
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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-- 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.
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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.
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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.
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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.
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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.
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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--
* * * * *
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.
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.
* * * * *
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.
* * * * *
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:
* * * * *
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.
* * * * *
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.
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.”
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.
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:--
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-- or
Another mark, which I here engrave, has two tridents in saltire and the name Swansea, thus--
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.
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.
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.
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.
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.
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.