Collecting as a Pastime

by Charles Rowed

BRISTOL

To the group Shelf 3, [Plate XLII], I think it worth while to call special attention. To begin with I invested one shilling on the handle-less cup blue and gold, marked “T,” and I concluded this identified it with Tebo and Bristol; next I was sold the blue-and-white coffee cup marked with crossed swords and guaranteed “Worcester”; then I bought the spill-holder with crossed swords. All these at different times and places. Later I spotted a dirty teapot, with no mark and no gilt, which when washed looked well. It was evidently closely related to the coffee-cup in decoration and age, and was undoubtedly old Bristol. Then my faith in the “T” mark wavered, and when a few days after I saw a feeding-cup which appeared new, and which on handling revealed the “T” again, I began to feel cheap. Anyway, this settled the doubt I had in my mind and convinced me that while I had found an old Bristol piece which had copied the Dresden mark I had been deceived by “Dresden” faking the old Bristol mark. I show the two wastrels alongside the absolutes to illustrate my perplexity; certainly the soft paste, hand decoration, and very little gilt remaining helped to take me down. I wonder which of the copyists originated the design? “T” on this class has meant taboo since.

When the forger stops his forging

There won’t be half the fun,

For the hunter bargain hunting

Stands less chance of being done.

It’s just the doubt, when you are out,

That makes up half the game;

Without the fake, and chance you take,

The pastime would be tame.

The first Bristol cottage china teapot (Shelf 2) I discovered was on a shelf and as I lifted it down I noticed the cross mark in red, and as no lid was in evidence I was charged one shilling. On wrapping it up I found the lid inside and called attention thereto, but was met with the remark “That makes no difference.”

MINTON (SHELF 1, [PLATE XLI])

I am noticing this name because thereby hangs a tale. While in a well-stocked shop I was charmed with a cup and saucer, which I examined and found impressed “Minton,” together with the name of the artist, and dated 1864 in red. At the time of my find (1912), this artist had risen to the important position of Art Director at ——, and I wondered why he had gone to such trouble to please someone whose initials are worked into the design on the cup and saucer, and how it came to be sold to me with the remark, “Oh, that’s only modern; you can have it for——” (so little), as it is hand painted with sweet delicacy. The plate is a typical example of hand-painted fruit, with the border of turquoise blue. Further specimens are on Shelf 1, [Plate XLII], a Minton plate giving a Spanish noble’s coat-of-arms in green, and a rather ordinary cup and saucer in pink and turquoise.

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Owing to a very recent purchase just in time to be included in [Plate XXXIII], Shelf 1, there will be seen two Minton Plates; the one in the centre is pottery, is mainly hand painted in bright colours, one over the glaze, and impressed “Minton.” That on the right is thick porcelain with one colour over the glaze, the outline of the design in black transfer, the colouring done by hand. I have had a pair of the latter some time, and the marked plate confirmed my opinion that they also came from the same factory, so I included one for the benefit of the reader, who will do well to study old Minton. Because—I have just been pulled up short when passing a shop which exhibited a large dish (20 in. by 15½ in.), having been struck by its almost dazzling decoration and its perfect condition. I found it bore no maker’s mark, but as I had Minton’s style in my mind’s eye, I bought it in a hurry as pottery. Now I have time to examine it at home I find it is excellent porcelain, translucent throughout, although it weighs 6½ lb. It is the largest piece of china I have and the most brilliant in colouring, which is all hand painted, being touched up here and there with dark brown for a finishing effect after glazing. There is enough work on this dish to keep a “Ca’ Canny” artist (did such exist) toiling for a week. It is a greatly glorified edition of the marked plate, and it is just in time to be too late to photograph, as this is my final haul before going to press. Here is another proof of my previous remark that “You never know your luck when collecting,” but I must add that your fortune may be considerably influenced by the knowledge you have acquired. You should first of all make up your mind where you want to go, and ascertain the best way to “get there,” as there are many pitfalls on the road. The six plates referred to have been found at five different places (the pair 100 miles away); and as to the cost, well, that is a detail which might depreciate the descriptive notes.

SWANSEA ([PLATE XLI])

I must say a few words about this group, as second on the left is a jug which represents my first purchase in old china. I knew nothing about the subject, and when later I discovered its mark “Woodbine” denoted that the piece emanated from Swansea, and that it was actually mentioned in a book, it set me thinking, and I decided to enter for the China Stakes. I have gathered in other Swansea representatives, none of them of a really uncommon type. Four in the centre are lustre decoration, but no one I have come in contact with has been aware that it was all Swansea, so possibly the photograph may be of avail to more than one curious reader. I am well aware that the really artistic Swansea is considered of great value, but the fact that I have no specimens of this class does not keep me awake o’ nights. The jug on the right is Nantgarw.

BLUE DRAGON ([PLATE XL])

I had a remarkable experience one morning when I was staying at a seaside town. I turned out to see what I could find, and visited all likely shops. In one where the stock was mostly modern I was told they had no old china, but for some reason I opened a drawer near the door and lifted out a blue dragon bowl bearing an old Worcester mark. They had forgotten all about it, and seemed almost as pleased as I was at the discovery, which ended in a mutual bargain. In another street at a shop where they were giving up business, and only had a little stock left, I saw another blue dragon bowl the same size, marked 4s. 6d. When I got home I removed the price ticket and was shocked when an imitation Chinese mark was revealed proving it to be very early Caughley. No blue dragons or blue devils have since crossed my path, but if I do meet with any green dragons on cups I will see if I cannot make them agree with some which are portrayed on the two early Coalport saucers I show on [Plate XLI].

WORCESTER (SHELVES 3 AND 4, [PLATE XL])

Reader, I have now brought you to Worcester, which you know is a Sauce-y as well as a Saucer-y place, but that should not influence our careful study of some of its products which appeal to me effectively. There is something so reposeful about the blue-and-white old Worcester china, mellow with age, and soothing with its smoothness, combined with a warmth of feeling, that has ofttimes affected me. When reaching the stage of jadedness after a long ramble, when the results have been up to that point disappointing, I have felt quite revived after treating myself to a taste of Worcester Sauce. You see the variety of articles, wine cup, egg-cup, sweetmeat dish, teapot, cups and saucers—but I wish to call your special attention to the small jug. I saw one very like this recently fitted with a lid, and marked with a crescent, which the dealer said denoted either Worcester or Caughley, and the price was four guineas. As my jug has no mark I call it “Worcester.” The cup and saucer, lotus pattern bear the 1862 mark.

Shelf 3, [Plate XLI], coloured and printed Worcester. I bought the English Japanese mask jug, as I was struck with its doubtful beauty, especially as it had only part of the handle. Later it took a journey to London, and returned after a lengthy absence fitted with the artificial limb which, as it has not been put to use since, has proved most satisfactory.

With regard to the coloured cream jug, on one of my cycling rambles I unexpectedly came across an emporium, stocked with a legion of antiques, which I entered, after dismounting of course. Being a beginner I was much bewildered, and was backing out without buying when I was hypnotised by the glare of the proprietor’s gaze, so I grabbed the most strikingly coloured thing that struck my eye, put down half a crown, and scorched away with what I have since discovered to be a piece of old Worcester of a type which is in great demand. I got to know the man fairly well later, and if he had sudden fits of uncontrollable temper at intervals his lungs were O. K., and fitted him for the role of local politician. He did a big trade, and if I caught him in his shirt with his trousers fastened up by his braces tied round him I anticipated we could do business; but on occasions when I found him got up in print shirt-sleeves and a black velveteen waistcoat then I knew he was expecting wealthy clients and I had better call again. His knowledge of marks was somewhat limited, and I wondered why his price always seemed high after I had examined the bottom of a piece; and that he never said what he wanted until he had taken the thing from me and satisfied himself if it had a mark or not. When I tumbled to his game, if I caught sight of a mark I had to put that piece back hurriedly and pick it up again casually just before leaving, this being a case of paste cutting a rough diamond.

Lastly I come to my first little bit of Worcester. You will no doubt have heard of Dr. Wall, who really created this china; if not, you can read him up, when you will find he took a great interest in Malvern, so it is not surprising that on this mug there is a view of Malvern. Judging by the scene it must be a very early production, more especially as the printing is over the glaze. Every collector seems to be out for reminiscences of Dr. Wall, and I once came in contact with a dealer who labelled most of his Worcester “Dr. Wal period.” On my pointing out the error in the spelling he remarked, “I see—that makes a L of a difference!”