Leeds.
There is no doubt that pottery has been made at Leeds, or in its immediate neighbourhood, from the earliest times of our British history. Celtic and Romano-British relics have, from time to time, been found in the neighbourhood, which were, without doubt, made at the place; and the village of Potters Newton evidently takes its name from a colony of potters having settled there in early times. That it was so in days of yore is evidenced by the fact of the name appearing in deeds of the thirteenth century. In later times coarse brown earthenware was made in Leeds, as were also tobacco-pipes in the reign of Charles II. These were made from clays found at Wortley—the same bed of clay which was worked for the old Leeds pottery, and is still used for making yellow ware and saggars at the present day. The manufacture of tobacco-pipes at Leeds was established in the latter part of the seventeenth century, and was carried on somewhat extensively for several years. Ralph Thoresby, in his “Ducatus Leodiensis,” published in 1714, in his account of Wortley Hundred says: “Here is a good vein of fine clay, that will retain its whiteness after it is burnt (when others turn red), and therefore used for the making of tobacco-pipes, a manufacture but lately begun at Leeds.” Probably to the existence of this bed of fine clay is to be attributed the establishment of the pot works at Leeds, to which I am now about to direct attention.
Of the date of the first establishment of the Leeds pot works nothing definite is known. It is, however, certain that they were in existence about the middle of last century, and that they were then producing wares of no ordinary degree of excellence. Before this time a kind of delft-ware was made, and I have seen some very creditable copies of Oriental patterns, with salt glaze, also produced at these works. Delft-ware, however, was only made to a small extent, and was soon succeeded by the manufacture of that fine cream-coloured earthenware which made the works so famous, and enabled them in that particular branch to compete successfully with Wedgwood and other makers. As early as 1770 considerable progress had been made in the ornamental productions, and I have seen dated examples of open and embossed basket-work ware of a few years later (1777 and 1779), which are as fine as anything produced at the time.
The first proprietors of whom there appears to be any record were two brothers named Green, in 1760; and it is believed their earliest productions were in black ware, in which the firm afterwards excelled. It was then carried on by Humble, Green, & Co. “Mr. Wilson has found the draft of an agreement, dated November 11, 1775, whereby ‘Joshua Green, of Middleton, gent., John Green, of Hunslet, potter, with divers others, under the firm of Humble, Green & Co.,’ agree with Messrs. Hutchinson and Evers to erect and maintain in repair at their mill a water-wheel, with all necessary machinery for grinding flints. For thirteen years the wheel was to be used exclusively by the Greens, who were to supply burnt flints and to pay 10s. for every 100 pecks of well ground and levigated flints, the workmen’s wages being first deducted.” In 1783 the firm was Hartley, Greens, & Company, and they had so far advanced in their work, and were so firmly established and well known by that year as to justify them in issuing a book of “designs” of some of the articles they were then producing. A copy of this rare volume, in my own possession, contains all three of the lists—English, French, and German. The English title is “Designs of sundry Articles of Queen’s, or Cream-colour’d Earthen-Ware, manufactured by Hartley, Greens, & Co., at Leeds-Pottery: with A Great Variety of other Articles. The same Enamel’d, Printed or Ornamented with Gold to any Pattern; also with Coats of Arms, Cyphers, Landscapes, &c., &c. Leeds, 1783.” The list and title-page occupy eight pages, as do also each of the two others—translated into German and French—which accompany it, and which bear the following titles:—“Abrisse von verschiedenen Artickeln vom Königinnen oder gelben Stein-Gute, welches Hartley, Greens, & Comp. In ihrer Fabrick in Leeds verfertigen; Nebst vielen andern Artickeln; Auch dieselben gemahlt, gedruckt oder mit Gold gezieret zu jedem Muster, ebenfalls mit Wapen, eingegrabene Namen, Landschaften, &c., &c., &c. Leeds, 1783.” “Desseins de divers Articles de Poteries de la Reine en Couleur de Creme, Fabriqués à la Poterie de Hartley, Greens, & Co. à Leeds: Avec une Quantité d’autres Articles; Les mêmes émaillés, imprimés ou ornés d’Or à chaque Patron, aussi avec des Armes, des Chiffres, des Paisages, &c. &c. Leeds, 1783.”[107] This catalogue, with some variations, continued to be issued till a much later period. A copy presented by myself in 1865 to the Jermyn Street Museum supplies the plates missing in the former copy. It has no title-page, but is printed on paper bearing a water-mark of 1814. The words “Leeds Pottery” are engraved on each plate of the book. The plates, forty-four in number, are very effectively engraved on copper, and exhibit a wonderful, and certainly exquisite, variety of designs for almost all articles in use, both plain, ornamented, perforated, and basket-work, including services, vases, candlesticks, flower-stands, inkstands, baskets, spoons, &c., &c.[108]
The partners at this time (1783–4) composing the firm of Hartley, Greens, & Co. were William Hartley, Joshua Green, John Green, Henry Ackroyd,[109] John Barwick, Samuel Wainwright, Thomas Wainwright, George Hanson, and Saville Green. The business was, it appears, divided into six shares, of which William Hartley, Joshua and John Green, and Henry Ackroyd, had each one; John Barwick and the two Wainwrights half of one each; and George Hanson and Saville Green a quarter share each, the latter acting as “bookkeeper” to the firm. The proprietors were extremely systematic and particular in their mode of keeping accounts and in their dealings with each other. They held regular meetings, and appointed independent and disinterested persons as valuers in each department; for instance, one to value the stock of finished goods in the ware rooms, another the unfinished ware, another the copper plates, another the buildings, others the moulds and models, the windmill, the horses, the waggons and carts, the raw materials, the woodwork, and every imaginable thing. The reports of these various valuers, whose names and awards for many years I have carefully examined, were submitted to a meeting of the partners, when a balance was struck, to which the names of each one were attached.
In 1785, and again in 1786, fresh editions of the catalogue and book of plates were issued, without change either in the number of articles enumerated or in their variety or form. The works at this time had been considerably increased in size, and the wares made were exported in large quantities to Germany, Holland, France, Spain, and Russia. So great had the concern become five years later (1791), that the yearly balance then struck amounted to over £51,500; and it is worth recording that in that year the value of the copper-plates from which the transfer printing was effected was £204, while at the present time they represent about £1,000. These copper-plates consisted of teapot borders, landscapes, Nankin borders, and others. The general stock in this year (1791) was valued at about £6,000, and the windmill at about £1,200. The house of the partners, entered as “Hartley, Green, & Co.’s House,” was at Thorpe Arch, near Tadcaster and Wetherby.[110] At Thorpe Arch, too, were the grinding mills. These mills were ten miles from the works at Leeds, and a team of four horses was kept constantly at work carrying the ground flint and stone. They, with the men who worked them, stayed six days, going and coming, between the two places, and then six at Thorpe Arch, alternately. The raw material was taken from Leeds to the mills at Thorpe Arch, when the horses who had brought it worked the mill to grind it, and returned with it, when prepared, to Leeds for use. This continued until 1814, when the windmill on the Leeds premises, which had been used as a corn mill, was converted into a flint mill, and an engine, made by the builders of the first successful locomotive, Fenton, Murray, & Co., put up. This mill is still used for the same purpose.
In 1794 another edition of the catalogue and pattern-book was issued. It was precisely the same in contents as the previous editions, both in the plates and letter-press; and contained the catalogue, or list, in English, French, and German. Fresh designs appear to have been continually added, and, the connections of the company increasing, a translation of the catalogue into the Spanish language was in a few years issued. This interesting work, of which a copy is in the possession of Mr. E. Hailstone, F.S.A., and which also contains the English catalogue, without date, bears the following title:—“Dibuxos de varios Renglones de Loza Inglesa de Regna, de Color de Crema, Fabricados en la Manufactura y Lozeria Hartley, Greens, y Compa. en Leeds: en este mismo ramo fabriam de dicha loza, hay piezas esmaltadas, impresas y adornadas con oro; como tambien hermoseadas con escudos, armas, cifras, payses, &c. &c. Leeds.” Instead of 152 general articles, as enumerated in the previous editions, 221 appear in this; and instead of 32 in tea-ware, 48 appear. In 1814, too, another edition was issued, a copy of which is in my own possession; it contains 71 plates of patterns, exhibiting 221 general articles, and 48 patterns of tea, coffee, and chocolate services. In this edition the whole of the plates, both those from the other copies and those newly engraved, have the words “Leeds Pottery” engraved upon them.
In the middle of the last century an important event in connection with the Leeds pottery took place. This was the establishment of the tramway from the collieries of Mr. Charles Brandling, at Middleton, to the town of Leeds. This tramway passed through the Leeds pot works, to the proprietors of which a nominal rental of £7 a year was paid, and to whom, as a further consideration for the right of passage, an advantage in the price of coals was allowed.[111] While speaking of the formation of this early line, it is interesting to note that upon it was set to work the first locomotive commercially successful on any railway. Mr. John Blenkinsop, who was manager of the Middleton Collieries, took out a patent, in 1811, for a locomotive steam engine, and placed his designs for execution in the hands of Messrs. Fenton, Murray & Co., at that time eminent engineers of Leeds. This was the first locomotive engine in which two cylinders were employed, and in that respect was a great improvement upon those of Trevithick and others. The cylinders were placed vertically, and were immersed for more than half their length in the steam space of the boiler. The progress was effected by a cog wheel working into a rack on the side of one of the rails. Mr. Blenkinsop’s engine began running on the railway extending from the Middleton Collieries to the town of Leeds, a distance of about three miles and a half, on the 12th of August, 1812, two years before George Stephenson started his first locomotive. Mr. Blenkinsop was for many years principal agent to the Brandling family, and his invention was, as is seen, first brought to bear in bringing coals from those pits to Leeds—a matter of immense importance to the town and its manufactures.
In 1796, as named in Hutchins’ “History of Dorset,” much of the Poole clay in that county was sent “to Selby for the use of the Leeds potteries.”
In the year 1800 two fresh partners, Ebenezer Green and E. Parsons, had joined the concern, the firm at this time consisting of William Hartley, Joshua Green, John Green, Ebenezer Green, E. Parsons, Mrs. Ackroyd and her daughter Mary (widow and daughter of Henry Ackroyd, deceased), John Barwick, Thomas Wainwright, George Hanson, Saville Green, and Samuel Wainwright. On the death of Mr. Hartley the business was carried on—still under the title of Hartley, Greens & Co.—by the remaining partners; and a Mr. Ruperti, a Russian, became, I believe, a partner in the firm. The trade at this time was, as I have already stated, principally with Russia, and with Norway, Spain and Portugal, and hence, I presume, Mr. Ruperti’s connection with it. The agent in Russia at one time was Mr. Barwick, and afterwards his nephew, Mr. Jubb. Other changes in the proprietary followed in succession, one of which was that a minister, the Rev. W. Parsons, married Miss Ackroyd, and thus became a partner; and for a time the style of the firm was changed from “Hartley, Greens, & Co.,” to “Greens, Hartley, & Co.” These repeated changes, and the unpleasantness and disputes that arose in consequence appear to have been detrimental to the concern, which was ultimately thrown into Chancery, and a large portion of the stock sold off. Some idea of the extent of the business done about this time may be formed from the fact, which I have gathered from a personal reference to the accounts, that the annual sales amounted, in round numbers, to about £30,000; that about £8,000 was paid in wages, and more than £2,000 for coals, even with the decided advantage of reduction in price by the arrangement spoken of.
In 1825, by an advantageous arrangement effected through the good offices of his friend Mr. Hardy, the then Recorder of Leeds, I am informed, the affair was got out of Chancery, and passed, by purchase, into the hands of Mr. Samuel Wainwright, one of the partners. The concern was at this time, I believe, carried on in the name of “Samuel Wainwright and Company,” and was conducted with great spirit. Mr. Wainwright engaged as his confidential cashier Stephen Chappell, who up to that time was employed as a bookkeeper in one of the Leeds cloth manufactories.[112] At Wainwright’s death (of cholera) in 1832, the trustees carried on the business under the style of the “Leeds Pottery Company,” and employed Stephen Chappell as their sole manager. This arrangement continued until the year 1840, when the trustees transferred the whole concern to Chappell, who took it at his own valuation. Shortly after this time his brother James became a partner in the concern, the firm then consisting simply of “Stephen and James Chappell,” who continued the works until 1847, when they became bankrupt. The pottery was then carried on for about three years, for the benefit of the creditors, by the assignees, under the management of Mr. Richard Britton, who had for some time held a confidential position with Mr. Chappell. In 1850 the concern passed, by purchase, into the hands of Mr. Samuel Warburton and this same Mr. Richard Britton, and was by them carried on under the style of “Warburton and Britton,” until 1863, when, on the death of Mr. Warburton, Mr. Richard Britton became sole proprietor of the works. On July 1st, 1872, he was joined in partnership by his two eldest sons, John Broadbent Britton and Alfred Britton, the firm at the present time being “Richard Britton & Sons.”
The Leeds Pot Works are situated in Jack Lane, and occupy an area of considerably more than seven acres of ground, and at the present time give employment to about two hundred and fifty persons. The premises are intersected for a considerable portion of their length by the Brandling’s Railway, and are also crossed in a cutting by the main line of the Midland Railway. The works are very extensive, and, with but some trifling alterations, now stand as they did in the time of Hartley, Greens, & Co. Closely adjoining them is the Leathley Lane Pottery.
The wares manufactured at different periods at these interesting works consist of the coarse brown earthenwares, made on its first establishment; delft-ware, produced only in small quantities, and for a short period; hard and highly vitrified stone ware, with a strong salt glaze; cream-coloured, or Queen’s ware; Egyptian black ware; Rockingham ware; white earthenware; yellow ware, &c., &c. The great speciality of the works was the perforated “Queen’s or cream-coloured earthenware,” for which they became universally famed, and successfully competed with Wedgwood. It is this kind of ware which among collectors has acquired the name of “Leeds Ware.” To this it will be necessary to direct careful attention, and to point out both the peculiarities of pattern and of ornamentation which they exhibit.
Figs. 848 and 849.
In colour the old Leeds ware—i.e., the cream-coloured earthenware—is of a particularly clear rich tint, usually rather deeper in tone than Wedgwood’s Queen’s ware, and of a slightly yellowish cast. The body is particularly fine and hard, and the glaze of extremely good quality. This glaze was produced with arsenic, and its use was so deleterious to the workmen, that they usually became hopelessly crippled after four or five years’ exposure to its effects. It is not now used.
The perforated pieces, as well as those of open basket-work, exhibit an unusual degree of skill and an elaborateness of design that is quite unequalled. The example (Fig. [848]), is a chestnut basket and stand, of the finest and most elaborate description. In form it is faultless, as it is also in moulding, and there is considerable elegance in the general outline. The upper part of the cover, and the lower portion of the bowl are fluted, and the handles, which are double twisted, terminate in flowers and foliage. Both bowl and cover are elaborately perforated; and here it may be well to note, for the information of collectors, that the perforations of this description were produced by punches, by which the soft clay was pierced by hand. I name this more particularly because I have heard an opinion expressed, by those not conversant with the matter, that this description of open-work was produced in the mould. The fact of each of the perforations being produced separately by the hands of the workman, adds materially to the interest attached to the piece, and to its value. It may also be remarked that the wholesale price of this piece (eleven inches in diameter), the pattern for which was probably produced about 1782–83, was, in 1794, 8s. 6d.—a price which collectors at the present time would gladly triple and even quadruple.
Figs. 850 to 852.
Fig. [849] is an oval butter-tub and stand, of peculiarly elegant design, belonging to Mr. Manning. It is well covered with embossed work, and has both cover and stand very nicely perforated, the perforations being produced in the same manner as the one just described, by punches. The handles are ribbed and double twisted, with foliated terminations. The next illustration shows one of the “pierced fruit baskets” for which these works were very famous, and I have chosen it because it shows the combination of the pierced work with painting. These, and the asparagus shell (Fig. [850]), engraved to show how the peculiar art of these works was applied to the simplest things, will be sufficient to illustrate this variety of pottery.
The next variety is that of twig baskets, of which Fig. [852] is a good and characteristic example. In these pieces, which were produced in different varieties of wicker-work, the “twigs,” or “withies,” are really composed of clay in long or short “strips,” as occasion required, and then twisted and formed into shape. The process was one which required considerable care and nicety in manipulation, and was well calculated to exhibit the skill of the workman. Baskets of this kind were made by various makers, as well as at Leeds, and all on much the same model, so that without an intimate knowledge of the body and glaze of the Leeds ware, it is difficult to distinguish them from others. One of these baskets on its oval stand or dish (the wholesale price in 1794 ranging from 1s. 4d. to 3s. 6d., according to size) is engraved in the book of patterns of which I have spoken, and those who are fortunate enough to possess, or to be able to refer to that extremely scarce work, “Wedgwood’s Engraved Pattern Book” (18 plates, 4to.), will there find one engraved on Plate 13, Fig. [851]. The same baskets were produced at Castleford and Don, and by Staffordshire houses.
Fig. 853.
Another characteristic variety of Leeds work was the combination in basket-work, &c., of embossed patterns with perforations. Of these I give an excellent example on the accompanying engraving, in which the rim of the dish is embossed and pierced in basket-work. The way in which this was produced was this. The plate, dish, basket, or other piece, was formed in the mould so that the pattern stood out in relief above the parts intended to be incised. These were then cut out by hand, with a penknife, leaving the pattern entirely in open-work. The dish here engraved is one of the simplest kind, but is an extremely early specimen, having probably been made about 1779, and is therefore a good illustration of this class of work. It is marked in small capital letters LEEDS POTTERY.
In this same ware—the Queen’s or cream-coloured earthenware—the Leeds works produced services of various kinds, as well as the usual vessels for domestic use, and works of Art in the shape of vases, candelabra, centres, &c. &c. Of the services, which, as a rule, were of remarkably elegant forms, and produced with extreme skill in workmanship, it will not be necessary to give illustrations. Of the more decorative pieces, however, I give Figs. [854 to 856], engravings, because it is well to show collectors to what degree of perfection in design these almost forgotten works had arrived. The first example which I engrave is a magnificent centre, or “grand platt menage,” of four tiers. It is composed of five separate pieces. The base is rock, and each tier is composed of shells after the fashion of the Plymouth designs. The shells are supported on elegant brackets, and the whole piece is surmounted by a well-modelled female figure.
Figs. 854 and 855.
Fig. [855] shows a jardinière of very elegant and effective design, of cornucopia form, with a head of Flora, crowned with flowers, in front, and festoons above held by a ram’s and an eagle’s head; and Fig. [856] exhibits a “grand platt menage,” similar to that engraved on Plate 26 (Fig. 106) of the “Book of Patterns.”
In the plate to which I have referred this elegant piece has a base for cruets added, and is somewhat different in some of its details, but it is much the same in general design. Around the centre of the base, it will be noticed, is a series of rams’ heads with large bent horns, hooked at the end, and the foliage beneath the pine-apple at the top is also deeply bent downwards, and the point of each leaf hooked up at the end. On these—the horns and leaves—it was intended to hang small earthenware wicker-work baskets, and on the engraving to which I have alluded, these are all shown in situ. It is interesting to note that in Mr. Hailstone’s collection is a precisely similar piece, but with the addition of a circular base, which is of Wedgwood’s Queen’s ware, and is marked WEDGWOOD in the usual manner. This circumstance shows that the design was common to both manufactories, and the natural inference to be drawn is that Messrs. Hartley, Greens, & Co., in this instance, as in others, copied and reproduced Wedgwood’s designs; while in other instances it is equally possible Wedgwood copied from them. It is curious in going through the pattern-books of Hartley, Greens, & Co. of 1783, and downwards to 1814, Wedgwood’s of 1815, and the “Don,” to note the similarity of designs exhibited, some of which are so nearly identical, as to appear almost to have been produced from the same moulds.
Fig. 856.
A teapot, dated 1777, has been ascribed to the Leeds works; but I am doubtful as to the correctness of the appropriation. It bears on one side the words:—
“May all loving Friends
Be happy and free
In drinking a Cup
Of harmless tea.”
And on the other side:—
“Mary Green
in the Parish
of Souze 1777.”
The vases, scent jars, cockle pots, and potpourri produced at Leeds, were many of them of very elaborate and elegant designs, and of large size, and were decorated with raised figures, medallions, flowers, festoons, shells, &c., and with perforated work. They were also frequently painted, or enamelled, in various colours, blue, green, and red being the prevailing ones. One “cockle pot,” 22 inches in height, has a square stand, highly decorated with shells, &c., in relief, and with perforations, standing on four feet. At each corner is a raised seated figure. From the centre rises the stem, supporting a solid globe, on which rests the bowl, supported by mermaids. The bowl is decorated with festoons of shells, flowers, and sea-weeds in high relief. The cover is also ornamented with raised groups of shells and seaweed, and is perforated in an elaborate and somewhat intricate pattern. It is surmounted by a spirited figure of Neptune with his trident and horses.
Candlesticks were made in great variety, and were highly decorated. Some were in the form of vases, and in this variety vases were produced in the same manner as Wedgwood’s jasper ware, with reversible tops, so as to serve either as ornaments only, or as candlesticks. Others have dolphins; others again Corinthian and other pillars; others have massive bases perforated and embossed, while the candlestick itself rose from griffins; and others again are vases with branches for two or more candles springing out from their tops. These are now of great rarity, as, indeed, are many of the productions of the Leeds works.
Single figures, and groups of figures, were also produced, principally in the plain cream-coloured ware, but sometimes painted. It is also said that some minute works of Art, small cameos, were made at Leeds. A pair of these, said to be authenticated as Leeds manufacture, are in the possession of Mr. Ferns, who is also the owner of many excellent specimens of perforated ware.
In Mr. Hailstone’s possession is a remarkably fine fountain of large size. It has a dolphin spout, shell terminations, mermaids and shells for handles, and has figures and ornaments in relief in front.
In tea, coffee, and chocolate services, a large variety of patterns were produced; both plain, engined, fluted, pierced, and otherwise decorated. Many of these are of similar form to Wedgwood’s, to whom their manipulation would, indeed, have been no discredit. The great peculiarity of the tea and coffee pots, &c., is their double twisted handles, with flowers and leaves for terminations. Many of these are extremely beautiful, both in design and in execution. These services were made either in plain cream-colour, or painted with borders and sprigs of flowers in various colours. The chocolate cups are usually two-handled, or without handles. The stands are, in many instances, highly ornamented with perforations, or take the form of melon or other leaves, and have ornamental sockets for the cups attached. Several patterns appear in the engravings of which I have spoken. Tea-kettles and milk-pails with covers were also made, and in the possession of the late Mr. Lucas was a fine example of a tea-kettle with double twisted handle, with foliated terminations.
In the early part of the present century, white earthenware was made at these works. It was a fine, hard, compact body, and had, like the cream-coloured, a remarkably good glaze. In this ware services, especially dinner and tea, were produced, and were decorated with transfer printing, painting, lustre, and tinsel. “Tinselling,” it must be understood, is the peculiar process by which a part of the pattern is made to assume a metallic appearance by being washed here and there over the transfer or drawing. Examples of these, consisting of plates, and a cup and saucer, belonging to Mr. Manning and Mr. Davis, are marked with the curved mark to be hereafter described.
Fig. 857.
The plates also bear a small blue-pencilled letter C, and impressed flower of seven lobes, and kind of cross pattée; these are, of course, workmen’s marks. The cup and saucer in Mr. Davis’s possession have flowers and rude landscape in colours and copper-coloured “tinsel.”
An excellent example of the white earthenware of Leeds is the puzzle jug in the possession of Mr. Alfred Britton, here engraved (Fig. [857]). This is one of the most elaborate in design, and careful in execution, which has come under my notice. The upper part is ornamented with “punched” perforations, and the centre of the jug is open throughout, having an open flower on either side, between which is a swan standing clear in the inside. The jug is painted with borders and sprigs of flowers, and is marked with the usual impressed mark of LEEDS POTTERY. A curious example of the white earthenware is in the possession of Mr. Hailstone. It is a large jug, having on one side a spirited engraving of “the Vicar and Moses” in black transfer printing, and coloured, and on the other side the old ballad of “the Vicar and Moses,” engraved in two columns, and surrounded by a border. In front of the jug, pendent from the spout, is painted the arms of the borough of Leeds, the golden fleece, commonly called the “tup in trouble.” On each side of this are the initials J. B. and S. B., and beneath are the words—“Success to Leeds Manufactory.”
Transfer printing was introduced at Leeds, probably, about 1780, but this is very uncertain. In the title-page of the “Book of Patterns in 1783,” it is said, “the same enamel’d, Printed or Ornamented with Gold to any pattern; also with Coats of Arms, Cyphers, Landscapes, &c.;” and in 1791, the copper-plates then in use were valued at £204. The patterns were principally willow pattern, Nankin pattern, borders, groups of flowers, landscapes, and ruins. I may mention that several of the original pattern-books of drawings of the articles themselves, and of borders and other decorations, of the early Leeds productions are in my own possession.
Lustre, both gold and silver, was used occasionally in the decorations at Leeds, and excellent examples of “lustre ware” were also produced. These, like the other early productions of the works, are scarce.
About the year 1800, black ware was introduced at Leeds. This was of the same character as the Egyptian black, then so largely made in Staffordshire by Wedgwood, by Mayer, by Neale, and others. The body is extremely compact, firm, and hard, but had a more decided bluish cast than is usual in other makes. In this ware, tea and coffee pots, the latter both with spouts and with snips, cream ewers, and other articles were made. I believe there are but few collectors cognizant of the fact that this Egyptian black ware was made at Leeds at all; but I have been fortunate enough, by careful examination, to ascertain that up to 1812–13, probably from ninety to a hundred distinct patterns and sizes of teapots alone were produced in black at these works. This is an interesting fact to note, and is one which will call attention for the first time to this particular branch of Leeds manufacture. The patterns of the teapots were very varied, both in form, in style of ornamentation, and in size. In form were round, oval, octagonal, and other shapes, including some of twelve sides. In ornamentation some were engine-turned in a variety of patterns, while others were chequered or fluted. Others again were formed in moulds elaborately ornamented in relief with flowers, fruits, borders, festoons, &c., &c.; while others still had groups of figures, trophies, and medallions in relief on their sides. The “knobs” of the lids were seated figures, lions, swans, flowers, &c., &c. The lids were made of every variety, both inward and outward fitting, sliding, and attached with hinges. In speaking of engine-turning, it may be well to note that “engined” mugs, jugs, &c., were made at these works as early as 1782, if not at an earlier date. And here, in connection with the black ware, let me note too, that pot-works were established at Swinton, by some of the family of the Greens, of Leeds (see Swinton); and that here, too, black ware teapots were made, which were known as “Swinton pattern.” Of these I shall have more to say in my account of the Swinton works.
The marks used at Leeds are not numerous, and are easily distinguished. Collectors, however, need to be told that very few indeed of the productions of this manufactory were marked. The great bulk of the pottery, whether in Queen’s ware or otherwise, was made for foreign markets—Russia, Holland, Spain, Germany, Portugal, France, &c.—and as a rule the goods were sent off unmarked. It is worthy of note, too, that the finest examples of Leeds make, both in the perforated and other varieties, now known, have been recovered from the Continent. To illustrate this remark, it will be only necessary to point to the chestnut basket just described and engraved, which was purchased and brought from Holland a few years ago. The marks, so far as I have been able to ascertain, which were used at the Leeds works, and of each of which examples are in my own collection, are the following—
LEEDS · POTTERY*
in large capitals, with a terminal asterisk impressed. This mark occurs on a large-sized “Melon Terine” same as the one engraved in the pattern-book of 1783, figure 68, plate 16. On the same piece are a large capital letter S impressed, and the number 12 incised. These are of course workmen’s or pattern marks.
LEEDS * POTTERY
in small capital letters.
HARTLEY GREENS & CO
LEEDS * POTTERY
Fig. 858.
in small capital letters.
Fig. 859.
Fig. 860.
in small capital letters, in two curved or horse-shoe lines.
Many good examples of Leeds wares are preserved in the Museum of Practical Geology. Among these one is marked with the impressed Leeds mark twice in form of a saltire (Fig. [860]).
The marks usually ascribed to Leeds are the following:—but there is no proof that any of these were ever used at the works. In my own possession is a dessert service with
the “sponged” border (which was used at Leeds), and a series of extremely fine and thoroughly artistic figures, cupids, &c., engraved in stipple, and printed in a warm pinkish brown colour, which bears the first of these three marks; but although it is ascribed to Leeds, I have grave doubts as to the correctness of the appropriation.
Mr. Chaffers, in his first edition, says: “The mark of C. G. has been attributed to Charles Green, of Leeds; that in the margin is on a cup and saucer of white English china, with paintings of landscapes and the raised wicker border, common to this manufactory.”
I quote this for the purpose of showing how little reliance can be placed on the information hitherto given with respect to these works. So far as my researches go, I do not find there was a Charles Green connected with the Leeds works; and that china was never made there I am fully convinced. This mark of
does occur upon a china cup and saucer which has come under my notice: but it has not any connection with the Leeds works.
The Leeds Pottery at the present time produces the ordinary descriptions of earthenware for domestic use, consisting of dinner ware in great variety, tea and coffee, toilet, and other services, jugs and mugs, screw jugs, bowls and basins, and, indeed, all articles in general use. In dinner ware upwards of ten standard patterns are made for the London market, which market takes nearly one-half of the whole productions of the works in general goods. The white earthenware is of the same quality as the ordinary run of Staffordshire ware, and has a good glaze. It is produced in the usual styles of blue printing, painting and edging. Pearl white of good quality, both plain and decorated, is also manufactured. This pearl body is got up in toilet ware, varying in patterns, printed lines, and fancy stamped; jugs embossed and plain; tea and breakfast services, &c. It is also being introduced for washing-machines, substituting earthenware bottoms for wood; also for patented machines for cloth manufacturers. These were first shown at the Leeds Exhibition of 1875. Scent-jars, leech-jars, &c., &c., are also largely made.
In Rockingham ware, tea and coffee pots and other articles are still made in considerable quantities; as are also Egyptian black glazed wares and yellow earthenware, which is made from native clays procured from Wortley. Thus it will be seen that the Leeds potteries of the present day—of the very existence of which but few persons are aware—are of considerable size and importance, and are doing a large business—a business which, unlike that of the olden times, is principally confined to the supplying of the home markets, where, not being marked, the ware usually passes for that of Staffordshire.
The marks used at the present day are, an old English letter L
within a gothic quatrefoil in a circle, impressed in the body of the ware; or the name of the pattern within an ornamental circle, and, below it, the initials of the firm, R. B. & S., printed on the surface.