Swinton-Rockingham China.

When pot-making was first practised in Swinton and its district, it is, of course, impossible to say, but I believe that as early, at all events (if not at a much earlier period), as quite the beginning of last century, a hard brown ware, of much the same quality as that made at Nottingham and Chesterfield, was produced on Swinton Common, where clays useful for various purposes were abundantly found. In 1745, it appears that a Mr. Edward Butler, seeing the advantage offered by the locality through its clays, which consisted of a “common yellow clay used for the purposes of making bricks, tiles, and coarse earthenware; a finer white clay for making pottery of a better quality; an excellent clay for making fire-bricks; and also a white clay usually called pipeclay;” established a tile-yard and pot-works for common earthenware, on a part of the estate of Charles, Marquis of Rockingham, which lay closely contiguous to Swinton Common, where these clays existed. The memory of this old potter, the founder of the works which afterwards became so famous as the “Royal Rockingham China Works,” is, it is pleasant to record, at the present day preserved in the name of a field near the now ruined factory, called “Butler’s Park.” Butler at these works produced the ordinary classes of goods then in use, but principally the hard brown ware to which I have just alluded. An interesting example of this period was in the possession of the late Dr. Brameld, and is engraved on Fig. [866]. It is a “posset-pot” of the usual form of those which, at that period, were in such general use in Derbyshire and Yorkshire; it bears the date of 1759. This interesting example has a fragment of a label, written at “Swinton Pottery,” which authenticates it as having been made by, or for, John Brameld.

Figs. 866 and 867.

In 1765 the works were taken by William Malpass, who held another small pot-work at Kilnhurst, in the same neighbourhood, and he continued them for some years. With him were associated in partnership, I believe, John Brameld, and subsequently his son, William Brameld, of whom I shall have more to say presently. Mr. Malpass continued to manufacture the same varieties of ware as his predecessor, and held the works, or rather was a partner in them, at all events as late as 1786.

In 1778 Mr. Thomas Bingley became a principal proprietor of the Swinton works, and had for partners, among others, John and William Brameld, and a person named Sharpe. Mr. Bingley was a member of a family of that name which had been resident at Swinton for more than four hundred years, and is now worthily represented in the person of Mr. Thomas Bingley, who still resides there. The firm at this time was carried on under the style of Thomas Bingley & Co., and, being thriving, indeed opulent, people, the works were greatly enlarged, and conducted with much spirit. An extensive trade was at this time carried on, and besides the ordinary brown and yellow wares, blue and white dinner, tea, coffee, and other services were made, as also a white earthenware of remarkably fine and compact body, and other wares of good quality.

A highly interesting example of this period, 1788, is shown on the accompanying engraving (Fig. [867]), which exhibits a two-handled drinking-cup, with the name of one of the proprietors, “William Brameld,” on one side, and the date “1788” on the other. This curious cup, which is five and a quarter inches in height, is of fine white earthenware with a bluish coloured glaze. The upper part, both inside and out, two narrow borders round the centre, the handles, and the base, are ornamented with blue transfer-printing. The rest of the vessel is black, the name, date, and ornaments upon it being gilt. The borders of blue printing are much the same as those around “willow pattern” plates, and from this it may be inferred that the “willow pattern” was at that period produced in Swinton.

From about the year 1787 down to 1800, the firm traded under the style of “Greens, Bingley, & Co.” This was consequent on some of the Greens of the “Leeds Pottery,” (which see)—having become partners, and taken an active part in the Swinton manufactory, with Mr. Bingley, Mr. Brameld, and those who were connected with them in those works. Mr. John Green became acting manager of the Swinton works, and afterwards, as I am informed, founded the “Don Pottery.”

I possess some original letters from John Green, dated “Leeds Pottery,” of April and June, 1788, addressed to “Mr. John Brameld, Swinton, near Rotherham,” giving directions not only concerning the works themselves, but relating to the partnership:—

“Should be glad you and Mr. Bingley will look over the partnership-deeds, and if there be anything that do not meet your ideas, please point it out. When you have done this you may send them in a small box directed for me; they never was in my mind when at Swinton, or should have done the needful then. I have writt Charles with some sponges and ... informing him I expect 4 Cm kills per week exclusive of china, which I hope he will be able to manage without increasing the wages.” ... “Hope your buisket kill turns out well. You have room now if you will but make neat goods and be observing to get money; but it will require a strict attention to keep every weelband in the nick.”

In the same letter he speaks of consignments of flint by Mr. Brearey to Selby and Tadcaster. He also offers Brameld from himself and partners a commission of 5 per cent. on all “wearing apparell sould to your works.”

The partnership with John Green was carried on in the style of “Greens, Bingley, & Co., Swinton Pottery;” and the same price-lists which were printed at Leeds with the Leeds pottery heading, had that heading cut off, and that of “Greens, Bingley, & Co., Swinton Pottery,” written in its place. Later on large fresh price-lists were printed. They were headed “Greens, Hartley, & Co., Swinton Pottery, make, sell, and export wholesale all sorts of Earthenware, Cream Coloured or Queens, Nankeen Blue, Tortoise Shell, Fine Egyptian Black, Brown China, &c., &c. All the above sorts enameled, printed, or ornamented with gold or silver.” On the fly-leaf was a printed circular, dated “Swinton Pottery, 1st February, 1796,” announcing an advance in prices and a revised system of counting.

The patterns used at Leeds were evidently, to some extent, adopted at Swinton; and I possess some original drawings and designs on which the numbers for each of those works are given. For instance, in teapots, Leeds No. 149 was Swinton No. 68; Leeds 133 was Swinton 69; 218 was 70; and 252 was 71, and so on.

Late in the last century, about the time of which I am now writing, a peculiar kind of ware was first made at these works, and took the name of “Brown China,” and afterwards that which it has ever since maintained where attempted to be made, of “Rockingham Ware.” This ware, which is of a fine reddish-brown, or chocolate colour, is one of the smoothest and most beautiful wares that has ever been produced at any place. The body is of fine hard and compact white earthenware, and the brown glaze, by which the peculiar shaded and streaky effect of this class of goods was produced is as fine as it is possible to conceive, and required to be “dipped” and passed through the firing no fewer than three times before it could be considered perfect. In this exquisite ware tea, coffee, and chocolate services, jugs, drinking-cups, &c., were produced, and continued to be made to the close of the works in 1842. Since that time “Rockingham ware”—in every instance falling far short of the original in beauty and in excellence—has been made by almost every manufacturer in the kingdom, and has always, especially for tea and coffee pots, met a ready and extensive sale. One special article produced in this ware was the curious coffee pot, formed on purely scientific principles, which is usually known to collectors as the “Cadogan pot.” This curious piece was formed on the model of an example of green Indian ware, said to have been brought from abroad[115] by the Marquis and Marchioness of Rockingham, or the Hon. Mrs. Cadogan, and preserved fifty or sixty years at Wentworth before it was thought of being copied. It has a small opening in the bottom to admit the coffee, but none at the top and no lid. From the hole in the bottom a tube, slightly spiral, was made to pass up inside the vessel to within half an inch of the top, so that after filling, on the “pot” being turned over into its proper position for table use, the coffee was kept in without chance of spilling or escape.

It is worthy of remark that tea and “Cadogan” coffee pots of genuine Rockingham ware, the first of which was made for the Marchioness of Rockingham, have the reputation of being by far the best of any, and are said, I know not upon what principle, to produce a better and purer flavour than any others.[116] I have been told it as a fact, that George IV., who was as great a connoisseur in tea as he was in many far less harmless matters, invariably, for a long time, used one of the then fashionable Rockingham ware pots. I have it from undeniable authority that the royal penchant for this kind of ware thus arose. When he, while Prince Regent, visited Wentworth House, the seat of Earl Fitzwilliam, these teapots were in use, and were much admired. On the return of the prince and suite to London, inquiries were made for them at John Mortlock’s, in Oxford Street, who supplied the palace. He at once saw that they would come into considerable repute, ordered largely, contracted to have his own name stamped upon them, and enjoyed the questionable reputation of being their inventor. Mr. Mortlock, I believe, ordered as much as £900 worth of this ware in one season alone.

Fig. 868.—Cadogan Pot.

In 1796, the firm was, as before, “Greens, Bingley, & Co.;” and from a list of prices and goods now in my possession, it appears that a large variety of articles were produced. The list is thus headed:—

“Greens, Bingley, & Co. Swinton Pottery, make, sell, and export wholesale, all sorts of Earthen Ware, viz., Cream-coloured, or Queen’s, Nankeen Blue, Tortoise Shell, Fine Egyptian Black, Brown China, &c. Also the above sorts enameled, printed or ornamented with gold or silver.”

Among the articles in cream ware, enumerated in this list, are all the separate items for services in Paris, Bath, concave, royal, queen’s, feather, and shell-edge patterns, which were produced “printed or enamelled with coats of arms, crests, cyphers, landscapes, &c.; also blue printed Nankeen patterns;” dishes, covers, compotiers, tureens, plates, butter-tubs, baking-dishes, nappies, glass trays, fruit plates, fruit baskets pierced and plain, tea-trays, garden-pots and stands, shaving-basins, salts, castors, cruets, egg-cups, spoons plain and pierced, ice-cellars, candlesticks, inkstands, wafer and sand boxes, fountain inkstands, bidets, &c., furnished castors, tureen ladles, chocolate stands, quintal flower horns, radish dishes, crosses with holy-water cup, ice pails, broad mugs, bowls, ewers, basins, &c., milk ewers, tea and coffee pots, tea canisters, chocolate cups and saucers, &c., &c.

In 1806, the firm of “Greens, Bingley, & Co.” was dissolved. At this time, as appears from a memorandum of resolutions, passed at a meeting held on January 22nd, 1806, preparatory to the dissolution, that the partners (present) were—“William Hartley for himself and others (this was William Hartley, principal proprietor in the Leeds Pottery), Ebenezer Green for himself and others (this was another of the partners in the Leeds Pottery), George Hanson, Thomas Bingley, John Brameld, and William Brameld.” These resolutions are as follows:—

“At a meeting held at Swinton Pottery, on Wednesday, the 22nd day of January, 1806.

1st. That no more Coals be got at Wath Wood Colliery.

2nd. That on the 1st of February next the Engine, Gins, and every thing that is valuable belonging to us, be removed from the Colliery to the Pottery premises, and that the Pits be rail’d round.

3rd. That no more stone be got from the Quarry on Wath Wood.

4th. That the Willows be immediately cut and brought to the Pottery.

5th. That the Manure on hand be sold.

6th. That the Crop or Crops on the Farm be immediately valued.

7th. That the Coals on hand be disposed of in the best manner possible.

8th. That as many Men be immediately discharged from the Manufactory as can be conveniently done; retaining for the present only as many as may be necessary to compleat the orders already taken, and make a few things that may be needful to assort the Stock on hand.

9th. That a Schedule of every thing belonging to the Colliery and Quarry be immediately taken.

10th. That these Resolutions be carried into Execution by C. Prince.”

At the dissolution of partnership, the whole concern fell into the hands of two of the partners, Messrs. John and William Brameld, who, with other partners, continued the works with considerable spirit under the style of “Brameld & Co.” until their death. The old price-lists, which I have already named, continued to be used, but had the words “Greens, Bingley” erased with the pen, and “Brameld” substituted, so that the heading commenced “Brameld & Co., Swinton Pottery.” They were later on joined in partnership by the younger branches of the family, who eventually, as I shall show, became proprietors of the manufactory. By Messrs. John and William Brameld additional buildings were erected, and great improvements made in the ware. About this time cream-coloured ware was made very extensively, and a remarkably fine white earthenware—the “chalk-body,” as it was technically called—was successfully produced, but, owing to its costliness through loss in firing, was made only to a small extent, and is now of great rarity.

About the year 1813, the sons of the old proprietors, on the death of Mr. William Brameld, succeeded to the concern. These were Thomas Brameld, George Frederick Brameld, and John Wager Brameld, and to them the great after-success of the works was due. These gentlemen considerably enlarged the manufactory, made many improvements in the wares produced, and erected a flint mill on the premises, which after the close of the china works continued to be worked by their descendants.

Mr. Thomas Brameld, the eldest of the partners, was a man of the most exquisite taste, and he laboured hard to raise the character of the productions of the Swinton Works to a high standard of excellence. In this he succeeded to an eminent degree. In 1820 he turned his attention to the production of china ware, and made many experiments in bodies and glazes. Having expended large sums of money in the production of this, his favourite project, and in making Art-advances in his manufactory, the firm became, as is too frequently the case with those who study the beautiful instead of the strictly commercial in the management of their works, slightly embarrassed. This was considerably increased by the great loss, both in earthenware and money, which the firm sustained consequent on the war. In 1825, which it will be remembered was a year of great commercial difficulties, Messrs. Brameld succumbed to the embarrassments that had for some time affected them, and a meeting of themselves, their creditors, &c., was held at Rotherham. At this meeting, Mr. Thomas Brameld produced some remarkable examples of his china ware, the result of long and patient labour on his part, and these being highly approved by all who were present, and appearing likely to succeed, Earl Fitzwilliam, the owner of the property at Swinton, in the most laudable and kindly manner, agreed to assist in the prosecution of the work by the advance of capital, and by taking an active part in the scheme.

This being done, Mr. Brameld set himself to his task with renewed spirit, and with a determination to make his porcelain at least equal to any which could then be produced, and in this he certainly succeeded. The works were altered and enlarged; modellers and painters, the most skilful that could be procured, were employed; and every means taken to insure that success, artistically and manipulatively, which quickly followed. In this ware, dinner, dessert, breakfast, and tea services, vases, groups of figures and flowers, and numberless articles, both of utility and ornament, were produced, and were all characterised by pure taste, and an excellence of design and workmanship which told much for the skill and judgment of the mind that governed the whole of the manufactory.

Mr. George Frederick Brameld, the second of the partners, devoted himself to the strictly commercial part of the business on the Continent. He for some time resided at St. Petersburg, a large trade with Russia being carried on by the firm.

Mr. John Wager Brameld, like his brother, was a man of pure taste. He was an excellent artist, and some truly exquisite paintings on porcelain by him have come under my notice. He was a clever painter of flowers and of figures, and landscapes. In flowers Mr. Brameld went to Nature herself, collecting specimens wherever he went, and reproducing their beauties on the choice wares of the works. At Lowestoft I remember seeing a set of three vases painted in flowers, which, it is said, Mr. Brameld gathered on the Dene, at that place, on one of his visits, and which vases he presented to the father of their present owner.[117] In the same hands is an elegant snuff-box, bearing an exquisite painting of “The Politician,” with groups of flowers, and bearing the words, “Brameld, Rockingham Works, near Rotherham,” “The Politician, J. W. Brameld.” This being a signed piece of John Wager Brameld’s, is particularly interesting. Mr. Brameld’s time was chiefly devoted, however, to travelling for the firm in the United Kingdom, and to the management of the London house, so that his artistic productions did not make a feature in the goods generally made at the works.

Mr. Thomas Brameld, who resided at Swinton House, Swinton, a delightful residence overlooking the valley of the Don (to whose taste Swinton is deeply indebted for the preservation from destruction of two fine old Norman archways from the destroyed chapel), died in 1850. He left four sons, the Rev. John Thomas Brameld, late of Mansfield; the Rev. George William Brameld; the late Rev. Arthur James Brameld, of New Wortley, who was accidentally drowned soon after I made his acquaintance; and the late Dr. Henry E. Brameld, to each and all of whom—especially the two last named—I was indebted for much assistance in the preparation of this notice. Mr. John Wager Brameld died in 1851, leaving an only son, who was accidentally drowned while bathing near Swinton. The last of the partners, Mr. George Frederick Brameld, died unmarried in 1853.

The regulations laid down for the keeping of time by the workmen at Swinton, and for their guidance over their work, were remarkably well considered and clear; the original document of about 1829, in Mr. Brameld’s handwriting, is in my own possession, as is also another from which I learn some particulars as to the overlookers of that time. Richard Shillito was to have charge of the earthenware department as general overlooker, with ... Hulme to assist him; William Horncastle had charge of the Warehouse, &c.; Mr. Wager had charge of the men at the farm; Mr. Baguley had “charge of all the painting and gilding department in china and enamel earthenware.” John Speight, “the painting, &c., &c., in earthenware biscuit work;” George Liversedge was overlooker and manager of the printing department; Joseph Bullough was sorter of biscuit ware; William Speight had charge of the mill, and also “the care of and management of all gold, colours, and glazes, &c., he giving them out as they may be properly wanted to use.”

Earthenware of various kinds—“Brown China,” or “Rockingham ware,” green glazed ware, biscuit figures and ornaments, hard fine white stoneware, cream-coloured ware, and other varieties of goods were also still made; and the works, which, at this time—the time when china began regularly to be made (1826)—with the assistance of the Earl Fitzwilliam, assumed the name of the “Rockingham Works,” began to use the crest of the Fitzwilliam family as the mark of the firm.

In 1826 (November 17), Messrs. Brameld & Co. secured the services of an excellent painter, “Mr. John Cresswell, painter on china,” and articles of agreement (in my own possession) were drawn up by which Cresswell engaged himself to them for five years at 7s. 6d. a day for the first three years; 9s. 3d. a day for the fourth year; and 10s. 6d. a day for the fifth year. In 1830 the firm received an order for a service from the Duchess of Cumberland:—

“At Kew, October 23, 1830.

“Her Royal Highness the Duchess of Cumberland most graciously inspected the Pattern Plates (5) prepared for the purpose; and was pleased to express herself much gratified therewith, and commanded me to get up her Service with

and the comports, elevetated, (Des Assiettes Elevès) to be same of those of His Majesty; to be shewn to her as they are prepared in turns for the King to see.

Price 250 Guineas.

J. W. BRAMELD.”

And in 1833, from the Duke of Sussex:—

Memorandum of a Dessert Service for H.R.H. The Duke of Sussex.

Kensington, 30th Nov., 1833.

Forms same as H.M.’s.

Plate—Essex—but same size as H.M.’s.

Say £600,

for ⅔.

In the same year Messrs. Brameld & Co. became the purchasers from Mr. George Green of his interest in the Kilnhurst Pottery (which see). In 1840, Messrs. Brameld were in negotiation for the purchase from Mr. Dillwyn of the Glamorgan Pottery at Swansea (which see); but the purchase was not made.

In 1830, the Rockingham Works received an order for a splendid dessert service for King William IV., which was executed in the highest style of the art, and gave intense satisfaction. The original sketches for this service are in my own possession, and are named “Original Designs for His Majesty’s Dessert, 12th Nov., 1830, per J. W. B.” (John Wager Brameld). They are pen-and-ink sketches by himself. Of this service I shall have yet to speak. At this time the works assumed the name of “Royal Rockingham Works,” and the proprietors called themselves China Manufacturers and Potters to the King, Queen, and Royal Family. In 1838, the manufacture of china and earthenware bed-posts, cornices, &c.—a somewhat novel feature in the art—was added to the other productions of the Rockingham Works. In that year a patent was taken out in the name of William Dale[118] for “certain improvements in constructing columns, pillars, bed-posts, and other such-like articles;” consisting of several ornamental pieces or compound parts of china or earthenware,” “united, strengthened and supported by a shaft or rod passing through the whole length of the same, and furnished with screw nuts or other description of fastenings, and collars,” &c. These bed-posts and other similar things were made at the Rockingham Works, though never to any extent. They are now of very great rarity, but examples are in my own possession. The body is white, the prevailing colour being Rose-du-Barry, with yellow flowers, &c. Another of these interesting examples is white with an effective chintz pattern in colours; while others have small groups and sprigs of flowers, the outline in transfer printing, and filled in with colour. In my own possession, too, are several of the original drawings of designs for beds, window cornices, lamps, candelabra, tables, &c., which are remarkable for their elegance and beauty. An elegant work-table of this description of ware, of simple but very effective design and excellent workmanship, is in the possession of Mr. Wilson of Sheffield. It is 2 feet 6 inches high and 1 foot 6 inches in diameter at the top. Among the designs to which I have alluded is one representing a small and remarkably elegant table of somewhat similar, but much more ornate character, on which is a fish-globe stand of corresponding design.

Although the Rockingham Works were eminently successful in an artistic point of view, they were not so commercially, and in 1842 were closed, after involving not only their noble owner, but the absolute proprietors, in a loss of very many thousands of pounds. Only sixteen years had elapsed since the introduction of the china manufacture to the works, but those had been sixteen years of beauty, and of artistic and manipulative success. No man better understood his art than Mr. Thomas Brameld, no man laboured harder and more disinterestedly in the ennobling of that art than he did, and few men, either before his time or since, succeeded in accomplishing greater or more honourable things. He and his brother looked to Art instead of commerce, and the result was embarrassment and loss.

At the close of the Rockingham Works in 1842, the stock, &c., was sold off and dispersed, and the manufactory which had produced so large a quantity of elegant services, &c., was entirely discontinued. A small portion of the building was taken by an old and experienced workman, Isaac Baguley (formerly employed at the famous Derby China Works), who was one of Messrs. Brameld’s best painters and gilders. Here he commenced business in a small way on his own account, and continued to do some little business until his death. Mr. Baguley did not manufacture the wares himself, but purchased what he required in the biscuit and white state, from other makers, and then painted, gilt, and otherwise ornamented them for sale. At his death, his son, Alfred Baguley, succeeded him, and, for a few years, carried on this decorative branch of the business on the old premises. Mr. Baguley decorated with commendable taste earthenware and porcelain, and produced some extremely good and effective designs in modelling, and clever patterns in decoration. One of his specialities was the old Rockingham ware, which he produced of a far purer and better quality than any other house. To this branch he paid particular attention, and produced the Rockingham chocolate or brown glaze on a china body. In this “Rockingham china,” breakfast and tea services, tea and coffee pots of the good old designs, drinking horns, jugs, &c., were made, and, being gilt in the same manner as the old Rockingham ware, have a remarkably pleasing appearance, while in touch they are all that can be desired. Mr. Baguley also made the famous old “Bishopthorpe” and “Wentworth” jugs. His mark was the same as that of the old works—the crest of Earl Fitzwilliam (Fig. [880]) with the name—

Fig. 869.

In 1852, a small portion of the works was tenanted by some earthenware manufacturers, who traded as “P. Hobson & Son,” but their occupation was of only short duration, and now the whole place is closed.

The Rockingham Works—a view of which in their palmiest days is on a dish made by Twigg, in my own collection—when in full operation, gave employment to a considerable number of hands and occupied a large area of ground.[119] At the present time the place is a sad and desolate-looking wilderness. The buildings have most of them been removed, and others, at the time of my visit, were being taken down. The whole place was in ruins, and in the area, where but a few years ago all was life, activity, and bustle in the execution of a royal order, “weeds and briars grow;” while in the centre of the wreck stood a building bearing the almost defaced words, “This way to the China Room,” where no china, save broken fragments scattered about on the “shard rucks,” was to be seen.

Of the “brown china” or “Rockingham ware” services, Cadogan pots, &c., I have given notices. It will be sufficient to add that although all which was made at these works were not marked, they usually bore the impressed marks of “Rockingham,” “Brameld,” or “Brameld & Co.,” or the name of “Mortlock.”

Fig. 870.

In fine hard “white stoneware,” and in fine cane-coloured ware, jugs of remarkably good design were made, and were decorated with groups in relief in the same manner; indeed, strongly resembling, both in body and in design, those of Turner, which are so well known to collectors. In Mr. Davis’s and other hands are remarkably good jugs of this kind, decorated with raised groups of figures in blue, and bearing the embossed mark to be hereafter spoken of. The handles of these jugs are formed of the leg and tail of a horse. In “green-glazed earthenware,” dessert services, flower vases, garden seats, and all the usual varieties of articles were made. The green, as a rule, was a somewhat lighter colour and not so good in quality as Wedgwood’s. The pieces were generally marked with the usual impressed mark. In fine “earthenware,” services of every kind were produced, both white, blue-printed, painted, and gilt. The glaze on the earlier pieces, it should be remarked, is of a decided blue tint, and somewhat inferior in quality. Some of the dessert-services produced in the early part of the present century are particularly interesting. On each piece is painted some flower as large as life, and coloured true to nature in every particular. The name of the plant represented is in each case pencilled at the back of the piece. The plants represented on the two examples (Fig. [870]) are respectively marked as “Althea Frutex” and “Virgilia helioides.” In the late Dr. Brameld’s possession was a service of this same kind, in which the flowers were beautifully painted. The painter of these pieces was Collinson, the best flower-painter employed at the Swinton Works, and they were made between the years 1810–15. The ware is particularly light, and has a remarkably pleasant feel in handling. I have been somewhat particular in speaking of this variety of goods, because similar services were produced far more extensively at the Don Works, at Swansea, and at other places.

Figs. 871 and 872.

Of works of Art, in earthenware, the Swinton Pottery produced many vases and other objects of a high degree of excellence, both in design, manipulation, and in decoration, and were, indeed, far in advance of most of their competitors. Fig. [871] represents one of a pair of remarkably fine pot-pourris, which were “thrown” at the Swinton Works by Mr. Thomas Brameld the year he was out of his apprenticeship, in 1805, and were, till his death, in the possession of his son, Dr. Brameld. They are 18 inches high, and have lions’ heads for handles, while on the top of the lid is a lion couchant, the family crest, gilt. The jars are beautifully painted in Chinese subjects. The next engraving shows one of the specialities of the Swinton pottery, a “lotus vase,” from an example in Mr. Manning’s possession. It is formed of leaves, &c., and has butterflies, &c., raised, as if resting upon the leaves. The whole is carefully enamelled, and altogether forms a flower vase of surpassing beauty. It is pleasant to add that at the close of the Rockingham Works, the moulds for the production of these “lotus vases,” as well as others, including the model of the keep of Conisborough Castle,[120] which, by the way, was another of the specialities of the Swinton Works, passed into the hands of the late Mr. John Reed, of the “Mexborough Pottery,” by whose successor they continue to be made, both in the fine old green-glazed style, and enamelled.

In “Queen’s ware,” or “cream-coloured ware,” services were formerly made at Swinton. It was of a very similar quality to that made at Leeds and at Castleford, and, being unmarked, is generally ascribed to one or other of those works. In Dr. Brameld’s possession was a teapot of this material, which is said to have been made in the latter part of last century by his grandfather. It is here shown. It is of deep buff, or cream colour, with beaded edges, and bears the name and date—

Amelia Hallam,
1773.

In the late Mr. Reed’s possession, too, was a double-handled drinking cup of elegant form, with the name Iohn Alsebrook, and the date 1795, within an enamelled border of roses and foliage, and having on the other side a Chinese figure subject, also enamelled.

Fig. 873.

That this kind of ware was not made extensively at Swinton until after the dissolution of partnership with Hartley, Greens & Co., is perhaps to be easily accounted for in the fact that these proprietors of the Leeds Pottery, where it was manufactured so extensively and so well, being also partners here, the cream ware would be made principally at Leeds, while at the Swinton Works was produced what had not been made at the other place. From the time the works fell entirely into the hands of the Bramelds, however, this kind of ware became the staple production of the manufactory, and an immense trade was carried on in it in the Baltic and elsewhere. Not being marked, it probably often passes for Leeds ware in the eyes of collectors. In this material beautiful open-work baskets, and many other elegant articles, were made.

Transfer printing was introduced at Swinton, at all events, as early, as I have shown, as 1788, and was continued to the close of the works. In the later years, some extremely tasteful groups of flowers, butterflies, &c., were engraved and transferred in outline, and then painted in the usual manner. In dinner, tea, toilet, and other services, the designs were extremely good, and one of them, the Don Quixote pattern, became very popular.

Engine-turned tea and coffee pots, plates, &c., were also manufactured, and in manipulation were equal to any produced in ordinary earthenware. Groups of flowers, figures, trophies, borders, &c., in relief, were also introduced.

Figs. 874 to 876.

In “china” the earliest examples are two trial pieces by Mr. Thomas Brameld, which I saw in the possession of his son, the late Dr. Brameld. These are a pair of small leaves, the body of which is of good quality, painted of a salmon colour with gold veins. These are probably of the date 1820–2, and but few trials were made from that time until 1825. In 1826 china ware began to be made largely, and from that time (in this year it will be remembered the works changed their name from “Swinton” to “Rockingham”) to 1842 was one series of successes in all but profit. Tea, coffee, dinner, dessert, toilet, and other services, were made in every variety of style, from the ordinary blue printed, or white with raised blue ornaments, to the most elaborately painted and gilt varieties. Vases, and numberless ornamental articles for the drawing-room and the toilet were also made, and were generally distinguished by good taste in design, and skill in decoration. To show how Art was, by the taste of the Bramelds, made subservient to the production of things of every-day use, I give, in Figs. [874 to 876], three examples in Mr. Manning’s possession.

In vases, some of the finest which had ever been produced were made at these works. At Wentworth House, the magnificent seat of Earl Fitzwilliam, among other fine examples of Swinton Art, is one which is of surpassing beauty. It was the largest china vase produced at that time in a single piece in this country. It stands three feet nine inches in height, and is three feet one inch in circumference. The base, which is of tripod form, has a blue ground, with flowers in compartments, and is massively gilt. From it rises the vase, supported on three lions’ paws in white and gold. From between the feet on each side spring branches of oak, solidly gilt, which entwine their leaves around the paws, and form an elegant border to each of the large painted subjects on the sides. The neck of the vase is in honeycomb open-work, with raised bees upon it; and the handles are of massive coral in white and gold. On each of the three sides of the vase is a large subject from Don Quixote, exquisitely painted in enamel colours. The cover has a blue ground, on which are flowers and trophies in tablets, surrounded by oak leaves and acorns in gold. It is surmounted by a large and powerfully-modelled rhinoceros, gilt. The under side of the cover, quite out of sight except when lifted off the vase, is painted in a series of small landscapes, alternating with subjects taken from Bewick’s celebrated tail-pieces. Inside the cover is the mark of the crest, and the words “Rockingham Works, Brameld,” and the date 1826. This splendid vase was painted by John Wager Brameld. At Wentworth House, too, the Earl and Countess Fitzwilliam have, along with a large number of choice examples of Chelsea, Chelsea-Derby, and other rare makes of China (which I have examined), several other notable pieces of Rockingham china. Among these are a set of three “Canova-shape” vases, painted with groups of flowers; a dessert-service of white and gold “seaweed” pattern, each piece bearing the crest and the date 1838; three of the pattern-plates submitted to William IV. in competition for the royal service; a number of example-plates of different designs; a breakfast service painted in flowers, each flower named; an elegant tray with raised flowers and a view of Arundel Castle; a pair of “monkey” beakers, nineteen inches high; and a pair of fine biscuit scent bottles, sixteen inches high, decorated with exquisite raised flowers.

In the possession of the late Dr. Brameld, who had among other things, a remarkably beautiful ice pail and other pieces of note, was the fine vase engraved in Fig. [877], which is known as the “Dragon Vase,” and occasionally by the not very euphonious name of the “Infernal Vase.” It is 3 feet 4½ inches in height, and has dragons for handles, and also a dragon on the top of the cover. Another of these “Dragon” vases is in the possession of Mr. Henry Barker. In the late Mr. Bagshawe’s collection was a set of three vases, green and gold, with swans for handles, on which are beautifully painted “named” views of “Bellagio, Lago di Come,” “Verona,” and “Isola Bella, Lago Maggiore.” Mr. Reed had pieces bearing views of Newstead Abbey, &c., and in Mr. Hobson’s possession are vases, with views of Chatsworth and other places.

Fig. 877.

The chef-d’œuvre of the Rockingham China Works was, however, the truly gorgeous dessert service made for William IV., which is now preserved with the most scrupulous care at Buckingham Palace, and is, we are credibly informed, justly prized by her Majesty as among her more precious ceramic treasures. This service, which cost no less a sum than £5,000, consists of one hundred and forty-four plates, and fifty-six large pieces, and is one of the finest produced in this or any other country. The plates have raised oak borders in dead and burnished gold running over a raised laced pattern, also in gold, and the centres are splendidly painted with the royal arms, &c. The comports, which were all designed by Mr. Thomas Brameld, are emblematical of the use to which each piece has to be put. For instance, the comports for biscuit, are supported by ears of wheat; the fruit pieces have central open-work baskets of fruit; the ice pails are supported by holly berries and leaves; and in each case the landscapes are also in unison with the uses of the pieces, which are of exquisite design, and have also oak-leaf and lace decorations, so massively gilt in dead and burnished gold as to have the appearance of ormolu laid on the porcelain, and each piece is decorated with views of different seats, the sketches for which were taken expressly for the purpose, and by groups of figures, &c. This service is, as I have said, at Buckingham Palace. In Dr. Brameld’s possession was the specimen plate which was submitted to, and approved by, the king, and some portions of the comports, &c.; and in Mrs. Barker’s hands was one of the comports (with views of “Langthwait Bridge,” and “Kentmore Hall,” and a group of bird-catchers), which, for its extreme beauty and rarity, is an almost priceless treasure. She also possesses a cup and saucer of the breakfast service prepared for Her Majesty. In Mrs. Reed’s possession is an unique example, being one of the specimen plates submitted for royal approval in a competition with the principal china manufacturers of the kingdom for the royal order. In this competition, twelve plates of different patterns were specially prepared and submitted by the Rockingham Works. Of these plates, the examples in Mr. Reed’s, Dr. Brameld’s, the Earl Fitzwilliam’s, Mr. Hobson’s, and other hands, form a part. In the centre are the royal arms, and the rim is decorated with oak leaves and acorns. Another unique pattern-plate belonged to Dr. Brameld, and is of the most delicate and exquisitely beautiful character. In the centre are the royal arms, and on the rim are three compartments, two of which contain groups of flowers, and the third a view, while between these the “garter” is repeated. The cost at which in the estimate it was calculated these plates could be produced, was twelve guineas each.[121]

The dessert service made for William IV. was first used on occasion of the coronation of our beloved Queen, and has only, I am informed, been used on very special state occasions from that time to the present. Although so large a sum of money was paid for it the cost of its production was so great, that the actual outlay was, I am told by those who are in the best position to know, considerably more than was charged. This royal service had some little to do with the embarrassments that caused the final stoppage of the works.[122]

In “biscuit,” figures, busts, and groups, as well as vases, of which splendid examples belong to Earl Fitzwilliam, were produced. Among other specimens that have come under my notice are a Swiss boy and girl, a fine bust of Earl Fitzwilliam, Chantrey’s sleeping child, Chantrey’s full-length statue of Lady Russell, &c.

Among the artists employed at the Rockingham works it will only be necessary to name a few. These were Collinson, who painted flowers; Llandig, who was a charming fruit and flower painter; Bailey, who was the principal butterfly painter,[123] and who also painted landscapes and crests; Speight (father and son), the latter of whom painted many of the finest subjects, both landscapes and figures, on the royal service, and who also painted the heraldic decorations on the same; Brentnall, who was a clever flower-painter; Cordon, who executed landscapes and figures; Tilbury, who painted landscapes and figures; Mansfield, who was the principal embosser and chaser in gold; Aston, who was clever as a modeller of flowers; and Cowen, who was an artist of much repute, and for many years enjoyed the patronage of the Fitzwilliam family. William Eley, too, was employed as modeller, and executed some admirable works, including a fine bust of Earl Fitzwilliam.

The Marks used at the Swinton Works are not many, but have the advantage of being particularly clear and easily recognised. They are, so far as I have been able to ascertain, the following.

It should be premised that no mark was placed on the early productions of these works, and they are, therefore, only to be ascertained by a knowledge of the body, the glaze, and the style of ornamentation used.

The following are the marks which have come under my notice:—

Fig. 878.

This incised mark, the earliest used by these works, occurs on one of the famous “Brown China” high-shaped teapots of which I have spoken. It is a mark of great rarity.

ROCKINGHAM   ROCKINGHAM

in large capital letters, impressed into the body of the ware. The same in small capital letters. These occur on early examples of “Rockingham ware,” &c. The name MORTLOCK also occurs on examples of this ware.

BRAMELD ✠✠

in capital letters, impressed. This occurs on green glazed ware, &c.

BRAMELD & CO’ or BRAMELD**

also in small capital letters, impressed.

Fig. 879.

An embossed mark, in an oval, stuck on the ware, from which it generally differs in colour, being usually in blue.

ROYAL
ROCKINGHAM
WORKS
BRAMELD

in small capitals, in four lines, impressed. This mark occurs in biscuit figures, &c.

Fig. 880.

This mark (Fig. [880]) is the crest of the Earl Fitzwilliam, and was adopted in 1825–6 on the commencement of the manufacture of china, under the assistance of that nobleman, who was owner of the works. It is usually printed in red.

in writing letters. The first of these marks occurs, with the date 1826, on the Rhinoceros Vase at Wentworth House. The others are also in writing letters in purple.

(Same crest.)(Same crest.)
ROYAL ROCKINGHAMROYAL ROCKINGHAM WORKS
BRAMELDBRAMELD

in capital letters. Sometimes in gold.

(Same crest.)
Rockingham Works.
Brameld
Manufacturer to the King
Queen and Royal Family.

surrounded by a wreath of roses, &c. Printed in purple.

It is only necessary to add to this account of the Swinton Pottery that collectors will find remarkably good examples of Rockingham china, for reference, in the Jermyn Street Museum, including pattern plates of the royal service.