CHAPTER VII.
Hanley and Shelton—Miles—Phillips—Astbury—Baddeley—Edwards—Voyez—Palmer—Neale—Wilson—New Hall Works—Hollins—Keeling—Turner—Warburton—Clowes—Bagnall—New Hall Company—Richard Champion—Glass—Twyford—Mare—Twemlow—Old Hall Works—Meigh—Broad Street Works—Mason—Ashworth—Cauldon Place—Ridgways—Browne-Westhead & Co.—Trent Pottery—Keeling—Booth & Co.—Stafford Street Works—Church Works—Waterloo Works—Kensington Works—Burton Place Works—Clarence Street Works—Nelson Place—Phœnix and Bell Works——Bedford Works—Mayer Street—Cannon Street Works—Brewery Street—Percy Street Works—Taylor, Tunnicliffe & Co.—Biller & Co.—Albion Works—Eastwood Vale—Eastwood Works—Dental Manufacturing Company—Trent Pottery—James Dudson—Victoria Works—Charles Street Works—High Street—Eagle Works—Brook Street Works—Cannon Street—William Stubbs—Norfolk Street Works—Broad Street—Albert Works—Ranelagh Works—Swan Works—Mayer Street Works—Brook Street Works—Dresden Works—Bath Street Works—Waterloo Works—New Street Pottery—Castle Field Pottery—Henry Venables.
Miles.—In 1685 Thomas Miles, of Shelton, was a maker of white stoneware, of much the same kind as that imported from Germany and Holland. He is stated to have used the Shelton clay, such as had been used by pipe-makers, worked with other clays from Baddeley Edge.
Phillips.—Occasionally pieces are met with bearing the name of this potter, who was of Shelton.
Astbury.—Having already, in the first volume, spoken of the manner in which one of the family of Astbury discovered the use of calcined flint, and how the secret of the brothers Elers was surreptitiously obtained, it is not necessary to recapitulate it here. The Astburys were a very old and important family, as connected with the potteries, and one of them, Samuel Astbury, was uncle to Josiah Wedgwood (having married his father’s sister, Elizabeth Wedgwood), and in 1744 was one of the witnesses to the deed of his apprenticeship. The discoverer of the use of flint, it appears more than probable, was John Astbury, whose gravestone is in Stoke churchyard. The inscription on the stone is, “Here lieth the body of John Astbury, the Elder, of Shelton, Potter, who departed this life March 3rd, 1743, aged 55 years.” The use of flint was discovered about 1720, when he was about thirty-two years old, and the brothers Elers had previously left the district, about 1710. John Astbury had a son Joshua, of the Foley, who died 1780, as recorded on the same stone. Other sons were Thomas and Samuel. “John Astbury, the elder,” as recorded on his tombstone, lost a daughter Margaret, aged six, in 1728, and he had afterwards a second daughter of the same name, who married Robert Garner, potter, and was the mother of Robert Garner (father of Robert Garner, Esq., of Stoke), an eminent potter of Lane End (which see). Twyford, who shares the credit of having wormed out the secrets of the Elers, was a fellow workman, and afterwards a partner of Astbury, and was, either himself or by his descendants, connected with the family.
Baddeley.—Another of the old potteries of this place was carried on in 1750 by R. & J. Baddeley, who, at a somewhat later date, were famous for their blue ware. An interesting reference to these works will be found at page 137, vol. i., in connection with a workman named Doe. In 1794 Ralph Baddeley was in business in Shelton, and in 1796 the firm was “John & Edward Baddeley, Shelton,” as appears by their billheads of that date. The premises were afterwards used by Hicks, Meigh, & Co. (see [Broad Street Works]). Of another potter of this name, William Baddeley, a notice will be found on a later page.
Edwards.—Warner Edwards had, last century, works in Albion Street, where he not only manufactured various kinds of ware, but made enamel colours for other houses. He died in 1753, and the premises were afterwards occupied by Messrs. J. & W. Ridgway. Mr. Thomas Daniel, an eminent potter, was his apprentice. During his last illness Warner Edwards handed his book of recipes to this Thomas Daniel, who was father of Spode’s clever enameller, Henry Daniel, who afterwards, in conjunction with his son Richard, was a successful manufacturer at Stoke and Hanley. It is worthy of remark that Edwards was a maker of enamel colours full twenty years before Wedgwood took out his patent for them in 1769.
Voyez.—This clever workman, a modeller, was employed by Wedgwood about 1768, and “off and on” afterwards, but was a dishonourable and erratic character. He produced many clever imitations of Wedgwood and Bentley’s wares, and is said to have even stamped them with their name, which he forged, and sold the goods as their work. Occasionally his name, J. VOYEZ, is found impressed in the body of the ware.
Palmer.—John Palmer, of Bagnall, about 1680, was a salt-glaze potter, and was the one to whom the discovery of the use of salt was first told (see vol. i., page [94]). His son or grandson, Henry Palmer, was also a potter at Hanley (at the Church Works, in High Street, which he probably built), and was a successful imitator of Wedgwood’s productions. His Egyptian black, or basalt ware, and his jasper ware, are of great excellence and beauty and very closely resemble those of Wedgwood. He was noted for his piracy of these goods, and surreptitiously obtained Wedgwood’s new designs as they came out. His piracy was, however, after a time, carried too far, and an injunction was served upon him to restrain his making Etruscan painted vases in contravention of Wedgwood’s patent. This ended in a compromise: Palmer purchasing a share in the patent right. Intaglios and seals were also, about 1772–3, closely copied by Palmer, much to the annoyance and loss of Wedgwood and Bentley. In 1778 Mr. Palmer failed. Neale, who is said to have been a partner with Palmer so far as his London business was concerned, having arranged matters, the business at Hanley was carried on under the style of “Neale & Palmer” and “Neale & Co.” The mark of Mr. Palmer was in the same style as that of Wedgwood and Bentley—a circle with the name in raised letters (Fig. [455]). Some examples bear the name, stamped, “H. Palmer, Hanley, Staffordshire.” Palmer and Neale are said to have married two sisters, the daughters of Thomas Heath, of Lane Delph; and Mr. Pratt, of Fenton, a third daughter.
Fig. 455.
Neale.—Neale, the successor of Palmer, continued the business at Hanley, and produced many remarkably good and artistic articles in basalt, in jasper, and in other wares, and became, if possible, even a more close and clever imitator of Wedgwood’s wares than his predecessor had been. In 1780 he appears to have had two partners, and to have carried on the business under the style of “Neale, Maidment, and Bailey,” and, later, as “Neale & Bailey” and “Neale and Wilson.” Usually, however, the firm was simply “Neale & Co.” Neale’s productions are much esteemed for the excellence of the body, the cleverness of design, and the sharpness of their execution. His cream-coloured earthenware, too, is of very good and fine quality. He was succeeded, I believe, by his partner Wilson. The marks used by Neale, so far as I have met with them, are “Neale & Co.,” sometimes in large and at others in small sized letters, impressed in the ware; NEALE & CO. in italic capital letters, also impressed; NEALE & CO. in Roman capital letters, also impressed; and “Neale & Wilson.” Another mark was, like Palmer’s, adopted, in form, from Wedgwood & Bentley. It is a circle, bearing the name in raised letters.
Fig. 456.
Fig. 457.
Wilson.—Robert Wilson, the successor to the firm of Neale & Wilson, continued the manufactory, but devoted himself mainly to cream-coloured earthenware, more or less decorated. His name is occasionally met with simply as WILSON impressed in the body of the ware, and occasionally in connection with a crown and the distinctive mark C (Fig. [457]). Robert Wilson was for a long time sole manager to Neales; and he, and the still more celebrated potter, Elijah Mayer, whose works and residence were just opposite the Church Works, married two sisters of the name of Mayer, but of different families. After the retirement or death of Wilson his brother David carried on the works (1802). It was afterwards D. Wilson & Sons; then Assignees of Wilson; then Phillips & Bagster. The Phillips of this firm was Jacob, brother to Jonathan Phillips, of Oxford Street, London, and uncle to the present Messrs. Phillips of Oxford Street. The firm was then Bagster alone for a while, after which the manufactory and house adjoining, where Bagster had resided, came into the market and were purchased by Joseph Mayer, son and successor of Elijah Mayer, whose works and residence, as I said before, were immediately opposite the road. The Church Works were then (1831) rented by William Ridgway & Co., Mr. Ridgway being Joseph Mayer’s cousin; and I should here mention that Job Ridgway, the father of William and John Ridgway, had married the sister of Elijah Mayer, Joseph’s father. Joseph Mayer had in his employ a clever modeller named Leonard James Abington, who was also a fair chemist, and so much in favour with his employer that the latter placed him in partnership with William Ridgway, and he was the ‘Co.’ It was shortly after this (about 1833) that Joseph Mayer ceased potting, and let his works to William Ridgway & Co. in addition to the Church Works. He, however, retained some warehouses and stabling offices adjoining his residence, and had these crammed with some of the best of his stock, Egyptian black, cane, chocolate, brown, and Queen’s ware, some of the latter elaborately perforated and painted—an indescribable jumble of most beautiful pottery,—and there it remained locked up until his death in 1860. To return to the Church Works: the next addition to the firm, as soon as he was old enough to enter it, was William Ridgway’s son, Edward John, the title of the firm being changed to William Ridgway, Son & Co. In course of time William Ridgway retiring, the two manufactories were carried on by his son, Edward John Ridgway, and L. J. Abington, and it was styled Ridgway & Abington. It was ultimately Edward John Ridgway alone, and is now Powell & Bishop, Mr. E. J. Ridgway having built large works in Bedford Road called the Bedford Works.
The New Hall Works are historically interesting as being the first in which porcelain was successfully made in Staffordshire, and to them, therefore, must be ascribed the introduction of that art into “the Potteries,” since become so famous and so extensive. In my account of the Bristol china works[51] I have shown how Richard Champion’s patent (who had purchased the patent right of William Cookworthy, of Plymouth,) was sold to a company of Staffordshire potters. This transfer of rights took place in or about the year 1777. The company consisted of six persons, viz., Samuel Hollins, of Shelton, Anthony Keeling, of Tunstall, John Turner, of Lane End, Jacob Warburton, of Hot Lane, William Clowes, of Port Hill, and Charles Bagnall, of Shelton. Of these six persons the following are brief notices:—
Samuel Hollins, a maker of the fine red-ware tea-pots, &c., from the clay at Bradwell, previously worked by the brothers Elers, was of Shelton, and was the son of Mr. Hollins, of the Upper Green, Hanley. He was an excellent practical potter, and made many improvements in his art. He was afterwards one of the partners of the New Hall China Works, and his successors in the manufactory were his sons, Messrs. T. & J. Hollins.
Anthony Keeling, of Tunstall, was son-in-law of the celebrated potter, Enoch Booth, having married his daughter Ann. Keeling succeeded Enoch Booth in his business, which he carried on successfully for many years. He erected a large house near the works, but in 1810, retired on a small independence to Liverpool, where he died a few years afterwards. He was the principal support of a small sect calling themselves “Sandemanians,” who had their place of worship in his works.
John Turner, first of Stoke, and then of Lane End, father of Messrs. John and William Turner, was one of the most clever and successful potters Staffordshire ever produced, but one about whom little has been written. Many of his productions in black and in jasper, &c., are quite equal to those of Wedgwood, and, indeed, are often mistaken for the work of that great man. Mr. Turner’s cream ware, too, as well as his stone ware, of which his jugs are best known to collectors, rank high in excellence both of design and manipulation. In 1762 Mr. Turner commenced manufacturing at Lane End, and made many improvements in the art, and by the discovery of a vein of fine clay at Green Dock was enabled successfully to compete not only with other potters, but with Wedgwood himself. Mr. Turner is stated to have been deputed, with Wedgwood, by the Staffordshire potters, to oppose the extension of the patent to Champion.
Jacob Warburton, of Hot, or Holt Lane, a man highly respected by every class, and who lived until the year 1826, was born in 1740, and passed his long and useful life as a potter, in which art he rose to considerable eminence in his early years in connection with his father and brothers, and later on his own account, and, in partnership with others, in the New Hall Works. He was the “last member of the old school of potters, the early friend and contemporary of the ‘father of the Potteries,’ Josiah Wedgwood, with whom he was for many years in the habit of confidential intercourse and friendship. Numerous are the benefits which the public derived from the united exertions of the talents and abilities of these two venerated characters, on every point connected with the local interest and prosperity of the Staffordshire Potteries.” Besides being one of the most clever and energetic potters, “he was a good scholar, and a man of pure taste; he had read extensively, and his memory was tenacious in a very extraordinary degree. He was equally distinguished for his moral and convivial habits of mind, for the soundness of his intellect and the goodness of his heart. He spoke fluently the French, Dutch, and German languages, and was learning the Italian up to the very period of his death.” He retained his activity of body and mind to the last, and, though eighty-six years of age, set out the day preceding his death to walk to Cobridge. He died while a friend was reading to him. Mr. Warburton, who was a Roman Catholic, was twice married. For some years before his decease he had retired from business, and died at his residence, Ford Green, in the parish of Norton.
William Clowes, of Port Hill, was, it is said, only a sleeping partner in the concern.
Charles Bagnall, of Shelton, who had previously been with Joshua Heath, was a potter of considerable experience, in the middle of last century. He was probably a son of the potter of the same name, who was a maker of butter-pots in Burslem in 1710–15. He became one of the partners in the New Hall Works a century ago. The family has been connected with Staffordshire for many generations.
The company, being thus formed, purchased the patent right from Richard Champion, who removed into Staffordshire to superintend the establishing of the new works in that county. The first operations of the company were conducted at the works of one of the partners, Anthony Keeling, at Tunstall, the pottery formerly belonging, as just stated, to his father-in-law, Enoch Booth. Tunstall at this period was a mere small street, or rather roadway, with only a few houses—probably not more than a score—scattered about it and the lanes leading to Chatterley and Red Street. To this spot, the forerunner of the present large and important town, Cookworthy’s patent was brought, and here, with the experienced potters who had become its purchasers, and under the management of Champion, who had produced such exquisite specimens of art at Bristol, and who had been induced, as a part of the arrangement, to superintend the manufacture, the first pieces of china made in Staffordshire, with the exception of the trial pieces of Littler, were produced. To accommodate the new branch of manufacture at Keeling’s pot-works some alterations of course became necessary, and thus it was some little time before the partners had the satisfaction of seeing anything produced under the patent-right which they had purchased. Among the partners, too, some disagreements arose, which ended in John Turner and Anthony Keeling withdrawing from the concern, and about 1780 Keeling is said to have removed to London. This withdrawal and disagreement caused the remaining partners to remove their work from Keeling’s premises, and they took a house in Shelton, known as “Shelton Hall,” afterwards the “New Hall,” in contradistinction to the “Old Hall,” celebrated as being the birthplace of Elijah Fenton, the poet. At this time Shelton Hall, which had been purchased in 1773 of Alice Dalton, widow, (who had inherited it from her brother, Edward Burslem Sundell,) by Humphrey Palmer, was occupied by his son, Thomas Palmer, as a pot-works. In 1777, Humphrey Palmer, intending a second marriage with Hannah Ashwin, of Stratford-on-Avon, gave a rent-charge of £30 on the Hall and pot-works, and a life interest in the rest of the estate, as a dower to that lady, reserving the right for his son, Thomas Palmer, the potter, to get clay and marl from any part of the estate for his own use. In 1789, Humphrey Palmer and his wife being both dead, the estate passed to their infant and only child, Mary Palmer, of whose successor’s executors, after some uninteresting changes, it was, as will be seen, ultimately purchased by the china manufacturers. At this time the works had been considerably increased, and they grew gradually larger, till, in 1802, they are described as three messuages, three pot-works, one garden, fifty acres of land, thirty acres of meadow, and forty acres of pasture, &c. About the time of the withdrawal of Keeling and Turner from the partnership, and the removal of the works from Tunstall to Shelton, Richard Champion left.
Fairly settled at New Hall, the company took for their manager Mr. John Daniel, who afterwards became a partner in the concern. The firm, as at first formed at Shelton, consisted of Messrs. Hollins, Warburton, Clowes, and Bagnall, but was afterwards carried on by Hollins, Warburton, Clowes, and Daniel. A considerable quantity of china was produced under the patent, but the most extensive and profitable branch of the New Hall business was the making and vending of the glaze called “composition,” made of materials to whose use the company had the exclusive right. This “composition,” made from the ingredients given in the specification printed in my account of the Bristol works, was supplied by the New Hall firm to the potters of the neighbourhood, and even sent to other localities, to a large extent and at a highly remunerative price. The ware made at this period was precisely similar in body and glaze to that of Bristol, to which, from the fact of some of the same artists being employed, it bears also a marked resemblance in ornamentation. In 1796 the patent, which had been enjoyed successively by Cookworthy, Champion, and the Staffordshire company, for a period of twenty-eight years, expired; but the company continued to make the hard paste china, and to supply “composition” (many potters finding it more convenient still to purchase instead of making that essential) to other manufacturers. In 1810, the firm—then consisting of four partners, viz., Samuel Hollins, of Shelton, Peter Warburton (son of Jacob Warburton), of Cobridge, John Daniel, of Hanley, and William Clowes, of Port Hill—became the purchasers of the New Hall estate for the sum of £6,800. In 1813 Peter Warburton died, leaving his share in the works to his father (Jacob Warburton) and John Daniel, as trustees under his will. In 1821, John Daniel died, and two years afterwards Samuel Clowes died also. John Daniel, I presume, was a son of Ralph Daniel, to whom the potters were indebted for discovering the system of making moulds in plaster of Paris instead of in brass, as previously done. Mr. Daniel is said to have visited the potteries and porcelain manufactories in France, and brought back with him a mould of cast plaster of Paris, which he showed and introduced to the English makers. The potters, however, knew so little of the process by which the mould was produced, that they got blocks of the gypsum of Derbyshire and cut their moulds in them, until it was explained that the gypsum must be first burnt and ground, and then cast. This circumstance is so graphically described in the “Burslem Dialogue,” given by Ward, that I transcribe the few following lines for my readers’ amusement:
“Telwright.—That wur a queer trick, wur it no’, o’ Rafy Dennil’s?
“Leigh.—Dun yo’ meeon th’ cause o’ his gooin’ to France, or es ha he geet int’ th’ work hâisn theer, an seed’n aw ha they did’n wi ther ware?
“Telwright.—Oi meeon him foindin’ aat i’ whot wey they mayd’n ther mewds (moulds).
“Leigh.—That wur a fawse trick, for sartin, an o’ gret yewse to th’ treyde. Bu’ wot a blunder th’ mesters here mayd’n, when he sent ’em word abaat it!
“Telwright.—Haa dust meeon, Rafy? Oi am no’ properly insens’t on’t.
“Leigh.—Whoy, yo’ seyn as haa they geet’n th’ plaster-ston’ fro’ Darbyshur aw reet; bu’ then, i’stid o’ fust groindin’ it an’ bakin’ into dust loike fleawr, an usin’ th’ dust wi wayter for t’ cast on th’ moddills, as they cawn ’em, th’ mesters had th’ raw ston’ cut i shapes, an’ tryd’n for t’ mak things oof ’em; bu’ they cudna. Then at last he sent ’em full word haa to dew it.”
Hard paste porcelain continued to be made at New Hall until about the year 1810 or 1812, when the bone paste, which had been gradually making its way in the district, finally superseded it, and the company continued their works on the newer system. In 1825 the entire stock of the concern, which had for a short time been carried on for the firm by a person named Tittensor, was sold off, and the manufacture of china of any description entirely ceased at New Hall.
The works, after having been closed for a short time, were next opened as an earthenware manufactory by Mr. William Ratcliffe, who for a few years continued to make the commoner description of white and printed earthenware for ordinary home consumption. They next passed, in 1842, into the hands of Messrs. W. Hackwood & Son, who removed from their works near Joiner Square (now called the “Eastwood Pottery”) for that purpose; and seven years later, Mr. Hackwood senior having died, they were continued by the son, Thomas Hackwood. The goods were the ordinary descriptions of earthenware, principally for Continental markets, and bore the name of HACKWOOD impressed. In 1856, they passed into the hands of Messrs. Cockson & Harding, who continued to manufacture the same descriptions of goods, using for a mark C & H, late Hackwood, impressed on the bottom.
In 1862, Mr. Cockson having retired from the concern, the works were carried on by the remaining partners, Messrs. W. and J. Harding (Brothers), who did an extensive trade with Holland and Italy. Besides the cream-coloured and printed wares for foreign trade, druggists’ fittings formed a staple branch. Black, Egyptian, Rockingham, and tinted wares too were made. In 1872 Messrs. Harding gave up the business, when Mr. John Aynsley, china manufacturer, of Longton, purchased the back portion of the works and let it to its present occupiers, Messrs. Thomas Booth & Sons. The entire front of the New Hall Works was purchased by Mr. Henry Hall, metal mounter of jugs, tea-pots, &c., so that the manufactory became divided into two distinct properties. The portion occupied by Messrs. Booth having been burnt down has been rebuilt.
The productions of Messrs. Booth & Sons are the usual classes of ordinary earthenware in printed, painted, enamelled and gilt services; stone ware of good quality, in which a large variety of jugs and tea-pots are made; and jasper ware, in various ornamental articles. Among their shapes of toilet ware are the “Eldon,” “Globe,” “Alexandra,” and “Cottage;” and among their specialities in other goods are a self-closing hot-water jug, and a molasses jug, which are considered very successful.
Fig. 458.
Figs. 459 and 460.
Specimens of the hard paste of the New Hall Works are rare. They are almost entirely without mark; but sometimes there is an incised letter N as here shown. Fig. [460] exhibits a beautifully painted teapot. On one side is a group of children playing at blind man’s buff. They are dressed in the characteristic costume of the latter part of last century, but what renders the group peculiarly interesting is that in the background is a view of a pot-works, with kiln, which may probably have been a representation of the works when this interesting piece was made. On the opposite side of this teapot is an equally well painted group of a boy riding on a dog, and on the lid are also two little figure vignettes. This piece was made for, and belonged to, one of the partners, Charles Bagnall, from whose family it passed more than half a century ago, by marriage, to a Mr. Sutton, from whose own octogenarian hands it passed into my own. It was painted by Duvivier, a French artist of celebrity, who, as well as Bone, was employed at these works. Fig. [459] is a cup and a saucer of excellent form and twisted fluting. Fig. [462] is a jug, carefully painted with birds, and bearing in front the initials S. D. This jug was made at New Hall for Sampson Daniel, a cousin of John Daniel, one of the partners, and is still in possession of his grandson, Mr. Daniel, of Hanley. The coffee cup and saucer (Fig. [464]) is a good and characteristic specimen; and Fig. [463] is one piece of a dessert service, belonging to Mr. Gray, which was made for Mr. Daniel, one of the partners. The porcelain made at New Hall principally consisted of tea, dinner, and dessert services, of various designs; but figures and busts, as well as vases, were also, to some extent produced there.
Fig. 461.
The later productions of the New Hall China Works, the soft paste, are also scarce, especially the marked pieces. The body is of good colour, and clear, and the decorations, especially the flowered examples, are remarkable for the brightness of their colours. The only mark used—and this was not, it appears, adopted until after 1820—is the one here shown.
Figs. 462 to 464.
Batt printing was practised at New Hall, and some remarkably good examples have come under my notice. In 1810, Peter Warburton, on behalf of the company of which he was a partner, is said to have taken out a patent “for printing landscapes and other designs from copper plates, in gold and platinum, upon porcelain and pottery.” The company was also among the first to adopt the improvements in printing on ware made by William Brookes in the beginning of the present century.
Glass.—Joseph Glass was a potter in Hanley, in the middle of the seventeenth century, and his works are stated to have been still carried on by him or his son, Joseph Glass, in the beginning of the eighteenth. “Joseph Glass ... clowdy, and a sort of dishes, painted with different coloured slips, and sold at 3s. and 3s. 6d. per dozen.” A tyg bearing his name, IOSEPH GLASS S V H G X, painted round the body is in the Staniforth collection. Later on the works were carried on by John Glass, and from him passed to Samuel Keeling & Co., then to Meakin Brothers, and lastly to Taylor Brothers. The works were situated in Market Street, and have of late years been pulled down. This Samuel Keeling was great nephew to the patentee, James Keeling, mentioned on another page, who was an important manufacturer towards the close of the last century. Mr. Samuel Keeling, one of the patriarchs of the potteries, resided in partial retirement at Rocester. His firm, Messrs. Keeling & Adams, hold three mills at Hanley for grinding potters’ materials. One of them, the Eastwood Mill, consists of two old erections combined; one portion was a pottery worked by William Baddeley; another, the place erected by William Baddeley’s brother James for a silk mill. They also work the Botteslow Mill and the Albion Mill.
Twyford.—Twyford, the potter, already named, “commenced business near Shelton Old Hall, the seat of Elijah Fenton’s family; and the only known specimen of his manufacture,” says Shaw, “is a jug made for T. Fenton, Esq.,” then in the possession of his descendant. Mr. Twyford and his children and grandchildren continued as potters, and are now represented by Mr. Thomas Twyford, of the Bath Street Works.
In 1829 the manufactories named by Shaw were E. Mayer & Son; Job Meigh & Son (Old Hall); Dimmock & Co.; Toft & May; J. Keeling; W. Hackwood; T. Taylor; J. Glass; J. & W. Ridgway; Hicks, Meigh, & Johnson; H. Daniel & Sons; J. Yates; and Hollins, Warburton, Daniel, & Co. (New Hall).
Mare or Maer, or Mayer.—In the early part of the last century Hugh Mare and John Mare were potters at Hanley, and produced black and mottled wares. Later on were “Elijah Mayer” or “E. Mayer,” then “Elijah Mayer & Son,” and next “Joseph Mayer.”
Other potters in the early part of last century were William Simpson, Richard Marsh, Moses Sandford, and John Ellis. Several of these and later potters will be named in the course of the notices of existing manufactories. The potteries in Hanley and Shelton enumerated by Ward in 1843 are the Old Hall, the New Hall, Cauldon Place, William Ridgway and partners (six manufactories), Thomas Dimmock & Co. (three manufactories—formerly James Whitehead, J. and W. Handley, Edmund John Birch, and Christopher Whitehead); Samuel Keeling & Co., formerly John Glass; William Hackwood; Samuel and John Burton, formerly James Keeling; Samuel Mayer, formerly Sarah Brown’s; Thomas Furnival, junior, & Co., formerly Reuben Johnson’s; George Lomas, formerly Barlow and Hammersley’s; Joseph Clementson, formerly Elijah Jones’s (who was a potter about 1760); Yates & May, formerly John and William Yates, successors to their father; William Dudson, formerly William Rivers & Co.; William White, formerly Poulson’s; Henry Mills, then newly erected, and other smaller factories. Edward Phillips was also a manufacturer, and used his name in full, “Edward Phillips, Shelton, Staffordshire,” on his goods. Other names are J. Sneyd, Toft & May, and T. Taylor.
John Twemlow was in business in 1797. An invoice in my possession is curious as showing some of the goods he made. These are “E Black Teapots, capt., festd. and figd.” (Egyptian black tea-pots, capped, festooned, and figured); “ditto upright, festd. and figd.”; “Oval E Black Teapots;” ditto “prest leaf,” “scollop top, festd. and figd. and banded”; “ditto, prest leaf and festd. and figd. and banded a’tip;” “ditto creams” to match; “ditto fluted;” “ditto coffee pots;” octagon tea-pots, with scollop top, and creams to match; oval plain tea-pots (all, so far, are in Egyptian black); “blue and enamelled handled cups and saucers, London size, sprig and border and vine pattern;” “bowls to match.”
Figs. 465 to 468.—1851—Exhibits of Mr. Meigh, Old Hall Works.
Fig. 469.
Fig. 470.
Old Hall Works.—The “Old Hall Works” are among the most interesting historically of any in the district, being built on the site of, or quite closely adjoining to, the “Old Hall” or Manor House of the Colclough family, who formerly held the lordship of Hanley, from about the time of Edward III. until about a century and a half ago, when it passed into the family of Bagnall. The “Old Hall” or “Manor House” has long since disappeared. The present works were built about the year 1770, by Mr. Job Meigh, on what, I believe, was for a time previously a salt-glazed white stoneware pottery, carried on by a Mr. Whitehead. From 1770 until 1861 the works were uninterruptedly carried on by Mr. Job Meigh, his son, and his grandson (Mr. Charles Meigh), successively. In 1861 Mr. Charles Meigh transferred the business to a limited liability company, called “The Old Hall Earthenware Company,” by whom it is still carried on. The productions of the works include every variety of earthenware, from the most highly decorated to the ordinary blue printed and plain white wares, stone ware, jet ware, and parian. In earthenware all the usual dinner, tea, breakfast, dessert, toilet, and other services, and all other articles are made. In these the body is of the finest quality, hard and of remarkable durability, and the glaze is hard, clear, and faultless. Many of the patterns of dinner services are of great beauty and elegance. Especially among these are the “Nonpareil,” the “Verona,” and the “Koh-i-noor” shapes, which last is one of the most simply elegant yet produced. The form of the covered dishes is chaste and remarkably effective. They stand upon well-modelled feet, and the handles are formed of folds of ribbon held together by jewelled rings. This pattern is produced in various styles of decoration, one of the most pleasing of which is the convolvulus, exquisitely coloured after nature; the gilding is rich and substantial. Among the patterns produced by the staff of artists here employed are many others of surpassing beauty; the excellence of the painting, the gilding, the jewelling, and the enamelling, being very apparent in all, and the combination of printing and hand painting carried to great perfection. The transfer printing at the Old Hall Works is more carefully done, and the colours are clearer and brighter, than at most manufactories. Dessert services are made in every style of decoration; the richer and more costly varieties being equal to any produced by other firms, both in quality of body, in shape, in pattern, and in artistic treatment. Toilet services form a very extensive branch of the productions, and in these the firm is very successful. Among the more popular shapes are the “Buckle,” “Richmond,” “Perth,” “Exeter,” and “Mediæval,” and these are produced in every possible style of decoration whether in printing, painting, enamelling, and gilding. In stone ware, jugs of good and faultless form, and many other articles are produced. In black ware, water-bottles, elegant little table tea-kettles, spill cases, vases, and other articles are made, and are effectively decorated with dead and burnished gilding, enamelling, &c.
Figs. 471 to 473.—1851. Exhibits of Messrs. Meigh, Old Hall Works.
In Parian, vases, groups, busts, figures, and other ornamental articles are produced; the body is of good quality, and the modelling and finish of faultless excellence.
The marks of these works are the following:
Figs. 474 to 478.
In 1851 medals were awarded to Mr. C. Meigh, of these works, who has also received medals from the Society of Arts.
Figs. [465 to 468] are stoneware jugs, one of which bears a young bacchanal imbibing the juice of the grape, and Fig. [470] a candlestick adapted from a celebrated wine cup, the work of Cellini. Figs. [471, 472, 473] exhibit three admirable pieces, a clock case, a vase, and a drinking cup or tankard, all in statuary porcelain and of the finest possible style of art. The works are very extensive, including mills for grinding all descriptions of materials used in the manufacture of pottery, and are capable of supplying a large demand. The markets principally supplied are the home, French, German, Indian, American, Australian, and colonial.
Broad Street Works.—These works are interesting as being the place where the celebrated “Mason’s Patent Ironstone China,” as well as the “Ironstone China” of the old firm of Hicks, Meigh, and Johnson, in addition to most varieties of useful earthenware, are made. Mr. Charles James Mason, the inventor of this famous “Mason’s Ironstone China,” was a potter of great taste and skill at Lane Delph (now Middle Fenton), and in 1813 took out a patent for his process. The manufacture was at that time carried on under the styles of “G. M. and C. J. Mason” and “C. J. Mason & Co.” The partners were Charles James Mason and his brother George Miles Mason (father of Mason the artist) who in 1832 unsuccessfully contested the then new district borough of Stoke-upon-Trent, his successful competitors being Josiah Wedgwood and John Davenport, both, like himself, manufacturers in the district. After a time Mr. G. Mason retired from the concern, and it was then continued by the patentee alone. The concern, however, for want of capital and from other causes, gradually dwindled down, until at length, in 1851, Mr. Francis Morley purchased the patent, the moulds, copper-plates (on which an immense amount of money had been expended), and entire business, from Mr. Mason, and removed the whole to his manufactory. Mr. Morley, who married a daughter of Mr. W. Ridgway, and was a partner in the firm of Morley, Wear & Co., succeeded to the old-established concern of Hicks, Meigh, & Johnson, which he carried on for a time under the style of “Ridgway & Co.” Afterwards Mr. Morley continued the business as F. Morley & Co. This manufactory was one of the oldest in the Potteries. It was in existence in the early part of the last century (probably established about 1720), and afterwards belonged to John Baddeley (in 1750 R. and J. Baddeley), an eminent potter, who died in 1772. Here, it is said, printing in oil was first practised. Messrs. Hicks, Meigh, & Johnson were among the most successful of the manufacturers in the district, and produced, among other wares, a remarkably good quality of ironstone china. Besides this, they were large manufacturers of earthenware of the ordinary and finer kinds, and of china. They and Mason were the only makers of ironstone china; and when Mr. Morley, who purchased their business, became also the owner of Mason’s process and of his moulds, plates, &c., he became the only manufacturer of ironstone ware. Having united the two manufactories, he removed Mason’s concern to his own works, where he entered with spirit into the manufacture, and soon established a lucrative business in “Mason’s wares.” In 1856 a first-class medal for this ware was awarded at the French Exhibition.
Mr. Morley retired from trade in 1859, having sold the entire business, moulds, copper-plates, &c., to the present owners, Messrs. Geo. L. Ashworth and Taylor Ashworth (brothers), who continue, to the fullest extent, the manufacture of the “Patent Ironstone China,” which they and their predecessor named the “Real Ironstone China” (of which patented articles they are the only makers) on their marks, and produce all Mason’s best patterns in services, vases, &c., made from his original models. They also manufacture Meigh’s ironstone, from his old moulds, &c. This manufacture has been very largely developed by Mr. Taylor Ashworth (who studied the processes under Mr. Morley, and is the resident acting partner), to whom the art is indebted for many improvements. This gentleman, who married the grand-daughter of Mr. Meigh, obtained by that alliance a vast deal of valuable information about the working of the stoneware; and it is a somewhat singular and pleasant circumstance to record, that after a lapse of half a century, or more, the manufacture may, through that marriage, be said again to be brought into the old family. Messrs. Ashworth, besides these great features of their trade, make table, toilet, dessert, and other services, and ornamental goods of the best quality, in every description of general earthenware. These they produce in immense quantities, both for home and foreign markets, about one-third of the whole being exported. The ordinary classes are principally exported to Russia, India, &c., and the more rich and costly to Havanna, Spain, and other countries. Sanitary wares are also produced, as well as insulators for our own and for foreign governments. The “Ironstone China,” from its extreme hardness and durability (for it is not easy to break even a plate) is specially adapted, in its simpler styles of decoration, for services used by large steamship companies, hotels, clubs, colleges, and other places where hard usage has to be undergone; while in its more elaborate and rich styles—and it is capable of the very highest degree of finish—it is eminently fitted for families of the higher ranks. No climate affects this ware. The usual style of decoration for dinner services is imitation of Oriental patterns—Japanese and Indian flowers, &c.—and the colours and gilding are rich in the extreme. In vases and jugs the handles are usually dragons and other grotesque animals. The Indian vases are of perfect form, of exquisite design, rich in their colours, and massive in gilding. They are priceless Art-treasures, and examples of Ashworth’s make deserve to be in every “home of taste.”
The marks used by Mason were principally the following:
MASON’S PATENT IRONSTONE CHINA
MASON’S PATENT IRONSTONE CHINA.
MASON’S PATENT IRONSTONE CHINA ASHWORTHS.
MASON’S PATENT IRONSTONE CHINA.
PATENT·IRONSTONE·CHINA
Figs. 479 to 483.
Figs. [479 to 481] are printed, usually in blue, on the bottoms of the pieces, and Figs. [482 and 483], impressed in the body of the ware.
After the patent passed out of Mason’s hands into those of Morley and Co., the mark was changed on more than one occasion. The principal one was
REAL
IRONSTONE
CHINA
impressed in the ware, and the royal arms, with supporters, crest, motto, &c., above the words IRONSTONE CHINA, printed on the bottom of the goods. The marks used by Messrs. Ashworth are, a circular garter, bearing the words “Real Ironstone China,” and enclosing the royal arms and the name “G. L. Ashworth & Bros, Hanley;” Mason’s mark (Fig. [488]) with the addition of the word ASHWORTHS; a crown, with the words ASHWORTH BROS. above, and a ribbon bearing the words REAL IRONSTONE CHINA beneath it; and the royal arms, with supporters, crest, motto, &c., and the words, IRONSTONE CHINA.
ASHWORTH
REAL
IRONSTONE
CHINA.
Mason at one time produced what he called Bandana or Sandana ware. In this jugs and other articles were made, and were of a peculiarly striking and rich character in printing. The designs were complicated Indian foliage and grotesque animals, printed in red and black on a buff or other ground. The name I presume to have been taken from the famous Bandana handkerchief patterns. The mark, on a jug in my own possession, is a circular garter bearing the words, “Mason’s Bandana Ware, 1851,” and enclosing the words “Patentee of the Patent Ironstone China,” the whole surmounted by a crown. I have an impression of a similar mark, which for some purpose has evidently been altered to Sandana, and the date to 1801. As Mason’s patent was only granted in 1813 the alteration of this mark is very palpable.
Cauldon Place.—These works were founded about 1794, and the present manufactory built in 1802, by Mr. Job Ridgway, father of John and William Ridgway, the eminent potters; and were carried on by him and his sons until his death in 1814, under the style of “Ridgway & Sons.” The business was then continued by his two sons for some years, when a dissolution of partnership took place, the elder, John Ridgway, continuing the Cauldon Place Works, and the younger, William Ridgway, removing to a new manufactory which he had erected. Mr. John Ridgway continued, with various changes of partners, under the firm of “John Ridgway & Co.,” until 1855, when the Cauldon Place business passed into the hands of the present firm of “T. C. Brown-Westhead, Moore, & Co.”; Mr. Ridgway continuing his connection with it until 1858, when he finally retired. Mr. W. Moore had for many years previously been a valuable assistant of Mr. Ridgway. He died in 1866, and his brother, Mr. James Moore, succeeded to the management of the potting department, and was admitted into partnership in 1875; in that management he is assisted by his nephew, Mr. Frederick T. Moore, son of Mr. W. Moore. By the present firm the premises have been considerably enlarged, and another manufactory, “The Royal Victoria Works,” has been added, and this business, which formerly was confined to the home and American markets, extended to all foreign ports. Mr. Ridgway, who was “Potter to the Queen,” was awarded in 1851 a Prize Medal for the excellent quality of his ware, the jurors in their report stating that the firm was one of the most important in the Staffordshire Potteries. In 1862 the present proprietors also received a similar distinction. The productions of this manufactory are, and have uniformly been, the useful varieties of china and earthenware, of elegant forms, where applicable, and of various styles of decoration. Table, tea, breakfast, and toilet services in fine earthenware, printed or otherwise decorated, and in china, in endless variety of forms and patterns, are produced in immense quantities. The firm has also introduced improvements in druggists’ and perfumery goods, anti-corrosive tops, &c. Parian is also, to a small extent, produced. A great feature of the manufactory is sanitary ware, which is of the highest quality and reputation, and is made up in a variety of ways for cabinet fittings, plug-basins, lavatories, drinking-fountains, &c. In some of the largest articles, such as the “Toilettes Victoria,” which were used by the Imperial family and elsewhere in Paris, they have accomplished results which have never before been attained or attempted as to magnitude and finish of goods.
In 1843, Mr. William Ridgway, younger son of Job Ridgway, held, with his partners—composing three or four distinct firms of which he was head—six different manufactories in Hanley and Shelton. These were, 1st, a china manufactory in Hanley, formerly worked by George, and afterwards by Thomas, Taylor; 2nd, the earthenware works late belonging to Elijah Mayer & Son; 3rd, the pot-works formerly worked by Robert Wilson and next by Philips & Bagster, where ordinary earthenware and high-class chemical goods were made; 4th, the pot-works previously belonging to Toft & May; 5th, the “Bell Bank” works, in Shelton, formerly George Ridgway’s; and 6th, the old manufactory formerly belonging to John Baddeley (where printing with oil is said to have been first introduced) and next to Hicks, Meigh, & Johnson.
The goods produced at Cauldon Place embrace almost every description of ceramics. In earthenware all the usual table and toilet services, and useful and ornamental articles of every class are made. The quality is peculiarly good, hard, compact, and durable, and the patterns chaste and effective. They are produced in white and in every variety of printed, flown, enamelled, painted, and gilt patterns. In china, which in body and glaze is of the highest quality and of peculiar durability, an immense variety of services and articles are produced, and all are equally good in point of artistic decoration; the ground colours, whether rose du Barry or otherwise, of a remarkable purity and evenness, and the gilding, both dead and burnished, of unusual solidity. The same remarks apply with equal force to the dessert ware, some of the patterns of which are of surpassing loveliness and give evidence of the highest and most successful cultivation of decorative art. One special design has an outer rim, so to speak—for the plate itself is perfect without it—formed of loops of ribbon standing out clear from the beaded edge of the plate. This simple but graceful arrangement imparts a lightness and elegance to the service which are quite refreshing. Another has the rim formed of rays of pellets with a pleasing and novel effect; the tripod stands of the comports being, like the plates, exquisitely modelled and richly painted and gilt. Other patterns, notably one with a rich maroon ground and white bead edge, are, besides being exquisitely painted and gilt, enriched with jewelling. Vases of pure and severe taste in form, and displaying great skill and judgment in decoration, are also produced, as are likewise jugs of faultless excellence. Among other elegant articles Messrs. Brown-Westhead, Moore & Co., have a sandwich-box of white china; it is of wicker or basket work, with a fern leaf laid across the lid, on which rests the butterfly which forms the handle. At each corner hangs a piece of stem bent into a ring and tied into form with a ribbon. This ribbon and the butterfly being tinted in azure with enamel, and all the rest of pure white, give a purity and simplicity to this design that are very gratifying to the eye. Equal with this is an elegant basket, also in white china, which forms an attractive addition to table decoration. In services a novel idea has been introduced by this firm. The handle is formed of a double cord, doubled and passed through a loop, and either tied around the rim or formed into four knots as feet. The design is simple, but one of the prettiest and most striking yet introduced. A rose du Barry cup and saucer, with the cord and knots in white heightened with gold, and on embossed gold lines, is peculiarly elegant. Another admirable contrivance, which has been patented by Toft, and is produced at the works, is a self-acting lid or cover for hot-water jugs, &c. By this contrivance, the lid is hung on a pivot or axle, which fits into a notch on each side the mouth of the vessel, so that, being lightly hung, it opens whenever the jug is sloped for pouring, and closes again when held or set down in an upright position. It is, without exception, the best and most effective plan yet brought out, and one that cannot be superseded.
In 1876–7 Messrs. Browne-Westhead, Moore & Co. manufactured for the Prince of Wales a splendid and costly china dessert service, decorated with finely painted hunting subjects, no two pieces being alike. They also made for the Imperial family of Russia, richly decorated dinner, tea, dessert, and breakfast services, all of which orders were obtained in competition with the Sèvres, Dresden, and other Continental manufactories; and also services for the Emperor of Morocco, including punch bowls of extraordinary largeness. In addition to this it is interesting to record that they also made for H.R.H. the Duchess of Edinburgh a series of toilette services from designs drawn by herself.
Figs. 484 to 491.—Productions of the Cauldon Place Works.
Figs. 492 to 499—Philadelphia Exhibits of the Cauldon Place Works.
In 1825 Messrs. John and William Ridgway took out a patent for “an improved cock, tap, or valve, for draining off liquors:” in 1840, John Ridgway took out another for “certain improvements in the moulds used in the manufacture of earthenware, porcelain, and other similar substances, whereby such moulds are rendered more durable” by having a face of “pitcher;” in the same year, in conjunction with George Wall, for “certain improvements in the manufacture of china and earthenware, and in the apparatus or machinery applicable thereto;” in the same year again, the same two, for “certain improvements in the mode of preparing bats of earthenware and porcelain clay, and of forming or shaping them into articles of earthenware and porcelain, and in the machinery or apparatus applicable thereto;” in 1847, John Ridgway, for “certain improvements in the manufacture of paste boxes, and other similar articles in china or earthenware, or other plastic materials”; and in 1852 for “certain improvements in the method or process of ornamenting or decorating articles of glass, china, earthenware, and other ceramic manufactures.” These are, applying “the art of electrotype or electro-metallurgy” for the above purpose, applied as “described, or by any other suitable process; provided always that the surface of the non-conducting body is so prepared that the metal deposited thereon shall become alloyed or combined therewith.” The invention, however, is said to consist “in the application of certain novel and peculiar media,” “whereby such surface may be caused to combine with gold, silver, copper,” &c. Before coating with the metals, the vessels are covered thinly with some varnish, dried, and immersed, first in a solution “of phosphorus reduced by bisulphuret of carbon,” then in nitrate of silver, and set aside to dry. Instead of this, “phosphoric vapour” or “a solution of phosphorus in sulphuric ether” may be employed; but the method preferred is brushing them over with “an impalpable powder of carburet of iron and sulphate of copper” in certain proportions; afterwards the vessels are “corroded by means of the fumes of hydrofluoric acid.”
It may be added, that in the application of photography to the decoration of porcelain this firm has achieved a perfect success so far as the art is concerned, and has produced some splendid specimens, which show how completely and how thoroughly they are artists as well as manipulators. This feature, although not one, unfortunately, at present made to much extent commercially available, is one which cannot but attract attention, along with the sanitary and other classes of goods, to this establishment.
The marks used by the Cauldon Place Works, so far as I am aware, are the following:
Figs. 500 to 502.
A shield, quarterly, 1 and 4 gules, 2 or, 3 azure, over all on a bend argent B-W. M. & Co.; the shield surmounted by a crown, and surrounded by a garter with the name of the pattern.
Figs. 503 and 504.
Medals have been awarded at the Exhibitions of London, 1851, 1862, Paris 1855, Lyons 1872, and Vienna 1873; at the latter, two medals, one for excellence of earthenware and china and the other for sanitary goods, were awarded. The firm were large contributors to the Philadelphia Exhibition of 1876; some of their exhibits are shown in Figs. [484 to 499].
Trent Pottery.—These works, in Joiner Square, were built by Messrs. Stanway, Horne, and Adams, the present proprietors, in 1859, and they have been carried on without change since that time. The works were established for the production of ornamental goods in parian, and useful goods of an improved design in stoneware and ordinary earthenware, and these have continued to extend themselves year by year. The great speciality is their cheap ornamental parian, in which jugs of various kinds, vases, figures, groups, busts, and a large number of other articles are made; of these they are large makers, not less than 460,000 pieces of these alone being made and disposed of during one year. Notably, among the designs for jugs and cream ewers, are the Indian corn, pine-apple, shell, and dolphin patterns; the first of these is of peculiar elegance. Vases and other chimney ornaments are produced of excellent design and of various sizes. Of late years, classical statuettes, groups, busts, &c., in Parian, have been made, and are a prominent feature of the works; they are well and cleverly modelled, and the quality of the body is remarkably good. A group of “Commerce,” seated, is one of the most effective. The great and laudable aim of the “Trent Works” has been the production of good average designs in Parian at a cheap rate, so as to place them within the reach of all; in this they have eminently succeeded. Stone ware, lustre ware, and terra cotta, are also produced, and of late the manufacture of pearl china has been added. The markets supplied are the home, United States, the Continent, etc. No mark is used.
“The members of this firm, namely, Mr. John Stanway, Mrs. Thomas Horne (Mr. Stanway’s sister), and Mr. Thomas Adams,” writes my good friend Mr. Goss, “are all natives of Etruria, where their grandfathers were the valued servants of the great Josiah Wedgwood. Mr. Stanway’s father was the William Stanway mentioned by Mr. Jewitt in his ‘Life of Josiah Wedgwood,’ as one of the ‘Etruria Jubilee Group of Francis Wedgwood, Esq., and nine workmen, whose average term of servitude is fifty-four and a half years, November, 1859;’ and Mr. Jewitt further remarks: ‘It is interesting to note that in the person of one of these men, William Stanway, an absolute link with the great Josiah is kept up. This man began to work at Etruria the very year of Josiah Wedgwood’s death (1795), and has remained there ever since—a period of sixty-nine years.’ Two others of the nine workmen of the Jubilee Group—William Adams and John Adams—were uncles to Mr. Thomas Adams of the above firm. Mr. John Stanway has distinct recollections of his grandfather, John Stanway the elder, who for many years served the first Josiah, and died in the service of the second. His occupation at the works was that of “slipmaker” or claymaker, a position of great trust at that time, when not only the newly-invented proportions but the very materials used in the composition of the clays were important secrets. It is curious to reflect that the ingredients of all the famous jasper and other wares which the great Wedgwood produced, and which are now numbered among the treasures of kings and emperors, were blended and made into clay by this John Stanway the elder. Being proved a faithful servant, he was greatly valued and favoured by his employer, spending a portion of his time in personally waiting upon Wedgwood at Etruria Hall, whence he used to carry valuable parcels and letters to the Three Tuns Inn at Newcastle-under-Lyme, which was in those days the stage coach house. After the death of Wedgwood, John Stanway retained the same share of the confidence and favour of the second Josiah, both at the manufactory and at the Hall. At that time the country where Etruria now stands, and for miles around, was an uncultivated waste, and Mr. Stanway remembers to have accompanied his grandfather many times when he trudged along the road from Etruria Hall to Newcastle, with his parcels on his back, and his dog Driver and his cat Molley following him all the way, a distance of about two miles. In these journeys it appeared to be distinctly understood between the two animals that Driver was Molley’s protector, and the confidence of the latter was always justified in the moment of danger. In those days old Stoke Church (since removed) was the only church for miles around, and the Wedgwoods had their freehold pew there, which they regularly used until the second Josiah bought the Maer estate, near Whitmore, and removed to it from Etruria Hall. ‘Then,’ relates Mr. John Stanway the younger, ‘Mr. Wedgwood desired my grandfather—who was a good Christian and a regular attendant at church—to make use of that pew ever after. And the good old man never missed attendance there on the Sabbath while he had strength to walk. And because the distance was too great to allow him to go home to dinner and return in time for afternoon service, he used to take his dinner with him in the morning, and stay and eat it in the church or schoolroom, or, when the weather was fine enough, in the churchyard. And Mr. Wedgwood was not ashamed to be represented in that family pew by my grandfather, altho’ the old man used to sound his way up the aisle in wooden clogs, which it was the custom of all workpeople to wear in those days in those parts. But although Mr. Wedgwood was content to be represented by his faithful servant in wooden clogs, there was an old lady, who sat in the pew behind Wedgwood’s, who seems to have objected; and so one week she managed to have taken down the partition between her pew and Wedgwood’s, and made the whole into one square pew for herself. Then my grandfather meekly took his place on the free benches, until, some time after this, Mr. Wedgwood happened to say to him one day at the works, ‘Well, how come you on at church, Jack?’ And my grandfather replied, ‘Well mester, th’ owd lady i’ the pew behind has made it all into a square un’, an’ turned me out. But I’m right enow on the free bench.’ ‘Ha!’ said Mr. Wedgwood. ‘I’ll see to that, Jack.’ And he did see to it, and undid the old lady’s improvements, restoring his pew as before. Ever after that my grandfather enjoyed his sitting without further interference, and continued every Sunday to sound his way up the aisle in his wooden clogs, with his dinner in his pocket, until at last, at a good age, he was taken ill. Mr. Wedgwood went to see him immediately, and sent his own physician to attend him; but after a few day’s illness he died.’”
Keeling.—James Keeling, in 1796, patented improvements in decorative and glazing processes, and, in conjunction with Valentine Close, some improvements in ovens, kilns, and processes of firing. His ware was of remarkably good quality, and some of the services were decorated with series of scenes and views.
Booth & Co.—These potters were makers of a red ware—a kind of terra cotta—in which they produced various articles more or less ornamented with medallions, wreaths, or other decorations, in relief; sometimes of the same colour as the body, and at others in black. The mark was the name, address, and date, within a border—
PUBLISHED BY GR. BOOTH & CO.,
HANLEY, STAFFORDSHIRE,
MAY 29, 1859.
An example occurs in the Liverpool Museum.
Stafford Street Works.—This manufactory was originally occupied by Messrs. Reuben Johnson & Co., who produced the ordinary classes of earthenware and stoneware. From them it passed to Messrs. Thomas Furnival, jun. & Co., and “Furnival & Clark,” by whom it was continued until 1851, when it was taken by the present firm, which at that time was Livesley, Powell, & Co. In 1865 Mr. Livesley went out of the concern, when the firm changed its name to “Powell & Bishop,” by which it continues to the present time. Messrs. Powell & Bishop own two other manufactories, the “Church Works” for white granite, and the “Waterloo Works” for china (both of which see), but the Stafford Street Works are their principal ones, or head-quarters. At these works earthenware alone is produced, but this is of the finest quality and in every style of decoration, both for the home, French, Australian (principally Adelaide and Sydney), and other markets. The body is extremely hard, compact, and durable, and whether in pure white or of a creamy tint is clear in colour, and the glaze of faultless quality. The decoration of the dinner services, which is a speciality of these works, ranges from the plain white and printed goods up to the most elaborately and gorgeously enamelled, painted, gilt, and jewelled varieties, and in each of these stages the decorations, whether simple or complicated, are characterized by the purest taste and the most artistic feeling. Messrs. Powell & Bishop are the sole workers of, and possess the exclusive right to and in, a patented process of printing in gold and colours, originally purchased by their firm from some Austrians, by whom it was invented. This important process has been vastly improved by the present firm and brought to bear in a variety of ways upon their manufactures. By this invention a background of dead gold is produced of surpassing beauty and loveliness, and of such solidity and evenness as is perfectly impossible to be obtained by hand-gilding even by the most skilled artist. In this, Messrs. Powell & Bishop have produced services of a novel and faultlessly beautiful character, the designs of which are taken from, and are of equal gracefulness, richness, and beauty with, mediæval MS. illuminations. In toilet services a number of effective and well-conceived designs are produced in every style in transfer printing, lustred, enamelled, painted, and gilt varieties, and the shapes of the ewers are, in some instances, of unusually good designs. Jugs are another speciality of this firm, and they are produced in almost endless variety; many of the arabesque patterns are of great richness and beauty, and are characterized by graceful finish in the enamelling. The same remark will apply to the table flower-pots, which are all that can be desired in form, pattern, and arrangement of colours. Tea and dessert services in great variety are also made in the finest earthenware, and of considerable variety in design. A speciality in tea ware is a charming little teapot, modelled from the one used by the poet Addison. It is of the form at that time so fashionable, and made in so many styles by Lakin and Poole, Adams, and others of the famous old potters. The reproducing of this shape was a wise thought of Messrs. Powell & Bishop, and the way in which it is issued—excellently enamelled and richly gilt—is in every way satisfactory. Messrs. Powell & Bishop have recently reproduced in all its softness and delicacy of tint, and evenness of surface, the famous old ivory or cream-coloured ware of Josiah Wedgwood, and known as “Queen’s Ware.” In this, dinner, tea, dessert, and toilet services of the newest shapes and designs are made, and are among the most marked successes of the time. In this ivory ware, ornamental goods—vases, beakers, &c.—of a more or less highly decorated character are also successfully produced. The firm received medals from the London International Exhibition in 1862; from the Amsterdam Exhibition of 1869; and from the Paris Maritime Exhibition of 1875; “le Diplôme d’excellence” and a certificate at the 1871 Exhibition. They were also large exhibitors at the Philadelphia Exhibition of 1876.
The marks used by the firm have been simply the words
impressed in the ware; and the initials P & B, in addition to the name of the pattern, printed on the surface. The trade mark lately adopted by the firm is the Caduceus, surmounted by the letters P. & B.; this is now impressed on the body or printed on the surface of all their best goods.
The Church Works, in High Street (for the history of which see page [301], “Wilson”) are old established, and passed from Mr. Ridgway, to their present owners, Messrs. Powell & Bishop. The previous proprietors produced the usual classes of earthenware. The present firm confine their operations at these works to “white granite” ware for the United States and Canadian markets, which they produce of excellent quality and in every variety of style, both plain, embossed, and otherwise decorated. (See “Stafford Street.”)
Waterloo Works.—These works were recently erected close to their large mill on the canal side near Nelson Place for the manufacture of china, by Messrs. Powell & Bishop, in place of one formerly occupied by them but removed for town improvements. At this manufactory china of the finest quality is made in the white; the whole of the decoration being accomplished at their principal works in Stafford Street (which see). In china the firm produces all the usual services and miscellaneous articles, in every variety of decoration. In dessert services Messrs. Powell & Bishop rank deservedly high, not only for the faultless quality of the body and glaze and for the beauty of their designs, but for the perfect artistic feeling and the exquisite finish which characterize their best productions; in these, and in tea services—to which, the above remarks with equal force apply—they have, in some instances, introduced with excellent effect a species of decoration which may be said to give the appearance to the various articles of being inlaid with ormolu. The effect, in connection with admirable grounds and delicately beautiful paintings, is rich and pleasing. Messrs. Powell & Bishop also introduce with great success their patent process of printing in gold and colours (see page [329]) upon dessert and tea services; the effect upon the fine china body is very pleasing—the colours softened and subdued, and the gilding remarkable for its fulness, brilliance, and precision. In tea and breakfast and déjeuner services they have introduced many of the most chaste and elegant patterns produced by any house, and they take rank among the very highest and best in quality, and exhibit the highest phases of manipulative and artistic skill. The same remarks will apply to the table jugs—some of which have for a ground the rich deep Derby or Sèvres blue—the candlesticks, and the rest of the articles produced by this celebrated firm.
Kensington Works, established by Messrs. Wilkinson & Rickuss, who were succeeded by Wilkinson and Sons, and next by Messrs. Bailey & Bevington. Mr. Bailey having retired, the works are now carried on by Mr. John Bevington, who produces ordinary earthenware, ornamental china, Parian, and stone ware; the great speciality being imitation Dresden, for home, United States, and Australian markets. A monster vase, the work of Rickuss & Wilkinson, exhibited 1862, is preserved in the Museum of Practical Geology.
Burton Place Works.—Formerly carried on by Mr. S. Bevington; this manufactory is now continued by his sons, Messrs. James & Thomas Bevington, who have held them since 1862. The operations are entirely confined to china, in which all the usual useful and ornamental classes of goods are made for the home markets. Formerly, Parian statuettes and majolica goods were made, but these are discontinued.
Clarence Street Works.—Mr. Ambrose Bevington produces china and earthenware.
Nelson Place, commenced in 1850 by its present proprietor, Mr. John Bamford. These works produce ordinary stone ware and Parian.
Phœnix and Bell Works, Broad Street.—These manufactories are both worked by Messrs. Clementson Brothers, who make largely the white granite and common painted ware for America and Canada. For the latter market they also produce some good decorated ware. The back part of the Phœnix Works was originally part of John and Edward Baddeley’s, Broad Street Works (now Ashworth Brothers), which it adjoins. In 1832 the present business was started by Reed & Clementson, but Joseph Clementson shortly after became sole proprietor, and in 1845 enlarged the works to their present proportions, with the exception of a large mill adjoining, which his sons, the present proprietors, have completed. In 1856 Mr. Joseph Clementson purchased the Bell Works on the other side of the road, opposite the Phœnix, formerly William Ridgway’s. In 1867 he retired from business, leaving it to his four sons, the present members of the firm. He died in 1871.
Bedford Works, Bedford Road.—These extensive works were built by Edward John Ridgway, son of William Ridgway, in November, 1866, and to them he removed from the Church Works, High Street, where he had, until then, carried on business in partnership with Mr. Abington. In 1870, Mr. E. J. Ridgway took his sons into partnership, and the concern was carried on as E. J. Ridgway & Son. In 1872, Mr. E. J. Ridgway retired from the business, leaving it to his two sons, Messrs. John, and Edward Ackroyd Ridgway, who were joined in partnership by Mr. Joseph Sparks, and continue the business under the title of Ridgway, Sparks, & Ridgway. Their productions include all classes of fine useful earthenware, jet, stone, terra cotta, and jasper, of very superior bodies and decoration, for the home, American, and Continental markets. One of the great specialities of the firm is their jet ware, highly decorated in raised enamel “after the Limoges ware.” In these a remarkable richness, beauty, and delicacy are obtained, and the designs, as well as the treatment of the foliage and figures, are artistic and well considered for effect. The jet ware thus decorated and highly gilt is of the very finest quality and of the highest degree of excellence in design and manipulative treatment; in this the Bedford Works are pre-eminent. Another speciality is relief decoration on various stoneware bodies, and these are faultless in their taste and excellent in their workmanship. The jasper (in which both tone of colour of the body and the beauty of detail in the groups and foliage and borders of the relief decoration in white, remind one forcibly of the later productions of the Wedgwood’s) tea-pots and other articles are produced and rank high as achievements of Ceramic Art. Mosaic or inlaid decoration is also successfully carried out by the firm, and their ordinary stoneware jugs and other articles are remarkable for purity of design, the high relief of their ornament, the hardness and compactness of their body, and the beauty of their workmanship. The mark used by the firm on their white goods is the Staffordshire knot, enclosing the letters R. S. R.
S
R R
Mayer Street Works.—Mr. Samuel Lear has erected a small china works on part of the site of the old manufactory, which includes as warerooms and offices the residence of the Mayers. Mr. Lear produces common domestic china, and, in addition, decorates in the ordinary way all kinds of earthenware made by other manufacturers; a speciality being spirit-kegs.
Mayer Street.—Mrs. Massey carries on a small earthenware works on part of the site of the same old works just mentioned, including the stables and coach and cart-houses of the Mayers. Her productions are of the commoner classes.
Cannon Street.—These works, dating back to the beginning of the present century, were for many years carried on by Mr. Thos. Ford, who here commenced business. Mr. Ford has since built a larger manufactory in the same street. The manufactory is now carried on by Mr. Edward Steele, who produces earthenware of the more ordinary qualities, stoneware of good useful character, majolica, and Parian. In stoneware all the usual useful classes of goods are made, and many of the designs and workmanship are of good character. In majolica both useful and ornamental goods are made, and consist of jugs, tea-pots, brackets, flower vases, dessert services with figure centre-pieces, comports, etc.; the designs in many instances are artistic, and the quality, both of the body and colouring, of more than average excellence. Parian statuary is one of the specialities of the firm and is very extensively made; some hundreds of different single figures, groups, busts, and animals, besides numbers of ornamental articles, being issued. The quality is superior to many for the American markets, and the modelling of the figures is artistic and clear. Many of them are of large size, and are produced with remarkable skill. Mr. Steele uses no mark.
Brewery Street.—Robert Cook makes ordinary Parian goods in large quantities, principally for shipment to America.
Percy Street.—William Machin makes ordinary earthenware and common coloured figures.
Taylor, Tunnicliffe & Co., who used to manufacture in Broad Street very excellent door furniture and other fittings for Birmingham houses, have recently built more commodious works at Eastwood Vale.
Biller & Co. make good door furniture and other fittings for metal workers at Eastwood Vale.
Albion Works, Stafford Street.—John Dimmock & Co. are very large producers of earthenware of superior quality and finish. The firm is very old established. The firm of Thomas Dimmock & Co., at the time when Ward’s History was published, held three manufactories, viz., one “in Hanley, adjoining the New Market house, formerly James Whitehead’s, afterwards J. & W. Handley’s; another on the upper end of Shelton, formerly of Edmund John Birch, afterwards of Christopher Whitehead; and an enamelling and gilding establishment adjoining the King’s Head at Shelton.”
Eastwood Vale.—W. H. Goss (see “[London Road, Stoke-upon-Trent]”).
Eastwood Works.--Formerly carried on by Mr. Thomas Twyford, and afterwards by E. Hampton & Son, these works passed, in 1864, into the hands of the present proprietor, Mr. George Howson. The productions are entirely confined to sanitary ware, made of the ordinary Staffordshire fire-clay, washed inside with a white slip; sometimes blue printed.
Dental Manufacturing Company, Limited, Broad Street.—This manufactory was established by Mr. J. S. Crapper, in 1856, and by him carried on and gradually developed until June, 1873, when it was purchased from him by this Company, Mr. Crapper remaining the managing director. The Company have other manufactories and depôts at 25, Broad Street, Golden Square, London, and in Grosvenor Street, Oxford Road, Manchester. It is one of the largest porcelain tooth producing manufactories yet established.
The dento-ceramic art is, naturally, of recent origin, but it has already almost reached perfection; the artificial teeth so closely resembling the natural, that the false are undistinguishable from the real. In durability nature is by this manufacture excelled; since the porcelain tooth lasts much longer than bone or ivory. Surprising, however, as we find the exact imitation of nature, it is, perhaps, still more surprising to learn that it is only obtained by a variety of at least 100 different shades and tints of colour, and of about 1,000 different shapes and sizes of teeth. Being a new branch of Ceramic Art I have no hesitation in giving fuller details than usual. They are furnished by my friend Mr. Goss.
“The material of which the teeth are composed, although differing in the proportions of its ceramic ingredients from any other porcelain body, is yet strictly porcelain. It is a vitreous, translucent body, consisting of silica, alumina, and potass, with the alumina in smaller and the potass in larger proportions than in any other porcelain body. Feldspar is the chief constituent, to which some silica, in the form of quartz, is added, and, in some instances, a small proportion of china clay. The colouring materials are the oxides of titanium, uranium, cobalt, manganese, platinum, and gold. From these bases the company obtains, as before said, about one hundred tints and shades, ranging from the delicate blue-white—the poetic “pearl”—to the dark tobacco stain. We have seen an American account of the matter, however, in which a palette of thirty-nine times 64,000 varieties or gradations of colour is claimed from the same bases for dental selection, and the different shapes and sizes of teeth are estimated at 10,000 instead of the 1,000 which the Company claims in its modesty.
“The materials being finely ground together, the teeth are either cast or pressed in metal moulds, the inner surface of the moulds being oiled, as is usual when metal moulds are used in potting, to prevent the adhesion of the clay or slip. It will surprise most potters to learn of ceramic articles being made, or cast, from ‘slip’ in metal moulds; but this is successfully done at the company’s works, the moulds being warmed to facilitate evaporation and the ‘setting’ of the material, which is sooner effected in this body than in any other porcelain, on account of the small proportion of alumina in its composition. In those teeth which are furnished with platinum pins the latter are fitted into small holes in the mould before the casting, and the end of the pin, which is inserted into the tooth, being headed, the firing secures it inextractably in its place. The machine which cuts up and ‘heads’ the platinum wire is a marvellous little creature. A correspondent of an American paper writing of it says, ‘Here is a spitefully busy little machine, too busy with one particular process to tell us what it is doing, and yet we discover that it is eating platinum wire and spitting out tiny pins at the rate of six hundred a minute. Each comes out with a solid head like that of a brass pin, with rough indentations in the other end, so as to be firmly held in the plastic body of the tooth until fierce heat makes the union indissoluble. The strength, infusibility, and incorruptibility of platinum make it the close companion of mechanical dentistry.’ The teeth being removed from the moulds and sufficiently dried, are seamed and otherwise finished off by young ladies with very delicate handling. They are then placed on fire-clay trays and baked in a furnace until they are properly vitrified and have attained the necessary polish from surfacial fusion.
“The White House, where the Company’s manufacturing operations are carried on, and on which stands the residence of the managing director, has some old potting associations and history. It was many years ago the residence of Mr. Richard Hicks, of the firm of Hicks, Meigh, and Johnson, from whose executor (Mr. Charles Meigh) Mr. Crapper purchased the property, and still retains it, letting to the Company the Porcelain Tooth Works. Hanging on the wall of the Company’s office is a printed quotation from Josiah Wedgwood:—‘All works of taste must bear a price in proportion to the skill, taste, time, expense, and risk attending their invention and manufacture. Those things called dear are, when justly estimated, the cheapest; they are attended with much less profit to the artist than those which everybody calls cheap. Beautiful forms and compositions are not made by chance, nor can they ever, in any material, be made at small expense. A competition for cheapness, and not for excellence of workmanship, is the most frequent and certain cause of the rapid decay and entire destruction of arts and manufactures.’ This quotation, beautifully and ornamentally lithographed, has emanated from Philadelphia, and nearly every dentist in the United States has a copy of it displayed in his operating room. Not only do our American cousins generally highly appreciate the productions and the career of the great Josiah, but the dental community especially, although they do not claim to be potters, proudly claim to be his followers in ceramic art and science.”
Trent Pottery, Eastwood.—This manufactory, situated by the side of the North Staffordshire Canal, at Eastwood, was established in 1867 by Messrs. Livesley & Davis, and on the retirement of Mr. Livesley the style was changed to J. H. & J. Davis (brothers). In 1875 Mr. J. Davis retired, and since then the concern has been carried on by its present proprietor, Mr. J. H. Davis, alone. Until latterly the productions were confined to white granite ware for the United States, but Mr. Davis now manufactures to a large extent dinner, toilet, and tea services, and other articles, both for the home and foreign markets. He is also an extensive maker of sanitary wares, lavatories, plug-basins, hoppers, etc.
James Dudson, Hope Street Works, established in 1800. In 1835 Mr. James Dudson entered upon the works, and they are still carried on by him. At one time he manufactured ornamental china figures, vases, and services. His finest productions are white and coloured (drab, blue, sage, &c.) stoneware jugs, tea and coffee pots, sugar-boxes, &c.; metal-mounted goods; flower-pots, candlesticks, &c. Among the registered designs for jugs, which have been modelled by the best artists, are the “Fern,” “Argyle,” “Barley,” “Vine-border,” “Pine-apple,” and “Wheatsheaf” patterns, which are produced in a variety of colours. In tea-pots the “Damascus,” “Fern,” and “Argyle” patterns are among the most popular. In mosaic ware Mr. Dudson makes a variety of articles in white, drab, blue, and other bodies inlaid with a variety of colours. In these are tea and coffee pots, sugar bowls, jugs, &c., of different shapes, the “Tanhart” and “Cambridge” being among the most successful. These goods are produced in large quantities. Mr. Dudson, who received “honourable mention” in the Exhibitions of 1851 and 1862, supplies both home and foreign markets.
505 to 508.
Victoria Works, St. James Street.—The productions of Messrs. Adams & Bromley, until 1873 carried on as John Adams & Co., are majolica and jasper wares of high class, both in quality and in design, and have given them an honourable name among the manufacturers of the district. Parian portrait busts (among which were those of the Poet Laureate, Lord Derby, and Mr. Gladstone) were formerly produced, and are remarkable for their truthfulness and artistic treatment. In jasper, besides vases and candlesticks, tea and other services, tea and coffee-pots, table-kettles, fruit bowls, jugs, and a variety of other decorative and useful articles, cameos and medallions, after Wedgwood, for inlaying and other ornamental purposes, are made to a large extent and of satisfactory quality. The jasper is in quality and in general character of ornamentation, as well as in colour, a very close imitation of the more modern Wedgwood ware, and the shapes of many of the articles evince good taste in design. In majolica, bread-trays, cheese-trays, candlesticks, flower-pots, vases, garden-seats, jardinières, figures, and a very large variety of useful and ornamental goods are produced. The quality of the majolica is far above the average, and many of the designs are artistic; the workmanship in all cases is skilful and good. Some of these productions, exhibited in 1871, are shown on Figs. 513 to 516. Since that period Messrs. Adams & Bromley have made rapid strides in the art, and have introduced many good patterns. Notably among these are a large flower-vase, some four feet in height, with a well-modelled Cupid supporting the bowl; a masterly flower-vase on mask feet, and surrounded by a wreath of oak-leaves; another large vase in which the handles are formed of Cupids; water-lily, and other well-conceived dessert pieces, &c. Green glazed dessert ware is also extensively made. The mark is the names ADAMS & Co., or ADAMS & BROMLEY, or A. & B.
STONE CHINA.
J. W. PANKHURST & Co.
Fig. 509.
Charles Street Works.—This manufactory, now carried on by Messrs. J. W. Pankhurst & Co., is one of the oldest in Hanley. About a hundred years ago it was owned and worked by William Mellor, to whose family the property still belongs. Mr. Mellor made the Egyptian black ware for the Dutch markets, as did his successors Messrs. Toft & Keeling, who also produced other varieties of earthenware. It was next carried on by Messrs. Toft & May, and then by Robert May alone, for the manufacture of the same goods for the Dutch markets. Mr. May was succeeded by Mr. William Ridgway, who changed the manufacture to that of goods for the American markets. Upon his failure the works were taken by the present firm of J. W. Pankhurst & Co. The goods produced by this firm are confined to white granite for the American markets. In this material, dinner, tea, and toilet services, and all the usual useful articles are largely produced, and are of high quality both in body and glaze. The mark used by the firm is the royal arms and name, printed in black, on the ware.
High Street.—The works carried on by Messrs. Gelson Brothers until a dissolution of partnership in 1876, and now continued by Messrs. Thomas Gelson & Co., form a part of those founded in the latter part of last century by Elijah Mayer, who about 1820 took his son into partnership under the style of “Elijah Mayer & Son.” It was afterwards “Joseph Mayer” and “Joseph Mayer & Co.” In 1867, the premises were purchased by Messrs. Gelson Brothers. Elijah Mayer was a potter of considerable eminence, and produced an extensive variety of goods. His Egyptian black, or basalt, ware, was, in quality of body, nearly equal to that of Wedgwood, and the ornamentation sharp and well defined; in this he produced tea-pots, cream ewers, bowls, and other articles. In cream-coloured ware, services and all the usual useful articles were made, and were of unusually good style and quality; for these and his “brown-line” patterns he was noted. His cane-coloured, or drab, unglazed goods were another of his famous productions; specimens of these are not often obtainable. In the Museum of Practical Geology is a vase of this description, with festoons of raised flowers. Elijah Mayer produced a service commemorative of Nelson’s Trafalgar and Nile victories, which became very popular. His mark was “E. Mayer” impressed in the ware, and afterwards “E. Mayer & Son.” Of the later firm some examples with the name
are preserved in the Liverpool Museum. The following note upon these works has been supplied to me by Mr. Goss:—
“A walled lane ran through the premises owing to a right of way across the property which had been acquired, to the annoyance of the Mayers, by a Mr. Smith, whose property lay beyond the manufactory, going from High Street. The division to the right hand included the residence of the Mayers, warehouses, offices, and stabling, &c. About 1833 Mr. Joseph Mayer suddenly ceased potting, filled his warehouses, offices, stabling, and part of his house with his most valuable stock, and locked it up until his death. He let the other part of his works, that now Messrs. Gelson’s, to his cousin, William Ridgway, as beforesaid. After Mr. Joseph Mayer’s death in 1860 the residence was converted into a works for mounting jugs and tea-pots, carried on by Thomas Booth. It is now part of the china manufactory, of Mr. Samuel Lear. Besides Mr. Lear’s china works there is a small earthenware works on the old site carried on by Mrs. Massey; this includes the Mayers’ stabling and coach-houses. There are also numerous cottage residences erected in the other spaces.”
Messrs. Gelson & Co. formerly produced the usual white granite ware for the American market. This has been now abandoned, and they confine themselves to the production of the highest classes of useful goods for the home trade. In this they make dinner, tea, breakfast, toilet, and other services in every variety of printed, enamelled, and gilt patterns. One of their specialities is the successful imitation of the old Dresden style, which is produced with marked success in a dinner service. This has all the character, in general appearance, of the antique, and is a very satisfactory reproduction of a good old pattern. Another happy decorative idea is the introduction of Anglo-Saxon and early Irish interlaced ornaments in bands encircling mouth ewers and other articles.
Eagle Works.—This business, commenced at Longton in 1845, was removed to Hanley in 1848 by Mr. James Meakin. In 1852 he retired, and was succeeded by two of his sons, James and George Meakin. In 1859, the business having considerably increased, the Eagle Works were erected, and in 1868 were very considerably enlarged. Messrs. J. & G. Meakin have also branch works at Cobridge and Burslem, and are large producers of ordinary earthenware. All the usual classes of useful, plain, and embossed white earthenware are produced and shipped to the United States and most foreign ports; the speciality of the works being white granite ware of ordinary quality, in imitation of French china. The mark is J. & G. MEAKIN, stamped in the ware, and printed in black.
IRONSTONE CHINA.
J. & G. MEAKIN.
Fig. 510.
Brook Street Works.—These works were established by Ralph Salt, and he and his survivors, Richard Booth and Messrs. Williams & Willet, manufactured painted china toys. In 1860 the works passed into the hands of Mr. William Taylor, who commenced making white granite and common coloured and painted ware. These latter have been discontinued, and the productions are now confined exclusively to white granite ware for the United States and Canadian markets, of both qualities—the bluish tinted for the provinces, and the purer white for the city trade.
Cannon Street.—Charles Ford (formerly Thomas and Charles Ford) manufactures the better class of china in tea, breakfast, dessert, and table services for the home markets.
William Stubbs, Eastwood Pottery, manufactures china and earthenware services of the commoner kinds, lustres, stone ware jugs, black tea-pots, &c., and the smaller and commoner classes of china toys and ornaments.
Norfolk Street Works, Cauldon Place.—These works were established by their present proprietors, Messrs. R. G. Scrivener and Thomas Bourne (trading under the style of “R. G. Scrivener & Co.”), in 1870, and are situate about midway between Stoke and Hanley. Their productions are china tea, breakfast, dessert services, and fancy articles, and earthenware toilet and other services of a more than average degree of artistic decoration. They export considerably to the colonies and also supply the home markets.
The mark is simply the initials
impressed, but even this is only used on some classes of goods; the registered designs have a printed mark, with the name of the pattern and initials of the firm.
Broad Street.—The small works occupied by Mr. Ash, as a Parian and majolica manufactory, are of old establishment.
Albert Works, Victoria Place.—These works were erected in 1875 by Mr. J. Buckley, who in December of that year removed to them from the Vine Street Works, which he had occupied from 1861. Mr. Buckley commenced business in Hanley as a sanitary ware potter in 1836. His productions are all the usual varieties of sanitary goods (pans, traps, tables, &c.), ship and other fittings, toilet ware, handles for various purposes, plumbers’ fittings, spirit casks, &c.
Ranelagh Works.—Established in 1846 by Mr. Stephenson, these works were next occupied by Mr. James Oldham, next by Oldham & Co., then by Mr. T. R. Hinde, and next Hollinshed & Staner. The productions are the commoner classes of earthenware and stone ware, in which all the usual services and general articles are made. No mark is used.
Swan Works, Elm Street, established in 1835 by Samuel Bevington as Parian works, and afterwards carried on by his son, John Bevington, passed in 1866 into the hands of Messrs. W. L. Evans & Co., and in 1871 to Neale, Harrison & Co., who gave up the manufacturing and confined themselves to decoration only; they were succeeded by Mr. T. R. Simpson.
Mayer Street Works, established in 1864, by Mr. E. Hodgkinson, for the manufacture of mosaic stone ware, Parian, and pearl-white granite wares. In 1871 Mr. Hodgkinson was succeeded by Mr. W. E. Cartledge.
Brook Street Works.—Messrs. Worthington & Son produce earthenware and stoneware, both for home and foreign markets.
Dresden Works, Tinkersclough.—In 1843 Edward Raby produced at these works china ornaments with raised or “Dresden” flowers, hence the name. From 1852 until 1864 they were carried on by Messrs. John Worthington and William Harrop; from that time till 1873, by Thomas Worthington and William Harrop; and from that time to the present by William Harrop alone. The productions are the cheaper classes of Parian goods, and fancy jugs in stone ware and ordinary earthenware, of good middle-class quality, all of which are supplied both to the home and American markets. No mark is used.
The works are situated at what is called “Tinkersclough,”—a place whose name is said to be “derived from the fact of its being frequented in the olden times as a place of rendezvous by Gipsies and travelling tinkers.”
Bath Street Works.—These works were established in 1849 by the late Mr. Thomas Twyford (father of the present proprietor), who was a lineal descendant of the famous old seventeenth century potter, Twyford, who with Astbury wormed out the secret of the Elers, as detailed in vol. i. page 101. The operations of the firm are confined to sanitary and plumbers’ ware, and wine and spirit show barrels. In the former of these departments, Messrs. Twyford, as well as being among the oldest, are the largest producers in the locality, and their wares rank high for form, workmanship, and quality. The principal goods produced are plug-basins, drinking-fountains of excellent design, closet and bath fittings, cabinet stands, &c. These are made in every variety of shape, and of the most approved construction. The barrels, as usual, are more or less painted and gilt. The mark of the firm is the Staffordshire knot enclosing the letters T T (Thomas Twyford), with H (Hanley) beneath. Besides the home trade, Messrs. Twyford export very largely to America, Australia, Russia, France, Germany, Spain, and other countries. The same firm has a manufactory at Buckland for the manufacture of cane and white sanitary ware.
Waterloo Works, Nelson Place.—These are old-established works, and have, with others, been occupied by Mr. W. Stubbs, Thomas Booth and Son, Holmes and Plant, and their present proprietors, Messrs. Pugh and Glover. The ordinary classes of earthenware in toilet and other services, painted, enamelled, and grounded; stoneware jugs, tea-pots, &c.; and other wares, are largely made, and of all the usual classes of decoration, both for home and foreign markets.
New Street Pottery.—These works were established in 1873 by the present proprietors, Messrs. Edward Banks and Thomas Thorley. Their productions are majolica, terra cotta, jet, and stone wares, and these they produce for both home and foreign markets. In terra cotta, water-bottles of porous body, unglazed, of elegant forms and of a more or less highly decorated character, with stoppers and stands; alcorazzas; water goblets; Malaga jars; tobacco jars, &c, are made in great variety. These porous goods are of three distinct kinds, a clear full red, a buff, and a purplish white. They are printed, painted, enamelled, and gilt in encircling borders, wreaths, &c.; in groups of flowers and ferns; or in Japanese figure subjects, and are of excellent shape and workmanship.
In majolica, cheese stands, bread trays, dessert services, jugs, egg-holders, jardinières, flower-pots, tea-pots, ladies’ work-baskets, water-bottles, and an infinite variety of ornamental articles are made. Many of these are of a high degree of merit in design, and their production is faultlessly good. Notably among the dessert services in majolica is one with a rich chocolate-coloured ground, which throws out, with a strikingly beautiful and rich effect, a naturally arranged group of ivy, ferns, and anemones, which are slightly embossed, and are coloured true to nature; this is surrounded by an embossed “key” border and white enamel edge, and the handles are in keeping with the ornamentation. Another striking design in majolica is a jug. The ground of this is chocolate, and upon it are panels of rope in buff, enclosing thistle-leaves in green. The whole design, including the twisted rope handle, is novel and pleasing. Besides these, green glaze dessert services, and a large variety of other articles, both useful and ornamental, are made. The firm use no mark.
Castle Field Pottery.—These works were formerly carried on by Mr. Ball for the manufacture of ornamental bricks. Mr. Ball “distinguished himself as the first to bring out hollow and glazed bricks, and these he made for Prince Albert’s Model Cottages. They were from his works at Poole, in Dorsetshire, and matured here at Etruria.” In 1860 Messrs. Davenport & Banks established themselves at these works, and commenced the manufacture of fancy goods of various kinds, which they successfully carried on until 1873, when Mr. Banks retired, and was succeeded by Mr. Beck,—the firm now being “Davenport, Beck & Co.” The principal productions of the Castle Field Works are fancy antique goods, in which numberless articles are made; majolica in all its varieties; porous goods; terra-cotta water-bottles, &c.; jet ware; and the ordinary classes in which dinner, tea, dessert, toilet, trinket, and other services are made, both for home and foreign markets. The mark used is a castle, and the letters “D. B. & CO. ETRURIA” within an oval garter, bearing the words TRADE MARK.
Henry Venables, Etruria Road, established 1860, manufactured Etruscan-red porous goods, black basalt ware, jet glazed ware, and blue and other coloured jaspers. In these he produced a large variety of vases, as well as other ornamental and useful goods.