GREAT BRITAIN
POTTERY
The earthenware vessels made in England previous to the 16th century were of a very coarse description, rudely fashioned and usually devoid of ornament, sometimes cast in a mould in grotesque forms, and occasionally covered with a yellow or green glaze. Numerous specimens of early English cups are found in excavations in London and other parts of England, and may be identified by comparison with the vessels in Norman and mediæval manuscripts.
Although inexpensive, they were badly burned, and not very durable; and the German stoneware with a salt glaze was eagerly sought after throughout the 16th century, and imported in large quantities. These stone pots were usually impressed with the arms of German towns; a rose or other device in front, and a ferocious bearded visage under the spout. They were derisively called bellarmines, after the celebrated Cardinal Bellarmin, who in the 16th century made himself so conspicuous by his zealous opposition to the Reformed religion.
These bellarmines were in general use throughout England in the 16th and beginning of the 17th century at inns and public-houses for serving ale to the customers. The importation of these stone pots was always monopolised by the potters of Cologne, near which city they were made. In the reign of Queen Elizabeth we find one William Simpson presenting a memorial that he may be allowed to bring “the drinking stone pottes made at Culloin” into this country, and requesting permission to make similar stone pots in England; but he was not successful in his suit.
In 1626, however, two other potters, named Rous and Cullyn, merchants of the city of London, obtained the exclusive privilege of making stone pots and jugs in this country, and a patent was granted them for fourteen years; the preamble states that “heretofore, and at this present, our kingdom of England has been served with stone pottes, stone jugges, and stone bottells, out of foreign parts, from beyond the seas.”
STAFFORDSHIRE
When Dr. Plot wrote his natural history of this county in 1686 there were very few manufactories of pottery; he only speaks of one at Amblecott and another at Wednesbury; but he says: “The greatest pottery they have in this country is carried on at Burslem, near Newcastle-under-Lyme.” The earthenware made here towards the end of the 17th century was of a very coarse character, and the decoration extremely rude, consisting merely of patterns trailed over the surface in coloured clay, technically termed slip, diluted to the consistence of syrup, so that it could run out through a quill. The usual colours of these slips were orange, white, and red, the orange forming the ground and the white and red the paint. After the dishes had been thus ornamented they were glazed with lead ore beaten into dust, finely sifted, and strewed over the surface, which gave it the gloss but not the colour. The vessels remained twenty-four hours in the kiln, and were then drawn for sale, principally to poor cratemen, who hawked them at their backs all over the country.
Fig. 234.—Tyg. With four handles.
Dated 1621.
Fig. 235.—Mug. With two handles.
Dated 1682.
Fig. 236.—Plateau. With Charles II. and his Queen, in relief.
By Ralph Toft. 1677.
The forms of these vessels were tygs or mugs, with two or more handles for passing round a table, candlesticks, dishes, &c. The earliest names found upon them are Thomas and Ralph Toft, William Talor, Joseph Glass; all names still known in Staffordshire.
Burslem. The family of Wedgwood was of long standing at Burslem, and many members of it were employed in making pottery long before the birth of the great potter, Josiah Wedgwood. His father, grandfather, and great-grandfather, as well as many of his other relations, were all engaged in the trade. Josiah Wedgwood was born in 1730, at Burslem; he was the youngest of thirteen children; his father, Thomas Wedgwood, died when Josiah was only nine years old. His eldest brother, Thomas, succeeded his father as a potter, and Josiah was bound apprentice to him in 1744, after the expiration of which he left his brother’s house to make knife handles, imitation agate, and tortoiseshell small wares, at Stoke. Here, in 1752, he entered into partnership with John Harrison, which only lasted two years.
Fig. 237.—Vase.
Pale blue jasper, with subjects in relief.
Next Josiah Wedgwood went into partnership with Thomas Whieldon of Fenton Low, one of the most eminent potters of his day, and they remained together five years; while here Wedgwood also produced that fine green glaze which covered his dessert services, in imitation of leaves.
At the expiration of the partnership in 1759 Wedgwood returned to Burslem, and commenced business on his own account at the “Churchyard” works. He soon became so successful that he was compelled to enlarge his establishment, and to take over the “Ivy House” works. He engaged the services of his cousin, Thomas Wedgwood, who had gained his experience at the Worcester works, and in 1765 he took him into partnership, and three years later Thomas Bentley joined the firm. The first ware which gained him reputation was his fine cream-coloured ware, which remained a staple article from 1762 down to the time of his decease, and after royalty had approved of it the name was changed to Queen’s ware.
Wedgwood also produced, about this date, a sort of red ware, formed of the same ochreous clay as was used by the Elers nearly a century before; it required no glaze except what it derived from friction on the wheel and lathe, and was covered with engine-turned ornament; and in 1766 he began to make a black ware, which he called basaltes or black Egyptian. The business increased so much that he was obliged to open a new manufactory at Etruria in 1769.
In 1773 he made “a fine white terra-cotta of great beauty and delicacy, suitable for cameos, portraits, and bas-reliefs”; this was the forerunner of the jasper ware, which became by constant attention and successive improvements the most beautiful of all his wares. In 1776 the solid jasper ware was invented, which, however, attained its greatest perfection ten years later. In the manufacture of this elegant ware Wedgwood largely employed sulphate of barytes, and for many years derived great profits, none of the workmen having any idea of the nature of the material upon which they were operating, until a letter containing a bill of parcels referring to a quantity of the article fell into the hands of a dishonest servant, who told the secret, and deprived the inventor of that particular source of emolument: for when the same article was made by those who employed inferior workmen, to whom they only paid one-fourth of the salary given by Wedgwood, the price of jasper ware became so reduced that he was unable to employ those exquisite modellers whom he had formerly engaged to superintend that branch of the manufacture.
Fig. 238.—Vase.
Of basaltes ware.
Fig. 239.—The Portland Vase.
Of black and white jasper.
In 1785 a “jasper dip” was introduced, in which the white clay vessels were dipped, and received a coating of jasper, instead of being jasper throughout. This was considered a great improvement, and caused an increase of 20 per cent. in the price.
Fig. 240.—Teapot, Caddy, and Plate.
With printed transfer.
Flaxman was engaged by Wedgwood and Bentley as early as 1775, and he furnished them with drawings and models. After Bentley’s death in 1780 Flaxman’s fame as a sculptor obtained him more important work, but still, as time permitted, he worked for Wedgwood up to the time of his departure for Rome in 1787.
Josiah Wedgwood died on the 3rd of January 1795, in his 65th year.
Fig. 241.—Six Jasper Cameos.
Fig. 242.—Vase.
Granite ground, with gilt festoons and handles.
Fig. 243.—Ewer.
Of agate ware.
Fig. 244.—An Obelisk, by Ralph Wood,
and A Tea Set, by Aaron Wood.
In 1773 Ralph Shawe of Burslem took out a patent for chocolate-coloured ware, striped with white and lined with white, glazed with salt. He afterwards transferred his factory to France.
Ralph Wood was established at Burslem about 1730, and was succeeded about 1750 by his son Aaron Wood, who served his apprenticeship to Thos. Wedgwood; he was a very clever cutter of moulds for stoneware plates and dishes, with raised pattern borders, &c., which have been erroneously termed Elizabethan. Cream ware is said to have been invented by him. He was succeeded, about 1770, by his son Enoch Wood, who was also a sculptor, and made many busts of eminent men. His successors were Wood and Caldwell, who continued the manufacture of busts and groups.
Fig. 245.—Statuette.
Chaucer, by Ralph Wood.
Moses Steel was a manufacturer at Burslem in 1715. The name of a descendant is found on a vase, with blue ground and white figures in relief, in the style of Wedgwood, in the Victoria and Albert Museum.
Fig. 246.—Vase.
Shelton. Astbury of Shelton, early in the 18th century, made red crouch, and white stoneware. It is said he derived his knowledge of mixing the clays by pretending to be an idiot and obtaining employment at the Elers’ manufactory at Bradwell; after gaining their secret, he set up in business against them.
The first use of calcined flints as an ingredient in the composition of pottery is attributed to the younger Astbury; it led to the manufacture of fine fayence, and paved the way for the great improvements afterwards achieved by Wedgwood.
Samuel Hollins of Shelton established about 1760 a manufactory of fine red ware teapots; he procured the clay from Bradwell. He was succeeded about 1777 by T. and J. Hollins.
Fig. 247.—Green Bowl.
With ornaments in relief.
Signed “S. Hollins.”
Fig. 248.—Basin.
With white ground and blue figures in relief.
Stamped T. and J. Hollins.
The New Hall China Works at Shelton owed their origin to the purchase of Champion’s (Cookworthy’s) patent by a company of potters in 1777, and were the first porcelain manufactory in Staffordshire. The ware made here was not of a fine character; inferior artists were employed in its production, and it was never held in any great esteem. The manufacture consequently soon fell to decay, after many changes. The mark is the name of the works in a double ring.
Fig. 249.—Cup and Saucer.
Painted with flowers.
Bradwell. A potter to whom Staffordshire was indebted for great improvements in the ware was John Philip Elers, who about 1690 came over from Holland and settled at Bradwell. He was descended from a noble family of Saxony.
Elers was a clever chemist, and discovered the art of mixing the clays of Staffordshire to greater perfection than had ever before been attained. He manufactured to a considerable extent an improved kind of red pottery, in imitation of that of Japan, while by the addition of manganese to the clays, he made a fine black ware, which a century afterwards was adopted and improved by Wedgwood.
Fig. 250.—Teapot.
Of red ware, with flowers in relief.
Hanley. Shaw mentions a Mr. Miles of Miles’s Bank, Hanley, who produced the brown stoneware about 1700. There is in the Victoria and Albert Museum a fayence barrel of brown glaze with gilt hoops, dating apparently from the first half of the 18th century, and it is impressed with the name of Miles (see Fig. 251).
Fig. 251.—Barrel.
Elijah Mayer of Hanley was a contemporary of Wedgwood. He was noted for his cream-coloured ware and brown-line ware, but he produced many other varieties. A vase of unglazed drab terra-cotta, with festoons, &c., in relief, coloured (see Fig. 252).
Fig. 252.—Vase.
He also produced basaltes ware tea services, with animals, &c., in relief.
Palmer of Hanley was a great pirate of Wedgwood’s inventions, and Mrs. Palmer, who seems to have been the active manager of her husband’s business, engaged persons surreptitiously to obtain Wedgwood and Bentley’s new patterns as soon as they arrived at the London warehouse, for the purpose of copying them. Palmer had a London partner of the name of Neale. They imitated Wedgwood’s black Egyptian vases and other inventions, and eventually his Etruscan painted vases. In 1776 Palmer failed, and the business was carried on by Neale & Co., who by some means discovered the secret of the jasper body. They became formidable rivals of Wedgwood.
Fig. 253.—Jardinière.
Of blue and white jasper.
Fig.254.—Vase.
J. Voyez of Hanley was a clever artist; he was employed by Wedgwood and afterwards by Neale and Palmer.
Fenton. Thomas Whieldon of Fenton established a pottery in 1740; besides the common household articles, he made fancy marbled ware. Aaron Wood and Josiah Spode were his apprentices, and Josiah Wedgwood was in partnership with him until 1759.
Tunstall. Enoch Booth of Tunstall, and John Warburton of Cobridge in the same county, were extensive potters, and first made cream-coloured pottery by the use of fluid glaze introduced by Booth.
William Adams of Tunstall was a favourite pupil of Wedgwood, and while with him executed some of his finest specimens of jasper ware. He afterwards went into business on his own account, and carried on an extensive trade.
Fig. 255.—Jug.
Of blue jasper.
Lane End. John Turner of Lane End made a fine description of ware, and his productions were the most successful imitation of Wedgwood’s jasper, with ornaments in relief, and only second to the latter’s in excellence; he also made a fine white stoneware.
Fig. 256.—Sugar Basin.
Of yellow clay, with figures in relief.
Fig. 257.—Teapot.
With medallion, figures in relief.
Longport. The Messrs. Davenport of Longport made great improvements in the manufacture of earthenware; they were celebrated especially for their stone china. The manufactory was established in 1793, and has been successfully carried on up to the present day in the same family.
Fig. 258.—Cup, Cover, and Saucer.
Fig. 259.—Dish.
Lane Delph (now Middle Fenton). Miles Mason of Lane Delph early in the last century produced some fine ware. The ironstone china was brought to great perfection by Charles James Mason, and the forms were of a high quality, very much resembling porcelain.
Fig. 260.—Cup, Cover, and Saucer.
Stoke-on-Trent. Thomas Minton established a manufactory at Stoke-upon-Trent in 1791; he was apprenticed to Turner of Caughley as an engraver. His productions were of the useful kind, viz., services for the table, in imitation of common nankin. He died in 1836, and was succeeded by his second son, the celebrated Herbert Minton, who brought the potter’s art to great perfection. He largely increased the business, and manufactured articles in earthenware, hard and soft porcelain, and parian. Reproductions of Italian maiolica, Delia Robbia, Palissy, and Henri II. ware were also extensively made by him. He died in 1858, and was succeeded by Michael Daintry Hollins and Colin Minton Campbell, his nephew and heir. The founder’s grandsons afterwards succeeded to the business; the firm of Messrs. Minton & Co. still exists, but there are no members of the family now connected with it.
Fig. 261.—Mug.
Liverpool. Early in the 18th century, and probably much before that, Liverpool was noted for the manufacture of pottery. Little is known of its early history, and it was not until Mr. Jos. Mayer rescued from oblivion many interesting particulars that anything like a succinct account was published. In his interesting notice of the Art of Pottery in Liverpool, we learn that the most celebrated of the early potters was Alderman Thomas Shaw, who had works for making pottery in the beginning of the 18th century; several large plaques and monumental slabs of his make are in existence, dated from 1716 to 1756. About this time, there seems to have been a large demand for punch bowls; as these formed the principal ornaments on the sideboards of the middle classes, and especially on board the ships, which were constantly going and coming in the port, considerable pains were taken in decorating them, and many are still in existence painted with ships, convivial mottoes, and inscriptions.
Another important establishment was founded by Mr. John Sadler, the son of a painter, who had learnt the art of engraving.
He was the inventor, about 1752, of the method of transferring prints from engraved copper plates upon pottery, and in conjunction with Guy Green, proposed to take out a patent in 1756, the draft of which is still preserved, but they preferred keeping the invention secret to the doubtful security of patent rights.
Fig. 262.—Punch Bowl.
Wedgwood availed himself of this new mode of decoration, and sent his Queen’s ware weekly to Messrs. Sadler and Green to be printed.
Fig. 263.—Tiles.
By J. Sadler.
Fig. 264.—Teapot.
With portrait of Wesley.
Richard Chaffers was the principal manufacturer of Liverpool; he served his apprenticeship with Alderman Shaw, and in 1752 established a bank for the manufacture of blue and white earthenware and fine porcelain, which gained him great reputation; they were largely exported to our American Colonies (now the United States).
His porcelain works were established about the same time as those of Worcester and Derby, and his productions had a great sale in England.
The Liverpool establishments of Pennington, Philip Christian and Richard Abbey were on an extensive scale, but towards the end of the eighteenth century only one of any importance survived, and that belonged to Messrs. Worthington, Humble and Holland, who in 1796 established a large manufactory on the south bank of the Mersey. As Wedgwood had christened his settlement Etruria they called theirs Herculaneum. A larger capital being required, in 1806 an increase of proprietors took place. The first wares made here were Queen’s and blue printed ware. About 1800 the production of porcelain was commenced, the mark used being “Herculaneum,” or “Herculaneum Pottery.” About 1836, when the factory came into possession of Messrs. Case, Mort & Co., the mark used was a bird called the liver, which forms the crest of the Borough of Liverpool.
Jackfield, near Thursfield, in Shropshire. There was an old pottery here about 1760. The ware was of a red clay, with a brilliant black glaze, sometimes with scrolls and flowers in relief. Tea services are frequently seen. The jugs were known in the locality as “black decanters.” About 1780 the works were taken by Mr. John Rose, and subsequently removed to Coalport, on the opposite side of the Severn, where the well-known Salopian porcelain was made.
Fig. 265.—Teapot.
Fig. 265. A black glazed teapot inscribed “Richard and Ruth Goodin, 1769.”
Fulham. The first successful imitation of the grès de Cologne was made by John Dwight, an Oxfordshire gentleman, and in course of time it almost entirely superseded the importation from abroad. This great potter took out his first patent in 1671, and probably established a manufactory at Fulham in that year, which was successfully carried on through two patents of fourteen years each. The Fulham stoneware is of exceedingly hard and close texture, very compact and sonorous, covered with a salt glaze, of grey colour, ornamented with a brilliant blue enamel in bands, leaves, and flowers, having medallions of kings and queens of England in front, with Latin names and titles, or their initials only.
Dwight produced a great variety of objects, and brought the potter’s art to a great perfection. The figures, busts, and groups are exquisitely modelled, and will bear comparison with any contemporary manufactures of Europe. A careful inspection will convince any unprejudiced mind of the erroneous impression which exists, that until the time of Wedgwood the potter’s art in England was at a very low ebb, and that none but the rudest description of pottery was made, without any attempt to display artistic excellence. For here, a century before Josiah Wedgwood’s time, we have examples of English pottery which would do credit to the atelier of that distinguished potter himself. John Dwight died in the year 1737, and with him also departed the glory of his manufactory at Fulham.
Fig. 266.—“Lydia Dwight.
Dyed March 3, 1673.”
Lambeth. The next important pottery in England in the 17th century was that of Lambeth. In the History of Lambeth it is related that about 1650 some Dutch potters established themselves here, and by degrees the industry became important, for the village contained no less than twenty manufactories, in which were made the glazed pottery and tiles used in London and various parts of England. The ware was very much of the character of Delft, with a fine white creamy glaze, painted with landscapes and figures in blue.
Fig. 267.—Dish.
The white bottles or jugs, upon which are written the names of wines accompanied by dates, were made here.
The trade flourished here for more than a century, until about 1780 or 1790, at which time the Staffordshire potters, by the great improvements they had made in the quality of their ware, and having coal and clay ready to their hand, were enabled to produce it at a cheaper rate, and eventually beat the Lambeth potters out of the field.
The Lambeth potters, about the end of the 17th century, appear also to have copied the forms of the Palissy ware, especially in large oval dishes with initials and dates. Fig. 267 is an example of one of these dishes.
Yearsley, in Yorkshire. A pottery of coarse character was made here in the 17th century. A factory was established by an ancestor of Josiah Wedgwood about the year 1700; and on the estate of Sir George Wombwell fragments of pottery, of a coarse brown ware, with lead glaze, have been frequently found on the site of the old manufactory.
There was also a manufactory established at the Manor-house, York, about 1665, of which little is known except the mention of its existence by Ralph Thoresby and Horace Walpole; although it is by the former erroneously called porcelain, the ware was actually a fine stoneware, with a salt glaze.
Don Pottery. There was a pottery on the river Don, near Doncaster, established by Mr. John Green of New-hill, who came from the Leeds pottery about 1790. In 1807 some other members of his family joined the firm, and it was for a short time “Greens, Clark, & Co.”
Fig. 268.—Tea Caddy.
Of yellow clay, ornamented with chocolate brown appliqué
medallions of female figures in relief.
The Don Pottery was very similar to that of Leeds, frequently producing pierced work-baskets, vases, dinner, dessert and tea services, &c.
Leeds. This ware was made by Messrs. Hartley, Greens, & Co. in 1770. It is of a sort of cream colour, and has much perforated or basket-work, sharply cut out of the borders in various patterns. Important centre-pieces with figures were also made here.
Fig. 269.—Chestnut Bowl and Cover.
Castleford, about twelve miles from Leeds. Here David Dunderdale established works in 1790 for the finer kinds of pottery, especially Queen’s ware and the black Egyptian.
Fig. 270.—Teapot.
With ornaments in relief, of white ware edged with blue.
Swinton, near Rotherham. Initiated by Edward Butler in 1757, on the estate of the Marquis of Rockingham. In 1765 it was carried on by William Malpas, and in 1778 by Messrs. Bingley, Brameld, & Co., who enlarged the works, and made earthenware of a very superior quality. Rockingham teapots, of a mottled chocolate colour, glazed inside with white, were in great repute. But the aims of the Messrs. Brameld were of a higher character, and some works of artistic merit were produced. When the Rockingham works were closed in 1842 many of the moulds were purchased by Mr. John Reed, and transferred to the Mexborough pottery.
Fig. 271.—Teapot.
Newcastle-on-Tyne. There were some extensive manufactories here at the end of the 18th century for making Queen’s ware, some of which is perforated like that of Leeds, and has wicker pattern borders. Some of the earthenware mugs have a pink metallic lustre, and are ornamented with transfer engravings. On the inside was usually a toad in relief.
Fig. 272.—Dish.
Of Queen’s ware, marked “fell.”
Fig. 273.—Mug.
With printed monument of Lord Nelson; inside is a toad;
marked “Fell & Co., Newcastle Pottery.”
St. Anthony’s, about 2½ miles from Newcastle-upon-Tyne. Established by Sewell & Donkin in 1780. Queen’s ware and pink metallic lustre, also printed subjects, were produced; pierced wicker baskets, like that of Leeds, were also made.
Fig. 274.—Jug.
With cupids in relief, coloured with pink metallic lustred clouds.
Nottingham. Stoneware was made here in the first half of the 18th century; it usually has a dark brown glaze, with a slightly metallic lustre, is very hard and durable, and is frequently ornamented with outlines of stalks and flowers, especially the pink.
Fig. 275.—Mug.
Inscribed, “Made at Nottingham, the 17th August 1771.”
Fig. 276.—Jug.
In the form of a Bear.
Great Yarmouth. A potter named Absolon about 1790 decorated pottery of the cream colour. The favourite subjects are single flowers and plants, with their names on the back of the piece.
Fig. 277.—Plate.
Lowesby, in Leicestershire. A pottery was established by Sir Francis Fowkes, about the year 1835. Red terra-cotta with black enamelled ornaments, in imitation of Wedgwood, was made.
Fig. 278.—Garden Pot.
Fig. 279.—Vase.
Bristol. At Redcliffe Backs a manufactory of Delft ware was carried on in the 18th century by Richard Frank.
At Temple Backs, Bristol, Joseph Ring, son-in-law of Cookworthy (after the porcelain works had been relinquished in 1777), opened a manufactory called the “Bristol Pottery.” It was continued for many years, and about 1820 it was occupied by Messrs. Pountney & Allies. The articles produced were similar to those of the superior potteries in Staffordshire.
BRISTOL (Redcliffe Backs)
Fig. 280.—Tiles.
St. Mary Redcliffe Church.
Cadborough, near Rye in Sussex. A pottery was established here early in the 19th century for the manufacture of common sorts of pottery, but some vases of glazed ware of elegant forms were also produced. The works are now carried on at Bellevue Pottery, Rye.
Fig. 281.—Vessel.
In form of a pig.
Swansea. Established about 1750; it was greatly enlarged by George Haynes in 1780, who styled it the “Cambrian Pottery.” In 1802 the works were purchased by Lewis Weston Dillwyn, and about 1810 an improved ware was made which was termed opaque porcelain; with the assistance of Young, a draughtsman employed in delineating natural history, the ware became remarkable for its beautiful and truthful paintings.
The early Swansea ware was elegant in form, and frequently covered with a deep blue glaze.
Fig. 282.—Dish.
Mark, Swansea and letter C.