The early Staffordshire potters, apart from the splashed and variegated ware associated with Whieldon, made a variety of ware in pre-Wedgwood days and in the late eighteenth century. Obviously such a jug as that illustrated ([p. 189]) is an Oriental design taken straight from the contemporary English porcelain, or even from the actual Chinese original. But the Staffordshire potter was conservative in his shapes. Similarly, such jugs as that illustrated [(p. 189]) with the rustic design in crude painting, or seemingly in parts applied with a sponge, must have been general in the latter half of the eighteenth century. The scene is suggestive of Herrick and maypoles and haywains and rustic junketings, and such early cream-ware cider-mugs and ale-jugs are not uncommon. The Mug (illustrated [p. 189]) shows distinctive qualities. It is by Enoch Wood. It is decorated with translucent bands at top and base, and ornamented with a diaper-pattern stamped and coloured brown, with alternate lines of grey. These jugs and mugs are here illustrated to impress upon the reader the fact that in the Whieldon period (1740–1780) other forms than variegated ware were being made, and much unidentified early Staffordshire ware belongs to the later years of the eighteenth century.
The English spirit.—These forms—and the field is a great one for detailed study—were growing up in spite of foreign and un-English fashions, and long after Wedgwood's day they existed. It seems as though it was a dogged and obstinate attempt on the part of the potter to ignore classic models, and produce something "understanded of the people." Obviously such ware did not rise to elaborate ornamental vases, but confined itself to mugs and jugs and useful articles in common use. So that, in spite of the enormous influence of Wedgwood, both in technique, but more especially in decoration, upon his contemporaries and his successors, it would seem that there was always an undercurrent of pottery which, even if crude, was extremely national. It appealed to no cosmopolitan clientèle, and the potters who made it were not important enough to issue price lists in three or four languages. Their message—as conveyed by their quaint inscriptions, "One Nother and Then," "I drink to you with all my hart, Mery met and mery part," and a host of other naïve sentiments—comes direct from the heart of the potter to his friend and neighbour who bought his wares. In a word, we may say that much that is native, much that is racy of the soil, in the long line of queer Staffordshire figures of animals and birds and of homely individuals, grotesque in their diminutive personality, owe direct kinship to Whieldon and the pre-Wedgwood school of potters, forgetful of the cold classic day, and, in the words of William Blake, snug by the glad sunshine of "the Alehouse so healthy and pleasant and warm."
CREAM WARE JUG.
Painted decorations in under-glaze colours. Typical example of Oriental influence on earthenware.
(In the possession of Mr. W. L. Yeulett.)
STAFFORDSHIRE CREAM WARE JUG.
Crudely painted in colours with English subject. Typical of earthenware of latter part of eighteenth century.
(In the collection of Mrs. M. M. Fairbairn.
BARREL-SHAPED MUG BY ENOCH WOOD.
Decorated with translucent green at top and base. Diaper pattern stamped and coloured brown, and alternate lines of grey.
(In the collection of Mr. Robert Bruce Wallis.
PRICES—EARLY STAFFORDSHIRE WARE.