Early Salt-glaze.—The early stages of the manufacture of salt-glazed ware were crude and experimental. There is some connection between the finely potted lustrous stoneware of Nottingham and "Crouch ware," the undeveloped form of the later phase of finely-potted Staffordshire salt-glaze ware. This "Crouch" ware represents the transitional stage between the ordinary brown stoneware and the later drab or greyish white examples. Crouch ware at its earliest was not made in Staffordshire till 1690, and there is presumptive evidence to show that salt-glaze brown ware was made at some pot-works at Crich, near Matlock, Derbyshire; and that the same or similar clay was used by the Staffordshire potters who gave it that name, and there is proof that the Crich pottery existed as early as 1717, and Nottingham has dated pieces as early as 1700.
On the face of it, in spite of Josiah Wedgwood's letter in connection with the medallion to John Philip Elers, there is little evidence to go upon to credit the Elers with having made salt-glaze ware at all. Excavations on the site of their factory at Bradwell Wood have only resulted in the discovery of fragments of their unglazed red ware, "red porcelain" as it was called, and experts have pronounced their oven as being unfitted for salt-glaze operations.
On the whole, therefore, in accordance with the latest research, one is inclined to come to the conclusion that the Brothers Elers did not invent Staffordshire salt-glazed ware. If they made it at all, they made very few examples. The red ware is theirs as far as Staffordshire is concerned, although Dwight had something to say on that score when he charged them and Nottingham potters and others with infringing his patents.
SALT-GLAZED TEAPOT.
Enamelled in colours. Marked "John Toft."
(In the collection of Col. and Mrs. Dickson.)
Among the early makers of salt-glazed ware were Astbury and Twyford, and Thomas Astbury, son of the former, being associated with the introduction of ground flint into the body in 1720. Thomas Billing in 1722, and Ralph Shaw in 1732, made further improvements in the body. Dr. Thomas Wedgwood and Aaron Wood, and Thomas Whieldon and Ralph Daniel, of Cobridge, were all well-known makers of this ware, the latter having introduced plaster-of-paris moulds in lieu of alabaster, and being further notable for his enamelled decorations in colour, in the period 1743 to 1750, which attempted to vie with the contemporary coloured porcelain. William Littler, of Longton, used a similar blue to that which he used on the porcelain at Longton Hall.
At this date the ware became white in colour, and took its pleasing forms so dear to connoisseurs.
The Classes of Salt-glaze.—In its various styles salt-glazed ware may be roughly divided into periods. The experimental stage was over in 1720. From 1720 to 1740 the undecorated or white examples were made, depending on form for their beauty. These had applied ornamentation stamped with metal dies, or made in separate moulds and affixed to the body to be decorated (similar to the Elers style). It is during this period that some of the finest pieces were made with sharp, clear-cut designs. Later, when moulds were made of plaster-of-paris in place of alabaster, the design became blurred.