But it is in the unglazed stoneware that he surpassed anything his contemporaries had done. It was about 1780 that he discovered, after hunting for clay even so far afield as Cornwall, the precise earth he wanted in his own neighbourhood at Longton. In colour it was a warm biscuit tone, and it was capable of being modelled with exactitude into fine sharp designs in relief. In stoneware jugs with classic figures in relief he set the fashion for half a century. His teapots and coffee-pots are models of graceful design. We illustrate a fine example of a Teapot ([p. 267]), with the lid perfectly fitting, made to slide in a groove, and showing in clear relief the style of ornamentation for which Turner became so renowned. The other illustration, on the same page, of an equally perfect Stoneware Jug with metal mounts, shows a slight departure from classic ornament. The figures are in old English costume, and are engaged in archery. It will thus be seen that even in the early days there was exhibited a tendency to depart from classic figure design and turn to equally graceful but homelier subjects. Possibly this influence may have been due to Enoch Wood, who is believed to have been employed by Turner as a modeller; but accurate information regarding Turner's modellers is not known.
Besides the above-mentioned wares, Turner also made black basalt of very high quality, being preferred by some connoisseurs to that of Wedgwood. He also was the first to introduce under-glaze printing into Staffordshire, and although he did not introduce the "willow pattern" (Spode brought that from Caughley), he made ware with this pattern printed in under-glaze blue, and his plates and dishes have perforated borders. We illustrate a fine example of this ware ([p. 331]).
The Plagiarists of Wedgwood.—We have seen that John Turner, of Lane End, that William Adams, of Greengates, came under the strong influence of Wedgwood, but were no more imitators, in the broad sense, than Gainsborough and Romney may be said to be imitators of Sir Joshua Reynolds. It must be allowed in art that a school may arise under the guidance of some remarkable genius who tinges the originality of his contemporaries with his own master mind. Wedgwood had the inspiration to transplant classic decoration into Staffordshire—the rest was easy; having shown the way, crowds of lesser men seized the new ideas with avidity.
Chief among the direct copyists was Henry Palmer. He had a spark of originality, as we have seen, anticipating Wedgwood by some five years in applying bas-reliefs to his black vases, and the sprinkled marbled ware touched with gold was another success of his, but here his ingenuity ended. He must have been a great thorn in Wedgwood's side, for he is said to have procured every new pattern on its appearance and copied it. Voyez, who was a modeller and not a potter, assisted in this nefarious traffic; but Voyez, in spite of his rascality, was a clever modeller, and struck out a new line in his rustic or "Fair Hebe" jugs. He was employed at one time by Wedgwood, and probably by Ralph Wood. Voyez specialised on the intaglio seals, and added Wedgwood and Bentley's names to his handiwork. On other intaglios, equally imitative, and on vases is the name Palmer or the initials H. P.
Wedgwood himself—as do collectors nowadays—was obliged to acknowledge the fine quality of the work of Palmer and of Neale, for he admitted to Bentley that they were "serious competitors," and he evidently feared their activity, as he says, "We must be progressing or we shall have them treading on our heels."
The sagacity of Wedgwood's remark is obvious, for an examination of the Neale-and-Palmer jasper and other ware reveals an amazing mastery of technique. It is finely potted and well balanced in ornament and design. If it were not for the impressed mark such vases might readily pass as Wedgwood. It is not improbable that in the middle nineteenth century the names both of Adams and Palmer and Neale were ground out of the bases of some of their finer vases by ingenious persons, who passed them off as the work of Wedgwood.
TURNER STONEWARE TEAPOT, UNGLAZED.
With ornament in relief and classic figure subjects.
Mark impressed Turner. (Height 4½ inches.)
(In the collection of Mrs. L. Scott.)
