If Leeds at first copied Wedgwood and the Staffordshire cream-ware patterns the Staffordshire potters were not slow to return the compliment when they saw that Leeds had a note of originality, consequently we find many salt-glaze pieces of identical shape to some of Hartley, Greens & Co.'s patterns. It is improbable that salt-glaze ware was ever made at Leeds, though before salt-glaze was as well understood as it is now much of it was wrongly attributed to Leeds.
We give an illustration ([p. 319]) of a salt-glaze plate which has the typical perforated edge of Leeds cream ware, and is decorated with a transfer-print of a fable subject, illustrating "Hercules and the Waggoner." But Leeds very early did its own printing, and only the early examples were sent to Liverpool to Sadler and Green. At this time salt-glaze ware was in a bad way, and every effort was being made to compete with cream ware its new rival, and with porcelain which had struck the first blow at its supremacy as domestic ware. When cream ware was decorated by transfer-printing salt-glaze followed the new fashion, and leaving its lofty ideals of undecorated form it hastily assumed the enamel colouring of the English porcelain.
Leeds Cream Ware.—The various classes of Leeds cream ware may be roughly divided into two classes:
(1) Plain or undecorated, in which (especially by reason by the grace and lightness of structure imparted by the nicely balanced perforations) artistic excellence is reached by form alone.
(2) Decorated cream ware. Decorated with enamel colours, green, red, lilac, and yellow being usually found, or transfer-printed in the early manner of Liverpool—black, puce, or red, or later by printing in blue.
In regard to the finer specimens of the cream ware dependent on form and exhibiting especial delicacy in the treatment of the pierced work, the illustrations here given convey a pictorial representation of the great variety and fertility of the design.
The two magnificent centre-pieces represent Leeds cream ware at its highest. The favourite form of the centre-piece is that in which tiers of escallop shells are supported by dolphins or by ornamental brackets. The left-hand centre-piece illustrated ([p. 291]) is in the form of the trunk of a tree, supporting four tiers of leaf-shaped dishes. The piece is surmounted by a classical draped figure. It is noticeable that the brackets have every resemblance to metal design. These large centre-pieces are made to take apart. This example illustrated takes into four pieces, which fit into each other with great accuracy, showing great technical perfection in potting. It is no less than 4 feet in height, and one of the largest pieces known. Its rich cream colour, the perfection of the glaze, and the graceful proportion in the structure, and the modelled figure have won for this and similar creations of Leeds the admiration of all connoisseurs.
CHESTNUT BASKET AND CANDLESTICKS.
Pierced Leeds cream ware.
(In the collection of Mr. Richard Wilson.)