In this same ware—the Queen’s or cream-coloured earthenware—the Leeds works produced services of various kinds, as well as the usual vessels for domestic use, and works of Art in the shape of vases, candelabra, centres, &c. &c. Of the services, which, as a rule, were of remarkably elegant forms, and produced with extreme skill in workmanship, it will not be necessary to give illustrations. Of the more decorative pieces, however, I give Figs. [854 to 856], engravings, because it is well to show collectors to what degree of perfection in design these almost forgotten works had arrived. The first example which I engrave is a magnificent centre, or “grand platt menage,” of four tiers. It is composed of five separate pieces. The base is rock, and each tier is composed of shells after the fashion of the Plymouth designs. The shells are supported on elegant brackets, and the whole piece is surmounted by a well-modelled female figure.
Figs. 854 and 855.
Fig. [855] shows a jardinière of very elegant and effective design, of cornucopia form, with a head of Flora, crowned with flowers, in front, and festoons above held by a ram’s and an eagle’s head; and Fig. [856] exhibits a “grand platt menage,” similar to that engraved on Plate 26 (Fig. 106) of the “Book of Patterns.”
In the plate to which I have referred this elegant piece has a base for cruets added, and is somewhat different in some of its details, but it is much the same in general design. Around the centre of the base, it will be noticed, is a series of rams’ heads with large bent horns, hooked at the end, and the foliage beneath the pine-apple at the top is also deeply bent downwards, and the point of each leaf hooked up at the end. On these—the horns and leaves—it was intended to hang small earthenware wicker-work baskets, and on the engraving to which I have alluded, these are all shown in situ. It is interesting to note that in Mr. Hailstone’s collection is a precisely similar piece, but with the addition of a circular base, which is of Wedgwood’s Queen’s ware, and is marked WEDGWOOD in the usual manner. This circumstance shows that the design was common to both manufactories, and the natural inference to be drawn is that Messrs. Hartley, Greens, & Co., in this instance, as in others, copied and reproduced Wedgwood’s designs; while in other instances it is equally possible Wedgwood copied from them. It is curious in going through the pattern-books of Hartley, Greens, & Co. of 1783, and downwards to 1814, Wedgwood’s of 1815, and the “Don,” to note the similarity of designs exhibited, some of which are so nearly identical, as to appear almost to have been produced from the same moulds.
Fig. 856.
A teapot, dated 1777, has been ascribed to the Leeds works; but I am doubtful as to the correctness of the appropriation. It bears on one side the words:—
“May all loving Friends