Fig. 251.—Barrel.
Elijah Mayerof Hanley was a contemporary of Wedgwood. He was noted for his cream-coloured ware and brown-line ware, but he produced many other varieties. A vase of unglazed drab terra-cotta, with festoons, &c., in relief, coloured (see Fig. 252).
Fig. 252.—Vase.
He also produced basaltes ware tea services, with animals, &c., in relief.
Palmerof Hanley was a great pirate of Wedgwood’s inventions, and Mrs. Palmer, who seems to have been the active manager of her husband’s business, engaged persons surreptitiously to obtain Wedgwood and Bentley’s new patterns as soon as they arrived at the London warehouse, for the purpose of copying them. Palmer had a London partner of the name ofNeale. They imitated Wedgwood’s black Egyptian vases and other inventions, and eventually his Etruscan painted vases. In 1776 Palmer failed, and the business was carried on by Neale & Co., who by some means discovered the secret of the jasper body. They became formidable rivals of Wedgwood.
Fig. 253.—Jardinière.Of blue and white jasper.
Fig.254.—Vase.
J. Voyezof Hanley was a clever artist; he was employed by Wedgwood and afterwards by Neale and Palmer.
Fenton. Thomas Whieldonof Fenton established a pottery in 1740; besides the common household articles, he made fancy marbled ware. Aaron Wood and Josiah Spode were his apprentices, and Josiah Wedgwood was in partnership with him until 1759.
Tunstall. Enoch Boothof Tunstall, andJohn WarburtonofCobridgein the same county, were extensive potters, and first made cream-coloured pottery by the use of fluid glaze introduced by Booth.
William Adamsof Tunstall was a favourite pupil of Wedgwood, and while with him executed some of his finest specimens of jasper ware. He afterwards went into business on his own account, and carried on an extensive trade.
Fig. 255.—Jug.Of blue jasper.
Lane End. John Turnerof Lane End made a fine description of ware, and his productions were the most successful imitation of Wedgwood’s jasper, with ornaments in relief, and only second to the latter’s in excellence; he also made a fine white stoneware.
Fig. 256.—Sugar Basin.Of yellow clay, with figures in relief.
Fig. 257.—Teapot.With medallion, figures in relief.
Longport.The Messrs.Davenportof Longport made great improvements in the manufacture of earthenware; they were celebrated especially for their stone china. The manufactory was established in 1793, and has been successfully carried on up to the present day in the same family.
Fig. 258.—Cup, Cover, and Saucer.
Fig. 259.—Dish.
Lane Delph(now Middle Fenton).Miles Masonof Lane Delph early in the last century produced some fine ware. The ironstone china was brought to great perfection by Charles James Mason, and the forms were of a high quality, very much resembling porcelain.
Fig. 260.—Cup, Cover, and Saucer.
Stoke-on-Trent. Thomas Mintonestablished a manufactory at Stoke-upon-Trent in 1791; he was apprenticed to Turner of Caughley as an engraver. His productions were of the useful kind, viz., services for the table, in imitation of common nankin. He died in 1836, and was succeeded by his second son, the celebrated Herbert Minton, who brought the potter’s art to great perfection. He largely increased the business, and manufactured articles in earthenware, hard and soft porcelain, and parian.Reproductions of Italian maiolica, Delia Robbia, Palissy, and Henri II. ware were also extensively made by him. He died in 1858, and was succeeded by Michael Daintry Hollins and Colin Minton Campbell, his nephew and heir. The founder’s grandsons afterwards succeeded to the business; the firm of Messrs. Minton & Co. still exists, but there are no members of the family now connected with it.
Fig. 261.—Mug.
Liverpool.Early in the 18th century, and probably much before that, Liverpool was noted for the manufacture of pottery. Little is known of its early history, and it was not until Mr. Jos. Mayer rescued from oblivion many interesting particulars that anything like a succinct account was published. In his interesting notice of the Art of Pottery in Liverpool, we learn that the most celebrated of the early potters was Alderman Thomas Shaw, who had works for making pottery in the beginning of the 18th century; several large plaques and monumental slabs of his make are in existence, dated from 1716 to 1756. About this time, there seems to have been a large demand for punch bowls; as these formed the principal ornaments on the sideboards of the middle classes, and especially on board the ships, which were constantly going and coming in the port, considerable pains were takenin decorating them, and many are still in existence painted with ships, convivial mottoes, and inscriptions.
Another important establishment was founded by Mr. John Sadler, the son of a painter, who had learnt the art of engraving.
He was the inventor, about 1752, of the method of transferring prints from engraved copper plates upon pottery, and in conjunction with Guy Green, proposed to take out a patent in 1756, the draft of which is still preserved, but they preferred keeping the invention secret to the doubtful security of patent rights.
Fig. 262.—Punch Bowl.
Wedgwood availed himself of this new mode of decoration, and sent his Queen’s ware weekly to Messrs. Sadler and Green to be printed.
Fig. 263.—Tiles.ByJ. Sadler.
Fig. 264.—Teapot.With portrait of Wesley.
Richard Chafferswas the principal manufacturer of Liverpool; he served his apprenticeship with Alderman Shaw, and in 1752 established a bank for the manufacture of blue and white earthenware and fine porcelain, which gained him great reputation; they were largely exported to our American Colonies (now the United States).
His porcelain works were established about the same time as those of Worcester and Derby, and his productions had a great sale in England.
The Liverpool establishments ofPennington, Philip ChristianandRichard Abbeywere on an extensive scale, but towards the end of the eighteenth century only one of any importance survived, and that belonged to Messrs.Worthington,HumbleandHolland, who in 1796 established a large manufactory on the south bank of the Mersey. As Wedgwood had christened his settlement Etruria they called theirs Herculaneum. A larger capital being required, in 1806 an increase of proprietors took place. The first wares made here were Queen’s and blue printed ware. About 1800 the production of porcelain was commenced, the mark used being “Herculaneum,” or “Herculaneum Pottery.” About 1836, when the factory came into possession of Messrs. Case, Mort & Co., the mark used was a bird called the liver, which forms the crest of the Borough of Liverpool.
Jackfield, near Thursfield, in Shropshire. There was an old pottery here about 1760. The ware was of a red clay, with a brilliant black glaze, sometimes with scrolls and flowers in relief. Tea servicesare frequently seen. The jugs were known in the locality as “black decanters.” About 1780 the works were taken by Mr. John Rose, and subsequently removed toCoalport, on the opposite side of the Severn, where the well-known Salopian porcelain was made.
Fig. 265.—Teapot.
Fig. 265. A black glazed teapot inscribed “Richard and Ruth Goodin, 1769.”
Fulham.The first successful imitation of thegrès de Colognewas made byJohn Dwight, an Oxfordshire gentleman, and in course of time it almost entirely superseded the importation from abroad. This great potter took out his first patent in 1671, and probably established a manufactory at Fulham in that year, which was successfully carried on through two patents of fourteen years each. The Fulham stoneware is of exceedingly hard and close texture, very compact and sonorous, covered with a salt glaze, of grey colour, ornamented with a brilliant blue enamel in bands, leaves, and flowers, having medallions of kings and queens of England in front, with Latin names and titles, or their initials only.
Dwight produced a great variety of objects, andbrought the potter’s art to a great perfection. The figures, busts, and groups are exquisitely modelled, and will bear comparison with any contemporary manufactures of Europe. A careful inspection will convince any unprejudiced mind of the erroneous impression which exists, that until the time of Wedgwood the potter’s art in England was at a very low ebb, and that none but the rudest description of pottery was made, without any attempt to display artistic excellence. For here, a century before Josiah Wedgwood’s time, we have examples of English pottery which would do credit to the atelier of that distinguished potter himself. John Dwight died in the year 1737, and with him also departed the glory of his manufactory at Fulham.
Fig. 266.—“Lydia Dwight.Dyed March 3, 1673.”
Lambeth.The next important pottery in England in the 17th century was that of Lambeth. In theHistory of Lambethit is related that about 1650 some Dutch potters established themselves here, and by degrees the industry became important, for the village contained no less than twenty manufactories, in which were made the glazed pottery and tiles used in London and various parts of England. The ware was very much of the character of Delft, with a fine white creamy glaze, painted with landscapes and figures in blue.
Fig. 267.—Dish.
The white bottles or jugs, upon which are written the names of wines accompanied by dates, were made here.
The trade flourished here for more than a century, until about 1780 or 1790, at which time the Staffordshire potters, by the great improvements they had made in the quality of their ware, and having coal and clay ready to their hand, were enabled to produce it at a cheaper rate, and eventually beat the Lambeth potters out of the field.
The Lambeth potters, about the end of the 17th century, appear also to have copied the forms of the Palissy ware, especially in large oval dishes with initials and dates. Fig. 267 is an example of one of these dishes.
Yearsley, in Yorkshire. A pottery of coarse character was made here in the 17th century. A factory was established by an ancestor of Josiah Wedgwood about the year 1700; and on the estate of Sir George Wombwell fragments of pottery, of a coarse brown ware, with lead glaze, have been frequently found on the site of the old manufactory.
There was also a manufactory established at the Manor-house,York, about 1665, of which little is known except the mention of its existence by Ralph Thoresby and Horace Walpole; although it is by the former erroneously called porcelain, the ware was actually a fine stoneware, with a salt glaze.
Don Pottery.There was a pottery on the river Don, near Doncaster, established by Mr. John Green of New-hill, who came from the Leeds pottery about 1790. In 1807 some other members of his family joined the firm, and it was for a short time “Greens, Clark, & Co.”
Fig. 268.—Tea Caddy.Of yellow clay, ornamented with chocolate brown appliquémedallions of female figures in relief.
The Don Pottery was very similar to that of Leeds, frequently producing pierced work-baskets, vases, dinner, dessert and tea services, &c.
Leeds.This ware was made by Messrs. Hartley, Greens, & Co. in 1770. It is of a sort of cream colour, and has much perforated or basket-work, sharply cut out of the borders in various patterns.Important centre-pieces with figures were also made here.
Fig. 269.—Chestnut Bowl and Cover.
Castleford, about twelve miles from Leeds. Here David Dunderdale established works in 1790 for the finer kinds of pottery, especially Queen’s ware and the black Egyptian.
Fig. 270.—Teapot.With ornaments in relief, of white ware edged with blue.
Swinton, near Rotherham. Initiated by Edward Butler in 1757, on the estate of the Marquis of Rockingham. In 1765 it was carried on by William Malpas, and in 1778 by Messrs. Bingley, Brameld, & Co., who enlarged the works, and made earthenware of a very superior quality. Rockingham teapots, of a mottled chocolate colour, glazed inside with white, were in great repute. But the aims of the Messrs. Brameld were of a higher character, and some works of artistic merit were produced. When the Rockingham works were closed in 1842 many of the moulds were purchased by Mr. John Reed, and transferred to the Mexborough pottery.
Fig. 271.—Teapot.
Newcastle-on-Tyne.There were some extensive manufactories here at the end of the 18th century for making Queen’s ware, some of which is perforated like that of Leeds, and has wicker pattern borders. Some of the earthenware mugs have a pink metallic lustre, and are ornamented with transfer engravings. On the inside was usually a toad in relief.
Fig. 272.—Dish.Of Queen’s ware, marked “fell.”
Fig. 273.—Mug.With printed monument of Lord Nelson; inside is a toad;marked “Fell & Co., Newcastle Pottery.”
St. Anthony’s, about 2½ miles fromNewcastle-upon-Tyne. Established by Sewell & Donkin in 1780. Queen’s ware and pink metallic lustre, also printed subjects, were produced; pierced wicker baskets, like that of Leeds, were also made.
Fig. 274.—Jug.With cupids in relief, coloured with pink metallic lustred clouds.
Nottingham.Stoneware was made here in the first half of the 18th century; it usually has a dark brown glaze, with a slightly metallic lustre, is very hard and durable, and is frequently ornamented with outlines of stalks and flowers, especially the pink.
Fig. 275.—Mug.Inscribed, “Made at Nottingham, the 17th August 1771.”
Fig. 276.—Jug.In the form of a Bear.
Great Yarmouth.A potter named Absolon about 1790 decorated pottery of the cream colour. The favourite subjects are single flowers and plants, with their names on the back of the piece.
Fig. 277.—Plate.
Lowesby, in Leicestershire. A pottery was established by Sir Francis Fowkes, about the year 1835. Red terra-cotta with black enamelled ornaments, in imitation of Wedgwood, was made.
Fig. 278.—Garden Pot.
Fig. 279.—Vase.
Bristol.AtRedcliffe Backsa manufactory of Delft ware was carried on in the 18th century by Richard Frank.
AtTemple Backs, Bristol, Joseph Ring, son-in-law of Cookworthy (after the porcelain works had been relinquished in 1777), opened a manufactory called the “Bristol Pottery.” It was continued formany years, and about 1820 it was occupied by Messrs. Pountney & Allies. The articles produced were similar to those of the superior potteries in Staffordshire.
BRISTOL (Redcliffe Backs)
Fig. 280.—Tiles.St. Mary Redcliffe Church.
Cadborough, near Rye in Sussex. A pottery was established here early in the 19th century for the manufacture of common sorts of pottery, but some vases of glazed ware of elegant forms were alsoproduced. The works are now carried on at Bellevue Pottery, Rye.
Fig. 281.—Vessel.In form of a pig.
Swansea.Established about 1750; it was greatly enlarged by George Haynes in 1780, who styled it the “Cambrian Pottery.” In 1802 the works were purchased by Lewis Weston Dillwyn, and about 1810 an improved ware was made which was termedopaque porcelain; with the assistance of Young, a draughtsman employed in delineating natural history, the ware became remarkable for its beautiful and truthful paintings.
The early Swansea ware was elegant in form, and frequently covered with a deep blue glaze.
Fig. 282.—Dish.Mark, Swansea and letter C.
Themanufacture of porcelain in England began much earlier than has been generally supposed, and the invention was patented in England by John Dwight of Fulham in 1671, while that at St. Cloud was not patented until 1702, thirty years afterwards.
Worcester.Although this manufactory originated more than a century and a half ago, and has always been carried on by private enterprise, it is still in a flourishing state. It was established in 1751, chiefly through the exertions of Dr. Wall, a physician and a good practical chemist, who in conjunction with others formed the “Worcester Porcelain Company.” The early productions were principally of the useful description, and were sold at a cheaper rate than the wares of Bow and Chelsea. About the year 1757, the important method of multiplying designs upon the biscuit ware by means of transferring impressions of engraved copper plates to the surface, was adopted at Worcester almost at the same time as at Liverpool, the invention being in fact claimed by both; but specimens are found bearing the names of Sadler and Green of Liverpool, and Richard Holdship and Robert Hancock of Worcester, dated in the same year. Bat printing succeeded the printing from engraved or etched plates. This new style was accomplished thus: instead of the design being first printed upon paper and then transferred, the plate was stippled with a fine point by London artists after designs of landscapes, shells, fruit, and flowers by Cipriani, Bartolozzi, Cosway, and Angelica Kauffmann, who were so fashionable about the end of the 18th century. The copper plate being carefully cleaned, a thin coating of linseed oil was laid upon it, and removed by the palm of the hand from the surface, leaving the oil in the engraved spots; instead of paper, bats of glue were used, cut into squares of the size of the engraving; one of these bats was pressed on to the plate, so as to receive the oil out of the engraved holes, and laid on to the china, transferring the oil to the surface; it was then dusted with the colour required, the superfluous colour being removed carefully with cotton wool, and the china was then placed in the kiln.
Fig. 283.—Cup and Saucer.
In 1783 the Worcester porcelain works were purchased by Mr. Thomas Flight, from whom they afterwards passed to Messrs. Flight and Barr; the principal painters at this time were: J. Pennington, who painted figures; S. Astles, flowers; G. Davis, exotic birds in the Chelsea style; Webster, landscapes and flowers; J. Barker, shells; Brewer of Derby, landscapes; while Thomas Baxter, an accomplished artist, painted figure subjects.
The Worcester works remained with Messrs. Flight & Barr until 1840, when the two principal manufactories of Worcester—that of Flight & Barr, and that of the Messrs. Chamberlain, were amalgamated; the plant and stock were removed to the premises of the latter, and the new firm was styled Chamberlain & Co. The last-named works were established by Robert Chamberlain in 1786; he was the first apprentice at the Old Worcester Porcelain Company, and he and his brother Humphrey took premises in High Street. At first they only decorated porcelain, which they bought of Turner of Caughley; but they afterwards manufactured largely on their own account,and their business increased to a great extent, being patronised by the royal family.
Fig. 284.—Portion of a Tea Service.Japanese pattern, blue, red, and gold.
Fig. 285.—Portion of a Tea Service.Transfer coloured, and partly gilt.
These two works which were united in 1840, remained so until 1852, when Messrs. Kerr & Binns became the ostensible proprietors. In 1862 another Joint Stock Company was formed, Mr. R. W. Binns having the direction of the artistic department and Mr. Edward Phillips being general superintendent.
Swinton, near Rotherham. The manufacture of porcelain at theRockingham Workswas introduced, under the patronage of the Earl Fitzwilliam, about the year 1823 by Thomas Brameld, who spared no expense in endeavouring to bring it to perfection. The china was of a superior description, and the painting and decoration were of a high character. In 1832 royal patronage was obtained and a magnificent service was ordered by King William IV.; instead, however, of placing the firm in a flourishing condition, it was actually the cause of its ruin, for the expense incurred by the engagement of first-class artists, and the super-abundance of gold employed in decorating the service, resulted in so great a loss that the manufacture was totally discontinued a few years after.
Fig. 286.—Plate.
Fig. 287.—Vase.Centre-piece of the service made for King William IV.Height 14 in.
Derby.The earliest manufactory was called “The Derby Pot Works,” and was carried on at Cock Pit Hill by Messrs. John and Christopher Heath for pottery and porcelain. It is said to have been on an extensive scale, but little is known of its operations. The proprietors, who were bankers in Full Street, became bankrupt in 1780, when the stock was sold and the works discontinued.
Fig. 288.—Group.Chelsea Derby.
Fig. 289.—Pair of Vases.Chelsea Derby.
Fig. 290.—Plate.With flowers by Billingsley.
The “Derby Porcelain Manufactory” was founded in 1751 by William Duesbury; the first productions were chimney ornaments, lambs, sheep, and services for the table, but it was probably not until he purchased the Chelsea works in 1769 that any greatreputation was acquired, and few if any of the early specimens can be identified. Some beautiful examples of porcelain painted in the Chinese style were produced about this time, but as the rage for oriental ware seemed so prevalent, the proprietor, to insure the sale of his china, copied the Chinese marks as well as the style of decoration. Crown Derby was produced from 1780, and was continued by Bloor, the successor of Duesbury, as late as 1830. After the purchase of the Chelsea and Bow works, the Derby porcelain manufactory rose to great importance, the proprietors having of course retained the best workmen who had been engaged there. In fact, with all the models and moulds, the mixers, throwers, and painters of those two great establishments, the manufactory may be considered as the Chelsea and Bow works continued in another locality. Upon the death of William Duesbury, in 1785, his son William continued the business, and a third William Duesbury succeeded in the beginning of the last century. About 1815, Robert Bloor took over the works, which were altogether closed in 1848. An offshoot, however, is still carried on.
Fig. 291.—Cup, Cover, and Saucer.Crown Derby.
Fig. 292.—Scent Vase.Crown Derby.
Fig. 293.—Cup, Cover, and Saucer.Crown Derby.
Burton-on-Trent.A manufactory of earthenware was established here early in the last century, and from about 1839 porcelain was made for seven years.
Fig. 294.—Comport.
Wirksworth.A manufactory of china as well as pottery, established by a Mr. Gill, existed here about 1770, and continued for about twenty years.
Fig. 295.—Cup.
Pinxtonin Derbyshire. Established about 1795, by Billingsley in partnership with John Coke; the former was a practical potter, having been engaged at the Derby works as a flower painter, in which capacity he excelled; he brought with him a staff of workmen and their families, and the factory wenton successfully for about five or six years, when Billingsley left; it was continued by Coke, and afterwards by Cutts the foreman, but was altogether discontinued about 1812. The ware made here by Billingsley was of a peculiar transparent character; and a favourite pattern was the French sprig or “Chantilly,” being an imitation of the Angoulême china.
Fig. 296.—Jardinière.
Fig. 297.—Sugar Bowl and Cover.
Lowestoft.According to Gillingham’sHistory of Lowestoft, written in 1790, an attempt was made to manufacture porcelain there in 1756 by Mr.Hewlin Luson of Gunton Hall, he having found some fine clay on his estate suitable for the purpose, and in the following year Messrs. Gillingwater, Walker, Browne, Aldred, and Richman, established the Lowestoft porcelain works, which existed until 1802. The porcelain was of soft paste, and in 1902 fragments of it and moulds were found on the site of the factory. The theory that hard paste was made at Lowestoft or that Chinese porcelain was painted there has now been abandoned.
Plymouth.About the year 1755 William Cookworthy commenced his experiments to ascertain the nature of true porcelain of hard paste, and searched with great perseverance throughout England for the materials which were the constituent parts of Chinese porcelain. At length a friend of his discovered on the estate of Lord Camelford, in the parish of St. Stephen’s, Cornwall, “a certain white saponaceous clay, and close by it a species of granite or moorstone, white with greenish spots, which he immediately perceived to be the two long sought-for ingredients, the one giving whiteness and body to the paste, the other vitrification and transparency.”
Fig. 298.—Coffee-pot.
Fig. 299.—Beaker and Cover.
Fig. 300.—Centrepiece.
The patent was obtained in 1768, and the materials were described as growan stone and growan clay. The works were carried on for nearly six years, and consequently a considerable quantity of ware was made. Cookworthy engaged the services of a French artist, M. Soqui, whose ornamental delineations on the articles produced here were very beautiful. Some elegant salt-cellars and table ornaments in the form of open conch shells resting on a bed of coral, &c., all well modelled in hard paste, were favourites for the table.
Fig. 301.—A Shepherdess.
Fig. 302.—A Shepherd.
Cookworthy and Lord Camelford continued to work this manufactory until 1774, when the patent right was sold and transferred to Richard Champion.
Bristol.A manufactory ofsoft pasteporcelain was founded at Bristol about 1750. Later Richard Champion, having in 1774 purchased Cookworthy’s patent, opened a manufactory forhard paste. The ware was brought to great perfection, but the large outlay prevented its being remunerative, and in three or four years he sold his interest in the patent to a company of Staffordshire potters.
Fig. 303.—Bowl and Cover.
Fig. 304.—Dish.
Caughley, near Broseley, Salop. Established in 1751 by a Mr. Brown, and afterwards carried on by a Mr. Gallimore. It was not until 1772 that it rose to any importance, when Thomas Turner commenced operations. He came from the Worcester porcelain manufactory; he was an engraver, and probably learnt his art from Robert Hancock.
Fig. 305.—Mug.Painted in blue.
Fig. 306.—Plate.Blue willow pattern.
The excellence of Turner’s porcelain gained him great patronage. In 1780 he produced the celebrated “willow pattern,” and completed the first blue printed table service made in England. Thomas Minton of Stoke assisted in the completion of it, being articled as an engraver at Caughley.
In 1799 Turner retired and John Rose becameproprietor; the latter removed the works to Coalport about 1814 or 1815.
Coalport, in Shropshire. The porcelain works here were established about 1780 by John Rose, who had removed his manufactory from Jackfield. He carried on this and the Caughley works simultaneously. In 1820, both the Swansea and the Nantgarw manufactories having been purchased, they were incorporated with Coalport, and Billingsley of Nantgarw was engaged as mixer of the clays; he remained at Coalport until his death in 1828. The “worm sprig” and the “Tournay sprig” were much made at Coalport.