CHAPTER VI.

Burslem—Early Potters—Earthenware Gravestones—Toft—Talor—Sans—Turnor—Shawe—Mitchell—Cartwright—Rich—Wood—Wood & Caldwell—Churchyard Works—Bell Works—Red Lion Works—Big House—Ivy House—Lakin & Poole—Waterloo Works, Boote & Co.—Washington Works—Nile Street Works—Newport Pottery—Dale Hall—Stubbs—Bates, Walker & Co.—Mayer & Co.—Dale Hall Pottery—Rogers—Edwards & Son—Dale Hall Tile Co.—Albert Street Works—Mersey Pottery—Steel—Maddock & Son—New Wharf Pottery—Over House Works—Swan Bank Pottery—Hill Top Pottery—Hill Pottery China Works—Crown Works—Scotia Works—Queen Street Works—Hill Works—Ralph Wood—Sylvester Pottery—High Street Pottery—Sneyd Pottery—Hadderidge Pottery—Navigation Works—Sytch Pottery—Kilncroft Works—Albert Pottery—Waterloo Works—Central Pottery—Longport—Davenports—Terra Cotta—Brownhills—Wood—Littler—Marsh and Heywood—Brownhills Pottery Company—Cobridge—Cobridge Works, Brownfields—Clews—Furnivals—Bates & Bennet—Abbey Pottery—Villa Pottery—Cockson & Seddon—Allcock & Co.—Elder Road Works—Warburton—Daniel, &c.

Burslem.

Plot, writing in 1686, says, “the greatest pottery they have in this county is carried on at Burslem, near Newcastle-under-Lyme, where for making their different sorts of pots they have as many different sorts of clay, which they dig round about the towne, all within halfe a mile’s distance, the best being found nearest the coale,” &c.[45]The town has earned for itself the name of “mother of the potteries.” In the early part of the eighteenth century, the potters in Burslem appear to have been as follows:—

Thos. Wedgwood (2).John and Samuel Cartlich.Robt. Daniel.Thos., Isaac, and Rcd. Malkin.Dr. Thos. Wedgwood.Wm., Rcd., and Jhn.(3) Simpson.Thos. Cartwright.John Wedgwood.Robt. Bucknall.Isaac Wood.Richard Wedgwood.Thos. Taylor.Wm. Harrison.John and Robt. Adams.Moses Marsh.Aaron Shaw.Thos. Mitchell.J. Warburton.J. Bagnall.Aaron WedgwoodH. (?) Marsh.Moses Shaw.Isaac Ball.Saml. Edge.Thos. Lockett.J. Tunstall.Moses Steel.Hugh Mayer.J. Stevenson.H. Beech.Ralph Daniel.

In 1750 the potters—i.e.owners of pot-works—appear to have been—

Moses Copeland.John Marsh.Ralph Allen.Moses Marsh (two).Aaron Shaw.John Daniell.Richd. Parrott.Thos. Cartlich (Olding).E. Astbury.Saml. Malkin.John Adams.Ralph Adams.Wm. Lockett.Robt. Daniell.Thos. Steel.Samuel Cartlich.Maria Locker.John Heath.Richd. Onions.Aaron Clowes.Ephraim Booth.John Taylor.Thos. Taylor.Joseph Simpson (two).Clark Malkin.Thos. Mitchell.John Mitchell.Josiah Simpson.Taylor (two).William Burn.J. Ball.Aaron Cartlich.Timothy Lockett.&c.

A century later, in 1843, according to Ward, the potters then at work were Enoch Wood and Sons; Samuel Alcock & Co., who occupied their pot-works at the Hill Top; Machin and Potts (formerly Machin and Baggaley), at the Waterloo Works; Mellor, Venables & Co., Hole House; Thomas Godwin, Burslem Wharf; John WedgWood, Hadderidge; Barker, Sutton, and Till, Liverpool Road; Peter Hopkin, Market Place; William Pointon, Green Head; Samuel Mayer & Co., Waterloo Road; Joseph Hawley, Waterloo Road; Maddock & Seddon, Newcastle Street; James Vernon & Co., High Street; James and Thomas Edwards, Kiln Croft; Cork and Condliffe, Queen Street; Nehemiah Massey, Bournes Bank; Ann Holland, Hill Top; Daniel Edge, Waterloo Road; Jones and Bell, Bell Works; and those not then occupied were the Churchyard Works (late J. and J. Jackson), the Big House Works (formerly Thos. Wedgwood), the Hamill Street Works (formerly Cartlidge and Beech), the Knowl Works (formerly Breezes), and the Navigation Works, late John Waltons.

Many of the names in the earliest of these lists will be recognised as those of successful potters even of our own day. Burslem, long the centre of the pot-making district, was the place where the Wedgwoods had their various works, and where Josiah Wedgwood was born. It has, therefore, always been, as it is now, a place of considerable importance in connection with the history of the ceramic art of our country. It is manifestly impossible, nor would it be desirable, to enumerate all the firms from that time forward. The following are some of the more noted houses, exclusive of the Wedgwoods, to whom a separate chapter will be devoted. Shaw, in 1829, mentions that besides the various manufactories held by Enoch Wood and Sons, there were about twenty-six other pot-works,the principal of which were Machin & Co., T. and B. Godwin, T. Heath, J. Cormie, J. Hall & Sons, and John Riley Marsh.

Fig. 345 to 347.ThomAs:PAin 1718W:M1·7·3·7R:M1·7·3·7

Fig. 345 to 347.

ThomAs:PAin 1718

W:M1·7·3·7

R:M1·7·3·7

A very interesting matter relating to the history of pottery in this locality is the number of coarse earthenware gravestones which may be noticed in the churchyards at Burslem, Wolstanton, and elsewhere. They are formed of the common dark brown marl, or sagger clay, and the inscriptions are generally deeply incised, or pressed in. In some instances, however, they are laid on in white slip, and in others the incised letters are filled in with white clay. They are fired in the usual manner. The earliest, as regards date, which I noticed on my cursory examination of the two churchyards just mentioned, is at Wolstanton, and bears the inscription, “ThomAs PAin 1718.” (Fig.345). In the same churchyard are other earthenware memorials of various dates, the latest of which is 1828, viz., “William Heath departed this life 14 February, 1828 aged 6 weeks.”

Among others of which I made notes in the same churchyard are—

“Here Lyeth the Body of John Bin[ns] who Departed this Life November the [ ] 4 1751 Aged 41 years.”

“Here lieth the body of Samuel Willshaw died th 20 1755 aged 11 [?]”; at the top are the remains of cherubs’ wings.

“Here Lyeth the Body of Thos. Son of William and Mary Rowley of Red Street who Died November the 17 in the year 1767 in the 7 year of His age.”

“Here Lieth the Body of Mary Meller who departed this Life January the 6th 1750 aged 10.

Short was my timeGrate was my paneWeep not for meGreat is my gaine.”

Short was my time

Grate was my pane

Weep not for me

Great is my gaine.”

“Here lieth the Body of Esther Vernon aged 51 1745”;

“Here Lyeth the Bodey of Thomas Coleough aged 70 1737”; and so on.

The other engravings are from Burslem churchyard—the same ground in which some of the older of the Wedgwoods are buried, and adjoining which Thomas Wedgwood’s “Churchyard Works” stood when Josiah Wedgwood was an apprentice there, and still exist. They are early (1737) and good specimens of these interesting memorials. Another bears the simple inscription, “Elesbeth Malkin Aged 96: 1745.” Many others of various dates occur.

Toft.—The name of Toft is intimately connected with pottery, both in Staffordshire and Derbyshire. The names of Thomas Toft and Ralph Toft occur on large coarse earthenware dishes of the middle of the seventeenth century (see vol. i. pages101 to 104), some of which are dated. The material of the body of Toft’s dishes platters, and other domestic articles, is a coarse, reddish, or buff-coloured clay—a common fire-brick clay—and the patterns are laid on in yellow, white, or other coloured slip, and then thickly glazed over with a lead glaze. I have reason to believe that some of the Tofts were potters at Tickenhall (which see, page 152).

Fig. 348.THOMASTOFT

Fig. 348.

THOMASTOFT

Figs. 349 to 362.—Examples of early Staffordshire Wares, Museum of Practical Geology.

Talor.—Apparently contemporary with the Tofts, or at all events producing precisely the same kind of dishes, &c., was William Talor, one of whose productions is in the Bateman collection. He was probably of Staffordshire, and most likely of the same family as the Taylors, potters of Burslem, in the beginning of last century.

Sans.—Another contemporary of the Tofts was William Sans, whom Shaw states to have used manganese and pulverised galena in his processes. The name Thomas Sans also occurs on an example.

Turnor.—Turnor is a name so long and so intimately connected with potting and Staffordshire, that it is fair to presume Ralph Turnor, whose nameoccurs on a tyg of the same general character as Toft’s dishes, belongs to that county.

Shawe.—Ralph Shawe, of Burslem, “earth potter,” in 1733 took out a patent for improvements in earthenware (see Vol. I. p.110). In 1736 he commenced an action for infringement of his patent right, against John Mitchell, an extensive potter of the same town, but was defeated (p. 111). He removed with his family into France, where he carried on his trade, but his family, about 1750, returned to Burslem. About 1710 Aaron Shaw was a maker of stone and dipped wares in Burslem, with a house adjoining his works; and Moses Shaw (surely two brothers, Aaron and Moses!) made stone and freckled goods at the same place, with a house in the middle of the town.

John Mitchell.—In 1736, this potter having succeeded in producing ware very similar to that of Ralph Shawe, an action was commenced against him by Shawe for infringing his patent. This was tried at Stafford, but the defendant, being fully supported by his pottery neighbours, gained the verdict, the judge concluding with the memorable words, “Go home, potters, and make whatever kind of pots you like.” Aaron Wood was at one time employed by Mitchell, whose principal productions were white stoneware and salt-glazed ware. In 1743 an agreement was entered into between Aaron Wood, of Burslem, “earth-potter,” and John Mitchell, of the same town, “earth potter,” by which the formerbound himself to the latter for seven years at 7s.a week, and 10s.6d.on each 11th November.

Cartwright.—The nameCartwrightis stated by Shaw to occur on some butter-pots, along with the date 1640. This maker, Cartwright, at his death, in 1658, gave twenty pounds yearly to the poor of Burslem for ever. Burslem, which, as I have already shown, was famed for its butter-pots (in 1670 these were ordered to be made to contain not less than 14 lbs., and to be of hard quality), was to some extent known as the “butter-pot manufactory.”

Rich.—Shaw (1829) describes a crouch-ware dish, bearing the nameW. Rich, 1702.

Wood.—Ralph Wood, of Burslem, was a potter in the first half of last century. He was probably brother of Aaron Wood, and son of Ralph Wood, miller, of Burslem. Specimens of his ware, which is of the same general character as Whieldon’s, bear the markand others R. WOOD, or “Ra. Wood.” Aaron Wood, son of “Ralph Wood, of Burslem, in the county of Stafford, miller,” was apprenticed in 1731, to “Dr. Thomas Wedgwood, of Burslem, potter;” the indentures being dated the 23rd August in that year.[46]

When out of his time Wood continued with the same master, Dr. Wedgwood, for five years, at five shillings per week. Afterwards he worked principally at making moulds for the then very fashionable embossed ware, erroneously known as “Elizabethan ware” (at which he was remarkably clever), for Thomas Whieldon and others. He next engaged, as already stated, in 1743, with John Mitchell, of Burslem, a rival of Dr. Thos. Wedgwood, to work solely for him for seven years, at seven shillings a week, and half-a-guinea every 11th November. About 1750 he began business for himself in making salt-glazed white stoneware or crouch-ware. Dying about 1780, he was succeeded by his youngest son Enoch Wood, “the Father of Pottery” as he is sometimes called. Enoch Wood was a good practical potter, and a modeller of no little skill for the period. In 1781 he produced a bust of John Wesley (whoused to stay at his house when in the Potteries, and sat to him for the purpose) which became very popular. He was at one time joined in partnership by Mr. James Caldwell, under the style of “Wood and Caldwell” (which see). In the early part of this century Mr. Wood formed, at considerable labour, a collection of pottery, which, after his death, was dispersed; some of his specimens are in the Museum of Practical Geology, and others in the Dresden Museum. The firm in 1792 was carried on as “Enoch Wood & Co.,” and later on, after he took his son into partnership, “Enoch Wood & Sons.” The marks, so far as I am aware, used by Enoch Wood areE. WOOD, orENOCH WOOD, orENOCH WOOD & CO., and later on,ENOCH WOOD & SONSimpressed in the body of the ware. The firm was succeeded by Messrs. Pinder, Bourne, and Hope.

Figs. 363 to 365.

Wood and Caldwell.—This firm (Enoch Wood and James Caldwell) produced earthenware of very superior character, both in ordinary articles and services of various kinds. Some of their tea-pots were of admirable design and excellent workmanship. Busts and small statuettes were also extensively made, as were highly ornamented candlesticks. Good examples are found in the Jermyn Street Museum. The usual marks, impressed, are

WOOD & CALDWELLBURSLEMStaffordshire

orWOOD & CALDWELL.

Mr. Caldwell, who, I believe, was a “sleeping-partner,” was one of the executors under the will of Josiah Wedgwood. He married a daughter of Thomas Stamford (half brother to Mary Stamford, wife of Thomas Bentley, the partner of Wedgwood), and by her was father of the late gifted and popular authoress of “Emilia Wyndham,” &c., Mrs. Marsh-Caldwell, of Linley Wood.

Fig. 366.—The Churchyard Works, Burslem.

The Churchyard Works.—The Churchyard Works, at the house adjoining which Josiah Wedgwood was born, and where he was apprenticed to his brother Thomas, form the north-east boundary of the “churchyard” of the old church at Burslem. Since that time they have naturally been much altered and enlarged, but the site is the same, and some of the buildings now there are what stood and were used in his day. The house in which he was born, taken downmany years ago, stood near where the present slip-house stands, but its site has since been occupied by fresh buildings. New hovels and other buildings have, of late years, been added to the establishment, which is now a very complete and commodious manufactory. These works, for several generations, belonged to the Wedgwoods, and are described in 1698 as belonging to Thomas Wedgwood, “of the Churchyard House,” to whom they appear to have passed on his father’s death, who was also a potter. His son Thomas, eldest brother of Josiah, inherited this property on his father’s death in 1739, and three years later, on his marriage with Isabel Beech, by marriage settlement dated 12th of October, 1742 (in which he is described as Thomas Wedgwood, of the Over House, Burslem, Potter), “the messuage, with the appurtenances situate and adjoining the churchyard, Burslem, and all outhouses,workhouses, &c., then in the occupation of the said Thomas Wedgwood, or his under tenants,” were settled upon the children of this marriage. On the death of Thomas Wedgwood, in 1772, this and other property descended to his son Thomas, of the Over House, subject to portions to his younger children, under the settlement of 1742. The works were for some time carried on, along with the “Bell Works” and “Ivy House Works,” by Josiah Wedgwood. On his removal to Etruria, they were occupied by his second cousin, Joseph Wedgwood (brother of Aaron, and nephew of the Aaron Wedgwood who was partner with William Littler in the first manufacture of porcelain in the district), who lived at the house now the Mitre Hotel, near the works. This Joseph Wedgwood, who made jasper and other fine bodies under the direction of and for Josiah, occupied the works until the time of their sale to Mr. Green, when he removed to Basford Bank. About 1780 “the Churchyard premises were sold to Josiah Wedgwood, then of Etruria, who in 1787 conveyed them to his brother John, also of Etruria, who in 1795 sold them to Thomas Green, at which time two newly-erected houses near the potwork were included in the sale.” Mr. Green manufactured earthenware at these works, and for some time resided at the house near the works, now known as the Mitre Hotel, which had been built by one of the Wedgwood family. The property remained in Thomas Green’s hands until his bankruptcy in 1811, when it appears to have been purchased by a manufacturer named Joynson, from whom it passed, some years later on, to Mr. Mosely. While in his hands, the potwork was held by various tenants, and untilabout 1858 was let off in small holdings to different potters. About that period Mr. Bridgwood, of Tunstall, became the tenant of the premises as a general earthenware manufacturer, and was soon afterwards joined in partnership by Mr. Edward Clarke, whose large practical experience tended much to increase the reputation of the works. This firm, having taken a lease of the premises, remodelled many of the buildings, and erected others, and greatly improved the whole place by bringing to bear many improvements in body unknown and unthought of by their predecessors. After Mr. Bridgwood’s decease, which took place in 1864, these works, and the large establishment at Tunstall, were carried on by the surviving partner, Mr. Clarke, until after a time he ceased working them, when they passed into other hands as his tenants. The manufactory was afterwards again carried on by Mr. Clarke in partnership with Mr. Josiah Wood (a descendant of Aaron Wood), who is referred to under the head of Poole, Stanway, and Wood, under the style of Wood and Clarke. The productions of the Churchyard Works, while carried on by Mr. Clarke, were opaque porcelain of the finest and hardest quality (known as “white granite”), for the American market, and ordinary earthenware of the finest quality in the usual services; many of the services, &c., being embossed in excellently designed patterns, and others artistically painted and gilt. One of the notable features was artists’ goods (palettes, tiles, slabs, saucers, &c.), and door furniture, both black, white, and highly gilt and decorated. The impressed mark was “Bridgwood and Clarke,” and the printed mark a royal arms, with the words “Porcelain Opaque, B & C, Burslem.”

In 1874, Mr. W. E. Withinshaw entered upon the Churchyard Works, and since then has greatly improved them, and raised their productions to a high order of merit. His productions consist of dinner, tea, toilet, and other services; vases, jugs, tea-pots, kettles, and jug stands; trinket and fancy articles; candlesticks, and all the usual varieties of useful and ornamental goods, both plain, printed, painted, enamelled, and gilt. In toilet designs Mr. Withinshaw is particularly successful, many of the designs being novel in character, striking in conception, and beautiful in point of manipulative decoration. Notably among these is a service in which the head of the elephant is utilised in a very pleasing manner to form the handle of the ewer; the head itself forming the top of the handle, and the trunk the part for grasping. Thisis, in some of the services, produced in mass gold, with a rich and striking, but at the same time simple and elegant, effect. Other designs of this firm are of equal excellence. In vases, Mr. Withinshaw produces some admirable designs, the outlines of which are faultless, and the decoration well and judiciously managed. The quality of the ware is far above the average, and gives the productions a high standing among those of the locality. In jet ware, all the usual articles—tea-pots, kettles, jugs, spill cases, &c.—are made, and in endless variety of style; all being equally good in body, in glaze, and in decoration.

Another speciality of these works is now, as in former days, door furniture. The plates are remarkable for their evenness and flatness of surface, and for the taste displayed in the patterns which adorn them; they are made both in white and in black, and of every possible style of decoration. Umbrella, walking-stick, kettle, machine, and every other kind of handles, as well as other china articles used by cabinet brassfitters, are made.

The mark, impressed in the body of the ware, isW. E. WITHINSHAW. On the dinner ware the name of the pattern is given on printed marks, with the initialsW. E. W.

The Bell Works.—The Bell Works, of which, as they appeared in 1865, I give an engraving, Fig.367, was, at the time when the great Josiah Wedgwood entered on its occupancy, the property of Mr. John Bourne, an army contractor, in the neighbouring town of Newcastle. From him the property, about the year 1771, passed to his grandson, Mr. John Adams, of Cobridge, and in 1847 the estate again passed by will into the hands of the late Mr. Isaac Hitchen, of Alsager. The pot-works were occupied by Josiah Wedgwood, as tenant to Mr. John Bourne, until his removal to Etruria. The next tenant was, I believe, Mr. William Bourne, an earthenware manufacturer, who held them for some years, and was tenant in 1809. Mr. Bourne afterwards entered into partnership with a potter named Cormie, and the works were carried on under the style of “Bourne and Cormie.” In 1836, the works having then remained for some time unoccupied, were divided, a portion being taken by Messrs. Beech and Jones as an earthenware manufactory, another portion taken away for the building of the present Independent Chapel, which was erected on its site in the following year; and other parts were let off to various holders for different purposes apart from the pot trade.In 1839, the partnership between Messrs. Beech and Jones was dissolved, the former gentleman alone continuing to occupy the same portion of the premises, in which he produced china and earthenware figures. In 1846 Mr. Beech, having increased his business, became tenant of the whole of the remaining premises, with the exception of that part occupied by Mr. Dean’s printing-office, &c., and in 1853 took into partnership Mr. Brock, which firm, however, only lasted a couple of years. In 1855, Mr. Brock went out of the concern, and from that date Mr. William Beech carried on the manufactory until his death, which took place in 1864. It was next carried on by Messrs. Beech and Podmore; but in 1876 a part of the premises was purchased by the Board of Health for the purpose of building a covered market on the site, and the remainder was bought by Mr. George Beardmore of Rode Heath and taken down; thus these historically interesting works have been brought to a close.

Fig. 367.—The Bell Works, Burslem.

At these “Bell Works” Josiah Wedgwood turned his attentionmore especially to the production of the fine and delicate descriptions of earthenware which soon earned for him the proud distinction of “Queen’s Potter.”

The Bell Works were situated at the corner of Brick House Street and Queen Street, very near to the new Wedgwood Institution, but in the time of Josiah Wedgwood, Brick House Street was not formed, but was a part of the ground belonging to the manufactory, and was, indeed, waste land, covered with “shard rucks,” and other unmistakable evidence of the potter’s art. Queen Street then, too, was little better than a lane, but was dignified with the name ofQueenStreet, through Wedgwood being there appointedQueen’spotter, and there making his celebratedQueen’sware.

Red Lion Works.—These were carried on by Dr. Thomas Wedgwood, and took their name from their contiguity to the Red Lion Inn.

Big House.—The pottery adjoining this house, at the corner of Wedgwood Street and the Market Place, passing down Swan Square, belonged to Thomas and John Wedgwood; the works have long ceased to be used, and are converted into builder’s premises.

The Ivy Houseand works, so called from the fact of the house being covered with ivy, was situated where the butchers’ shambles now stand, the old buildings having been purchased by the market commissioners, and taken down for the erection of the present market in 1835. These premises belonged to Thomas and John Wedgwood, of the “Big House,” to whom Josiah became tenant, covenanting by written agreement to pay for the house and the potwork attached to it the yearly rent of ten pounds. The “Ivy House” and works were situated nearly in the centre of Burslem, at the corner of what was then known asShoe Lane, orShore Lane, now calledWedgwood Street, which at that time was a narrow way, only wide enough for a single cart to pass along, and as rough and uneven as well could be. The visitor to Burslem who desires to know exactly the site of this historically interesting house, should stroll up to the fine modern-built shambles, or “butchery” as it is sometimes called, and while he stands at the corner facing down Swan Square, he may rest assured that he is standing on what was the little enclosed garden in front of Wedgwood’s house; that the outer wall of the building at his back goes diagonally across the house from corner to corner,one half being under the shambles and the other where the street now is; that the site of one of the kilns is just beneath the centre of the shambles; and that another kiln was about the middle of the present street at his back; the surrounding workshops being partly where the street now is and partly where the building at present stands.

Fig. 368.—The Ivy House, Burslem.

The “Ivy House” might originally have been roofed with thatch or mud, like the other buildings of the district, but it was afterwards tiled, as shown in the engraving. In front was a small garden enclosed with a low wall, and a brick pathway led from the gate to the doorway. The front faced the open space called the “Green Bank,” and adjoining was a low, half-timbered, thickly-thatched building, afterwards known as the “Turk’s Head,” and beyond this again was the maypole, on “Maypole Bank,” on the site nowoccupied by the Town Hall. At the opposite side of the house from the Turk’s Head was a gateway leading into the yard of the works, which made up one side of Shoe Lane, the pot-works of John and Thomas Wedgwood, with which they were connected, being on the opposite side of the lane. These works and house have the reputation of being the first roofed with tiles in the district—the usual roofing being thatch, or oftener still, mud. At the Ivy House Josiah Wedgwood carried on the manufacture of his ornamental goods, his more ordinary ware, I believe, being produced at the Churchyard. At the Ivy House works he produced many things far in advance of his day, and to the Ivy House itself he brought home his bride, and there lived happily with her for several years.

Lakin and Poole.—Messrs. Lakin and Poole were in business in Burslem, and doing a very extensive trade, at the latter end of the last century. Their billhead in October, 1792, was simply “Burslem, Staffordshire, Bought of Lakin & Poole,” and in the front of the heading was a garter and star, surrounding a vase, on which was “Manufacturers of Staffordshire Earthenware. Table Services Enamelled or Painted with Arms, &c., &c.” On the garter “Burnished gold got up as in London.”[47]In 1793 (July) a new billhead was used—“Burslem, Staffordshire, Bought of Lakin and Poole. Blue Painted Table Services, &c., and Coloured in all its various Branches.” At the front is a standing figure of Commerce, with an anchor, against which is an oval tablet with “Table Services Enamelled with Arms, Crests, Cyphers, &c., &c.,” to which the figure is pointing. In many of the billheads I have seen the word “Painted” is altered to “Printed” with a pen, and the word “Ware” is written between (over) “coloured” and “in.” This heading was used till the early part of 1794.[48]In December, 1794, they used a written billhead. On the 14th of February, 1795, it is announced in a letter that “Mr. Thomas Shrigley[49]has joined us in our manufactory of Earthenware, and that for the future the business will be carried on under the firm ofPoole, Lakin and Shrigley.” In May, 1795, the billhead (written) is “Burslem, Bought of Lakin, Poole & Shrigley,” the managing man being R. B. Swift. This firm continued until the end of 1795, but inJanuary, 1796, another change took place, the firm now being simply “Poole and Shrigley”—Mr. Lakin either having died or withdrawn. The billheads were still written. T. Kempe was managing man in February, 1796. The last account I have is up to February, 1796.

During this period (1792 to 1796) the goods manufactured by them, as appears in these invoices, are as follows:—cream-colour, blue-printed, fawn-colour, black, stone, and other wares; “oval concave dishes of various sizes, flatt plates, soups, twifflers, muffins, tureen compots, sauce ditto, boats and stands, root dishes, cover dishes, sallads, bakers, dessert services of various patterns, ewers and basins, cups and saucers, bowls, cream-jugs, tea-pots, chocolates, flower-horns, flower-pots, jugs, sugar-boxes, double-handled coffee cups, salad dishes, sauce boats, gravy pots, candlesticks, baskets and stands, black tea-pots, mugs, figures in great variety, mortars, cheese toasters, raddish dishes, paste pots, tripe pots, Mocoa tumblers, candlestick vases, bow pots, hand vases, French pies, English pies, stone jugs with and without figures, fawn-coloured porter mugs, blue printed dishes and other articles, egg-cups, custards and covers,” &c. The products of this manufactory were of very superior character both as regards the quality of the various bodies, and the modelling, painting, and artistic decoration of the articles. The blackware, in imitation of Wedgwood’s basalts, is remarkably good, and many of the figures and services are of good character.

The mark of the firm was usually simply the wordsLAKIN & POOLEimpressed in the body of the ware. On one or two examples the nameLAKINonly occurs, and on othersR. POOLE.

After the death of Mr. Lakin, presumably the potter named above, his widow, in 1824, published a book of his recipes, of which the following is a note:—

“Potting, Enamelling, and Glass Staining.—The valuable Receipts of the late Mr. Thomas Lakin, with proper and necessary directions for their preparation and use in the manufacture of Porcelain Earthenware, and Iron Stone China, together with the most recent and valuable improvements in the advanced art of Glass Staining and Painting. Leeds: Printed for Mrs. Lakin, by Edward Baines. 1824.” Such was its title.The Preface, which is very explanatory, is as follows:—“The progressive improvements in the manufacture of Porcelain and Earthenware, during the last thirty years, have raised this art to an eminence which it never reached before in the British Empire; and, perhaps, in no department of art has scientific research and experiment been so productive of wealth and fame as in this, and it is no undue encomium on the industry of the manufacturer to state, that the consumption at home and the demands from abroad have kept pace with the improvements which have increased both. The important station which this art holds amongst our manufactures renders every attempt at improvement worthy of consideration and attention. It has been said, the man who causes one ear of corn to grow where one never grew before, deserves the thanks of his country; but what does that man merit who, by indefatigable industry, contributesmaterially to the advancement of the interests of his country, in the improvement of its manufactures? It was in this class that the lateMr. Thomas Lakinheld a situation much above mediocrity, for, in Staffordshire, it is well known that few men have contributed more to the improvement of an art so useful and so much admired. The following work is the result of upwards of thirty years of labour, study, and repeated experiment, and no pains have been spared in arranging the various Receipts in such a chain of connection as to render them easy of comprehension to an intelligent operator. The Subscribers may rest assured, that the whole of the following Receipts may be individually depended upon as genuine, each having been repeatedly tried in the course of the author’s long experience. Mr. Lakin had also extensive practice in the admired art of Staining and Painting Glass; several windows of exquisite workmanship were executed by him during the time he was engaged with John Davenport, Esq., for some of the first noblemen in the kingdom. The Receipts, together with the method of using them, are therefore laid down from actual experiment, and it is hoped will be found extremely valuable. In presenting the following work to the subscribers, Mrs. Lakin is anxious to express her gratitude for the liberal encouragement she has met with, and for the highly gratifying tribute they have paid to the abilities of her departed husband; but to the kindness of those gentlemen who had before purchased some of the Receipts at a price far beyond the whole charge of this work, and yet have become subscribers, she feels herself particularly indebted. Mrs. L. respectfully solicits of the subscribers not to permit persons who are not purchasers to copy any of the Receipts, as it might not only injure her as proprietor of the copyright, but also other subscribers; on her part she pledges herself not to publish the work, nor permit the work to be published, at a lower price than that at which it is now offered to the subscribers.” The work extends to 86 pages, and contains 136 processes connected with potting, enamels, and glass-staining. The receipts are evidently the compilation of a greatly experienced and very intelligent potter.

The Preface, which is very explanatory, is as follows:—“The progressive improvements in the manufacture of Porcelain and Earthenware, during the last thirty years, have raised this art to an eminence which it never reached before in the British Empire; and, perhaps, in no department of art has scientific research and experiment been so productive of wealth and fame as in this, and it is no undue encomium on the industry of the manufacturer to state, that the consumption at home and the demands from abroad have kept pace with the improvements which have increased both. The important station which this art holds amongst our manufactures renders every attempt at improvement worthy of consideration and attention. It has been said, the man who causes one ear of corn to grow where one never grew before, deserves the thanks of his country; but what does that man merit who, by indefatigable industry, contributesmaterially to the advancement of the interests of his country, in the improvement of its manufactures? It was in this class that the lateMr. Thomas Lakinheld a situation much above mediocrity, for, in Staffordshire, it is well known that few men have contributed more to the improvement of an art so useful and so much admired. The following work is the result of upwards of thirty years of labour, study, and repeated experiment, and no pains have been spared in arranging the various Receipts in such a chain of connection as to render them easy of comprehension to an intelligent operator. The Subscribers may rest assured, that the whole of the following Receipts may be individually depended upon as genuine, each having been repeatedly tried in the course of the author’s long experience. Mr. Lakin had also extensive practice in the admired art of Staining and Painting Glass; several windows of exquisite workmanship were executed by him during the time he was engaged with John Davenport, Esq., for some of the first noblemen in the kingdom. The Receipts, together with the method of using them, are therefore laid down from actual experiment, and it is hoped will be found extremely valuable. In presenting the following work to the subscribers, Mrs. Lakin is anxious to express her gratitude for the liberal encouragement she has met with, and for the highly gratifying tribute they have paid to the abilities of her departed husband; but to the kindness of those gentlemen who had before purchased some of the Receipts at a price far beyond the whole charge of this work, and yet have become subscribers, she feels herself particularly indebted. Mrs. L. respectfully solicits of the subscribers not to permit persons who are not purchasers to copy any of the Receipts, as it might not only injure her as proprietor of the copyright, but also other subscribers; on her part she pledges herself not to publish the work, nor permit the work to be published, at a lower price than that at which it is now offered to the subscribers.” The work extends to 86 pages, and contains 136 processes connected with potting, enamels, and glass-staining. The receipts are evidently the compilation of a greatly experienced and very intelligent potter.

Fig. 369.

Fig. 370.

Waterloo Potteries.—These works were carried on in the latter part of last century by Walter Daniel, who was succeeded by Messrs. Timothy and John Lockett; the manufacture at that time being principally salt-glazed ware. About 1809 the premises were purchased by Joseph Machin and Jacob Baggaley, and carried on by them for the making of china and ordinary earthenware. In 1831 Mr. Machin died and was succeeded by his son Mr. William Machinand partners. The works next passed into the hands of Mr. Richard Daniel, and next to Mr. Thomas Edwards. In 1850 they were purchased by Messrs. T. and R. Boote, who still occupy and work them.

Fig. 371.

Figs. 372 to 374.

In 1843 Messrs. Boote took out a patent for “Certain improvements in pottery and mosaic work.” These consist in producing “coloured designs on grounds of different colours, as black on white or white on black. First, the designs are made from a mould, as in figuring, and laid on the moulds for making the ware; the ground colour is then put on. Second, the design, cut in paper, parchment, &c., is laid in the moulds and the halves fastened together, the colour to form the ground is poured in, after which the paper, &c., are removed and other colour poured in to fill its place. Third, producing different coloured raised surfaces. The figures in low relief in the inside of the moulds are filled witha composition, the halves of the moulds fastened together, and the slip poured in to form a thin coating, which was then supplemented with an inner lining of a cheaper material to form a substratum, thus producing mosaic and other elaborate designs. In this process the excess of liquid is withdrawn when the necessary thickness is attained.

Fig. 375.

In 1857 Messrs Thomas Latham Boote and Richard Boote took out a patent for “Improvements in the manufacture of ornamental pottery, and articles made from clay and other like plastic materials.” “A thin piece of metal or other suitable substance, which forms the outline of the design, is fixed on the flattened clay intended to form the article then being made. The hollow parts are then filled up with the coloured clay or clays which are to form the design. The piece of metal is next removed, and the flattened clay with the design upon it is put in the mould to form the article. In some cases that part of the mould which is to correspond to the groundwork of the article to be manufactured is made to rise by springsor other means, suitable coloured clay is put into the hollow parts of the mould thus formed, and the clay to form the body is put in and the whole is pressed;” or the parts of the mould corresponding to the ornaments may be raised and the ground part filled in. We give three examples produced by one of those processes, Figs.369 to 371. The effect in many instances was very pleasing, and gave the appearance of relief, without, however, the pattern being at all raised. Parian was also formerly largely produced and of considerable excellence, both in vases, jugs, figures, both single and in groups, and other objects. One of the most effective groups is that of “Repentance, Faith, and Resignation,” modelled by Mr. Gillard. (Fig.375.)

Figs. 376 and 377.

Among the Parian vases formerly produced at the Waterloo Works were some the body of which was buff and the raised flowers in white; thus producing a very pleasing and softened effect.

All these decorative classes of goods have been discontinued by Messrs. Boote, who now confine themselves to the production of the ordinary white graniteware for the American markets, and encaustic and other glazed and unglazed pavement tiles. For these latter the firm are patentees of a process for inlaying encaustic tiles with clay dust—a process which is also adopted for the manufacture of dishes and other articles in earthenware in what thisfirm called “Royal Patent Ironstone,” and by which, by means of one press alone, as many as 100 dozen plates or small dishes, could be made in a day.

The encaustic and other tiles made by that firm consist of encaustic, geometrical, and majolica tiles of great variety in pattern and of very effective combinations of colours.

The marks used by Messrs. Boote are, on their white granite ware, the impressed initialsT & R B.; and the following, printed in black, viz.—

ROYAL PATENTIRONSTONET & R BOOTEFig. 378.

ROYAL PATENTIRONSTONET & R BOOTE

Fig. 378.

and another bearing the crest, a greyhound, couchant, collared and slipped, between two laurel wreaths, and the words—and above the wordsTRADE MARK. On the tiles, the name in raised letters,appears.

The Jurors’ Report of 1862 says: “The tiles exhibited by this firm are deserving of high commendation; the designs are well selected; the equality of surface evidences great efficiency. Messrs. T. and R. Boote claim some originality in their process, to which this perfection is not only attributable, but obtained at a much less cost.”

Fig. 379.

Washington Works.—The business now carried on at this manufactory originated experimentally in King Street, Burslem, where the late Mr. William S. Kennedy, about the year 1838, commenced the production of palettes and other requisites for artists’ use. Shortly afterwards, removing to a pottery in Bourne’s Bank, he there added to his business the manufacture of door furniture, letters for signs, &c. With perseverance, Mr. Kennedy combated the difficulties which these novel articles presented; and while in conjunction with Mr. William Maddock, who remainedwith the firm for thirty-five years, he was successful in effecting great improvements in the various processes. About 1847, the manufacture was removed to its present locality, and has from time to time been enlarged. The marksW. S. KENNEDYandJ. MACINTYREhave been very rarely used.

In 1852 Mr. Kennedy was joined in partnership by his brother-in-law, Mr. James Macintyre, who shortly afterwards became sole proprietor of the works. In 1863, Mr. Macintyre patented methods of producing oval, reeded, octagon, and other forms, by the lathe; and he was ever alert to devise and apply improvements in mechanism, &c. He succeeded in the production of a rich cream-coloured body, which, under the name of “Ivory China,” has held a high reputation, and will always be honourably associated with the “Washington” Works. In 1867 Mr. Macintyre produced backs for hair-brushes, hand-mirrors, &c., which were patented by Mr. J. J. Hicks, and in numerous other instances, especially for France, the “body” has been used as an ivory substitute. So far as can be ascertained, the successful application to door furniture of the earlier invention of the beautiful black, which is produced by dipping the brownish redbisquein a rich cobalt glaze, also originated at these works. This “jet,” produced in great perfection, has been applied in plain, and also with richly gilt and enamelled ornamentation, not only to door furniture, but more recently to inkstands and similar goods. Mr. Macintyre, who was a man of public spirit and great enterprise, was much beloved by his workpeople, and the annual festive gatherings in which he, his family and friends, met his employés, obtained a well-merited celebrity. He died in December, 1868, having a few years previously taken into partnership his confidential manager, Mr. Thomas Hulme, and his son-in-law, Mr. William Woodall. By these two gentlemen the business is still carried on under the old title of “James Macintyre and Co.”

Nile Street Works.—These works were built upon the site of an early pottery; this is evidenced by numbers of early fragments of pitchers, “porringers,” and other salt-glazed domestic vessels “of red and yellow clay marbled together,” being found during alterations of the premises in late years. Messrs. J. and R. Riley removed from here to the Hill Works, and were, I believe, succeeded by Mr. James Cormie, uncle of the late Mr. Thomas Pinder (whoat one time was a partner in the firm of Mellor, Venables, and Co.), and great-uncle of the present sole proprietor of the works, Mr. Shadford Pinder, who trades under the style of “Pinder, Bourne, and Co.” China was at one time made here, but the productions have latterly been confined to printed, enamelled, and gilt earthenware, in which all the usual services are made; stoneware for telegraphic purposes; fine red ware for useful and ornamental goods; jet ware in a variety of articles; and sanitary goods. These they export largely both to the colonial and foreign markets. Messrs. Pinder, Bourne, and Co.’s ornamental goods, notably their “red ware,” or terra cotta, is of fine, hard, and durable quality, and much taste is evinced in some of the designs of its decoration. The vases, spill-cases, and other articles in this body, richly enamelled and gilt in arabesque and other patterns, are remarkably good. The jet ware is also of good quality. Among their specialities in this ware, and in fine earthenware, are flower vases, and jardinières; some of the latter being skilfully painted in birds, flowers, &c. Messrs. Pinder, Bourne, and Co. have patented improvements in ovens and in steam printing presses; but this latter, having excited the hostility of the workmen at the time of the riots in 1842, was abandoned. The firm received medals at the London and Paris Exhibitions of 1851, 1855, and 1867. The marks used are a circular garter, bearing the name of the pattern and the initials “P. B. & Co.” surmounted by a crown and encompassed with a wreath of laurel; and a triangular figure, with the words “Pinder, Bourne & Co., Nile St., Burslem.”

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