Chapter III.=)

=III. STONEWARE.= Mottled red-brown colour, mostly salt glazed, pitted surface like orange skin. Early Bellarmine Jugs. Having dates and coats-of-arms in foreign examples; coarser style probably English.

=Fulham.= White busts and figures. Red, unglazed ware. Brown jugs and mugs. Marbling on John Dwight vases and bases, and stamped ornaments (1671-1703). in relief on teapots.

=Staffordshire.= A generic name for all unidentified red (unglazed) ware. Teapots, &c., Elers Ware. with stamped ornament similar to Dwight. John Philip Elers, _Prunus_ blossom and Chinese ornament, David Elers in relief. Turned on lathe and perfectly (1690-1710). finished. Spouts plain, moulded by hand.

John Astbury Red, buff, orange, and chocolate body. (died 1743). Similar ware to Elers, with the ornaments in relief in white pipe-clay. Made early salt-glaze crouch ware.

Thomas Astbury Followed same style. Little to (from 1725). distinguish his work from that of his father.

_Astbury_ is a generic term for all ware of this nature, with white stamped ornaments in relief. Many Staffordshire potters made this type of ware in latter half of eighteenth century, and it was imitated at Liverpool.

=Nottingham.= As early as Dwight's day Morley made stoneware mugs, and Nottingham ware Early 18th century holds a high place. The jugs are sometimes with decorative pierced work, showing an inner shell which holds the liquid. The glaze is decidedly lustrous in appearance, and the colour of the body is a warm reddish brown. Discontinued at end of 18th century.

_Bear Jugs_ were a feature of this factory, and cruder examples were made at Chesterfield and Brampton.

(=These varieties are described in detail in Chapter IV.=)

=Staffordshire Salt Glaze= Finely potted thin stoneware, surface like skin of orange, almost as Astbury and Whieldon translucent as porcelain. were the pioneers of this finer stoneware. 1. Plain white or undecorated with Most of the Staffordshire raised stamped ornament. potters from 1725-1780 made salt-glaze ware. 2. Plain white body with incised But this ware was ornament filled in with blue. supplanted by Wedgwood's cream ware, which seized 3. Enamelled in colours on a white body. the market in the last quarter of the 18th 4. Body colour blue (rare examples by century. William Littler), enamelled decorations in black, white, or gold.

5. Pierced ware with decorations in colour, or undecorated.

6. Ware decorated by transfer printing.

7. Ware with raised ornament, touched with colour.

Some of this salt-glaze ware is in colour a slate grey. The sharpest cut designs and the highest type of the undecorated ware belong to the period from 1725-1740. The enamelling in colours was at its best from 1745-1760.

Salt-glaze ware, in imitation of the Staffordshire potters, was also made at Swansea and at Liverpool.

(=These varieties are described in detail in Chapter VI.=)

=Fulham.= Fulham has been the seat of the (Eighteenth century.) manufacture of stoneware since the days of Dwight.

Early 18th century. Blue and grey stoneware jugs and mugs, with initials of Queen Anne or those of George I., often dated.

Late 18th century. The following are typical--brown stoneware jugs and mugs with bacchanalian subjects, or sporting scenes, in relief, inkstands, brandy flasks of grotesque shape.

In 19th century days "Doulton & Watts, Lambeth Pottery," is impressed on similar examples, and in middle 19th century days, under the guidance of Sir Henry Doulton, a revival of artistic stoneware took place, which traditions Messrs. Doulton carry on at the present day.

=IV. VARIEGATED WARE.= Marbled or agate wares (1740-1756), Dwight (of Fulham), John Astbury. The earlier Usually known under surface marbling or combing supplanted by the generic term of "solid agate" ware--a blending of layers _Whieldon ware_. of different coloured clays. Early tortoiseshell plates made by Whieldon. Tortoiseshell and mottled ware also made by Philip Christian at Liverpool, at Leeds, and at Castleford.

_Wedgwood._--Later developments of this ware--vases and important classic pieces in imitation of coloured marbles.

_The imitators of Wedgwood._--Palmer, Neale, and others made this marbled ware. Neale employed with great success sprinkled marbling, touched with gold, on a cream body.

Both Wedgwood and his successors made "solid agate" and also surface-decorated ware of cream body.

(=This ware is described in Chapter V. (Whieldon), and in Chapters VII. and VIII. in regard to Wedgwood and later developments.=)

=V. CREAM WARE.= _Experimental Stage._--Astbury (1725), Whieldon (from 1740), Warburton (Hot By far the largest Lane), Baddeleys (Shelton). variety of English earthenware. Made _Queen's Ware_ perfected by Wedgwood by all potters. The (1765). Wedgwood, Turner, Warburton, standard type of all (Leeds) Messrs. Hartley, Greens & Co., subsequent domestic Liverpool, Swansea, Derby. ware. _In colour creamy or yellowish white. In weight light._

Plain or undecorated. Many of Wedgwood's finest cream ware pieces are undecorated, and Leeds, at first largely imitative, developed a fine quality in design and potting, especially in designs after silversmiths' models.

Decorated by painting. At first painting was sparely used. The style of enamelling used on salt-glaze ware was modified to suit the new cream ware. Later the colours began to emulate those of porcelain. Spode, in particular, copied the latter in earthenware, and cream ware became richly painted and gilded.

Transfer-printed. As the invention of transfer-printing and the perfection of cream ware by Wedgwood were contemporaneous, the Liverpool printers decorated all the early cream ware. But cream ware was subsequently made as well as printed at Liverpool, and printed as well as made in Staffordshire and elsewhere.

=Early Cream Ware.= _Wedgwood._ Enormous variety of domestic ware, _plain or undecorated_, as in perforated or basket patterns, fruit dishes, &c., _painted_ in simple border designs, and _transfer-printed_ in red, black, or puce, at Liverpool, for Wedgwood.

Warburton, William Adams, John Turner, Spode, and many others made similar cream ware.

_Leeds._--Great variety of dishes, fruit baskets, centre-pieces, &c., made of undecorated cream ware. In addition painted and transfer printed decorations were also employed.

=Transfer-printing= _Liverpool_ made cream ware punch bowls =in blue.= finely decorated in blue.

In imitation of Chinese _Caughley_ produced for a few years styles, and in earthenware of cream body decorated, in competition with the characteristic style, by Thomas Turner, porcelain of Worcester, who introduced the willow pattern in 1780, Bow, Plymouth, &c. which appears together with similar Chinese subjects in his early Salopian _porcelain_.

=Staffordshire.= John Turner (of Lane End) first introduced (=See Chapter X.=) under-glaze blue into Staffordshire.

Josiah Spode introduced "willow pattern" into Staffordshire, 1784.

William Adams (of Greengates), 1787, fine under-glaze blue.

Thomas Minton, 1793, fine under-glaze blue. Apprenticed to Thomas Turner (of Caughley).

Adams, Warburton, Spode, and other Staffordshire potters engaged largely in this deep blue printed ware.

_Swansea_ had a similar cream ware, which had painted designs or blue-printed in imitation of Chinese style, with pagodas, &c. (See illustration, p. 405.)

=VI. CLASSIC WARE.= =Wedgwood.= _Red ware_ in imitation of Elers ware, chocolate ware with black Josiah Wedgwood (born, ornamentation in relief. _White fine 1730; died, 1795). stoneware_ used as plinths of marble ware and agate vases; this was the experimental Thomas Bentley, stage of Wedgwood's celebrated _jasper_ in partnership with ware. _Black basalt_, or Egyptian ware, Wedgwood (1768-1780). fine unglazed stoneware, sometimes used for tea services, but mainly for busts, medallions, and vases. _Jasper ware._ Wedgwood's crowning invention. A fine, unglazed stoneware, white throughout. Produced either "solid" or "jasper dip," in blue (various tones), sage green, olive green, lilac, pink, yellow, and black. Used in classic vases, and on cameos, plaques, &c., with a ground of one of these colours and relief ornament in white.

(=See Chapter VII.=)

William Adams (or =Contemporaries of Wedgwood.= Adams, Tunstall), pupil of Turner, Palmer, Neale and Mayer, all made Wedgwood (1787-1805). ware of a similar nature to above; all of fine quality.

Benjamin Adams John Turner's "jasper" was really a (1805-1820). semi-porcelain.

John Turner (of Lane End) Other potters whose stoneware in jugs and (1762-1786). Pottery vases, &c., carried on the traditions of continued by sons. Wedgwood (though in the second flight), { H. Palmer (of Hanley), were Birch, Keeling, Clews, Hollins, { from 1769. Steel, Myatt, and many others, whose names { Neale (1776-1778) are found impressed on ware, betraying the { R. Wilson (1778) influence of Wedgwood. { Neale & Co. { (1778-1787). (=See Chapter VIII. for detailed list.=)

Jacob Warburton (of The _Castleford Pottery_, near Leeds Cobridge) (1786-1826). (1790-1820), David Dunderdale (D. D. & Co.) made black basalt ware in similar style.

(=See Chapter IX. for details.=)

At _Swansea_ (1790-1817) basalt figures of fine style were made. Etruscan Ware (Dillwyn & Co.), 1845.

(=See Chapter XII. for marks.=)

=VII. FIGURES.= The body of Staffordshire figures by Ralph Wood, Neale and Palmer, Walton, Enoch (Mainly Staffordshire.) Wood, Salt, and other potters, is of cream ware.

_Leeds_ figures are similar, and are of the same body as the dessert centre-pieces and other cream ware.

Most of the Staffordshire figures are unmarked, but they can be identified as belonging to one of the following schools, by comparison with similar marked examples.

=Salt-glazed Figures.= A class by themselves. Mainly small in size, and no marked specimen is known. Bears, cats, birds, and miniature figures of men, chief designs, and the kneeling camel modelled as teapot.

=Whieldon School.= Artistic blending of colourings and (1740-1780.) glazings. Animals, birds, sometimes classic figures, _e.g._, Diana, Venus, and Madonna and Child. Miniature musicians, and satyr head moulded in form of cup. Early form of Toby jug. (See illustration, p. 179.)

=Ralph Wood School.= This represents the high-water mark of Staffordshire figures. _Vicar and Moses_ Ralph Wood (died 1772). group, _Toby Jug_, _St. George and Dragon_, _Haymakers_, _Charity_, Ralph Wood, jun. (born, _Neptune_, _Summer_, _Old Age_, &c., all 1748; died, 1795). remarkable for fine modelling and delicate colouring.

=Wedgwood School.= Many large figures, such as _Ceres_, _Diana_, _Juno_, _Prudence_, _Fortitude_, Josiah Wedgwood. _Charity_, _Venus and Cupid_, &c., in { Neale and Palmer. cream ware delicately coloured. { Wilson. { Neale & Co. Other subjects of less classic taste were produced at Etruria, _e.g._, Voyez, as a modeller, _Sailor with Cutlass_, employed at Etruria, and _Girl playing Mandoline_, _Sailor's by Neale and Palmer. Farewell_ and _Return_ (a pair), _The Lost Piece_ (after the Ralph Wood model), and Lakin and Poole. _Elijah and the Widow_, a popular scriptural subject (a pair). _Fair Hebe_ group modelled as a jug.

=Wood and Caldwell= _Eloquence_ (or _St. Paul preaching at_ =School.= _Athens_), _Descent from the Cross_, and Enoch Wood other fine pieces display the powers of (1783-1840). Enoch Wood at his best as a fine modeller.

Wood and Caldwell Other figures, some marked, are (1790-1818). _St. Sebastian_, _Britannia_, Quin as _Falstaff_, _Antony_ and _Cleopatra_, Enoch Wood and Sons reclining figures (pair), _Fire_, _Earth_, (1818-1866). _Air_, _Water_ (set of four), _Diana_ (similar to Wedgwood); group, _The Tithe Pig_ (parson, farmer, and his wife and baby and pigs), with tree and foliage as background; _Leda and Swan_, _Jolly Traveller_ (man, dog, and donkey), _Hurdy-Gurdy Player_, _Sportsman and Dog_, _Old Age_ (pair), _Lovers_ on garden bench, tree background, _Tailor and his Wife_, riding on goats (after the Dresden model). Busts were also a noteworthy production of this School. _Wesley_, _Whitfield_, _Wellington_, _Emperor of Russia_, _Napoleon_, _Miss Lydia Foote_, and several marked silver lustre busts and figures, _e.g._, _Mater Dolorosa_, _Boys Reading_, &c.

The _Vicar and Moses_ group and other earlier models were duplicated by this school, and many _Toby Jugs_ were produced of bright colouring.

=Walton School.= Continuing the traditions of the Wood School, Walton and others produced a great John Walton (of Burslem) number of _Toby Jugs_, following the Ralph (1790-1839). Wood model, but growing more debased in form and colouring. _Girl_ with lamb, _Boy_ with dog, and simple figures largely made for popular markets.

=Ralph Salt School.= Great fondness shown for village groups, with figures with tree background Ralph Salt (of Hanley) (imitation of Chelsea style). In character (1812-1840). the work of this School differs little from that of Walton.

(=See Chapter XI. for detailed description.=)

=Leeds School.= Some of the Leeds figures are marked, (1760-1825.) _e.g._, _Venus_, delicately coloured, slight oil gilding. Busts were made such as _Wesley_, and _Rhytons_, or drinking cups, in form of fox's head. Rustic figures of _Children_, and other miscellaneous subjects. _Lion_ couchant, _Snuff bottle_ in shape of Lady's head.

=Liverpool School.= Largely imitative of Staffordshire figures. Some excellent busts and figures Herculaneum were produced. Busts of _Wesley_, (1794-1841.) _Admiral Duncan_, and Mask Cup moulded with portrait of _Admiral Rodney_. _Toby Jug_, man standing upright holding jug of ale. _Lady_ with bulldog at her feet.

=Salopian.= Earthenware figures of fine modelling are attached to Caughley, but are unmarked. Thomas Turner _Prudence_ and _Fortitude_ (large size), (of Caughley), _Antony_ and _Cleopatra_ (recumbent), about 1774. _Ceres_ and _Apollo_, and others.

A figure of _Jacobin Pigeon_ sitting on nest in shape of sauceboat has the impressed mark =S=.

=Swansea.= _Cows_ and other small figures were typical of Swansea, but a recumbent figure of _Antony_ is marked "G. Bentley, Swansea, 22 May, 1791."

=Sunderland School.= Figures of _Seasons_, set of four female figures marked "Dixon, Austin & Co." _Shepherds_ and _Shepherdesses_ and _Bull Baiting_ groups were also made here. The potting and colouring are crude, and the figures are of no artistic interest.

=VIII. LUSTRE WARE.= =Early Copper Lustre.= Richard Frank at Brislington, near Bristol, crudely decorated in simple ornament.

=Gold Lustre.= Gold-purple or pink in colour. Wedgwood used this lustre in mottled and veined ware with rich effect.

_As an adjunct to other decoration_ this lustre has been widely used, crudely as at Sunderland, and with fine effect by Spode and other Staffordshire potters. Swansea employed it with great artistic skill.

=Silver Lustre.= _Plain._ Late 18th century. Thomas Wedgwood, E. Mayer, Spode, and others in imitation of silver designs.

_Decorated._ 1. Silver lustre decorations painted on other coloured grounds in combination with subjects in colours, birds, foliage, &c.

2. Silver lustre as a background with white, blue, or canary-coloured design. This unlustred ground, used as a pattern, is known as the "resist" style, and some of the most artistic effects are found in this, and in combination with painting in colours.

=Copper Lustre.= _Plain._ Early 19th century. Early and best style thin and well potted.

_Decorated._ Red or blue or green in embossed floral design in combination with copper lustre frequently found.

(=For details of makers and marks see Chapter XIII.=)

=IX. NINETEENTH CENTURY= _Early Experiments._ =DEVELOPMENTS.= Wedgwood's semi-porcelain, used at first for the plinths of his variegated vases. His _Pearl Ware_.

Spode's Felspar China, _Nineteenth Century._ 1805. Spode's Stone China. Josiah Spode the Second in 1805 introduced an opaque porcelain of ironstone body, which he termed Haynes' Opaque China _Felspar China_, _Stone China_, and on (Swansea), invented some of his marks, _New Fayence_. end of 18th century. Spode's new ware received rich decorations Mason's Patent Ironstone in colour, in imitation of Derby and other China, 1813 porcelains.

Riley's Semi-China. Haynes, of the Cambrian Pottery, Swansea, invented a similar opaque china at the end Minton's Stone China. of the 18th century.

Meigh's Stone China. At the Cambrian Pottery in this new hard white earthenware, floral painting by trained artists was done in excellent style on enamelled grounds of chocolate.

Mason, with an earlier softer body, had followed the Japanese colours in his jugs, but when Charles James Mason, in 1813, patented his ironstone china, the jugs took a new form, becoming octagonal, and their corners were not easily broken as in the chalkier body.

Long dinner services of a great number of pieces were made in this ironstone china richly decorated.

Other Staffordshire makers made stone china, including Minton, Meigh, Riley, Clementson, Ridgway, Adams, Davenport, and many others.

By the time the middle of the century had been reached, English earthenware had cast off its own characteristics and become what so many people to-day believe it to be--a poor imitation of porcelain.

(=For details and marks see Chapter XIV.=)

II

EARLY WARE